Talk with Jacqueline Hoang Nguyen and Screening of “1967: A People Kind of Place”
Mon 08 Apr 2013, 6.30 – 9 pm
Manzi Art Space
From DOCLAB:
Hanoi Doclab and Manzi proudly present a special talk with Canadian-French of Vietnamese origin, Jacqueline Hoang Nguyen about her artworks and the screening of her film 1967: A People Kind of Place (2012).
Jacqueline Hoang Nguyen
Born and raised in Montreal (CA), French-Canadian of Vietnamese origin, Jacqueline Hoang Nguyen is a research-based artist currently based in Brooklyn (NY) and Stockholm (SE). Nguyen recently completed the Whitney Museum of American Art’s Independent Study Program (Studio 2010-2011). She obtained her MFA and a post-graduate diploma in Critical Studies at the Malmö Art Academy in Malmö, Sweden (2003-2005), and had previously completed her BFA degree with distinction at Concordia University in Montreal, Canada (1999-2003). Amongst selected exhibitions, her work were shown internationally such as the ICA, Institute of Contemporary Art in Philadelphia (2011); the Mason Gross Galleries in New Jersey (2011); the Galerie Im Regierungsviertel in Berlin (2010); Gasworks in London (2010), Pictura Gallery/Skånska Konstmuseum in Lund (2009), Cranbrook Museum in Cranbrook (2008), Rooseum Museum of Contemporary Art in Malmö (2005), and the Living Art Museum in Reykjavik (2004).
1967: A People Kind of Place, 2012
Super 8, 16mm and 35mm films transfered to SD video
In 1967, the Canadian Centennial Committee named St. Paul the “The Centennial Star” on account of the quantity, quality, and originality of the small town’s year-long celebratory activity; namely, the decision to build the world’s first “UFO Landing Pad.” This oval-shaped platform constructed in cement was an idea translated into architectural form, a metaphorical welcoming of all people–including “aliens”–to the nation. In this way, the UFO landing pad functions as a symbol for Canada’s increasing emphasis on hospitality, tolerance, diversity, and unity at that point in history. This shift in both discourse and policy is also evidenced by the concurrent implementation of a point-based immigration system focused on a set of objective criteria rather than the applicant’s country of origin. A complex and paradoxical structural representation of both nationalist and anti-nationalist discourse, St. Paul’s landing pad opens up a historical investigation of Canada as the “instigator” of multiculturalism.
For more info, please visit here.
Free Entrance.
 | Manzi Art Space 14 Phan Huy Ich, Hanoi |
