The Second Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia, 1996 : Report

Mai Anh Dung is one of the younger generation artists in Vietnam. From his tiny studio at the back of a car wrecking yard in the industrialised landscape of Ho Chi Minh City, he creates large paintings that celebrate the glory and richness of the ancient Cham Nation civilisation, which disappeared eighteen centuries ago. The paintings 'Ramu'aon' festival and The night of the high plateau can be seen as spiritual landscapes that combine surrealistic elements with references to the symbols, gods and legends of Cham beliefs. Totems and old temples blend with the natural environment in an evocative and poetic ensemble. The impressive wooden frames carved by the artist are an integral part of the works. According to Cham beliefs, 'Ramu'aon' was a day of celebration in memory of the dead . In his description of the work the artist says: I n the centre is Siva the Supreme, surrounding are the master 'Chang ' , representing deities and the people who have come to worship. In these sacred moments, the world of spirits and that of worldly affairs are harmonious as one. VG Dan Tan has a background in cartooning and creates three-dimensional sculptural pieces using recycled cigarette packages and cardboard boxes. The use of found materials is not only an artistic choice but also refers to the economic constraints of a country that in recent history has experienced the trauma of war and its consequences. VG Dan Tan's work is informed by his spiritual and metaphysical beliefs. His imagery includes mythical creatures such as lion-dogs, phoenixes, monsters , devils and women-angels . His most recent works, Monsters, devils and angels and Suitcases of a pilgrim, comprise numerous masks with references to Vietnamese, and Western literature, introduced in Vietnam during the years of colonisation. 23