Tiffany Chung


ABOUT THE ARTIST

Tiffany Chung (Vietnam/USA) is noted for her cartographic drawings, sculptures, videos, photographs, and theater performances that examine conflict, migration, displacement, urban progress and transformation in relation to history and cultural memory. Based in Ho Chi Minh City (Saigon), Vietnam, she is one of the region’s most respected and internationally active contemporary artists. Her work was recently featured in the Venice Biennale, in the exhibition All the World’s Futures in the Arsenale, with an installation of 40 map-based drawings relating to the ongoing crisis in Syria. The works’ richly detailed surfaces, with jewel-like tones rendered in ink and paint stick on translucent vellum, belie their somber thematic content charting the country’s ever expanding cycles of violence and refugee displacement.

Chung’s interest in imposed political borders and their traumatic impacts on different groups of human populations has underpinned her commitment to conducting an ongoing comparative study of forced migration – through both the current Syrian humanitarian crisis and the post-1975 mass exodus of Vietnamese refugees, of which she herself was a part. At Art Basel Hong Kong 2016, she presented the international debut of the first part of The Vietnam Exodus project, with an installation of new works focusing on the experiences of Hong Kong’s Vietnamese refugee community. Cartographic drawings – addressing such issues as the international flows of refugees, demographic statistics, and the network of detention centers and refugee camps in Hong Kong – are shown alongside a multi-media wall installation incorporating images, written inscriptions, videos, and electronic texts. By unpacking the Vietnamese refugees’ experiences and tackling the asylum policies applied towards them in the past, the project aims to give insights into the impact of constant shifts in asylum policy-making on already traumatized and distressed people, particularly those from the current global refugee crisis.

Chung’s work studies the geographical shifts in countries that were traumatized by war, human destruction, or natural disaster. Her map drawings layer different periods in the history of devastated topographies, reflecting the impossibility of accurately creating cartographic representations of most places. Transgressing space and time, these works unveil the connection between imperialist ideologies and visions of modernity. Her maps interweave historical and geologic events – and spatial and sociopolitical changes – with future predictions, revealing cartography as a discipline that draws on the realms of perception and fantasy as much as geography. Exploring world geopolitics by integrating international treaties with local histories, Chung’s work re-maps memories that were denied in official records. Based on meticulous ethnographic research and archival documents, her work excavates layers of history, re-writes chronicles of places, and creates interventions into the spatial narratives produced through statecraft.

In 2016, Chung’s work will appear in eleven museum exhibitions and biennials on four continents, including: Insecurities: Tracing Displacement and Shelter, Museum of Modern Art, New York, NY; EVA International – Ireland’s Biennial; Illumination, Louisiana Museum of Modern Art, Humlebæk, Denmark; Demarcate: Territorial Shift in Personal and Societal Mapping, San Jose Institute of Contemporary Art, San Jose, California; The XIII Bienal de Cuenca, Ecuador. She was awarded the 2013 Sharjah Biennial Prize honoring her exceptional contribution to the biennial. In the United States, she has presented four solo shows at Tyler Rollins Fine Art (2008, 2010, 2012, 2015) and has appeared in such museum exhibitions as: My Voice Would Reach You, Museum of Fine Arts, Houston (2014); California Pacific Triennial, Orange County Museum of Art (2013); and Six Lines of Flight, San Francisco Museum of Modern Art (2012). Chung is a co-founder of Sàn Art, an independent, artist-initiated, non-profit gallery space & reading room in Ho Chi Minh City.

The Vietnam Exodus (2016)

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Installation view of "The Vietnam Exodus - Hong Kong chapter (1975-2000)" at Art Basel Hong Kong 2016

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Installation view of "The Vietnam Exodus - Hong Kong chapter (1975-2000)" at Art Basel Hong Kong 2016

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Installation view of "The Vietnam Exodus - Hong Kong chapter (1975-2000)" at Art Basel Hong Kong 2016

permanent transitory homes: HK correctional institutions, detention centers and refugee camps from archival records and Google mapping, 2015

ink and oil on vellum and paper

29 ½ x 36 ¼ in. (75 x 92 cm)

UNHCR records and figures: remapping regional movements, arrivals, and resettlements of V-refugees in 1979, 2016

acrylic, ink and oil on vellum and paper

42 ¼ x 27 ½ in. (107 x 70 cm)

HKSAR statistics on yearly arrivals and departures of V-refugees from 1975-1997, 2016

acrylic, ink, and oil on vellum and paper

31 x 39 ½ in. (79 x 100 cm)

flotsam and jetsam, 2015-2016

28 works on paper, 40 text pieces on plexiglass panels, videos and text on eletronic tablets

dimensions variable [painting illustrations by Ho Hung, Le Nam Dy, Nguyen Van Du, Nguyen Kim To Lan]

flotsam and jetsam, detail, 2015-2016

28 works on paper, 40 text pieces on plexiglass panels, videos and text on eletronic tablets

Kenpoku Art (2016)

