{"id":12865,"date":"2016-01-12T16:44:00","date_gmt":"2016-01-12T16:44:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=12865"},"modified":"2023-09-18T16:51:28","modified_gmt":"2023-09-18T16:51:28","slug":"vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/","title":{"rendered":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art"},"content":{"rendered":"\n

Our preview coverage for Art Stage Singapore 2016 continues this week with an interview with Zoe Butt, founding director with Dinh Q L\u00ea of S\u00e0n Art<\/strong><\/a>, Vietnam\u2019s first \u201ckunsthalle\u201d. The article will also appear in Catalyst<\/em>, the magazine of Art Stage Singapore<\/strong><\/a>.<\/p>\n\n\n\n

Guerilla Kunsthalle & Saigon Surfer: An interview with Zoe Butt, director of S\u00e1n Art<\/strong><\/p>\n\n\n\n

For most, Vietnam is an idea formed, since the beginning of the twentieth century, by a foreigner\u2019s idea of the foreign, rather more than by its residents. Whether as French chattels, Russian foil or American paranoia, whether as stoic or inscrutable players in Indochinese politics (beware the colonial adjectives), or as a vast teetering MacGuffin for American films in the 1980s about American self-doubt, or just self. As boat people, the original refugees of the TV age, though rarely for those who stayed, contented or otherwise. As a diaspora from Los Angeles to Prague, Washington to Sydney, purveyors both of doctors and other professionals, as well as the now ubiquitous Pho noodle soup in Western metropolises. Devastated but not crushed by decades of war, Vietnam\u2019s voice was still not able to rise above the din of opinions flung upon it.<\/p>\n\n\n\n

\"\u2018Session<\/a>
\u2018Session 5: S\u00e0n Art Laboratory\u2019 in group critique mode with Indonesian artist Rudy Atjeh explaining his work on view at S\u00e0n Art; November 2014 (image courtesy of S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n

From the 1980s onwards it was mediated internationally as entertainment in films as varied as Francis Ford Coppola\u2019s Apocalypse Now<\/em> (1979) or Sylvester Stallone\u2019s Rambo<\/em> (1985). In his 1852 essay, \u201cThe Eighteenth Brumaire of Louis Bonaparte\u201d, Marx noted that, \u201cHegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.\u201d (1) We might add, the third time as entertainment. Only in the 1990s did a Vietnamese voice begin to chime internationally, including in films like Tran Anh Hung\u2019s The Scent of Green Papaya<\/em> (1993). But art was another matter.<\/p>\n\n\n\n

\"S\u00e0n
S\u00e0n Art board members (from left) Phunam, Dinh Q L\u00ea, Tuan Andrew Nguyen, Matt Lucero and Zoe Butt. Phunam, Dinh and Tuan are co-founders of S\u00e0n Art.<\/figcaption><\/figure>\n\n\n\n

Model Spaces<\/strong><\/p>\n\n\n\n

Contemporary art scenes\u2014that is, ecosystems equipped with galleries, collectors, fairs and private museums\u2014developed relatively quickly in China and also in Korea, Indonesia, and the Philippines. In China, many of the original serious art spaces evolved into commercial galleries, including Beijing Commune and Long March Space in Beijing, and Vitamin Creative Space in Guangzhou (though the latter is more of a hybrid, whose only real relative is STPI, in Singapore). In South East Asia, things developed more slowly and less commercially, with Green Papaya in Manila, SA SA BASSAC in Phnom Penh, and in Vietnam, S\u00e0n Art, currently led by Zoe Butt. After successful careers at the Queensland Art Gallery, in particular working on the Asia Pacific Triennial of Contemporary Art, and then as one of the directors at Beijing\u2019s esteemed Long March Space, Zoe moved to Vietnam to develop S\u00e0n Art into Vietnam\u2019s sole serious independent art space. randian \u71c3\u70b9 magazine, for Catalyst<\/em>, spoke over Skype with Zoe about how she made the journey to Saigon (the locals still call it that), and S\u00e0n Art\u2019s ethos and program, and also its plans for the future.<\/p>\n\n\n\n

Chris Moore<\/strong>: Where are you now?<\/p>\n\n\n\n

Zoe Butt<\/strong>:I am on the coast in Hoi An, a city founded by the Cham people!<\/p>\n\n\n\n

