Danh Vo (傅丹)
Born in 1975, Vietnam;
Currently works and lives in Berlin.
Born in 1975, Vietnam.
Currently works and lives in Berlin, Germany.
Städelschule, Frankfurt, Germany
Royal Academy of Fine Arts, Copenhagen, Denmark
2015 Arken Art Prize, Ishøj, Denmark
2012 Hugo Boss Prize, New York, USA
2009 Nominee, National Galerie Prize for Young Art, Berlin, Germany
2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Berlin, Germany
Danh Vo: Take My Breath Away, Solomon R. Guggenheim Museum, New York, U.S.A.
Danh Võ, Ng Teng Fong Roof Garden Commission, National Gallery, Singapore City, Singapore
Danh Võ, White Cube, Hong Kong, China
Take My Breath Away, Galerie Chantal Crousel, Paris, France
Homosapiens, Marian Goodman Gallery, London, U.K.
mothertongue, Danish Pavilion, 56th Venice Biennale, Venice, Italy
Danh Vo, Museum Ludwig, Cologne, Germany
Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace), Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Metal, collaboration with Xiu Xiu, The Kitchen, New York, U.S.A.
Wād al-ḥaŷara, Museo Jumex, Mexico City, Mexico
Danh Vo, Nottingham Contemporary, Nottingham, U.K.
We the people (detail), Faurschou Foundation, Beijing, China
We the people (detail), Brooklyn Bridge Park & City Hall Park, New York, U.S.A.
Danh Vo: We The People, PEER, London, U.K.
Log Dog, Kurimanzutto Gallery, Mexico City, Mexico
Go Mo Ni Ma Da, Musée d’art moderne de la Ville de Paris, Paris, France
I M U U R 2, Solomon R. Guggenheim Museum, New York, U.S.A.
Mother Tongue, Marian Goodman Gallery, New York, U.S.A.
Gustav’s Wing, Porto Culturgest, Porto, Portugal
Chung ga opla, Villa Medici, Rome, Italy
New Sculptures, Xavier Hufkens, Brussels, Belgium
Fabulous Muscles, Museion, Bolzano, Italy
Uterus, The Renaissance Society at the University of Chicago, Chicago, U.S.A.
We the People (detail), The Art Institute of Chicago, Chicago, U.S.A. (through 2013)
We the People (detail), National Gallery of Denmark, Copenhagen, Denmark
Võ Danh, Kunsthaus Bregenz, Bregenz, Austria
Herzlich Wilkommen, Kunstraum Innsbruck, Innsbruck, Austria
Damnatio Memoriae, with Julie Ault and James Benning, CCS Bard College, Annandale-on-Hudson, NY, U.S.A.
Ephemeroptera, in collaboration with Heinz-Peter Knes, MD72, Berlin, Germany
JULY, IV, MDCCLXXVI, Kunsthalle Fridericianum, Kassel, Germany
Master/Slave Dialectic, Galerie Buchholz, Cologne, Germany
Danh Vo, Galerie Chantal Crousel, Paris, France
Henrik Olesen / Danh Vo, Foundation Morra Greco, in collaboration with Henrik Olesen, Naples, Italy
Hip Hip Hurra, National Museum for Art, Copenhagen, Denmark
All your deeds in water shall be writ, but this is in marble, Gallery Bortolozzi, Berlin, Germany
Autoerotic Asphyxiation, Artist Space, New York, U.S.A.
L’artiste et le décorateur, Gallery Buchholz, Cologne, Germany
Where the Lions Are, Kunsthalle Basel, Switzerland
Les Fleurs d’Interieur, Kadist Art Foundation, Paris, France
Danh Vo and his American Friends, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland
Boys seen through a shop window, Galerie Daniel Buchholz, Cologne, Germany
Untitled, in collaboration with Jay Chung & Takeki Maeda, BaliceHertling, Paris, France
Last fuck, Galleria Zero, Milano, Italy
Package Tour, Stedelijk Museum, Amsterdam, Netherlands
Untitled, Brandenburgischer Kunstverein Potsdam, Germany
Good Life, Gallery Isabella Bortolozzi, Berlin, Germany
Go Mo Ni Ma Da, in collaboration with Tobias Rehberger, Gallery Petzel, New York, U.S.A.
