{"id":1428,"date":"2020-11-05T17:07:16","date_gmt":"2020-11-05T10:07:16","guid":{"rendered":"https:\/\/2022.vfcd.events\/?post_type=news&p=1428"},"modified":"2021-06-15T00:21:55","modified_gmt":"2021-06-14T17:21:55","slug":"weathering-a-conversation-with-michal-teague-emma-duester","status":"publish","type":"news","link":"https:\/\/2022.vfcd.events\/en\/news\/weathering-a-conversation-with-michal-teague-emma-duester\/","title":{"rendered":"Weathering: A Conversation with Michal Teague & Emma Duester"},"content":{"rendered":"
[vc_row][vc_column][vc_column_text el_class=”longform-introtext font-worksans d-none”]This November, 30 works from the RMIT Collection of Vietnamese contemporary art make up the exhibition \u2018No Rain Without Clouds\u2019 \u2013 part of the Vietnam Festival of Creativity & Design 2020. Join us and the show\u2019s two curators in a discussion around said collection, what to expect from the exhibition, and the role digital platforms might play in the safeguarding of cultural histories and heritage.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_raw_html]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[\/vc_raw_html][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1400″ img_size=”full” css_animation=”fadeInUp” el_class=”longform-full-width longform-particle”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”longform-introtext font-worksans”]\r\n

This November, 30 works from the RMIT Collection of Vietnamese contemporary art make up the exhibition \u2018No Rain Without Clouds\u2019 \u2013 part of the Vietnam Festival of Creativity & Design 2020. Join us and the show\u2019s two curators for a chat around said collection, what to expect from the exhibition, and the role digital platforms might play in the safeguarding of cultural histories and heritage.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”5rem”][vc_column_text el_class=”font-worksans longform-dropcap text-justify”]How well do you really know the places you think you know? A familiar environment can be taken for granted, but in certain situations what makes it special is easily discernible. On a day like today, for instance \u2013 it\u2019s been raining since morning and hasn\u2019t at all let up, prospects of a storm looming large \u2013 I\u2019m at the Hanoi Campus of RMIT Vietnam University, and as I pass my time surrounded by large crowds of students and office workers, the presence of a group of artworks placed around the site is very much felt and appreciated.\u00a0<\/span>\r\n\r\nAt the reception area: bold textures of a Tran Van Thao piece greeting visitors and future enrollees; in the Student Services Centre: the humour of a Nguyen Manh Hung canvas; Phan Thao Nguyen\u2019s paintings \u2013 critically exploring the idea of \u2018belief\u2019 \u2013 displayed in the Masters students area; a Dinh Cong Dat sculpture in the library; soft colours and abstract shapes in the Well-being rooms, and even a skeleton (in a work by Richard Streitmatter-Tran) in its natural habitat (the Medical Centre).\u00a0<\/span>\r\n\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]\r\n\r\nOwned by RMIT Vietnam, these works and others transform the University premises (in both Hanoi & HCMC) into a kind of art exhibition in itself (or something of a treasure hunt for those inclined), both blending with and adding an extra layer to the quotidian, providing both a touch of calmness to a busy campus, and the inspiration to notice, think, question, acquire knowledge, and be creative.<\/span>\r\n\r\n\u201cHaving artworks around definitely encourages expression.\u201d \u2013 said Michal Teague, Associate Lecturer in the Design Studies department, RMIT Vietnam\u2019s School of Communication & Design (SCD).<\/span>\r\n\r\n\u201cI\u2019ve just witnessed a group of students dancing in front of one of the artworks on the ground floor.\u201d \u2013 added Dr. Emma Duester, Michal\u2019s SCD colleague, who works as Lecturer in the Professional Communication department.\u00a0<\/span>\r\n\r\nThe two are co-curators of <\/span>the exhibition No Rain Without Clouds<\/span><\/a>, which features 30 works from RMIT\u2019s Contemporary Vietnamese Art Collection. Taking place at the Vietnamese Women\u2019s Museum in Hanoi, the show marks the first time works from the collection will appear together outside of RMIT\u2019s campuses. Today, I\u2019m here to interview Michal and Emma on their involvement both with the exhibition and the larger arts and cultural community of Vietnam.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1422″ img_size=”full” add_caption=”yes” alignment=”center” css_animation=”fadeIn”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″][vc_column_text css_animation=”fadeInUp” el_class=”font-worksans”]\r\n