Chris<\/strong>: So where did you grow up?<\/p>\n\n\n\n

Zoe<\/strong>:I am of Hong Kong-British ancestry. I was born in Newcastle, Australia. The Chinese side of the family has a history of trade in Vietnam, so I have ancestral family shrines here in Vietnam.<\/p>\n\n\n\n

\"The<\/a>
The reading room of S\u00e0n Art<\/figcaption><\/figure>\n\n\n\n

Chris<\/strong>:Which came first, art or Vietnam?<\/p>\n\n\n\n

Zoe<\/strong>:Art! My mother nurtured my love of art from when I was very, very young. She used to take me to museums on the weekend as a fun outing and she used to ask me to \u2018read\u2019 paintings, she would ask me for my opinion<\/em> of what was happening in the paintings. So my love of art started very young! And my particular passion, which is contemporary Asian [art], I guess that was nurtured in my childhood from living, as an Australian, as one of only two non-white people at my school in Newcastle at that time\u2014there was me and a Lebanese. So I was struck by possessing an historical imagination, due to the objects we had in my family\u2019s home, that my friends lacked. So it gave me some kind of question as to where I came from and what was my relationship to it. I had a heavy sense of enquiry of how Asian traditions are interpreted today and I was struck by the visual arts as a powerful language that didn\u2019t possess a right or a wrong meaning. And I think that the visual arts have a tremendous capacity<\/em> to allow difference of meaning and interpretation, something that is lacking in society today.<\/p>\n\n\n\n

Chris<\/strong>: And what drove you to Vietnam?<\/p>\n\n\n\n

Zoe<\/strong>: A long story! The short version is that after leaving the Queensland Art Gallery where I had been for 7 years working in the Contemporary Asian Art department\u2014<\/p>\n\n\n\n

Chris<\/strong>: I\u2019m from Brisbane!<\/p>\n\n\n\n

Zoe<\/strong>: Ha! Yes, I was at the gallery for 7 years. I worked on the 2002 and 2006 editions of the Asia Pacific Triennial, buying, commissioning, re-writing policies, developing the entire collection really through the APT, working with an incredible team.<\/p>\n\n\n\n

Chris<\/strong>: I have to say the APT really is one of the most important \u2018biennale\u2019 exhibitions in the world. It\u2019s absolutely extraordinary.<\/p>\n\n\n\n

Zoe<\/strong>: Yes, I agree. I think it\u2019s lacking in collective rigor and vision at the moment though, which is a little sad. The first four editions were groundbreaking for the study of contemporary art in Asia\u2014a task undertaken with much expertise from across the region. Since 2006 though, the proliferation of biennales across Asia has challenged the seat of relevance for the APT. I don\u2019t think that, institutionally<\/em>, they have managed to keep up. But that\u2019s more about Australian right-wing politics than anything else.<\/p>\n\n\n\n

Chris<\/strong>: Actually I don\u2019t think the problem is just right-wing. I think Australia has a fundamental problem in its arts community, left and right.<\/p>\n\n\n\n

Zoe<\/strong>: Yes, sadly support for cultural diversity has been increasingly, disturbingly narrowed in the arts in Australia. Research particularly is heavily bureaucratized. Anyway, as a consequence of my time with the APT, I had the good fortune of working with Lu Jie from Long March Space and Dinh Q L\u00ea, whom I currently work with.<\/p>\n\n\n\n

\"\u2018The<\/a>
‘The Puzzle of History\u2019 2015, by Vietnamese artist Bui Cong Khanh. S\u00e0n Art commissioned mural, S\u00e0n Art courtyard (image courtesy S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n
\"\"
\u2018Lion Nation\u2019 2015, by Afghani artists Khadim Ali and Sher Ali. S\u00e0n Art\u2013commissioned mural, S\u00e0n Art courtyard (image courtesy S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n

Chris<\/strong>: How did you move to Beijing?<\/p>\n\n\n\n

Zoe<\/strong>: On the opening night of APT in 2006, Lu Jie asked me if I would like to work for him. He had hinted at it over the previous two years of working together on the APT but I didn\u2019t think he was serious. And then a few hours later, Dinh asked me if I would like to come to Vietnam, and I said yes to him too! I woke up the next morning thinking, oh my god, last night I said yes to two artists to move to Asia! I can\u2019t do both at the same time! In a way, though, I did end up doing both at the same time. I moved to Beijing and then for the next four years I was on a regular sojourn to Saigon before I actually moved there in late 2009.<\/p>\n\n\n\n

