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| Vietnamese visual artist Lê Hữu Hiếu will present his solo installation exhibition at the 61st Venice Art Biennale. — Photo courtesy of the artist |
HÀ NỘI — Vietnamese visual artist Lê Hữu Hiếu will present his solo installation exhibition, Tằm (In Minor Keys), at the 61st Venice Art Biennale, marking a rare solo showcase for Việt Nam at one of the world’s most prestigious contemporary art events. The work will headline Việt Nam Pavilion at Ca’ Faccanon under the theme Việt Nam: Art in Global Flow.
Running from May 9 to November 22, Hiếu’s exhibition is the only solo show by a Vietnamese artist at this year’s Biennale.
Italian critics note that his artistic journey has been shaped by major milestones, including a 2014 solo exhibition at the Việt Nam Museum of Fine Arts, his 2021 project at Tesa 99 Arsenale Nord in Venice, and participation in the 11th Florence Biennale and international events such as Miami Art Week.
According to the Italian press, Hiếu’s work impresses through a subtle approach. Rather than directly invoking memories of war, it constructs a multi-layered structure of signs, materials and symbols rooted in Vietnamese culture.
This method makes Tằm especially notable at the Biennale, where art not only performs but proposes new ways of thinking about coexistence, anchored in human life rather than conflict.
Becoming the only Vietnamese artist to have a solo exhibition at the 61st Venice Biennale is both a personal milestone and an important precedent, demonstrating that Vietnamese fine art is evolving from a largely domestic creative sphere to one that confidently steps onto the global stage.
Within Việt Nam’s pavilion, Tằm is more than a work of art; it is a multi-layered structure intertwining traditional elements, history and contemporary life in a distinctive artistic dialogue.
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| The poster for Hiếu’s solo installation exhibition at the 61st Venice Art Biennale. Photo courtesy of Venice Art Biennale. |
Immersive structure
The installation is designed as an immersive journey, allowing viewers to move freely through multiple layers of space rather than along a fixed path.
Visitors pass clusters of guardian statues, enter a Bagua formation, return to the centre where the House stands, and finally encounter the large lacquer painting. At the heart of this arrangement, the House – representing human life – remains central, symbolising continuity and the ongoing rhythm of living.
Twelve guardian statues are positioned throughout the space, reflecting the elements of the five phases and the rhythms of agricultural life. They have no individual identities, instead representing anonymous people or ordinary individuals who nonetheless contribute to the making of history.
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| A large lacquer painting by Hiếu concludes the journey through his solo exhibition in Venice. |
This approach offers a humanistic perspective, showing that history does not belong solely to famous figures but is also shaped by the quiet contributions of generations.
Living metaphor
A standout feature of the work is the silkworm motif. The silkworm’s life cycle, from birth and growth, to spinning silk, cocooning and finally emerging as a moth, serves as a metaphor for the human life cycle. It represents a journey of devotion, creating value for future generations before departing in silence.
Beyond symbolism, Hiếu actually raises silkworms within the installation, making Tằm a living entity where growth, transformation and endings occur continuously. In this way, the work moves beyond a static object to become a flow of life.
The Vietnamese artist spent almost a decade nurturing the concept before reaching the 61st Venice Biennale. He said the journey demanded not only a significant investment of time and money, but also tested his faith and perseverance.
“The installation exhibition Tằm is not the result of a moment of inspiration, but the accumulation of nearly a decade of research and experimentation. Since 2017, after visiting the Venice Biennale, I began developing the idea, continuously adjusting and refining it to find the most suitable form,” he said.
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| An artwork within the ‘Tằm’ exhibition. — Photo courtesy of the artist |
For the 44-year-old artist, the Biennale is like a “major exam” where he can test his entire creative journey. Beyond his personal journey, he hopes his presence will set a positive precedent and help open wider pathways for future Vietnamese artists on the global stage. — VNS
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