I’d Blush if I Could


2020
mixed media installation, metall, acrylic nails, digital print



lopiko
My sculptural video installation explores the tensions involved in the post-human feminised 'cyborg': what ‘labour’ produces post-human technologies, and what discrepancies arise from cyborgian future speculation.
In Donna Haraway’s 1985 'A Cyborg Manifesto' she states ‘The cyborg is a condensed image of both imagination and material reality, the two joined centers structuring any possibility of historical transformation’. Nearly 30 years after her publication, this assemblage of the post-human subject is still intertwined in today’s power disparity. Moreover, its ‘multi-global, inter-subjective, institutional components’ are intentionally hidden (Hilary Bergen, 2016). For example following the discovery of silicon semiconductors in the 1970s, the modern computer industry which carried cybernetics into homes around the world was founded. This field of production proliferated in the 1980s Silicon Valley, with migrant women being the predominant workers within this extremely toxic field.
The production of technology bears histories of women and migrant labour. This system of labour exploitation signifies the irony of today’s society: the exploited bodies producing the new 'cyborg' assemblage are the ones being rendered invisible in the final product, and ultimately these bodies are being automated away by machines.

 
 

using one’s feet has become an option of last resort


2020
mixed media installation, 3 channel video, textile, metal, silicone




The motorbike culture has become the symbol of contem- porary Vietnam, marking the core of Vietnam’s capitalist transition since the mid-1980s. Focusing on discourses of consumerism, mobility, gender and class identity, this project explores the emerging female motorist street style in Vietnam,
dubbed as ‘Street Ninja’. By deconstructing and reassembling the ‘Street Ninjas’ UV protection clothes to ‘wearable sculptures’, the project suggests a strategy for reimagining the ‘Street Ninjas’ as protagonists countering their discriminatory experiences.



Wheeling City, Land, and River
2018 
mixed media installation, video, motorbike, textile, digital print


Drawing upon my Vietnamese background, the work focus upon identifying connections, disconnections and nostalgia surrounding commodities within the tangling nexus of hyper-consumption.
The mixed media installation examines motorbike culture in Vietnam, examining it from both a Western and local standpoint. Stemming from childhood memories riding in Vietnam, to my mother selling her motorbike to move to Germany, the motorbike becomes symbolic of freedom to many locals. This is in contrast to Western tourist’s fascination and fetishisation, where the image of an overstocked Vietnamese Motorbike is perceived almost as novelty.






My Praxis

Approaching interdisciplinary practices, I work with the medium of video installation, sculpture, and textiles. Drawing upon feminist and Vietnamese diaspora perspectives, my projects deal with how we use commodities, images and garments to externalise and construct our identities.


My work examine humanity’s relation with technology and consumerism by decontextualising popular culture in hyper-globalised era. By using speculative alternative strategies, my work attempt to challenge the
present capitalist ideologies.




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Exhibitions

2020

Dada Post, Berlin

Positions Art Fair / Fashion


2019

‘We are in this together‘ UdK/Hardenbergstr., Berlin

‘In Actu. In Potentia.‘,
Städelschule/Fffriedrich, Frankfurt a. M.




2018
‘Modefotografie. Retrospektive einer Zusammenarbeit‘ Kunststiftung des Landes Sachsen-Anhalt, Halle

‚A Motorbike Sunbathes on a Patch of Plastic Turf‘, Human Resources, Los Angeles


2017

I Love That I Don’t Hate You‘ Fashion Photography Exhibition Jahresaustellung Burg Giebichenstein KH Halle