Chris<\/strong>: What was it like working with Lu Jie?<\/p>\n\n\n\n

Zoe<\/strong>: Lu Jie is like a challenging, intimidating older brother to me, and I like to think I\u2019m one of those endearing younger sisters to him! Ha! I moved to Beijing to work with him. In 2006 the bubble of Chinese contemporary art at auction was just phenomenal and I grew to be highly suspicious of the narcissism in the practice. And Lu Jie and I would often sympathize and agree on this and say that there is a giant need for the purview of what China is looking at to be expanded. And because of the synergies on that note, I thought it worthwhile working with him. I was at Long March for three years, from 2007 to 2009, and I learnt a tremendous amount. I was director of international programs and then became co-director with him in 2008. I think he is one of the most underrated intellects in the country.<\/p>\n\n\n\n

\"Professor<\/a>
Professor Ngo Bao Chau giving the inaugural lecture of \u2018Conscious Realities\u2019 at Vietnam National University in Saigon; August, 2013 (image courtesy S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n

Chris<\/strong>: And during your time in Beijing you kept visiting Vietnam?<\/p>\n\n\n\n

Zoe<\/strong>: My relationship to Vietnam really occurred as a consequence of developing work from Australia and keeping in contact with regular visits before moving and becoming co-director of S\u00e0n Art in 2009 with Dinh, and then soon after becoming the Executive Director.<\/p>\n\n\n\n

Chris<\/strong>: So you were at S\u00e0n Art right from the beginning when it was established in 2007?<\/p>\n\n\n\n

Zoe<\/strong>: Yes. I was \u2018International Adviser\u2019 at the time. I didn\u2019t want to be called co-founder because I didn\u2019t think it fair, because I wasn\u2019t actually on the ground, so to speak, and I wasn\u2019t Vietnamese, and I felt the cause was really driven by Viet Kieu [overseas Vietnamese]\u2014and the experiences of that and the historical associations of that.<\/p>\n\n\n\n

What is S\u00e0n Art?<\/strong><\/p>\n\n\n\n

Chris<\/strong>: Is S\u00e0n Art also in this hyper-gallery situation; a hybrid gallery-Kunsthalle like, for instance, STPI, and Vitamin Creative Space, or the former Universal Studios and Long March Projects, who use commercial activities to fund their non-profit aims?<\/p>\n\n\n\n

Zoe<\/strong>: S\u00e0n Art operates in ethos as a non-profit organization. It does not<\/em> have a focus on commercial at all. It is supported in some way by the Vietnam Foundation for the Arts in the U.S., a non-profit charitable organization established by Dinh Q Le in 2006, primarily to act as a fiscal agent for S\u00e0n Art\u2019s operations in Vietnam. It means we can apply for international foundation grant money with the correct tax codes. So our financials are largely<\/em> driven by foreign donations\u2014and I don\u2019t know how long we can sustain this model, to be honest. We have been running for 8 years as a model committed to supporting emerging<\/em> artists who experiment in a critical<\/em> mode with their production, thus our activities encompass artists making new work, about 70% of our work is educational programs, and I would say that, at the moment, our signatures are our artist residency program, which is called S\u00e0n Art Laboratory, and then our lecture\/workshop\/residency program \u2018Conscious Realities\u2019, which focuses on Global-South Memories. We are locally registered as a \u2018family business\u2019 which means if someone wants to buy the art that we showcase then yes, we can and do sell, but the task of sales and marketing is not our aim; we have no staff focused on this.<\/p>\n\n\n\n

\"S\u00e0n<\/a>
S\u00e0n Art Lab artist Le Phi Long, meeting with his talking partner\u2014the artist Tiffany Chung\u2014in his studio; April 2014 (image courtesy S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n

We are quite<\/em> different to what, say, Universal Studios [Boers-Li] or Long March or Tang [Contemporary] do, or even Vitamin Creative Space, because of our focus on knowledge production. We are much more geared as a think tank for bringing artists\u2019 awareness to not only to their region but also trying to expand and act as a kind of example<\/em> to the local cultural and educational institutions as to what visual arts can<\/em> say, what capacity it can act with\u2014because, politically speaking, art and culture in Vietnam is still dictated by government agencies. It is extremely difficult and thus we have no local support.<\/p>\n\n\n\n

