Le Thuan Uyen on Vietnam’s thriving young art scene.

Le Thuan Uyen, can you briefly describe your work at The Outpost?

I am responsible for curating at The Outpost, which involves managing and acquiring works for the collection, planning and executing exhibitions, and coordinating with guest agencies to bring shows to life. Additionally, I oversee satellite programmes surrounding exhibitions and collaborate with third parties to expand the art community, fostering connections between artists and audiences.

At The Outpost, we feature a diverse range of artists—from emerging talents such as Pham Minh Hieu to more established figures like Ly Tran Quynh Giang.

What is the centre’s approach to selecting artists for exhibitions?

We focus primarily on artists who have been practising for around 10 years. While they may not yet be household names, they possess a certain depth of experience. When The Outpost was established, our goal was to provide a platform for these artists, whose works are often shown internationally but rarely have a formal presence in Vietnam. This approach gives the audience a chance to witness the dynamic activity of Vietnamese artists and to engage with the contemporary art scene in the country.

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Sometimes, I also work with young artists or dedicate space specifically for them.

Young artists need room to experiment as they develop their needs and practices. A central goal at The Outpost is to foster a connection between the older and current generations of artists.

This is crucial not only for underrepresented artists but also for understanding the evolution of art—from the past to the present and into the future. Occasionally, I also exhibit works by international artists, which adds a small but significant dimension to our collection. The overarching aim at The Outpost is to look towards the future, especially as technology becomes increasingly integral to how we connect with one another. This forward-thinking approach helps us better understand the direction of human life and society as we move toward a shared future.

Having worked with both established and emerging artists, can you share your thoughts on the current generational transition in Vietnam’s art scene?

Although the two generations differ greatly, I believe they share a common core in their artistic ambitions. Clearly, society in Vietnam has undergone rapid change over the past 30 years. As society evolves, so too does the environment in which artists grow up, influencing the elements they absorb and reflect upon.

For instance, artists from previous generations often focused on ideals and sought to explore themes related to Vietnam’s slower-paced, more romantic past. On the other hand, those who came of age during the war experienced a more difficult and restrictive life, grappling with limitations on creativity and artistic freedom. They fought for the changes that have shaped the art scene we know today.

The generation born after the war, during the country’s period of reform, witnessed rapid changes in the social structure. They were keen to question history and bridge the gaps in understanding. For younger generations, the stories of war no longer feel as immediate, and their perspective on these events has evolved. Today’s society is shaped by a multitude of media and aesthetic filters. The generation raised on foreign television, the internet, and English-language learning experiences will naturally differ from those who grew up amidst the brutal process of urbanisation.

Generational transitions are rarely smooth, often marked by differences and ruptures. Some seek to emphasise these fractures, while others, like myself and my colleagues, prefer to examine them to understand the nature of the transition.

How do you view the contemporary art market in Vietnam in recent years? What are its strengths and weaknesses? What factors do Vietnamese artists currently lack in order to truly break through?

At present, I see many positive developments in the Vietnamese art market. In 2017-2018, when some foreign cultural funds pulled back or reduced their budgets, the art scene in Vietnam appeared quieter. However, this period also marked an increase in private sector investment, albeit on a smaller scale. Younger individuals with fresh concepts are now stepping up, eager to invest in and support artists.

More broadly, the Southeast Asian region shows signs of improvement, especially in Thailand and Indonesia. Alternative systems of funding—outside of traditional Western models—are beginning to emerge, creating an interesting and optimistic shift.

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Secondly, artists have become more actively engaged with one another, facilitated by convenient communication, which has created opportunities for mutual support in the creative process. Thirdly, the emergence of numerous art centres in both the South and North—though often short-lived—has sparked the curiosity of the audience. As a result, people are now paying closer attention and have higher expectations.

However, alongside these changes, there are aspects that are quite different from the past, and it remains uncertain whether they are positive or negative.

Small, artist-centric spaces and programmes dedicated to nurturing and supporting artists have become fewer. Centres such as Goc Lab, intensive residency programmes, and young artist mentorship initiatives have diminished. Perhaps they are no longer deemed necessary, although, in the past, they played a vital role in energising the art community.

Despite the presence of space, audience, and certain investment, the long-term sustainability of individuals working within the art industry remains a question that will take time to answer.

This article is based on the original published in the printed edition of Tatler Vietnam, February 2025 issue.

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