Vietnam

20160616 Equation of the Sun, Declination, Latitude, Altitude

As the setting sun came earlier than in New York I realized that the earth’s till must be to blame. 

The sun is setting at 6:45 pm throughout this trip and coming up around 5:15 am. In New York it’s coming up about ten minutes later but staying up almost two hours later. Because of declination, the further north one goes in the northern hemisphere, the longer the days get in the summer time while the inverse is true in the south. But here’s what’s confusing in Vietnam: the seasons. It is not the simple reverse of north-lying New York. It’s June and summer in New York and in Hoi An they tell me it’s summer here also. What? Not only is it not the reverse here, it varies by the region. Except Hanoi, the northern lowlands, there isn’t even summer or winter, meaning hot and cold, but rather wet and dry or at best cool and hot. 

Roughly there are four regions with varying calendared seasons: the mountains of the far north, that are dry from October to March then wet from April to September and get very cold in December and January at night. Down the mountains in the north, like in Hanoi the cool and dry winter is from November to April with the coldest months being January-March. But even then temperatures are still 17-22 C in the “winter.“ 

Central Vietnam like Hoi An and Da Nang is hot and dry from January to August, the heat getting up to the mid 30s. During winter the rain comes and there are typhoons. This is between October and November. Yes, two months. So mostly hot and mostly dry. 

The south, like Sai Gon, have a constant weather year round but split between wet and dry season, which begins in November and ends by May. So those afternoon torrential downpours I’m experiencing on this trip are their wet season. 

Vietnam runs from 8-23 degrees north latitude and sea level to 3,143 meters to the peak of Fanispan, the highest mountain in the norther region. There are other climatic factors, such as ocean currents, direction of winds and mountain ranges. That subtle suggestion that weather is really a boring last resort as a common topic of conversation is a little more nuanced here. I don’t mean that I’ve heard locals discussing the weather (I can’t understand them that well), and the little conversation about the weather has been in terms of the heat, but rather that these weather trends reflect largely on tourism, the largest industry in Vietnam. First of all there’s tourism year round and the reason and timeframe for anyone visiting is more about his personal calendar than following weather trends. For example, most Europeans and North Americans vacation in the months between May and September. June-August being the least comfortable is heavy American tourist time. 

In further regards to tourism, the amount of the economy that tourism comprises an area’s economy reflects on the level and expertise of the hospitality there. In Sai Gon 22% of the GNI, tourism is less important and the hotels, were the worst, at least at the bottom price point. Inversely, in Hoi An, where basically the entire economy is tourism, the hotels were the best and least expensive, although almost everything else was overpriced in most parts of the city. This makes sense because the reason to visit Hoi An is Hoi An. The city is the attraction. The Old Quarter are what I would assume to be the “authentic” Vietnam, meaning not influenced by 20th century construction. There’s a lot of porticos, French-influenced buildings of the 19th Century but also a decent number of Chinese-influenced Buddhist temples from the 12-century and on. The tourism is temporally driven; escaping the most recent. 

But also one easily gets lost in Hoi An and sees what isn’t even concerned about maintaining its authenticity, meaning the local homes. In a strange reproach to tourism the city lacks identifiable and reliable street signs. The local map shows about 25 streets, which is a fraction of them and the eager entrepreneurs who will help you with directions just before offering you their goods or services give you directions like “turn right and then turn left,” but exclude specifics. The absence of reliable street signs may be due to the aim of keeping street signs “authentic” meaning those that are up from before 1950 are those that will continue to direct us and the rest…too bad. 

So it’s easy to get lost here even with GPS. There are many spaces—like between rice fields—that one wouldn’t presume is a “street” or “road” as part of the infrastructure, but they are. On trying to locate “the good beach” —An Bang—we got severely lost even though it was  a straight shot down the main road. Just locating the road was tedious. 

An Bang was filled with what felt to be a slight jellyfish venom. I spotted a few and even without direct contact they made the water not really desirable to be in, although people were wading and swimming there when we arrived. I spent most of the day sitting in the shade of a circular boat made of a lattice of bamboo bent upward, forming a sort of tea cup shape, that had then been sealed with tar. I saw a man using one, fully standing. They seemed designed for near-shore fishing as it had only one paddle and moving the boat forward was achieved by sort of stirring the water vigorously…I expect a small USB-powered motor would work equally well. 