Local collectors<\/strong><\/p>\n\n\n\n

To operate as a commercial entity in Vietnam I think would be quite a challenge. The people with money here are still just buying Western luxury brands. Still buying the art that is oil [paintings]\u2014typical landscapes or pretty women wearing traditional ao dai<\/em> dresses. One of the things S\u00e0n Art is currently investing in is building a local collector base, by creating programming where they can learn<\/em> what contemporary art is.<\/p>\n\n\n\n

The infrastructure is so thin in Vietnam. We have so few contemporary art spaces.. Even S\u00e0n Art lost its space in February because of the lack of funds. So because we don\u2019t have any significant space<\/em> with which to show contemporary art, it\u2019s very difficult to demonstrate to someone with cash that, oh, this is what you should invest in! So, we\u2019re at a little bit of a critical juncture right now, though there are people with influence discussing the need for purpose-built space for contemporary culture\u2014really hope that these conversations turn into something concrete!<\/p>\n\n\n\n

Chris<\/strong>: Is it like in other parts of South East Asia, such as Indonesia, Malaysia, the Philippines even, where the Sinosphere\u2014the Chinese diaspora\u2014drives collecting? It\u2019s not exclusive, but it\u2019s really driven by this group. Of course, there are cultural reasons for that, with China\u2019s over two thousand years tradition of collecting.<\/p>\n\n\n\n

Zoe<\/strong>: I wouldn\u2019t say that it is driven by China or South East Asia either. Mainland Chinese collectors still have an abhorrence towards the collection of much South East Asian art. It is the Chinese migrants based in the Philippines, in Indonesia\u2026<\/p>\n\n\n\n

Chris<\/strong>: Yes, that\u2019s what I mean.<\/p>\n\n\n\n

Zoe<\/strong>: Definitely in Indonesia\u2019s case, for sure. In the Philippines\u2019 case, I would say, no, it is totally Philippine, totally local. Malaysia, yes, it\u2019s probably Chinese migrants. In Vietnam, the Chinese minority is treated with suspicion and there are complex reasons for that.<\/p>\n\n\n\n

Chris<\/strong>: Well, there are historical reasons for that [ideological, diplomatic and territorial].<\/p>\n\n\n\n

Zoe<\/strong>: Yes. There\u2019s a lot of foreign<\/em> Chinese investment in Vietnam\u2019s economy but not the same level in local Chinese investment. And yes, it\u2019s because of the history. The cause for very little investments in infrastructure in collecting here is a consequence of the political regime. It is highly<\/em> censored. To do anything<\/em> in Vietnam on a cultural level involves wading through a phenomenal amount of red tape. Even in an article in Vietnam New<\/em>s this past month, President Truong commented that he believes culture to be a key driver of social development but he cautioned that we should be wary of \u2018foreign invasion\u2019<\/em> and that we must be attuned to our own<\/em> sense of traditions. They are totally<\/em> hoodwinked into thinking that culture is dangerous!\u2014there are ideological reasons for that of course.<\/p>\n\n\n\n

Critical<\/strong><\/p>\n\n\n\n

It will be a long time yet before we can see an arts infrastructure critically engaging with its contemporaneity. That\u2019s not to say that we don\u2019t have artists already doing it\u2014there are many, and it is those that S\u00e0n Art chooses to nurture and to provide space locally and abroad with which to speak. And that\u2019s something the government are highly suspicious of\u2014they are aware of our networks. However they also understand there is a need and we are filling it\u2014and they can\u2019t.<\/p>\n\n\n\n

Our programs are interdisciplinary. We work with engineers, anthropologists, musicians, writers, ethnographers, scientists\u2026.. We are in the business of trying to redefine cultural memory, to expand the local applications of art to living in the 21st<\/sup> century, because this postmodern sense of fragmenting our disciplines isn\u2019t present in the education system here.<\/p>\n\n\n\n