Dreams and Expectations, Bergen Kunsthall, Bergen, Norway
My Blue Genes, his parents’ apartment, Copenhagen, Denmark
Selfportraits, Signal Gallery, Malmø, Sweden
Illegal housing at the Royal Academy, Copenhagen, Denmark
Faith Love Hope, Kunsthaus Graz, Graz, Austria
Versus Rodin: Bodies across Space and Time, Art Gallery of South Australia, Adelaide, Australia
Mechanisms, The Wattis Institute, San Francisco, U.S.A.
Cool, Calm and Collected, ARoS, Aarhus, Denmark
I am you, you are too, Walker Art Center, Minneapolis, U.S.A.
The Trick Brain, Aishti Foundation, Liban
Bienal de Coimbra, Anozero 17, Portugal
(X) A Fantasy, David Roberts Foundation, London, U.K.
Eurovisions: contemporary art from the Goldberg collection, The National Art School Gallery, Sydney, Australia
La Terra di Milano, Triennale di Milano, Milan, Italy
The Restless Earth, Palazzo dell’Arte, Milan, Italy
House of Commons, Portikus, Frankfurt am Main, Germany
Question the Wall Itself, Walker Art Center, Minneapolis, U.S.A.
ETHER, Galerie Chantal Crousel, Paris, France
Aspen Art Museum, U.S.A.
La collection Thea Westreich Wagner et Ethan Wagner, Centre George Pompidou, Paris, France
Overburden, CCS Bard Galleries, New York, U.S.A.
To Inherit the Wind: New Perspectives on Heritage, Fundação Eugénio de Almeida, Evora, Portugal
Exquisite Corpse, Galerie Chantal Crousel at The Mistake Room, L.A., U.S.A.
Happy Ending, FRAC Champagne-Ardenne, Reims, France
Father Figures are hard to find, Neue Gesellschaft für Bildende Kunst(NGBK), Berlin, Germany
Sculpture on the Move 1946-2016, Kunstmuseum Basel, Switzerland
All Heritage is Poetry, Fundacion Eugenio de Almeida, Evora, Portugal
Take me I’m Yours, Curated by Christian Boltansky and Hans Ulrich Obrist, Kunsthal Charlottenburg, Copenhagen, Denmark
Sculpture 4tet, Luciano Fabro, Jean-Luc Moulène, Bruce Nauman and Danh Vo, Marian Goodman Gallery, London, UK
Shame. 100 Reasons for Turning Red, Deutsches Hygiene-Museum, Dresden, Germany (through 2017)
Question the Wall Itself, Walker Art Center, Minneapolis, MN, U.S.A. (through 2017)
Absolute Collection Guideline, Sifang Art Museum, Nanjing, China
Sharjah Biennal 12: The Past, the present, the possible, Sharjah, U.A.E
Parasophia: Kyoto International Festival of Contemporary Culture 2015, Kyoto, Japan
Ray Johnson / Lee Lozano / Danh Vo, Inigo Philbrick, London, UK
Magnificent Obsessions: The Artist as Collector, Martin Wong/Danh Vo, Barbican Centre, London, UK
Danh Vo & Peter Hujar, Galerie Buchholz, Cologne, Germany
Violent Incident, Vleeshal Zusterstraat, Middelburg, The Netherlands
Losing the Compass, Curated by Scott Cameron Weaver, White Cube, Mason’s Yard, London, U.K.
Storylines: Contemporary Art at the Guggenheim, Guggenheim Museum, New York, U.S.A.
Selected Sculptures, Riva Project, Brussels, Belgium
Open Dress, Museum Abteiberg, Mönchengladbach, Germany
Take Me (I’m Yours), Curated by Christian Boltanski, Hans Ulrich Obrist and Chiara Parisi, Monnaie de Paris, Paris, France
Slip of the Tongue, Curated by Caroline Bourgeois and Danh Vō, Punta della Dogana, François Pinault Foundation, Punta della Dogana, Venice, Italy
Julie Ault - afterlife, Galerie Buchholz, New York, U.S.A. (through 2016)
The Problem of God, Kunstsammlung Nordrhein Westfalen, Düsseldorf, Germany (through 2016)
Passions secrètes - Collections privées flamandes, Le Tripostal, Lille, France
Manifest Intention. Drawing In All Its Forms, Castello di Rivoli, Rivoli / Turin, Italy
Yokohama triennale, Shiko Pier exhibition hall, Yokohama, Japan
The illusion of light, Palazzo Grassi, Venice, Italy
Taking a Stand against War, Lehmbruck Museum, Duisburg, Germany
The New International, Garage Museum of Contemporary Art, Moscow, Russia
Doabale Sayable Thinkable, 8th Berlin Biennale for Contemporary Art, Berlin, Germany.