Behind me on the beach were the crowds of tourists who were renting chairs and umbrellas for 40,000 dong, or $2 USD. Behind them were a row of roofed dining areas that were twice the price of anything else we’d seen in Vietnam. Around 4 pm locals came with their own food and drink as well as tables and chairs and set up long dining areas perpendicular to the water. The intensity of the sun had diminished but still locals were crouching in the incidental shade of objects placed on the beach, like pyramids of inner tubes and boats. 

The night market in old town is a testament to the wonder of the work of Tesla and Edison. It’s basically the same tourist junk as during the day—knick knacks, textiles and souvenirs—but with lighted sculptures of dragons and fish made of paper and placed along the bridge and promenade. We ate banh mi sandwiches for $1 and had drinks for 20 cents each in the child-size seating of the promenade. 


20160618 Global | Art World

Kurtz reigned supreme in his jungle hideaway. 
When Joseph Conrad invented the character of Kurtz, set in the colonial ivory trade, he aptly critiqued the economic mechanism of tradeploitation. The poignant ending in which Marlow returns to England to deliver the final message to Kurtz’s wife finds him struck by the pettiness of urban life, which he reduces to the simplistic advances stilted on meager cheating of fellow men. It’s exploitation’s homecoming. 

Francis Ford Coppola rehashes the character of Kurtz set a century later within the police action of Vietnam. The making of the film was as epic as the story it recounts. Filmed in the Philippines, beset to disaster both natural and financial and nearly unmade by superstar Marlon Brando’s prima donna attitude and price tag. But somehow it worked and we get a glimpse into a geospatial treaty of the same exchange, on a different continent and different agents, but are are still asymmetrical. The military commander in another context, far from home, far from the average origins of a man in uniform, he became a cult figure. The story, like the 19th century version from which it was adapted, contests a “flat world” argument. And here, in Ho Chi Minh City, Zoe Butt’s SanArt, reminds me of Kurtz, in a good way. [1]

I was connected with her via Facebook and, after a few exchanges and time arrangements, she wrote to me just before I arrived asking, “What is it that you want? I can’t remember whether I need to prepare something or not.” I didn’t take this as an offense, but rather a hastily written plea to abide by some sense of professionalism. That was her intention, in the context of the message chats, and this clarification, now, shows both how context is necessary for understanding as well as blinding. So after telling her I was just interested in learning about San Art and the cultural landscape here, I started to ask myself what it was that I wanted. And I concluded that I naively (and I felt naive) just wanted to information. I was curious. I felt naive because I wouldn’t have had such a loose introduction in another context; the purpose would be more concrete. The imperatives would be obvious. But perhaps that’s the attraction of Vietnam: the open space of the unknown and unrealized. And how introductions here, made in passing online, leave doors open. 

Across the bridge from District 1, where commerce and tourism make flags with shining new high rises, just beyond Golden River Towers, a luxury complex development that is underway, into a tiny side street, SanArt is on a mission. And Zoe Butt is a believer. I sat down with her on a Tuesday, just before the next big install. 

Painting by Nguyen Quoc Dung, part of Non-Finito exhibition, SanArt

Zoe says there are basically no commercial galleries (save Galerie Quynh) in Saigon; basically no 501c.3 model non profits. Barely alternative spaces, which they more nearly resemble, as there isn’t much from which to alternate. Still, the hours of operation conform to having Monday’s off, and opening at 10:30-6:30 pm (about 3 hours after the rest of the city gets going for business). She’s Australian and refers to the Viet Kieu as if she’s not included, since she lives here. This pertains specifically as to why and how San Art got started. As she put it, a group of well educated Viet Kieu wanted to return to Viet Nam in order to establish a place that could act as a bridge with the locals. Those individuals were Lê Quang Đỉnh (Dinh Q Le), members of Propeller Group and a few others. So they’re part of this international art world, participating in the Venice Biennial and being the token Vietnamese artist representatives for the country and heritage. They were educated in U.S. MFA programs. 