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\r\nSometimes as an artist creates a work it might be sold \u2013 gone \u2013 and they never see it again; so I find that it\u2019s always nice for the works to be seen in person, whether by the artists or by others.\r\n<\/q><\/p>\r\n<\/blockquote>\r\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

Can you provide an overview of RMIT\u2019s Vietnamese Contemporary Art Collection?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]MICHAL TEAGUE (M)<\/b>: It was started in 2015 and currently includes upwards of 80 artworks located in many spots across our Hanoi & Saigon South campuses. The care of the collection is primarily with the RMIT Library, but there\u2019s also a group of us \u2013 consisting of RMIT lecturers and one artist <\/span>[Richard Streitmatter-Tran \u2013 all notes inside square-brackets have been added by the interviewer] <\/span><\/i>\u2013 who form the Advisory Committee in order to look after and promote it. Professor Rick Bennett, now the Executive Dean (Academic & Students), when he was the Head of RMIT School of Communication & Design (SCD), was really instrumental in developing the collection and organising purchases. It\u2019s a particularly good way for us to connect with and support Vietnam\u2019s cultural and creative community.<\/span>\r\n\r\nSometimes as an artist creates a work it might be sold \u2013 gone \u2013 and they never see it again; so I find that it\u2019s always nice for the works to be seen in person, whether by the artists or by others.\u00a0<\/span>\r\n\r\nEMMA DUESTER (E):<\/b> I think having artworks around on campus has a subconscious impact on students, too. In our library students would often work right next to paintings and sculptures.\u00a0<\/span>\r\n\r\nM:<\/b> Also when you\u2019re teaching you don\u2019t want to always use examples from Western culture \u2013 even if that\u2019s the environment we were raised in and are familiar with. We\u2019ve thus been looking at other ways \u2013 whether through works in the RMIT Collection, or through field trips \u2013 to highlight how valuable artistic and cultural traditions are in Vietnam, including both heritage and contemporary practices.<\/span>\r\n\r\nOn campus, not every piece of artwork can be seen by the general public, but anyone can visit the digital collection on the RMIT website to access information and images related to all of the works [<\/span>including the exact room number of where each artwork is to be found<\/span><\/i>]. Having it accessible digitally is something we\u2019ve become really aware of, and it\u2019s been particularly important since the start of Covid-19.<\/span>\r\n\r\nE:<\/b> We\u2019ve also been researching how arts and cultural organisations in Vietnam are digitising their collections, and that research has shown how important it is to have a digital platform.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1418″ img_size=”full” add_caption=”yes” alignment=”center” css_animation=”fadeIn”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

30 pieces from the RMIT Collection will soon appear together in the exhibition \u2018No Rain Without Clouds\u2019 \u2013 why this title, what\u2019s the implication of it?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]M:<\/b> As the project complements what\u2019s happening elsewhere with the Vietnam Festival of Creativity & Design 2020 (VFCD 2020) \u2013 with many of the events revolving around the dynamics between heritage and modernity \u2013 we\u2019re showing quite a few artworks wherein the artists explore the concepts of memory and cultural traditions, or make commentaries on urbanisation and the way things have been changing very fast.<\/span>\r\n\r\n\u2018No rain without clouds\u2019 is a phrase that I came across, which resonates in the sense that without heritage \u2013 or the past \u2013 there would be no future, just as the rain needs to be \u2018nurtured\u2019 by the clouds.<\/span>\r\n\r\nE:<\/b> It has a lot to do with preservation \u2013 not only in terms of preserving art, but also preserving a city for future generations. It\u2019s the right time to talk about these, especially with the current pandemic \u2013 how do we refresh and restart after that? <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

