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Exhibitions 20. Nov - 29. Nov 2014
Exhibitions Th | 24. Sep 2009 | 10:00
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Trùng Mù – White Mist in Foreign Country
Exhibitions 18. Apr - 02. Jun 2019
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Trùng Mù – White Mist in Foreign Country

Curated by Suza Husse / NAILS*hacks*facts*fictions in the frame of Caring for Conflict. Funded by Projektfonds Kulturelle Bildung and ifa.

 

Opening: April 18th, 2019 | 8.30 pm

 

Trùng Mù (Endless, Sightless) begins behind a curtain patterned with foliage: a cyborgian figure is bent over a second body to engage in some facial operation. Their interaction is accompanied by the repetitive sound of a laser machine for the removal of dark pigmentation in the human skin, which sound binds the visual and temporal movements of the whole film. Oscillating between different intensities of blurring, blinding, and obfuscating the images it creates, the video drama by Nguyen Phuong Linh slowly unfolds a generic and timeless space of cosmetic technology. From the choreography of textiles and textures, of material and gaseous states, of human and non-human bodies, the beauty salon emerges as a manifestation of care and conflict in capitalism; of corpofictions formed in migrant labor, and global toxic bonds.

 

The exhibition Trùng Mù – White Mist in Foreign Country proposes Trúng Mú’s white mist as a medium of contamination and toxicity – of toxic bonds that connect experiences of life, death and states in-between across different geographies, ecologies and histories. To approach some of these toxic bonds, which Mel Y. Chen proposes as affective and material relations that queer hierarchies of animacy, the installation is a space co-inhabited by two works that bind the environmental figure of Trúng Mú’s white fog to the micro-particles and atmospheres of ecologies haunted by coloniality and by extracitivism in Vietnam: In Tuan Mami’s film In One’s Breath – Nothing Stands Still (2019) white dust arrives in the air and streams from exploded mountains in the ancient forest areas of Hà Nam in North Vietnam recently designated for stone mining. As an ongoing body of work In One’s Breath – Nothing Stands Still is based on the artist’s involvement in his ancestral land, culture and spirituality* and the forms of loss, suffering, resistance and survival of its more than human communities in the wake of accelerating extraction. Phuong Linh’s film Memory of the Blind Elephant (2014-2016) navigates the environment of a domesticated elephant who is part of an entanglement of life in the post-colonial ecologies in Central and Southern Vietnam. Rubber trees in large plantations, insects, humans, lizards, streams and machines are the other intersections of histories, technologies and becoming which her film connects with the white choreographies of rubber processing and the mechanics of ‘land reorganization’ since French colonization. Roots whose wounds are filled with white liquid protrude from the earth turned upside down by excavators. Fingery and sticky they seem to call for re-connections while casting a spell over the square plane that is to emerge as a privatized ‘virgin site’ for construction or plantation.

 

Trùng Mù – White Mist in Foreign Country / NAILS*hacks*facts*fictionstakes place in the frame of Caring for Conflict, an intersectional art and education project initiated by District Berlin and Institute for Queer Theory, funded by Projektfonds Kulturelle Bildung and is supported by ifa (Institut für Auslandsbeziehungen).

 

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