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OPENING HOURS

Wed-Sat: 10:00 - 17:00
Sun: 10:00AM - 19:00PM
Mon-Tue: Closed

Money

Money

Series

One of the most significant series by Vũ Dân Tân, titled ‘Money’, was developed from the early 1990s through the 2000s, referring to such concepts as statehood, national identity, economy, trade, borders, and the aspiration for unrestricted freedom.

The majority of the pieces in this series feature textual elements that include well-known slogans and quotations, reflecting the artist's social awareness (e.g., “Quo vadis?”, “L’homme sans pays” – a man without a country), as well as his unique sense of humor (e.g., “Napoleon ou rien” – “Napoleon or nothing”, “Millionario o Muerte” – “Millionaires or Death”, a reinterpretation of “Patria o muetre!”). Numerous euro banknotes are connected by Tân’s favorite quotation from Dostoevsky: “Beauty will save the world”, which challenges the authority of actual currency in a commercialized society. Throughout the decade, the series transformed, particularly after 1996, when the artist began creating dollar-sized, duplicated, and hand-colored currency notes (including dollars, euros, pounds et cetera) that could serve as functional money.

❝ Money, like the monarchy a symbol of national power, is a recurring vehicle for Vietnamese pioneer contemporary multi-media artist Vu Dan Tan…
Paper-currency’s trade ethos, reinforced by Tan’s iconography sourced in a wide cultural and historical pool, exposes the roving eye as in Tan’s hands euros, Hong Kong dollars, lire, pounds and the mighty USD are a forum of playful social study allowing the artist to poke a sacred national institution from a host of vantage points. Tan’s selection of money as expressive idiom relates in part to the new place of capitalism in post-Doi Moi Vietnam. ❞

Iola Lenzi. ‘The Roving Eye. Southeast Asian Arts: Plural Views on Self, Culture and Nation’, catalogue of the exhibition “The Roving Eye. Contemporary Art from Southeast Asia”, ARTER, Istanbul, Turkey, 2014, p. 42

❝ Witty and light-hearted in pictorial language, Vu Dan Tan’s money, on close scrutiny, reveals thought-provoking and sometimes complex coded messages. Putting medium astutely at the service of concept, Vu, free as ever in his meshing of idea, icon, and form, cryptically tells the story of our times while also engaging us in a dance with the big principles of life and spirit. Intellectually elegant, medium-savvy, aesthetically accessible, and subtly critical, Vu Dan Tan’s money series embodies Southeast Asia contemporary practice at its most accomplished. ❞

Iola Lenzi, “The Art of the Court Jester: Vu Dan Tan’s Money Series”, in Vu Dan Tan. Money for all times (exhibition catalogue), Hanoi, p. 12
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