And now\u2026<\/strong><\/p>\n\n\n\n

Chris<\/strong>: Where do you go from here?<\/p>\n\n\n\n

Zoe<\/strong>: At the moment, we are focusing on artistic production\u2014its social, conceptual and material histories and experiments. The residency program has been very<\/em> successful. It focuses on South East Asian artists, not just Vietnam. Each residency runs for 6 months and 20 artists have been through the program. ASEAN\u2019s recognition of the region as an economic network led to the relaxation of regional visa controls. (2) As a consequence, S\u00e0n Art residency program has benefited from that, because there are now a higher number of artists moving into and out of Vietnam. There is a growing community that is regional<\/em> instead of national<\/em>. And I\u2019m quite interested in the impact this can have on the narratives inside contemporary art. Previously most South East Asian artists possessed stories that spoke just to their own cultural memory but now we can see this bifurcating. If we continue to nurture knowledge through education, such as our Global South program \u2018Conscious Realities\u2019, I think we will see some really fabulous work come out of it.<\/p>\n\n\n\n

So in the future\u2026. we have many ideas! but will definitely aim to continue being an artistic and curatorial production house of a kind. In terms of S\u00e0n Art\u2019s physicality, I think you have to be flexible with the context. If it means going guerilla and we operate out of a little office space and focus on programs with our local and international partners, it wouldn\u2019t be too different to what we are doing now. Ideally however, I am hoping to secure our own space. I am hopeful.<\/p>\n\n\n\n

Notes<\/strong><\/p>\n\n\n\n

1. https:\/\/www.marxists.org\/archive\/marx\/works\/1852\/18th-brumaire\/ch01.htm<\/p>\n\n\n\n

2. Association of South East Asian Nations<\/p>\n\n\n\n

Contact\u2014<\/strong><\/p>\n\n\n\n

S\u00e0n Art<\/strong>
48\/7 M\u00ea Linh, ph\u01b0\u1eddng 19,
B\u00ecnh Th\u1ea1nh,
H\u1ed3 Ch\u00ed Minh
Vietnam
W\u00a0www.san-art.org
<\/a>T +84 8 6294 7059
E hello@san-art-org<\/p>\n\n\n\n

