Nhan Duc Nguyen
NHAN DUC NGUYEN
January 13–February 17, 1995
DANA CLAXTON, ROY KIYOOKA, NANCY LALICON, ASHOK MATHUR, SUR MEHAT, MELINDA MOLLINEAUX, SHANI MOOTOO, NHAN DUC NGUYEN, MOHAMMAD SALEMY, HENRY TSANG, SHARYN YUEN
June 25–July 23, 1994
An exhibition organized in conjunction with the Writing thru Race Writers’ Conference.
NHAN DUC NGUYEN
May 10–June 8, 1991
Curated By Paul Wong
Yellow Peril: Reconsidered is a national touring exhibition of contemporary Canadian film, video and photobased art work that reflects an asian new world consiousness. The exhibition of twenty five artists includes Chinese, Japanese, Korean, Filipino and Vietnamese-Canadians. The artists featured in this exhibition are: Taki Bluesinger, Melanie Boyle, Anthony Chan, Benjamin Chou, Richad Fung, Jay Hirabayashi, Roy Kiyooka, Nobuo Kubota, L’Amitie Chinoise de Montréal, Laiwan, Daisy Lee, Helen Lee, Brenda Joy Lem, Lui/Samwald, Chi Chung Mak, Nhan Nguyen, Marlin Oliveros, Midi Onodera, Chick Rice, Rubly Truly, Henry Tsang, Tamio Wakayama, Jim Wong-Chu, Jin-me Yoon and Saryn Yuen.
The exhibition curated by Paul Wong and circulated by On Edge opens September 8, 1990 at Oboro Gallery Montréal. In addition to the exhibition will be the release of a 72 page publication, that will include commissioned essays and artists’ pages. This important publication will present new critical analysis in an area of artistic concern that up to now has been overlooked by the dominant culture.
The purpose of this show is to present these new and challenging works, to move them from a position of marginality and to place them in the forefront of attention. This exhibition will provided alternative, more accurate views of Asian-artists. The (not so) exotic seen from the point of view of the (not so) exotic becomes familiar.
Yelow Peril: Reconsidered brings together for the first time in Canada a broad range of artistic, social and community concerns by Asian-Canadian artists. Formalist, experiemtnal and documentary art by both emerging and mature artists are included.
More traditional media are shunned in favour of the tools of mass media and popular culture: film, video and photobased forms. These media are often accepted as the media of truth. What is often ignored is that the truth is more often than not a narrow view of what is actually being created, produced and discussed. Much of the work in Yellow Peril grapples with the notion of truth. Whose voices are not being heard? This provocative exhibition confronts assumptions.