Installation View of "between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices" in Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan

Photo Credit: Kenji Otani

Installation View of "between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices" in Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan

Photo Credit: Kenji Otani

Installation View of "between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices" in Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan

Photo Credit: Kenji Otani

Installation View of "between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices" in Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan

Photo Credit: Kenji Otani

Installation View of "between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices" in Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan

Photo Credit: Kenji Otani

Venice Biennale (2015)

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Installation View of "The Syria Project" in "All the World's Futures" at the 56th Venice Biennale, Venice, Italy, May 9 - November 22, 2015

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Installation View of "The Syria Project" in "All the World's Futures" at the 56th Venice Biennale, Venice, Italy, May 9 - November 22, 2015

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Installation View of "The Syria Project" in "All the World's Futures" at the 56th Venice Biennale, Venice, Italy, May 9 - November 22, 2015

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Installation View of "The Syria Project" in "All the World's Futures" at the 56th Venice Biennale, Venice, Italy, May 9 - November 22, 2015

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Installation View of "The Syria Project" in "All the World's Futures" at the 56th Venice Biennale, Venice, Italy, May 9 - November 22, 2015

31 days in the capital of the revolution, 2014

oil and ink on vellum and paper

31 x 39 ¼ in. (79 x 100 cm)

13 Oct 2013 NY Times / UNHCR: Syria 4,250,000; Jordan 543,000; Turkey 504,000; Lebanon 790,000; Iraq 197,000; Egypt 126,000, 2014

oil and ink on vellum and paper

31 x 39 ¼ in. (79 x 100 cm)

UNHCR Lebanon Time-series Syrian Registered Refugees - June 2012: 25,411 - June 2013: 480,512 - April 2014: 1,044,898, 2014

oil and ink on vellum and paper

31 x 39 ¼ in. (79 x 100 cm)

Straight Line carved and shaped the region: the secret deal of the 1916 Sykes & Picot Agreement, 2014

oil and ink on vellum and paper

43 ¼ x 27 ½ in. (110 x 70 cm)

UNHCR/REUTERS Syrian Refugee Crisis- refugees as of 02 Sept 2012: 235,368-IDPs as of Jan 2012: 988,275, 2014

oil and ink on vellum and paper

16 ½ x 11 ¾ in. (42 x 30 cm)

CAMP / Center for Art on Migration Politics (2015)

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Installation View of "from the mountains to the valleys, from the deserts to the seas: journeys of historical uncertainty" at CAMP / Center for Art on Migration Politics, Copenhagen, Denmark, September 25 - December 12, 2015

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Installation View of "from the mountains to the valleys, from the deserts to the seas: journeys of historical uncertainty" at CAMP / Center for Art on Migration Politics, Copenhagen, Denmark, September 25 - December 12, 2015

from the mountains to the valleys, from the deserts to the seas: journeys of historical uncertainty, 2015

hand formed miniature glass animals, wood, museum gel

dimensions variable

finding one's shadow in ruins and rubble

hand crafted mahogany wooden boxes, found photographs printed on plexiglass, LED lights, electrical wire

31 wooden boxes, dimensions variable

“Life, which you look for, you will never find” - the ancient Near East, 2015

embroidery, beads, plastic gems

32 x 44 in. (81 x 112 cm)

ECHO/OCHA/UNHCR/SNAP: Syrian refugees, IDPs and people in need in Iraq & Syria (winter 2014-2015 and as of July 2015), 2015

ink and oil on vellum and paper

10 x 12 ¼ in. (25 x 31 cm)

IDMC: conflict and violence-induced internal displacement worldwide (as of July 2015), 2015

ink and oil on vellum and paper

13 x 14 ½ in. (33 x 37 cm)

IDMC: countries with the highest levels of internal displacement caused by disasters (2010, 2011, 2012, 2013, 2014), 2015

ink and oil on vellum and paper

13 x 16 ½ in. (33 x 42 cm)

I-MAP/Frontex/IOM: Mediterranean deaths through key migration routes to Europe (as of 01 Sept 2015), 2015

ink and oil on vellum and paper

12 x 8 ¼ in. (30 x 21 cm)

UNHCR: total Syrian asylum applications in Europe (April 2011 – May 2015) & admissions [Feb 2015], 2015

ink and oil on vellum and paper

12 x 8 ¼ in. (30 x 21 cm)

finding one’s shadow in ruins and rubble (2015)

finding one’s shadow in ruins and rubble, 2014

31 hand crafted mahogany boxes, found photographs printed on plexiglass, LED lights, electrical wire

dimensions variable, edition of 3 + 1AP

An Lộc region - former airfields and old rubber plantations, 2015

oil and ink on vellum and paper

31 ½ x 25 in. (80 x 63.5 cm)

Kobe urban planning map after 1995, 2015

oil and ink on vellum and paper

31 x 39 ¼ in. (79 x 100 cm)