Beside the main exhibition, you\u2019re also holding a couple of other events and activities that will all link together in different ways within VFCD 2020. Can you provide more information on these?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]E:<\/b> There\u2019s <\/span>a talk on 14 November<\/span><\/a> featuring various artists who take part in the show, which will look in detail at both the works and the general context of Vietnamese art and culture. Four days earlier at our Hanoi Campus<\/span> a seminar and workshop event<\/span><\/a> will take place that will be larger in scope. It aims at professional cultural practitioners \u2013 galleries, libraries, archives, museums \u2013 and gets them to discuss how to make the industry sustainable..<\/span>\r\n\r\nM:<\/b> ..whether that\u2019s audience building, how to develop an income stream, or digitise your collection and make it accessible to more people, there\u2019s a whole range of ways we\u2019ll explore. RMIT has been really active in terms of connecting other arts and cultural organisations, be it the Ministry of Culture, Sports & Tourism, UNESCO, the Women\u2019s Museum \u2013 with the Museum in particular, this exhibition is just one of the different projects we\u2019re working with them on.<\/span>\r\n\r\nE:<\/b> The role of RMIT is to bring ideas and information about the arts and culture sector into education, and also providing local organisations with international contacts with a view towards collaboration and development.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″][vc_column_text css_animation=”fadeInRight” el_class=”font-worksans”]\r\n

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\r\nIt has a lot to do with preservation.. It\u2019s the right time to talk about [this], especially with the current pandemic \u2013 how do we refresh and restart after that?\r\n<\/q><\/p>\r\n<\/blockquote>\r\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][vc_media_grid gap=”0″ grid_id=”vc_gid:1604653401268-05da8f89-04ec-7″ include=”1406,1416,1412,1414,1410,1408″ el_class=”longform-full-width”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

And apparently there\u2019s a Review Competition too?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]E:<\/b> Originally, what we wanted to do was to extend the existing dialogues between the artworks and our students \u2013 it\u2019s now the case that the external public can also take part. The reviews can be submitted in whichever format they see fit \u2013 a creative text, a video, even a TikTok video! A jury board consisting of artists and members of the collection\u2019s advisory board will then select the responses they think are the best; and there\u2019s also a Facebook component where submissions can be voted for. The main aim is really to get people interested and raise awareness of the collection..<\/span>\r\n\r\nM:<\/b> ..And to promote the idea that art isn\u2019t an elitist pursuit only reserved only for those who are highly knowledgeable \u2013 but rather, it\u2019s really for everyone to engage with.<\/span>\r\n\r\nE:<\/b> Indeed, this idea ties in with what organisations and spaces are doing across Vietnam.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

