TABLE OF CONTENTS

Claire Tancons

Tuấn Andrew Nguyễn, All of Our Victims Are to Become Our Gods, 2017, cement, metal, composite with custom pedestal, 78 × 29 1⁄4 × 30 1⁄4".

1 TUẤN ANDREW NGUYỄN (FACTORY CONTEMPORARY ARTS CENTRE, HO CHI MINH CITY, VIETNAM; CURATED BY ZOE BUTT) “Empty Forest,”Nguyễn’s expansive presentation at Factory Contemporary Arts Center, was a feast of forms fleshed out in neoritualistic masks and of phantasmic images funneled through cinematic dream machines. Costumes worn in the two films on view became stand-alone sculptures in a gallery space turned spirit forest for a chilling tale of animal killings and the trade in derivative products imbued with magical properties. The second part of a much larger project,Nguyễn’s exhibition furthered the artist’s ongoing exploration of Asian-subcontinental magical economies around the medicinal and spiritual logic of animal life.

Ming Wong, Bloody Marys—Song of the South Seas, 2018, still from the 10-minute 35-second color HD-video component of a mixed-media installation additionally comprising photographs, record covers, annotated music scores, and film ephemera. From the “4th Dhaka Art Summit.”
 


2 4TH DHAKA ART SUMMIT (BANGLADESH SHILPAKALA ACADEMY, DHAKA; CURATED BY DIANA CAMPBELL BETANCOURT) Unabashed in its ambition—and, at times,

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