An Lộc, somewhere between 1966-1972, 2015

oil and ink on vellum and paper

12 x 16 ½ in. (30 x 42 cm)

national route 13 and abandoned airfields from my father’s youth, 2015

oil and ink on vellum & paper

10 ½ x 10 ½ in. (27 x 27 cm)

battle of An Lộc [Easter Offensive] 1972, 2015

oil and ink on vellum and paper

9 ½ x 8 ¼ in. (24 x 21 cm)

battle of An Lộc 1972 - NVA’s & VC’s movements towards Saigon, 2015

oil and ink on vellum and paper

12 ½ x 9 in. (32 x 23 cm)

battle of An Lộc - key locations, 2015

oil and ink on vellum and paper

11 x 7 ½ in. (28 x 19 cm)

COSVN, NLF, PRG and VC bases, 2015

oil and ink on vellum and paper

8 ½ x 5 ½ in. (21.5 x 14 cm)

Operation Lam So’n 719 in 1971, 2015

oil and ink on vellum and paper

6 ¼ x 9 ½ in. (16 x 24 cm)

battle of Lộc Ninh 1972, 2015

oil and ink on vellum and paper

9 ½ x 7 in. (24 x 18 cm)

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation view of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Installation View of "finding one's shadow in ruins and rubble" at Tyler Rollins Fine Art, April 16 - June 26, 2015

Threads (2014)

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scratching the walls of memory

Installation View in the Exhibition "Threads," Museum Arnhem, Arnhem, The Netherlands, March 15 - August 17, 2014

Residual (2014)

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Installation View of "Residual: Disrupting Choreographies" at Carré d'Art - Musée d'Art Contemporain de Nîmes, Nîmes, France, February 20 - April 27, 2014

© Photography: David Huguenin

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Installation View of "Residual: Disrupting Choreographies" at Carré d'Art - Musée d'Art Contemporain de Nîmes, Nîmes, France, February 20 - April 27, 2014

© Photography: David Huguenin

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Installation View of "Residual: Disrupting Choreographies" at Carré d'Art - Musée d'Art Contemporain de Nîmes, Nîmes, France, February 20 - April 27, 2014

© Photography: David Huguenin

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Installation View of "Residual: Disrupting Choreographies" at Carré d'Art - Musée d'Art Contemporain de Nîmes, Nîmes, France, February 20 - April 27, 2014

© Photography: David Huguenin

An Archaeology Project (2010-2013)

an archaeology project for future remembrance, 2010 - 2013

Installation View in the Exhibition "My Voice Would Reach You," Museum of Fine Arts, Houston, TX, 2014

an archaeology project for future remembrance, 2010-2013

video still

an archaeology project for future remembrance, 2010-2013

ICA Plan Thu Thiem

micro-pigment ink, gel ink, and oil marker on vellum and paper

California Pacific Triennial (2013)

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Installation View at the California Pacific Triennial, Orange County Museum of Art, June 30 - November 17, 2013

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Installation View at the California Pacific Triennial, Orange County Museum of Art, June 30 - November 17, 2013

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Installation View at the California Pacific Triennial, Orange County Museum of Art, June 30 - November 17, 2013

Sharjah Biennial (2013)

The Heart of Sharjah project 2025, 2012-2013

micropigment ink, gel ink, and oil marker on vellum and paper

30 x 36 in. (75 x 91.5 cm)

The Routes of W.G. Palgrave Through the Gulf 1862-1863, 2012-2013

micropigment ink, gel ink, and oil marker on vellum and paper

28 x 35 in. (71 x 88 cm)

Hazard Location Map of Afghanistan—active: 6452, transitional: 548, 2012

micropigment ink, gel ink and oil marker on paper

43 x 59 in. (110 x 150 cm)

Bosnia-Herzegovina, 1992–1995 Ethnic Cleansing Campaign & 1997 SFOR Troop Deployment, 2012

micropigment ink, gel ink and oil marker on vellum and paper

43 x 28 in. (110 x 70 cm)

Tangier 1943: the international zone, the French Capitulation in World War II, the Moroccan Communist Party, the Istiqlal Party and the call for independence of Morocco in 1944, 2012

micropigment ink, gel ink, oil and copic marker on paper

43 ½ x 70 ¾ in. (110 x 180 cm)

Recovering Beirut: half-way between the imaginary and reality 1964-2016, 2012

micropigment ink, gel ink and oil marker on vellum and paper

29 ½ x 40 in. (75 x 100 cm)

The Growth of Cali - city boundaries: 1780, 1880, 1921, 1930, 1937, 1951 (pl. 204), 2012

micropigment ink, gel ink and oil marker on paper

38 ½ x 53 ¼ in. (98 x 135 cm)

Asia Pacific Triennial (2012)

roaming with the dawn - snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012

4000 glass animals, wooden plinth

dimensions of animals variable, plinth approx 400 x 275 x 25 in. (1,000 x 700 x 60 cm)

roaming with the dawn - snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012