There was a mention just now of a virtual edition of the exhibition<\/a>, can you elaborate on what it\u2019ll be like?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]M:<\/b> It\u2019s going to be accessible virtually on a platform called Kunstmatrix, which we felt a bit hesitant about initially as we\u2019d never used it before. It turned out to be reasonably affordable, quite intuitive. That\u2019s the great thing about living in 2020, there are so many technological options that you don\u2019t necessarily have to be an expert who knows how to code. And this [<\/span>points at a printed dossier<\/span><\/i>] \u2013 it produces an exhibition catalogue with the click of a button. For viewers, it\u2019ll also be very easy to use and navigate around its 3D space \u2013 when you click on each artwork full information on it will be provided, including virtual wall texts and detail view. There\u2019s even a soundtrack for the show composed by our RMIT colleague\/ multi-disciplinary artist Thierry Bernard-Gotteland <\/span>[who takes part in another VFCD 2020 project called <\/span><\/i>City Edge<\/span><\/i><\/a>]<\/span><\/i>.<\/span>\r\n\r\nWith Kunstmatrix we have a choice of about 20 spatial configurations. We try to make the experiences as similar as possible across the platforms, but they\u2019ll still be slightly different, due to the nature of the Women\u2019s Museum space <\/span>[in Hanoi].<\/span><\/i>\r\n\r\nE:<\/b> The fact that with the physical exhibition all 30 works will be there together in one room, means that they\u2019ll speak to each other in a different way, compared to the virtual show. These are still two different experiences.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row el_class=”longform-full-width”][vc_column][vc_raw_html]JTNDJTIxLS0lMjBUSElTJTIwSVMlMjBQQVJBTExBWCUyMERJViUyMC0tJTNFJTBBJTNDZGl2JTIwY2xhc3MlM0QlMjJsb25nZm9ybS1mdWxsLXdpZHRoJTIyJTIwc3R5bGUlM0QlMjJoZWlnaHQlM0ElMjA4MHZoJTNCJTIwYmFja2dyb3VuZC1pbWFnZSUzQSUyMHVybCUyOCUyRndwLWNvbnRlbnQlMkZ1cGxvYWRzJTJGMjAyMCUyRjExJTJGZXhoMS1lZGl0LmpwZyUyOSUzQiUyMGJhY2tncm91bmQtcG9zaXRpb24lM0FjZW50ZXIlM0IlMjBiYWNrZ3JvdW5kLXNpemUlM0Fjb3ZlciUzQiUyMGJhY2tncm91bmQtYXR0YWNobWVudCUzQWZpeGVkJTNCJTIwYmFja2dyb3VuZC1yZXBlYXQlM0Fuby1yZXBlYXQlM0IlMjIlM0UlM0MlMkZkaXYlM0U=[\/vc_raw_html][vc_single_image image=”1400″ img_size=”full” alignment=”center” css_animation=”fadeInUp” el_class=”longform-full-width longform-particle”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″][vc_column_text css_animation=”fadeInRight” el_class=”font-worksans”]\r\n

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\r\nTime is a factor, too, when these spaces were closed because of the pandemic the people managing them had more time at hand \u2013 to create a new version of their website, for instance.\r\n<\/q><\/p>\r\n<\/blockquote>\r\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

Like a number of your colleagues in the SCD, you both perform a duality of roles, as educators, and as practitioners \u2013 be it curator, researcher or designer. The aspects you\u2019ve discussed earlier in this interview \u2013 both the role of technology and the role of preservation \u2013 seems to also relate to a research you\u2019ve been doing together?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]E:<\/b> We\u2019ve been researching how Vietnamese arts and cultural organisations are digitising their collections. The focus is on Matca and the Women\u2019s Museum as the two case studies, but we\u2019ve also done 20 interviews in Hanoi over the past few months, with art-spaces, museums, auction houses, other organisations and also individual artists.<\/span>\r\n\r\nM:<\/b> Interestingly, the pandemic has sped up the changes: quite a few organisations have been much more active since in digitising their archives. Covid-19 is almost like a wake-up call.<\/span>\r\n\r\nE:<\/b> Time is a factor, too, when these spaces were closed because of the pandemic the people managing them had more time at hand \u2013 to create a new version of their website, for instance.\u00a0<\/span>\r\n\r\nM:<\/b> Some organisations have gone back to recapture 10 years\u2019 worth of programming and made this information available to access. If a person leaves the industry or relocates, all that knowledge can disappear with them.<\/span>\r\n\r\nE:<\/b> We\u2019ve spoken to a few people who\u2019ve actively tried to create new archives on contemporary art. There\u2019s also a lot of interest in the governmental sector, with organisations like VICAS or the National Archives Centre III, for example. Overall, we really want to highlight what\u2019s happening locally in Vietnam, especially as a lot of people are talking about things on a global scale. A challenge that we\u2019ve heard many mention \u2013 in making collections and archives more publicly accessible \u2013 are the lack of funding and other resources: both technological and human; but in other parts of the world this situation might be the same.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text el_class=”font-worksans longform-interview-q”]\r\n