I Look at Things... Works from the Collection, Faurschou Foundation, Copenhague, Denmark.
Ten Million Rooms of Yearning. Sex in Hong Kong, Para-Site, Hong-Kong, China
Future perfect: Contemporary Art for Germany, CCA, Warsaw, Poland
Burton / Jensen / Vo, Inigo Philbrick, London, UK
Revolver II, curated by Michael Newman & Robin Klassnik, Matt’s Gallery, London, UK
Abandon the Parents, Statens Museum for Kunst, Copenhagen, Denmark
One Man’s Trash (Is Another Man’s Treasure), Danjuma Collection, London, UK
Dark Waters, Galerie Chantal Crousel, Paris, France
Mingei are you here?, Curated by Nicolas Trembley, Pace Gallery, New York, U.S.A.
LOU FORD, Etablissement d’en face, Brussels, Belgium
David Altmejd, Roni Horn, Didier Vermeiren, Danh Vo, Xavier Hufkens, Brussels, Belgium
Histories: Works form the Serralves Collection, Serralves Museum of Contemporary Art, Porto, Portugal
Reinventing the Wheel: The Readymade Century, Monash University Art Museum, Melbourne, Australia
9 Artists, Walker Art Center, Minneapolis, U.S.A.
The Garden of Diversion, Sifang Art Museum, Nanjing, China
Honey, I rearranged the collection, Collection Philippe Cohen, Passage de Retz, Paris, France
On the type of my tongue, Magasin 3, Stockholm, Sweden
55th Venice Biennale, The Encyclopedic Palace, Arsenale, Venice, Italy
Foreigners Everywhere, Jewish Museum, Moscow, Russia
Das Reich ohne Mitte, Kunsthalle Mainz, Mainz, Germany
L'image papillon, MUDAM, Luxembourg
Provisional Asthetics, Rehearsing History, Davis Museum at Wellesley College, Wellesley, U.S.A.
The Encyclopedic Palace, 55th Venice Biennale, Venice, Italy
Track, S.M.A.K., Gent, Belgium.
The Ungovernables, New Museum Triennal, New Museum, New York, USA.
The New Public, Museion, Bolzano, Italy.
9th Shanghai Biennale, Shanghai Contemporary Art Museum, Shanghai, China
7th Shenzen Sculpture Biennale, OCAT, Shenzen, China
The Hirsch-Index “The Art of Quotation”, ZKM Museum fur Neue Kunst, Karlsruche, Germany (through 2013).
Nobody, not even the rain, has such small hands, RaebervonStenglin, Zurich, Switzerland
Camulodunum, Firstsite, Colchester, U.K.
You are not alone, Foundació Juan Miró, Barcelona, Spain; MARCO, Vigo, Spain
Based in Berlin, Atelierhaus Monbijoupark, Berlin, Germany
That’s the way we do it, Kunsthaus Bregenz, Bregenz, Austria
Open House, Singapore Biennale, Singapore
all we ever wanted was everything, EFA Project Space, New York, U.S.A.
About us, Johann König Gallery, Berlin, Germany
6th Berlin Biennale for Contemporary Art, Berlin, Germany
Bringing Up Knowledge, MUSAC - Museo de Arte Contemporáneo de Castilla y León, Leon, Spain
10.000 Lives, Gwangju Biennale, Gwangju, South Korea
To the Arts, citizens!, Serralves, Porto, Portugal
Socle Du Monde, HEART, Herning, Denmark
Tumult, Kommunal Kunstfestival, Lolland, Denmark
Lost and Found, Gallery Neugerriemschneider, Berlin, Germany
More Carpets, Gallery Bortolozzi, Berlin, Germany
Strange Comfort, Kunsthalle Basel, Basel; Swiss Institute Rome, Rome, Italy
Morality Act IV, Witte de With, Rotterdam, Netherlands
Morality - Act II: From Love to Legal, Center for Contemporary Art, Rotterdam, The Netherlands
Preis der Nationalgalerie für junge Kunst 2009, Hamburger Bahnhof, Museum für Gegenwart, Berlin, Germany
Flüchtige Zeiten, Westfälischer Kunstverein, Münster, Germany
QuodlibetII, Galerie Daniel Buchholz, Cologne, Germany
Bijoux de Famille, Galerie Chantal Crousel, Paris, France
The Perpetual Dialogue, Andrea Rosen gallery, New York, U.S.A.