4000 glass animals, wooden plinth

dimensions of animals variable, plinth approx 400 x 275 x 25 in. (1,000 x 700 x 60 cm)

roaming with the dawn - snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012

4000 glass animals, wooden plinth

dimensions of animals variable, plinth approx 400 x 275 x 25 in. (1,000 x 700 x 60 cm)

roaming with the dawn - snow drifts, rain falls, desert wind blows. Installation at the Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2012

4000 glass animals, wooden plinth

dimensions of animals variable, plinth approx 400 x 275 x 25 in. (1,000 x 700 x 60 cm)

TOMORROW ISN’T HERE (2012)

in between foraging sites, first raindrops and the BIg .50, 2012

hand-crafted black glass bison figurines on plexiglass and medium-density fiberboard base

base: 48 x 96 x 20 in. (122 x 244 x 51 cm), bisons: dimensions variable, approx. 2 - 3 in. height (5 - 8 cm)

Installation View of "in between foraging sites, first raindrops and the Big .50," 2012

hand-crafted black glass bison figurines on plexiglass and medium-density fiberboard base

base: 48 x 96 x 20 in. (122 x 244 x 51 cm), bisons: dimensions variable, approx. 2 - 3 in. height (5 - 8 cm)

Installation View of "in between foraging sites, first raindrops and the Big .50," 2012

hand-crafted black glass bison figurines on plexiglass and medium-density fiberboard base

base: 48 x 96 x 20 in. (122 x 244 x 51 cm), bisons: dimensions variable, approx. 2 - 3 in. height (5 - 8 cm)

thousands of years before and after, 2012

single channel video

9 min

the great simplicity, 2012

single channel video

9 min

cell phone haiku, 19th century European farm equipment and SiO2, 2012

Installation of 13 drawings and 2 embossed texts

16 ½ x 11 ¾ in. (42 x 30 cm) each

19th century European farm equipment and SiO2 #1, 2012

image transfer and micropigment ink on paper

16 ½ x 11 ¾ in. (42 x 30 cm)

the Pacific Decadal Oscillation index: 1900-2006, 2012

embroidery on canvas

26 x 48 in. (66 x 122 cm)

the Atlantic Multi-decadal Oscillation Index: 1899-2002, 2012

embroidery on canvas

18 x 48 in. (46 x 122 cm)

Wheat Price Plot: 1860-2000, 2012

embroidery on canvas

27 x 56 in. (69 x 142 cm)

Projected Precipitation Change by 2080s-2090s from 1960-1979 baseline, 2012

embroidery on canvas

26 x 28 in. (66 x 71 cm)

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Installation View of "TOMORROW ISN'T HERE" at Tyler Rollins Fine Art, September 6 - October 27, 2012

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Installation View of "TOMORROW ISN'T HERE" at Tyler Rollins Fine Art, September 6 - October 27, 2012

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Installation View of "TOMORROW ISN'T HERE" at Tyler Rollins Fine Art, September 6 - October 27, 2012

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Installation View of "TOMORROW ISN'T HERE" at Tyler Rollins Fine Art, September 6 - October 27, 2012

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Installation View of "TOMORROW ISN'T HERE" at Tyler Rollins Fine Art, September 6 - October 27, 2012

Kuandu Biennale (2012)

falling blue sky, frozen raindrops, 2012

steel, tin roofing material, glass turtles

149 ½ x 48 x 40 in. (380 x 122 x 102 cm)

falling blue sky, frozen raindrops, 2012

steel, tin roofing material

384 ¼ x 287 ¼ x 116 ½ in. (976 x 707 x 296 cm)

Installation View of "falling blue sky, frozen raindrops" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Installation View of "falling blue sky, frozen raindrops" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Installation View of "falling blue sky, frozen raindrops" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Installation View of "falling blue sky, frozen raindrops" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Installation View of "falling blue sky, frozen raindrops" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Installation View of "thousands of years before and after" and "the great simplicity" at the Kuandu Museum of Fine Arts, Taipei, September 29 - December 16, 2012

Six Lines of Flight (2012)

Development Stages of Cluj from the 12th Century to 1957, 2012

micropigment ink, gel ink, and oil marker on paper

38 ½ x 53 ¼ in. (98 x 135 cm)

The Growth of Cali - city boundaries: 1780, 1880, 1921, 1930, 1937, 1951 (pl. 204), 2012

micropigment ink, gel ink, and oil marker on paper

38 ½ x 53 ¼ in. (98 x 135 cm)

San Francisco, 1895 USGS map: distribution of apparent intensity based on Rossi-Forel scale, the known faults, and the routes examined, 2012

micropigment ink, gel ink, oil, and Copic marker on vellum and paper

37 ¾ x 24 ½ in. (96 x 62 cm)

San Francisco, 1907 USGS map: the burned district, the city, and the principle conduits in the water supply system (pl. 1), 2012

micropigment ink, gel ink, oil, and Copic marker on vellum and paper

37 ¾ x 24 ½ in. (96 x 62 cm)