\"\"
The audience with Filipino film-maker Kidlat Tahimik following his lecture and performance as part of \u2018Conscious Realities\u2019, hosted by Hoa Sen University; November 2014 (image courtesy S\u00e0n Art)<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Our preview coverage for Art Stage Singa … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":12872,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[949,9252,149,415,1556,67,278,105,280,9253,95,88,633,112,7010,98,255,3780,292,374,393,8951,8949,94,9254,646,458,210,460,230,421,648],"yoast_head":"\nVietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"Our preview coverage for Art Stage Singa … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2016-01-12T16:44:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-09-18T16:51:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/DSC_6393-Copy_0.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1154\" \/>\n\t<meta property=\"og:image:height\" content=\"768\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art\",\"datePublished\":\"2016-01-12T16:44:00+00:00\",\"dateModified\":\"2023-09-18T16:51:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\"},\"wordCount\":3046,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"2016\",\"APT\",\"art\",\"art gallery\",\"Art Stage Singapore\",\"artist\",\"Asia Pacific Triennial\",\"Beijing\",\"Brisbane\",\"Catalyst\",\"China\",\"Chris Moore\",\"Christopher Moore\",\"curator\",\"Dinh Q L\u00ea\",\"Hong Kong\",\"Long March Space\",\"Lu Jie\",\"QAG\",\"randian\",\"randian online\",\"Saigon\",\"S\u00e0n Art\",\"Vietnam\",\"Zoe Butt\",\"\u4e2d\u56fd\",\"\u5fb7\u8428\u5317\u4eac\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u753b\u5eca\",\"\u9999\u6e2f\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\",\"url\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\",\"name\":\"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/#website\"},\"datePublished\":\"2016-01-12T16:44:00+00:00\",\"dateModified\":\"2023-09-18T16:51:28+00:00\",\"breadcrumb\":{\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#breadcrumb\"},\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\/\/www.randian.art\/zh-hant\/%e4%b8%bb%e9%a0%81\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.randian.art\/#website\",\"url\":\"http:\/\/www.randian.art\/\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"description\":\"art magazine\",\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.randian.art\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"zh-TW\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/www.randian.art\/#organization\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"url\":\"http:\/\/www.randian.art\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-TW\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"contentUrl\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"width\":761,\"height\":118,\"caption\":\"\u71c3\u70b9 Ran Dian\"},\"image\":{\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\",\"name\":\"Lien\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-TW\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/image\/\",\"url\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"contentUrl\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"caption\":\"Lien\"},\"sameAs\":[\"http:\/\/www.randian.art\"],\"url\":\"http:\/\/www.randian.art\/zh-hant\/author\/lien\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/","og_locale":"zh_TW","og_type":"article","og_title":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian","og_description":"Our preview coverage for Art Stage Singa … Continue reading →","og_url":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/","og_site_name":"\u71c3\u70b9 Ran Dian","article_published_time":"2016-01-12T16:44:00+00:00","article_modified_time":"2023-09-18T16:51:28+00:00","og_image":[{"width":1154,"height":768,"url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/09\/DSC_6393-Copy_0.jpg","type":"image\/jpeg"}],"author":"Lien","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Lien","\u9810\u4f30\u95b1\u8b80\u6642\u9593":"15 \u5206\u9418"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#article","isPartOf":{"@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/"},"author":{"name":"Lien","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb"},"headline":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art","datePublished":"2016-01-12T16:44:00+00:00","dateModified":"2023-09-18T16:51:28+00:00","mainEntityOfPage":{"@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/"},"wordCount":3046,"commentCount":0,"publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"keywords":["2016","APT","art","art gallery","Art Stage Singapore","artist","Asia Pacific Triennial","Beijing","Brisbane","Catalyst","China","Chris Moore","Christopher Moore","curator","Dinh Q L\u00ea","Hong Kong","Long March Space","Lu Jie","QAG","randian","randian online","Saigon","S\u00e0n Art","Vietnam","Zoe Butt","\u4e2d\u56fd","\u5fb7\u8428\u5317\u4eac","\u71c3\u70b9","\u827a\u672f+","\u827a\u672f\u5bb6","\u827a\u672f\u753b\u5eca","\u9999\u6e2f"],"articleSection":["Features"],"inLanguage":"zh-TW","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#respond"]}]},{"@type":"WebPage","@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/","url":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/","name":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art - \u71c3\u70b9 Ran Dian","isPartOf":{"@id":"http:\/\/www.randian.art\/#website"},"datePublished":"2016-01-12T16:44:00+00:00","dateModified":"2023-09-18T16:51:28+00:00","breadcrumb":{"@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#breadcrumb"},"inLanguage":"zh-TW","potentialAction":[{"@type":"ReadAction","target":["http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/"]}]},{"@type":"BreadcrumbList","@id":"http:\/\/www.randian.art\/vietnams-guerilla-kunsthalle-interview-with-zoe-buttdirector-of-san-art\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"http:\/\/www.randian.art\/zh-hant\/%e4%b8%bb%e9%a0%81\/"},{"@type":"ListItem","position":2,"name":"Vietnam\u2019s Guerilla Kunsthalle\u2014Interview with Zoe ButtDirector of S\u00e0n Art"}]},{"@type":"WebSite","@id":"http:\/\/www.randian.art\/#website","url":"http:\/\/www.randian.art\/","name":"\u71c3\u70b9 Ran Dian","description":"art magazine","publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/www.randian.art\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"zh-TW"},{"@type":"Organization","@id":"http:\/\/www.randian.art\/#organization","name":"\u71c3\u70b9 Ran Dian","url":"http:\/\/www.randian.art\/","logo":{"@type":"ImageObject","inLanguage":"zh-TW","@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/","url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","contentUrl":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","width":761,"height":118,"caption":"\u71c3\u70b9 Ran Dian"},"image":{"@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb","name":"Lien","image":{"@type":"ImageObject","inLanguage":"zh-TW","@id":"http:\/\/www.randian.art\/#\/schema\/person\/image\/","url":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","contentUrl":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","caption":"Lien"},"sameAs":["http:\/\/www.randian.art"],"url":"http:\/\/www.randian.art\/zh-hant\/author\/lien\/"}]}},"_links":{"self":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/12865"}],"collection":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/comments?post=12865"}],"version-history":[{"count":1,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/12865\/revisions"}],"predecessor-version":[{"id":12875,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/posts\/12865\/revisions\/12875"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/media\/12872"}],"wp:attachment":[{"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/media?parent=12865"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/categories?post=12865"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hant\/wp-json\/wp\/v2\/tags?post=12865"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}