Fluchtige zeiten, Westfalisher kunstverein, Munster, Germany
7 x 14 Silberkuppe, Kunsthalle Baden-Baden, Baden-Baden, Germany
Sensation, Gallery Isabella Bortolozzi, Berlin, Germany
Jahresgaben 2008, Kunstverein München, Munich, Germany
Busan biennale, Busan, South Korea
Where the lions are, Para/Site, Hong Kong, China
Yokohama Triennale 2008 - Time Crevasse, Central and Waterfront Sites in Yokohama, Yokohama, Japan
Reality Check, Statens Museum for Kunst, Copenhagen, Denmark
U-TURN Quadrennial for Contemporary Art, U-TURN Quadrennial for Contemporary Art, Copenhagen, Denmark
Manifesta 7, Comitato Manifesta 7, Bolzano, Italy
Docking Station, Stedelijk Museum, Amsterdam, The Netherlands
Oh Girl, It’s a Boy!, Kunstverein München, Munich, Germany
The California Files: Re-Viewing Side Effects of Cultural Memory, CCA Wattis Institute for Contemporary Arts, San Francisco, U.S.A.
Secret Flix, Neue Alte Brücke, Frankfurt, Germany
I Want to Believe, Galerie Eva Presenhuber, Zurich, Switzerland
Crime and Punishment, Tallinna Kunstihoone / Tallinn Art Hall, Tallinn, Estonia
Für die Ewigkeit, Jet, Berlin, Germany
Dictionary, bookproject, Copenhagen, Denmark
NOT A DROP BUT THE FALL, Künstlerhaus Bremen, Germany
Deutschland sucht, Kölnischer Kunstverein, Cologne, Germany
EXIT 2004, Kunstforeningen GL Strand, Copenhagen, Denmark
Slip of the Tongue, with Caroline Bourgeois, François Pinault Foundation, Punta della Dogana, Venice, Italy
Tell it to my heart: Collected by Julie Ault, with Julie Ault, Martin Beck, Nikola Dietrich, Rasmus Roehling, Scott Weaver, and Amy Zion, Museum für gegenwartskunst, Basel, Switzerland
Felix Gonzalez-Torres, Wiels, Bruxelles, Belgium
Mia Rosasco, J-E-T, Berlin, Germany
My Blue Genes, in his parents’ apartment, Valby, Denmark
Tate Modern, London, U.K.
MoMA, New York, U.S.A.
MNAM/Centre Pompidou, Paris, France
National Gallery of Denmark, Copenhagen, Denmark
Walker Art Center, Minneapolis, U.S.A.
Danh Vo: Take My Breath Away
9 Jan – 9 May 2018
Solomon R. Guggenheim Museum, New York
Danh Vo: 2.2.1861
20 Dec 2015 – 6 Mar 2016
Mirrored Gardens, Guangzhou
Danh Vo: Take My Breath Away
9 Jan – 9 May 2018
Solomon R. Guggenheim Museum, New York
Sculpture 4tet: Luciano Fabro, Jean-Luc Moulène, Bruce Nauman & Danh Vō
12 Jan – 20 Feb 2016
Marian Goodman Gallery, London
Danh Vo: 2.2.1861
20 Dec 2015 – 6 Mar 2016
Mirrored Gardens, Guangzhou
Danh Vo: mothertongue
9 May – 22 Nov 2015
The Danish Pavilion, 56th Venice Biennale, Venice
Parasophia: Kyoto International Festival of Contemporary Culture 2015
7 Mar – 10 May 2015
Parasophia: Kyoto International Festival of Contemporary Culture 2015, Kyoto
Sharjah Biennial 12: The past, the present, the possible
5 Mar – 5 Jun 2015
Sharjah Biennial 12, Sharjah
Slip of the Tongue
12 Apr 2015 –1 Oct 2016
François Pinault Foundation, Punta della Dogana, Venice
Phùng Vo re-creates a letter by French missionary Théophane Vénard for 2.2.1861 (2009-)
Phùng Vo re-creates a letter by French missionary Théophane Vénard for 2.2.1861, 2009 till now.
My father will write this letter repeatedly until he dies.
I like the idea that calligraphy can become an act of pure labor.