Recovering Beirut: half-way between the imaginary and reality 1964-2016, 2012

micropigment ink, gel ink, and oil marker on vellum and paper

29 ½ x 40 in. (75 x 101.5 cm)

Tangier 1943: the international zone, the French Capitulation in World War II, the Moroccan Communist Party, the Istiqlal Party and the call for independence of Morocco in 1944, 2012

micropigment ink, gel ink, oil, and Copic marker on vellum and paper

43 ½ x 70 ¾ in. (110.5 x 180 cm)

One giant great flood 2050, 2010

micropigment ink, oil and alcohol-based marker on vellum and paper

43 x 27 ½ in. (110 x 70 cm)

Installation View of Chung's work in "Six Lines of Flight", San Francisco Museum of Modern Art, September 15 - December 31, 2012

Map as Art (2012)

Installation View of "The Map as Art," Kemper Museum of Contemporary Art, Kansas City, MI, September 14, 2012 - April 21, 2013

Installation View of "The Map as Art," Kemper Museum of Contemporary Art, Kansas City, MI, September 14, 2012 - April 21, 2013

Installation View of "The Map as Art," Kemper Museum of Contemporary Art, Kansas City, MI, September 14, 2012 - April 21, 2013

Installation View of "The Map as Art," Kemper Museum of Contemporary Art, Kansas City, MI, September 14, 2012 - April 21, 2013

Berlin Wall, 2010

embroidery, painted metal grommets and buttons on canvas

33 x 44 ¼ in. (84 x 112.5 cm)

Crossing the Boundary at the Pass of Kel 1908 - Preah Vihear, 2010

embroidery, beads, metal grommets, and buttons on canvas

24 x 24 in. (61 x 61 cm)

flora and fauna outgrowing the future, 2010

micropigment ink, oil and alcohol-based marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

Communes, IE and ET Organisms, 2010

micropigment ink, oil, and marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

DMZ - 17th Parallel, 2010

embroidery, beads, and metal grommets on canvas

25 ½ x 43 in. (70 x 109 cm)

top: Frontier of Tibet as Claimed by Tibetans in 1914; bottom: Frontier of Tibet as Claimed by Nationalist Chinese in 1914, 2010

micropigment ink and oil on vellum and paper

39 ¼ x 24 ½ in. (100 x 63 cm)

top: Frontier of Tibet as Proposed at the Tripartie Simla Conference in 1914; bottom: Territories under the Control of the Dalai Lama's Government (1918-1950), 2010

micropigment ink and oil on vellum and paper

39 ¼ x 24 ½ in. (100 x 63 cm)

Iraqi State Railways after Anglo-Iraqi Treaty 1930 & Current Pipelines, 2010

micropigment ink and oil on vellum and paper

39 ¼ x 24 ½ in. (100 x 63 cm)

Kaesong Armistice Conference Site 1951, 2010

embroidery, beads, metal grommets, and buttons on canvas

44 x 34 in. (112 x 86.5 cm)

Nagasaki, 2010

embroidery, beads, metal grommets, and buttons on canvas

43 ¾ x 33 in. (111 x 84 cm)

Communes, Nature and ET Organisms, 2010

micropigment ink, oil, and marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

There Can Be No Better World (2012)

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twigs, bones, rocks and the Giant Tortoise, 2012

wood, glass, plexiglass, acrylic paint, 1000 handcrafted glass turtles

527 x 429 x 69 in. (1338 x 1090 x 176 cm)

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

twigs, bones, rocks and the Giant Tortoise, detail, 2012

wood, glass, plexiglass, acrylic paint, 1000 handcrafted glass turtles

527 x 429 x 69 in. (1338 x 1090 x 176 cm)

twigs, bones, rocks and the Giant Tortoise, detail, 2012

wood, glass, plexiglass, acrylic paint, 1000 handcrafted glass turtles

527 x 429 x 69 in. (1338 x 1090 x 176 cm)

twigs, bones, rocks and the Giant Tortoise, detail, 2012

wood, glass, plexiglass, acrylic paint, 1000 handcrafted glass turtles

527 x 429 x 69 in. (1338 x 1090 x 176 cm)

twigs, bones, rocks and the Giant Tortoise, detail, 2012

wood, glass, plexiglass, acrylic paint, 1000 handcrafted glass turtles

527 x 429 x 69 in. (1338 x 1090 x 176 cm)

ENLARGE

twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

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twigs, bones, rocks and the Giant Tortoise, 2012

Installation View in "There Can Be No Better World" at the Museum of Contemporary Arts and Design, Manila, Philippines

Singapore Biennale (2011)

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

stored in a jar: monsoon, drowning fish, color of water, and the floating world, 2011

mixed media installation (plexiglass, wood veneer, plastic, aluminum, paint, steel cable, foam, copper wire)

dimensions of installation: 236 ¼ x 141 ¾ in. (600 x 360 cm); houseboat dimensions variable

Installation View at the National Museum of Singapore

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Installation View at the National Museum of Singapore

