Phuong Ngo with collaborators / Untitled No. 2–5, Untitled No. 7, Untitled No. 9–22, Untitled No. 27–30, Untitled No. 32–52, Untitled No. 54–109 (Collaborative racist paintings) (installation view) 2020–ongoing / Synthetic polymer paint and mixed media on plywood boards / 100 diptychs: 25.4 x 40.6cm (each) / This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and is supported by the Victorian Government through Creative Victoria / Courtesy: The artists / © The artists / Photograph: Natasha Harth, QAGOMA

Phuong Ngo
Untitled No. 2–5, Untitled No. 7, Untitled No. 9–22, Untitled No. 27–30, Untitled No. 32–52, Untitled No. 54–109 (from ‘Collaborative racist paintings’) 2020–Ongoing

Not Currently on Display

Phuong Ngo began ‘Collaborative racist paintings’ during Victoria’s first COVID-19 lockdown, in response to the anti-Asian sentiments that emerged in the pandemic’s wake. Confined to home, Ngo reached out to people in his network, mailing them a diptych he had painted in colours they had chosen from a well-known paint manufacturer’s ‘Oriental’ range, which includes paint names such as, ‘Pale Oriental’ and ‘Oriental Princess’. The term ‘Oriental’ is a Western word that has been used to ‘other’ or discriminate against people of colour. While the names were likely conceived without thought, they carry negative connotations for the artists, many of whom are of Asian descent.

Ngo asked his collaborators to personalise their painting with images or objects relating to ‘race, racism or colonisation’, with the co-author retaining ownership of the finished artwork. The 100 diptychs, which have been brought back together for APT10, embody much larger conversations about the complex cultural inferences and biases embedded, often unwittingly, within language.

Phuong Ngo’s collaborators are: Mevlana Adil, Hoda Afshar, Annelise Ahfat, Elyas Alavi, Michelle Antoinette, Anh Nguyen Austen and Kien Andrew Nguyen Merrick, Casey Ayres, Marnie Badham, Sabrina Baker, Sofi Basseghi, Zoë Bastin, Nathan Beard, Alison Bennett, Serena Bentley, Moorina Bonini, Jessica Bradford, Gaye Brimacombe, Adrianna Burnes-Nguyen, Lara Chamas, Kelly Chan, Brit Chapman and Vivian Cooper, Cindy Yuen-Zhe Chen, Yu Fang Chi, Jessica Clark, Phuong and Maya Cooke, Anita Cummins, Mig Dann, Tess Do, Léuli Eshrāghi, Gok-Lim Finch, Eugenia Flynn, Kellyann Geurts, Dominic Golding, Kate Golding, Michelle Hamer, Yusuf Ali Hayat, Brenna Hillier, Deanna Hitti, Ching Ching Ho, Tammy Wong Hulbert, Andrew Huynh, Pia Johnson, Zaiba Khan, Nikki Lam, Shirley Le, Jenna Lee, Owen Leong, Janelle Low, Annie Luo, Morganna Magee, Georgie Mattingley, Erica McCalman, Leah Jing McIntosh, Hayley Millar Baker, Jazz Money, Kimberley Moulton, Nithya Nagarajan, Steph Neoh, Telia Nevile, Anne Anh Thu Tran Nguyen, Hieu Nguyen, James Nguyen, Jamey Nguyen, Lana Nguyen, Paige Nguyen and Harrison Lee, Nanette Orly, Sheila Ngoc Pham, Jason Phu, Jamie Powell, Ryan Presley, Jinghua Qian, Hwafern Quach, Lucreccia Quintanilla, Deborah Ratliff, Nadia Rhook, Megan Robson, Sha Sarwari, Karen Schamberger, Leela Schauble, Jessie Scott, Soo-Min Shim, Nur Shkembi, Faz Shu, Talia Smith, Rhen Soggee, EJ Son, Vipoo Srivilasa, Tina Suraci, Ari Tampubolon, Cyrus Tang, Shireen Taweel, Julie Thach, Kylie Tran, Quyen Tran, Garry Trinh, Truc Truong, Zoe Wong, Louise Zhang and Siying Zhou.

Phuong Ngo is known for his research-based practice and for collaborative projects that examine histories of colonisation and racial intolerance. His series The Vietnam project 2010–ongoing comprises thousands of found objects, images and documents, and considers how historical narratives are created and perpetuated. For Article 14.1 2019, Ngo folded thousands of paper boats from hell banknotes ― replica currency that is burnt as offerings at funerals ― in homage to the perilous sea journey his family made from Vietnam to Australia in 1981. The work was inspired by a clause in the Universal Declaration of Human Rights (1948) that states: ‘Everyone has the right to seek and to enjoy in other countries asylum from persecution’.1 As the artist has explained, these works ‘come out of a need to make sense of my personal and collective history’.

Endnotes:

1 United Nations, Universal Declaration of Human Rights, 10 December 1948, <un.org/en/about-us/universal-declaration-of-human-rights>, viewed September 2021.