And while she’s deep in her canned response of the history, mission, and recent developments (Vietnam politics) and shows, that tone of being on autopilot makes me wonder just how much this is an expected move in the cultural colonization that is going on in the world. She lapses into international artspeak occasionally and even mentions how the absence of ‘contemporary’ plays into the communist hands of local traditions and craftwork. Meaning there isn’t contemporary art here and only craftwork and non-contemporary art is made. She brings up the canonical MFA artspeak theorists: Foucault, et al. and mentions how she’s working on a catalog that places key texts next to Vietnamese theorists who haven’t got international attention. It’s in English and Vietnamese and she hands me a proof. It’s a tome. I feel by its weight that should the political bonds be overcome in this country, this text will be for a generation the reader that brings everyone “up to speed.” I rifle through and for some reason can’t recall any of the authors or essays there. I want to say there’s something by Jameson but I could be wrong. 

She mentioned the educational program of the schools here being craft-based. There is some collection of that work by the social elite here. That’s almost reassuring. At least they are buying some artworks…how many degrees is it to get them to buy something that may increase in value? 

"Accepting One's Self," Nguyễn Quốc Dũng

At the same time I’m happy that there is some cultural producers returning here, and they’re not making identity politics work. Vietnam, like many middle-income level countries, suffer from the brain drain. They send their elite off to study in the U.S. or Europe, in the most elite schools, and then have trouble employing them here, so the educated go where the economic infrastructure supports them. Cultural producers, in a way, have an advantage, as their base of production isn’t tied to the markets of exchange, both cultural and financial, in which they operate. (Or at least I want to believe) And as Singapore (Freeport?) and Hong Kong (Basel), as well as Shanghai gain cultural esteem and sway, Saigon may become an potential center for cultural production. (The contenders, globally, include Mexico City, Sao Paolo, Bombay, Istanbul, et al.) With the exception of political speech, the absence of safety regulations, inexpensive materials, space and labor make it an attractive location. And the food’s great. 

Zoe continues talking about how the space is under shrinkage due to funding being cut and new laws rolling out in regard to foreign cultural producers and audience members. Surveillance. She states the recent landslide re-election of General Secretary Nguyen Phu Trong. I don’t quite understand why it’s a political crisis, as it seems to be forging forward on a staid course, but the cut of two of her three spaces equates to crisis and so I don’t interrupt her familiar art world negativity. Don’t get me wrong: she’s a pleasant person to be around; I just expected a more optimistic and positive outlook without all of the too-cool for school, Williamsburg, LES, Chelsea, designer fashion wearing, VIP list-ism of North America and Western Europe. She’s accessibly brilliant and I’m compelled to sort of offer a note of encouragement about the battles she’s fighting: I mention, would be and are seen as assets in the New York context. 

Introducing Euroamerican cultural thought (really Frankfurt & Birmingham schools) and practices by returning refugees and their children is not unlike Ho Chi Minh bringing Russian Socialism back to Vietnam. I’m not propounding a nativist viewpoint or contending this is ethically wrong; this is how diaspora and cultural pollination have worked for 2,000 years. Viz. Chinese mythology, French architecture, American smartphones (made in China).  What’s curious about this is that the actions are set within a developed post-colonial critique. (One on hand I’d be happy to toss out the failing framework of post-coloniality, as it’s been shown to be either 1) pseudoscience in terms of how its “theories” are not falsifiable and 2) contextually inaccurate depending on the geopolitics. I’m thinking particularly of Indonesia (killings of communists highlighted in The Act of Killing, which was completely misinterpreted by Western audience who weren’t familiar to the Southeast Asian perspective of communism that’s shared throughout Myanmar, Cambodia, Laos, Vietnam and Indonesia) as well as Colombia’s FARC and relations to Spain, and even the expelled Jews settling in Medellín. But yeah, doesn’t really hold water in this country.)

Walking out and past the security guard at the door, I wonder if my suspicion is itself one of these international artworld reflexes. It’s the gag reflex that we learn to fight while on panel discussions, openings, group critiques, reading reviews. Pure acrimony. Genetically unfounded but environmentally cultivated. 

As I get on the uberMoto that will whisk me back over the bridge, I realize that SanArt, as a mission, will be an integral part of connecting the people of this (artworld) remote location with that global network…regardless of contradiction. And that even my presence and motivation meeting her isn’t any less contradictory to these points than her mission. Complicity. 


[1] SanArt
http://san-art.org/about/