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Installation View at the National Museum of Singapore

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Installation View at the National Museum of Singapore

ENLARGE

Installation View at the National Museum of Singapore

ENLARGE

Installation View at the National Museum of Singapore

Up and Down the Mekong - Migration of the Fish, 2010

embroidery, beads, painted metal grommets, and buttons on canvas

42 ½ x 33 in. (108 x 83 cm)

One giant great flood 2050, 2010

micropigment ink, oil and alcohol based marker on vellum and paper

43 x 27 ½ in. (110 x 70 cm)

flora and fauna outgrowing the future, 2010

micropigment ink, oil and alcohol based marker on vellum and paper

43 x 27 ½ in. (110 x 70 cm)

Chronicles of a Soundless Dream (2011)

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Chronicles of a Soundless Dream, 2011

A Contemporary Dance and Theater Work Written and Directed by Tiffany Chung

35 min

Fukagawa Dining Room (2011)

Installation View of "Fukagawa Dining Room" at Fukagawa Tokyo Modan Kan, Tokyo, Japan, 2011

Installation View of "Fukagawa Dining Room" at Fukagawa Tokyo Modan Kan, Tokyo, Japan, 2011

Installation View of "Fukagawa Dining Room" at Fukagawa Tokyo Modan Kan, Tokyo, Japan, 2011

Installation View of "Fukagawa Dining Room" at Fukagawa Tokyo Modan Kan, Tokyo, Japan, 2011

Edo Tokyo, 2011

micropigment ink and oil on vellum and paper

27 ½ x 43 in. (70 x 110 cm)

Tokyo Urban Planning Map After 1923 Great Kanto Earthquake, 2011

micropigment ink and oil on vellum and paper

24 ¾ x 39 ½ in. (63 x 100 cm)

US Strategic Bombing Survey of Tokyo 1944-1945, 2011

micropigment ink and oil on vellum and paper

25 ¼ x 35 ½ in. (64 x 90 cm)

Scratching the Walls of Memory (2010)

DMZ - 17th Parallel, 2010

embroidery, beads, and metal grommets on canvas

25 ½ x 43 in. (70 x 109 cm)

Hiroshima, 2010

embroidery, metal grommets, and buttons on canvas

43 ¼ x 32 ¼ in. (110 x 82 cm)

Nagasaki, 2010

embroidery, beads, metal grommets, and buttons on canvas

43 ¾ x 33 in. (111 x 84 cm)

Kaesong Armistice Conference Site 1951, 2010

embroidery, beads, metal grommets, and buttons on canvas

44 x 34 in. (112 x 86.5 cm)

Crossing the Boundary at the pass of Kel 1908 - Preah Vihear, 2010

embroidery, beads, metal grommets, and buttons on canvas

24 x 24 in. (61 x 61 cm)

The Push Back of Cambodian Refugees Memorial Park - Preah Vihear, 2010

embroidery, 3D fabric paint, metal grommets, and buttons on canvas

24 x 24 in. (61 x 61 cm)

Cold War Europe, 2010

embroidery, beads, metal grommets, and buttons on canvas

33 ½ x 43 ½ in. (85 x 110.5 cm)

Berlin Wall, 2010

embroidery, metal grommets, and buttons on canvas

33 x 44 ¼ in. (84 x 112.5 cm)

Iraqi State Railways after Anglo-Iraqi Treaty 1930 and current Pipelines, 2010

micropigment ink and oil on vellum and paper

39 ½ x 24 ½ in. (100 x 63 cm)

top: frontier of Tibet as claimed by Tibetans in 1914; bottom: Frontier of Tibet as claimed by Nationalist Chinese in 1914, 2010

micropigment ink and oil on vellum and paper

39 ¼ x 24 ½ in. (100 x 63 cm)

top: Frontier of Tibet as proposed at the Tripartie Simla Conference in 1914; bottom: Territories under the control of the Dalai Lama’s Government (1918-1950), 2010

micropigment ink and oil on vellum and paper

39 ¼ x 24 ½ in. (100 x 63 cm)

ENLARGE +

Installation View of "Scratching the Walls of Memory" at Tyler Rollins Fine Art, November 4, 2010 - January 8, 2011

ENLARGE +

Installation View of "Scratching the Walls of Memory" at Tyler Rollins Fine Art, November 4, 2010 - January 8, 2011

ENLARGE +

Installation View of "Scratching the Walls of Memory" at Tyler Rollins Fine Art, November 4, 2010 - January 8, 2011

The River Project (2010)

Installation View of "The River Project" at the Campbelltown Arts Centre, Sydney, Australia, 2010

Installation View of "The River Project" at the Campbelltown Arts Centre, Sydney, Australia, 2010

Up and Down the Mekong - Migration of the Fish, 2010

embroidery, beads, painted metal grommets, and buttons on canvas

42 ½ x 33 in. (108 x 83 cm)

