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me » New York – Danh Vo: “Mother Tongue” at Marian Goodman Gallery Through April 27th, 2012
orge Condo Interviewed in Financial Times
ny Scharf Arrested for Graffiti in Brooklyn »

w York – Danh Vo: “Mother Tongue” at Marian Goodman Gallery

rough April 27th, 2012
22nd, 2013

h Vo, Mother Tongue (Installation View), via Marian Goodman

recipient of the 2012 Hugo Boss Prize, Vietnamese-German artist Danh Vo creates works that feature a
ing of significances, interrelated meanings tied together through the conception, production and
entation of his work. It is this practice of appropriation and representation that informs his recent show of
work, Mother Tongue, at Marian Goodman Gallery in New York.
h Vo, Lot 12. A Vietnamese Carved Ivory Tusk (2013), via Marian Goodman

ning concurrently with the artist’s exhibition at the Guggenheim in celebration of his Hugo Boss Prize, Vo’s
k at Marian Goodman adapts a selection of objects, photographs and documents purchased at the auction of
er Secretary of Defense, the late Robert McNamara. Including cabinet room chairs from the Kennedy
nistration, disclosed documents on the Vietnam War, and a variety of other materials, Vo uses the attached
ral weight of the artifacts to complement and reassess his own personal histories.

h Vo, Mother Tongue (Installation View), via Marian Goodman

fully selecting and manipulating the works on view, Vo brings new frames of reference to the items on
, including pen tips used to sign the Gulf of Tonkin Resolution, a precursor to the Vietnam War. Vo’s
ly was cast apart by this conflict, and his presentation of these artifacts illustrates a new approach at
rstanding, viewing the conflict through the physical detritus of the politicians who so intimately affected his
rom half-way around the world. In another work, Vo works against the same objects, deconstructing a
net chair from Kennedy’s offices, and spreading the materials across the gallery.
h Vo, Lot 20. Two Kennedy Administration Cabinet Room Chairs (2013), via Marian Goodman

e avoiding overt political commentary, Vo uses this series of artifacts to add a new, exterior narrative to his
life, an annex in which this parallel history can be explored, reinterpreted, and handled by the artist himself.
intriguing then, that the viewer is held back from physical engagement with the work, forced to stand as
tator while Vo commingles with a history that is not his own. Of particular potency are a map of Vietnam,
a photo album, blending the military history of American engagement with the leisurely experiences
Namara had while visiting the warfront.
h Vo, Mother Tongue (Installation View), via Marian Goodman

nother selection of works, Vo uses the cast-off cases of American beer, using his father’s calligraphy skills to
wl new texts over the boxes. The physical practice of writing over the commercial imagery once again
ks to the commingling of identities, a process of active engagement between object and identity that
ms much of Vo’s work.

h Vo, Lot 11. Vietnam Photo Album, 1962 (2013), via Marian Goodman

ing between memory, experience and external history, Danh Vo enables new experiences of his own
ory, shaped by exteriors. Using objects outside himself, removed from his own series of memories, Vo
es an active document to his own search for meaning.

her Tongue is on view until April 27th.

h Vo, Mother Tongue (Installation View), via Marian Goodman

h Vo, Lot 20. Two Kennedy Administration Cabinet Room Chairs (2013), via Marian Goodman
h Vo, Mother Tongue (Installation View), via Marian Goodman

h Vo, Mother Tongue (Installation View), via Marian Goodman

h Vo, Lot 17. Kennedy, John F., As Thirty-fifth President (2013), via Marian Goodman
h Vo, Mother Tongue (Installation View), via Marian Goodman

Creahan

d more
an Goodman
Magazine

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