Traces of the Latin alphabet were found in an Egyptian copper mine that dates back approximately 4000 years. This discovery indicated that at the time, workers who were not able to decipher hieroglyphs invented a new phonetic writing form that was easy to read and use.
In the 17th Century, Vietnamese was phonetically transcribed by Portuguese missionaries for evangelical purposes. During the French occupation in the early 20th Century, Vietnamese in Latin script became the official language. Since the system was phonetically transcribed and therefore easier for peasants to learn, the phonetic text was also propagated by the Vietnamese National Socialists; they saw it as a tool to combat illiteracy. Today, Vietnamese speakers have universally accepted this writing system, and only scholars have knowledge of the older, Chinese-influenced characters.
My father barely learned to speak, let alone write, Danish. All Western languages are alien to him.
Phung Vo 2009-2012, Kunsthaus Bregenz, 2013, pp.229-230
Among the many things arranged on the desk where he transcribes the letter, there is a small Danish flag and an image of Pope John Paul II.
The postcards illustrated in this book depict paintings of the executions of missionaries trained by the Société des Missions Etrangères de Paris, an institution that continues to educate aspiring evangelicals and enlist them in missions abroad. Most French missionaries in the 19th Century were sent to Asia, two hundred years after the Portuguese set foot in the region. The seminary ordered these paintings from converted Vietnamese artisans.
Phung Vo 2009-2012, Kunsthaus Bregenz,2013, pp. 210-211
Phung Vo 2009-2012, Kunsthaus Bregenz,2013, pp. 212-213
The French missionary killings may have served as an excuse for France to colonize Vietnam in the mid 19th Century. But the French also supported the English in The Second Opium War against China, for which they needed Vietnam’s northern port. Fifty years later, the killings of Christians during the Boxer Rebellion would be used in a similarly political manner. I have many images of the Boxer Rebellion in mind, too.
I am baptized and was given my first communion and later something else, which I don’t know the English term for and decided not to look it up.
In 1954, at the Geneva Convention, it was decided that Vietnam would be divid- ed in two; Ho Chi Minh ruled the Communist North, and the South was ruled by Ngô Đình Diệm, a Catholic Vietnamese supported by the US government. The division was supposed to be temporary but the proposed elections were cancelled by the US once it became obvious that a free election would result in a united Vietnam headed by Ho Chi Minh.
I have seen film footage of old, wooden Tokyo burned to the ground.
At the first meetings in Potsdam after The Second World War, the US was against the former imperial powers regaining their colonies. The fact that Ho Chi Minh partly copied his declaration of independence from America’s is lost in our collective memory.
Could Diêm have unified Vietnam? It was during his regime that the international news circulated images of protesting Buddhist monks burning themselves to death. In 1963, a coup d’état supported by the US ended with Diêm’s body penetrated by bullets then stabbed repeatedly with a knife.
There is a portrait of Diệm hanging somewhere in my father’s flat. He still believes that Diệm, had he lived, would have made things better.
My family has not always been Catholic. I am the second generation of Catholics. My father secretly converted from Confucianism to Catholicism as a protest against Diệm’s assassination. Today, he is still a devout Catholic.
Over the past thirty years, I became familiar with my father’s handwriting from all the signs and menus that he handwrote for the various small food stalls he owned in Denmark. I like that writing calligraphy can become no different from making a burger. I like the idea that calligraphy can become an act of pure labor.
I confess my brain was gang raped by Jean-Pierre Dardenne and his brother Luc’s films. Rosetta and her phallic drive to secure a job (and therefore a place in society), is burned into my mind.
Lower-class immigrants have greater difficulty assimilating into society. My father barely learned to speak, let alone write, Danish. All Western languages are alien to him. When he writes these letters, he recognizes the alphabet, but understands none of its contents.
I prefer to keep the price of the letter relatively inexpensive to ensure that my father will get to work a lot. People buy the letter and my father will post it to the new owner.
I think of it as the return of an amputated alphabet. I think of it as the return of a set of useful sounds back to mere image, like hiero- glyphs to the worker, in the copper mine approximately 4000 years ago.
(The text was originally published in Phung Vo 2009-2012, Kunsthaus Bregenz,2013, on the occassion of the exhibition Danh Vo / Vo Danh at Kunsthaus Bregenz, 2012, image and text resource: the artist)
Go Mo Ni Ma Da
Tombstone for Phùng Vo
JULY, IV, MDCCLXXVI,
Artists at work: Danh Vo