One giant great flood 2050, 2010

micropigment ink, oil and alcohol-based markers on vellum and paper

43 x 27 ½ in. (110 x 70 cm)

flora and fauna outgrowing the future, 2010

micropigment ink, oil and alcohol-based markers on vellum and paper

43 x 27 ½ in. (110 x 70 cm)

"Run, Run, River that Runs Backwards" (green/blue 3D map) & "Dying Overflowed Greatest Monster" (black/blue 3D map), 2010

plexiglass, wood

each 3D map box: 36 ¼ x 36 ¼ x 3 ½ in. (92 x 92 x 9 cm)

Dying Overflowed Greatest Monster, 2010

plexiglass, wood

36 ¼ x 36 ¼ x 3 ½ in. (92 x 92 x 9 cm)

Atopia: Art and City in the 21st Century (2010)

"D-City: where sidewalk cafes meet the stars" in the Exhibition "Atopia: Art and City in the 21st Century," at the Centre de Cultura Contemporània de Barcelona, Barcelona, Spain, 2010

plexiglass, mdf, polystyrene, decorative tape, thermoplastic adhesive

base: 79 x 265 in. (200 x 600 cm); dimensions of buildings variable

"D-City: where sidewalk cafes meet the stars" in the Exhibition "Atopia: Art and City in the 21st Century," at the Centre de Cultura Contemporània de Barcelona, Barcelona, Spain, 2010

plexiglass, mdf, polystyrene, decorative tape, thermoplastic adhesive

Finding Galapagos… (2009)

Installation View of "Finding Galápagos: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order)," a Solo Exhibition in Berlin, Germany, 2009

Installation View of "Finding Galápagos: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order)," a Solo Exhibition in Berlin, Germany, 2009

Signs-Sites-Sights-Sighs, 2009

31 signs on 13 poles: MDF, PVC, plexiglass

dimensions variable

Coniferberry Tree - "Share the Wonder" and "Find Yourself Here", 2009

polyethylene, MDF, PVC, latex, wire, pompons, thermoplastic adhesive, and wood, MDF, stainless steel, plexiglass

134 x 47 ¼ x 27 ½ in. (340 x 120 x 70 cm) and 102 ½ x 35 ½ x 26 ½ in. (260 x 90 x 67 cm)

Play (2008)

ENLARGE

Play Tough Aim High, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

Get Them All, 2008

digital C-print

39 x 59 in. (99 x 150 cm), edition of 5

ENLARGE

We Rock, 2008

digital C-print

39 x 59 in. (99 x 150 cm), edition of 5

ENLARGE

Be There or Be Square, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

Be Cool Be Playful, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

Be Loud Make Sound, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

All Work All Play, 2008

digital C-print

48 x 77 in. (122 x 195.5 cm), edition of 5

ENLARGE

Bubble Shooter and Friends, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

Here We Go, 2008

digital C-print

59 x 39 in. (150 x 99 cm), edition of 5

ENLARGE

Bubble Shooter in a Different World, 2008

digital C-print

39 x 59 in. (99 x 150 cm), edition of 5

ENLARGE

Morning Glory, Glorious Mornings, 2008

PVC, MDF, polyester fiber filler, plush fabric, felt

height: 104 in. (264 cm)

ENLARGE

From Morning Merci Exercise to Techno Beat Promotion Dance, 2008

bamboo, wire, papier-mâché, pompons, thermo adhesive

diameter 40 in. (101.5 cm); length 68 in. (173 cm)

ENLARGE +

Installation View of "Play" at Tyler Rollins Fine Art, December 11, 2008 - January 17, 2009

ENLARGE +

Installation View of "Play" at Tyler Rollins Fine Art, December 11, 2008 - January 17, 2009

Map Series (2007-ongoing)

flora and fauna scratching the river, 2010

micropigment ink, oil and alcohol-based marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

Communes, IE and ET Organisms, 2010

micropigment ink, oil, and marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

Communes, Nature and ET Organisms, 2010

micropigment ink, oil, and marker on vellum and paper

43 x 27 ½ in. (109 x 70 cm)

Dubai 1973, 2010

micropigment ink, oil, and alcohol-based marker on paper

43 ¼ x 65 in. (110 x 165.5 cm)

Dubai 2020, 2010

micropigment ink, oil, and alcohol-based marker on paper

43 ¼ x 65 in. (110 x 165.5 cm)

Migration of the Ladybugs, 2009

oil and alcohol-based marker on paper and vellum

31 ½ x 43 ¼ in. (80 x 110 cm)

GOVAP, 2008

oil and alcohol-based markers on paper and vellum

55 x 36 in. (140 x 92 cm)

Archive

Another Day Another World

Blue Lightning and OJ Guys

Blue Lightning Time Traveling to Another World

Enokiberry Creators in the Lab, 2008

digital C-print

Enokiberry Creators, 2008

digital C-print

OJ Guys

Bubble Shooter in the Wonderland

Enokiberry Tree and Bubble Shooter

Enokiberry Tree and Nhucnhich

Enokiberry Tree in the Wonderland


WORKS

The Vietnam Exodus (2016)