What are some of the plans that you have for the RMIT Collection?<\/em><\/p>\r\n[\/vc_column_text][vc_column_text el_class=”font-worksans text-justify”]M:<\/b> Most of the works have been digitised, and the technology is now there to 3D-scan certain works and objects not yet digitally available.<\/span>\r\n\r\nE:<\/b> One of our main aims is to raise awareness of the collection and the platforms that are there \u2013 for students, staff and the general public to know where each artwork is and how to access its site. We hope that this year\u2019s virtual exhibition will help with that.<\/span>\r\n\r\nM:<\/b> I\u2019m really happy when I find out where the artworks are on campus, as there are sections where we don\u2019t go very often. This area <\/span>[where the interview was taking place]<\/span><\/i>, for instance, is normally for Masters students or for special training courses. Another plan is to incorporate the use of QR codes for the physical artworks, so that students can scan and get information in a more immediate manner..<\/span>\r\n\r\nE:<\/b> \u2026more interactive, and also more exciting!<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_media_grid gap=”10″ grid_id=”vc_gid:1604653401281-262ce07b-58c8-10″ include=”1420,1424,1426″][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=”black” el_width=”20″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”8rem”][vc_column_text el_class=”longform-text-credit text-justify font-worksans”]MICHAL TEAGUE<\/b> is an Associate Lecturer in Design Studies working to facilitate the recently launched Design Studies program at the Hanoi Campus. She was the Key Academic Contact in Hanoi for last year\u2019s Vietnam Festival of Media and Design. For the past 10 years Michal has worked professionally as a transnational practitioner and educator in art, design and communication in the Middle East and Vietnam. Michal holds a Master of Art in Public Space from RMIT University Melbourne. Prior to becoming an educator, she ran a graphic design agency in Sydney, Australia for over 10 years. Her areas of research interest and creative praxis are social design, creative and cultural industries, urban spaces and transnational design pedagogy.<\/span>\r\n\r\nEMMA DUESTER<\/b> is a Lecturer in Communication Studies. She joined RMIT Vietnam in 2019 and is currently teaching contextual courses in the School of Communication and Design. Emma is also leading a research team exploring the digitization of the art and culture sector in Hanoi, Vietnam. Emma received a PhD in Media and Communications from Goldsmiths, University of London, in 2017. She has also been Associate Lecturer at the University of Roehampton, the University of the Arts London and Goldsmiths, University of London. Emma\u2019s research interests include the creative industries, the art and culture sector, digital technologies and transnational communication.<\/span>[\/vc_column_text][vc_empty_space height=”8rem”][vc_column_text el_class=”longform-text-credit font-worksans”]\r\n

Interview undertaken by Tran Duy Hung<\/strong>\r\n<\/span>Photos by Phan Dan<\/strong>\r\n<\/span>Artwork images courtesy of RMIT Vietnam<\/strong>\r\n<\/span>Graphics by Rongchoi<\/strong>\r\n<\/span>Translated into Vietnamese by Dinh Vu Nhat Hong<\/strong><\/span><\/p>\r\n

Kindly credit VFCD 2020<\/a> when sharing the article.\r\n<\/span><\/i>Please do not copy or repost without permission.<\/span><\/i><\/p>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”1400″ img_size=”full” alignment=”center” css_animation=”fadeInUp” el_class=”longform-full-width”][\/vc_column][\/vc_row]<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text el_class=”longform-introtext font-worksans d-none”]This November, 30 works from the RMIT Collection of Vietnamese contemporary art make up the exhibition \u2018No Rain Without Clouds\u2019 \u2013 part of the Vietnam Festival of Creativity & Design 2020. Join us and the show\u2019s two curators in a discussion around said collection, what to expect from the exhibition, and the […]<\/p>\n","protected":false},"featured_media":1429,"template":"","meta":{"_acf_changed":false},"news-category":[40,41,19],"class_list":["post-1428","news","type-news","status-publish","has-post-thumbnail","hentry","news-category-culture","news-category-art","news-category-event"],"acf":[],"yoast_head":"\nWeathering: A Conversation with Michal Teague & Emma Duester – Vietnam Festival of Creativity & Design<\/title>\n<meta name=\"description\" content=\"This November, 30 works from the RMIT Collection of Vietnamese contemporary art make up the exhibition \u2018No Rain Without Clouds\u2019 \u2013 part of the Vietnam Festival of Creativity & Design 2020. 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