{"id":117,"date":"2025-04-04T13:57:14","date_gmt":"2025-04-04T04:57:14","guid":{"rendered":"https:\/\/atariya.productionzomia.com\/?page_id=117"},"modified":"2025-04-10T12:32:02","modified_gmt":"2025-04-10T03:32:02","slug":"%e2%96%aa%ef%b8%8f-linh-san%ef%bc%88%e3%83%aa%e3%83%b3%e3%83%bb%e3%82%b5%e3%83%b3%ef%bc%89","status":"publish","type":"page","link":"https:\/\/atariya.productionzomia.com\/?page_id=117","title":{"rendered":"\u25a0Linh San"},"content":{"rendered":"\n

\u30ea\u30f3\u30fb\u30b5\u30f3\uff0f\u30d9\u30c8\u30ca\u30e0<\/strong><\/p>\n\n\n\n

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2022\u5e74\u306b\u30ea\u30f3\u30fb\u30b5\u30f3\u306f\u300c\u3082\u3046\u96f2\u3092\u62b1\u304b\u306a\u3044\u300d\u3068\u3044\u3046\u984c\u540d\u306e\u500b\u5c55\u3092\u30cf\u30ce\u30a4\u306e \u00c1 Space\u3067\u958b\u50ac\u3057\u3001\u305d\u3053\u3067\u306f\u9676\u78c1\u5668\u306e\u53ef\u80fd\u6027\u3092\u63a2\u308b\u305f\u3081\u3001\u4f1d\u7d71\u7684\u306a\u5f62\u306e\u5236\u7d04\u3092\u8d85\u3048\u3066\u7d20\u6750\u3068\u306e\u5bfe\u8a71\u3092\u8a66\u307f\u307e\u3057\u305f\u3002\u5f7c\u5973\u306e\u88fd\u9676\u5b9f\u8df5\u306f\u3001\u7c98\u571f\u304c\u6301\u3064\u53ef\u80fd\u6027\u3001\u4ed6\u306e\u7d20\u6750\u3068\u306e\u878d\u5408\u3001\u5de5\u82b8\u3068\u30e2\u30ce\u306e\u98a8\u666f\u3092\u5909\u5bb9\u3055\u305b\u308b\u305f\u3081\u306e\u63a2\u6c42\u3067\u3059\u3002\u5f7c\u5973\u306f2023\u5e74\u306b\u30af\u30e9\u30a6\u30b9\u738b\u914d\u8ca1\u56e3\u306b\u3088\u308b\u65b0\u4eba\u82b8\u8853\u8cde\u3092\u53d7\u8cde\u3057\u3066\u3044\u307e\u3059\u3002

Linh San(b. 1998) is a multidisciplinary artist based in Viet Nam. Linh holds a bachelor’s degree in Literature from the Hanoi National University of Education and her practice spans poetry, moving images, and ceramics. In her work, she depicts poetic, plain, and contemplative moments from daily life.<\/p>\n\n\n\n

Linh\u2019s literary works often take the form of prose poetry, very much a reflection of her way of thinking\u2014a stream of thoughts and mental images gushing through terrains of narratives and emotions connected via imaginative links. Linh\u2019s poems have appeared in The Margins, Poetry Translation Centre, and various anthologies. Her short films have been screened at Hanoi Goethe-Institut, Thai Nguyen University, and the National Museum of Indonesia, among other places. In 2022, Linh San presented her first solo exhibition, titled \u201cno longer holding a cloud\u201d, at \u00c1 Space, Hanoi. She explores ceramics as a dialogue between the artist and the material, pushing its boundaries beyond traditional forms. Her ceramics practice examines the potential of clay, its fusion with other materials and its relationship with the transforming landscapes of craft and matter. She received Prince Claus Seed Awards in 2023 as an emerging artist. <\/p>\n\n\n\n

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a note of clay, 2024, raw porcelain clay, site-specific installation, photo by Jamie Maxtone-Graham<\/strong><\/p>\n\n\n\n

In a note of clay<\/em>, my commitment to materiality focuses on unearthing the \u2018characteristics\u2019 of clay in its raw form as I look into the \u2018bone\u2019 of a shape before it goes through the firing stage to become ceramic. This line of thought derives from an old saying that traditional Vietnamese ceramicists have lived by for generations: \u201cNh\u1ea5t x\u01b0\u01a1ng, nh\u00ec da, th\u1ee9 ba d\u1ea1c l\u00f2\u201d (\u201cBone first, skin second, third kiln built\u201d). The saying refers to \u2018bone\u2019 as the quality of the clay and its shaping method, \u2018skin\u2019 as the colour of the glaze and decorative elements, and \u2018kiln built\u2019 as the firing techniques. My experiment in a note of clay extends beyond just materiality to how such material can form a dialogue with the artist’s studio within an unfinished, raw house in the suburbs of Hanoi. On the floor, \u2018filaments\u2019 of clay, each being neatly placed next to\/onto one another \u2014 a result of time-honoured, careful repetition \u2014 reveal a pure white colour after drying up. As they dry, these clay filaments cling to the floor, part wobbly, part stable, alluding to gravity and structure in relation with space and time.
<\/p>\n\n\n\n

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 no longer holding a cloud, 2022, installation view, solo show at \u00c1 Space H\u00e0 N\u1ed9i, photo by Dan Nguyen<\/strong><\/p>\n\n\n\n

no longer holding a cloud<\/em> is the first stop that marks the more than year-long journey of Linh San working with the idea of \u2018matter dispersal\u2019, when for the first time, she experimented with clay, a material that requires a different handling of form-creation to her earlier practice with poetry and videos. This mixture of soil, water and chemicals is not a material to simply create shapes; it also envelopes and cradles the years gone by, a place for memories to be incarnated and be liberated. Done with meticulous and painstaking efforts, in almost a ritualistic manner, the series of works in \u2018no longer holding a cloud\u2019 materializes the shapes of the feelings left inarticulate, a reflection on the absence, the remnants left behind of a fragment of life, and the path to becoming oneself through each fold and mold.<\/p>\n\n\n\n

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While the soil slumbers, 2024, site specific installation at A (4)<\/strong><\/p>\n\n\n\n

When I first began working with ceramics, I thought the two deciding elements of the material\u2013clay and kiln\u2013could not be separated from my body of work. My approach to the material has changed after years, which resulted in the expansion of my ceramic-making process. The word “and” in “clay and kiln” suggests that firing is a required step for clay to transform into ceramic. I am now thinking about materials according to a different ph(r)ase: raw clay and post-fired things. That implies when raw clay becomes the material element that captures my attention, firing for me now is just a method of making, an option. I learned from craftsmen that to work with ceramics, I have to ‘be in touch with the kiln’. Leaving my studio in Hanoi, travelling on field trips around Southern Vietnam where there are or were pottery villages, I questioned and challenged my own approaches to ceramics and materials. In so doing, I tried to be able to work anywhere, not necessarily tied to a studio space or a kiln. While the soil slumbers<\/em> is formed through trips, a complex of new and old memories in different lands, a subtle warmth that lingers after miles.<\/p>\n\n\n\n

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\u226aWU Chi-Yu<\/a><\/p>\n<\/div>\n\n\n\n

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KIM Gemini\u226b<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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