Kenpoku Art (2016)

Venice Biennale (2015)

CAMP / Center for Art on Migration Politics (2015)

finding one’s shadow in ruins and rubble (2015)

Threads (2014)

Residual (2014)

An Archaeology Project (2010-2013)

California Pacific Triennial (2013)

Sharjah Biennial (2013)

Asia Pacific Triennial (2012)

TOMORROW ISN’T HERE (2012)

Kuandu Biennale (2012)

Six Lines of Flight (2012)

Map as Art (2012)

There Can Be No Better World (2012)

Singapore Biennale (2011)

Chronicles of a Soundless Dream (2011)

Fukagawa Dining Room (2011)

Scratching the Walls of Memory (2010)

The River Project (2010)

Atopia: Art and City in the 21st Century (2010)

Finding Galapagos… (2009)

Play (2008)

Map Series (2007-ongoing)

Archive

Prze Krój

February, 2017


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Art Asia Pacific, Almanac 2017

February, 2017


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Art Asia Pacific, Tiffany Chung: To Be Remembered

September, 2016


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Aesthetica, Land, Sea and Air, The New Art Gallery Walsall

August, 2016


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Citylab, The Architecture of Displacement

May, 2016


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The Museum of Modern Art

May, 2016


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The European Business Review, Tiffany Chung

April, 2016


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M+ Press Release

March, 2016


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Asia Society, The Unwanted Population

October, 2015


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Artforum, Biennale on the Brink

September, 2015


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Gallery & Studio

2015


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Asian Art News, Tiffany Chung at Tyler Rollins Fine Art

July, 2015


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Hyperallergic, 2015 Venice Biennale

June, 2015


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Artnet News, David Ebony’s Top 10

May, 2015


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Art Radar, Vietnam’s Tiffany Chung explores the effects of disasters in New York exhibition

May, 2015


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Venice Biennale Catalogue

May, 2015


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Asian Art News, A Vision Through Conflicts

May, 2015


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Artsy, 5 Names You’ll Know after the Venice Biennale

May, 2015


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Observer, Tiffany Chung

April, 2015


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Art Asia Pacific, The Galapagos Project

2014


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Carré d’Art – Musée d’art contemporain de Nîmes

2014


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Troubling Borders, Tiffany Chung

2014


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Bird, Tiffany Chung

2014


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Museum Arnhem, Threads Exhibition Catalogue

June, 2014


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Museum Arnhem, Threads Exhibition Announcement

March, 2014


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Dia Critics, Tiffany Chung’s “Fantasy Futurism”

February, 2014


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Made in Asia

January, 2014


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The New York Times, Abstract Maps That Read Between the Lines

December, 2013


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Artforum, 2013 California-Pacific Triennial

December, 2013


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Water Urbanisms East

2013


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Sharjah Biennial 11

2013


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California-Pacific Triennial, Tiffany Chung

2013


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Los Angeles Times, California Pacific Triennial

July, 2013


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Gulf News, Winners of Sharjah Biennial 11 Announced

March, 2013


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Los Angeles Times, Orange County museum names 32 triennial artists

January, 2013


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Visual.ly, The Maps are Art

January, 2013


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The Kansas City Star, Maps From Around the World Inspire Works in Kemper Museum’s Exhibition

October, 2012


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The Wall Street Journal, Cities on the Edge

October, 2012


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Six Lines of Flight: Shifting Geographies in Contemporary Art

September, 2012


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Modern and Contemporary Southeast Asian Art, Many Returns

2012


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Surface Asia

May, 2011


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Frieze, Singapore Biennial 2011

April, 2011


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Bangkok Post, Lion City gets lion’s share of art

April, 2011


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The Jakarta Post, For you Singapura!

March, 2011


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The New York Times, Definitions of Home at the Singapore Biennale

March, 2011


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Art Agenda, 2011 Singapore Biennale

March, 2011


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Contemporary Visual Art + Culture Broadsheet

March, 2011


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Singapore Biennale 2011: Open House

March, 2011


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The Straits Times, Water World

March, 2011


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City Arts, Tiffany Chung

November, 2010


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Asia Art Archive, Tiffany Chung

November, 2010


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2009 Incheon Women Artists’ Biennale

August, 2009


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Whitewall, Tyler Rollins

March, 2009


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Gotham, Tiffany Chung

January, 2009


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Artinfo, New York Gallery Shows

December, 2008


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Art Daily, Transpop: Korea Vietnam Remix at Yerba Buena Center for the Arts

November, 2008


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Transpop: Korean Vietnam Remix

2008


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Art in Asia, Trans POP: Korea Vietnam Remix

March, 2008


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The Korea Herald, Mix It Up With Vietnamese and Korean Art

January, 2008


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The Korea Times, Koreans, and Vietnamese Share History and Art

December, 2007


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Arcus Project

2006


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The 3rd Fukuoka Asian Art Triennale

2005


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