Dinh Cong Dat

Rooster

Rooster

Lacquer on Fiberglass

39 x 49 x 15 cm | 15.4 x 19.3 x 5.9 inches

Sitting lady

Sitting lady

Lacquer on Fiberglass

50 x 32 x 26 cm | 19.7 x 12.6 x 10.2 inches

Schoolgirl

Schoolgirl

Lacquer on Fiberglass

50 x 32 x 26 cm | 19.7 x 12.6 x 10.2 inches

Schoolgirl I

Schoolgirl I

Lacquer on Fiberglass

60 x 27 x 22 cm | 23.6 x 10.6 x 8.7 inches

Schoolboy

Schoolboy

Lacquer on Fiberglass

50 x 32 x 26 cm | 19.7 x 12.6 x 10.2 inches

Negative faces

Negative faces

Lacquer on Fiberglass

31 x 24 cm | 12.2 x 9.4 inches

Ant 2

Ant 2

Lacquer on Fiberglass

Ant 1

Ant 1

Lacquer on Fiberglass

Dinh Cong Dat

Emerging in the generation of sculptors in the late 90s, Dinh Cong Dat has presented in the most crucial exhibition called “New space” in the National Fine Arts Museum, which opening for the important transformation in terms of cube language and modern space in Vietnamese sculpture background. In many years, Dinh Cong Dat’s sculpture has always been filled with the improvisation, humor, sophistication and diversity along with a fresh spirit as endless.
The statues of boy in many funny poses, with his bowed head, folding his arms, wearing schoolbags and the boy is astounding in each corner of the house. These boy statues reminisce not only the series statues of Little Angel – Beautiful Fairy on the Buddha’s altor but also have the pop-art spirit that shown in the color arrays, patterns and random signatures on the clothes. The series of sculptures of hens made by collecting colorful various newspapers are presented as a series of interactive sculptures with life in the recent exhibition. This proves the richness of imagination, the improvisation is “like a game” of the artist but  it is still perfectly miticulous; the importance is Dinh Cong Dat could create the sculptures made from the most common and ordinary material.
The series engraved sculptural reliefs that sunk carving especially describing an anonymous pportrait by the lacquer material, which reminds us the resonance of the carvings in temples and pagodas, Buddha statues, but these engraved sculptural reliefs still have the modern spirit in breaking the rules. Not only an innovator of sculptural blocks and visual effects in the statues, Dinh Cong Dat is also the pioneer in discovering new material who dares to try the new thing and always change as well as he never satisfies with the familiarity and boredom of traditional creativities.
Dinh Cong Dat is an artist, an interior designer, an art project organizer and a manager of important international art exhibitions in Hanoi recent years. His paintings have been introduced in many exhibitions in Hanoi, Ho Chi Minh City, London, Liverpool (United Kingdom), Dubai (UAE), Texas (USA), Paris (France) and Tokyo (Japan).

DINH CONG DAT

1966 Born in Hanoi, Vietnam

1989-1994 Training at the Hanoi Fine Arts University

B.A. in Sculpture

Represented by Art Vietnam Gallery, Hanoi, Vietnam

 

SOLO EXHIBITIONS

1999 Exhibition at Hanoi Fine Arts univerity

2002 Exhibition at Iskandar Gallery in Paris, France

2003 Exhibition at Iskandar Gallery in Paris, France

2004 The Sculpture World of Dinh Cong Dat, Art Vietnam Gallery, Hanoi, Vietnam

2004 Masks, Mai’s Gallery, Saigon, Vietnam

2007 New works of Dinh Cong Dat, organized by JP Morgan Bank, Hanoi Metropole, Hanoi, Vietnam

2009 The sculpture work of Dinh Cong Dat at Tokyo American Club, Tokyo Japan     

 

GROUP EXHIBITIONS

1993 3rd National Sculpture Exhibition, Hanoi, Vietnam

1990-1995  National Art Exhibition in 1990 and 1995, Vietnam

1999  Sculpture Exhibition of 9 Sculptors, Ho Chi Minh City Museum, Vietnam

Sculpture Exhibition of 12 sculptors, Vietnam Fine Art Museum, Hanoi, Vietnam

2000  Visual Art Exhibition of 12 young artists, Hanoi Contemporary Art Center, Hanoi, Vietnam

Lamp Exhibition of together with 24 sculptors at the studio of artist Anh Khanh, Hanoi

Organized and participated in the Sculpture Exhibition for Young sculptors, VietnamFineArt Museum

2001 Visual Art Exhibition at the Hanoi Contemporary Art Center, Hanoi, Vietnam

10 Artists Workshop in Mao Khe - Quang Ninh, Hanoi, Vietnam

Contemporary Sculpture Exhibition, Contemporary Art Center, Hanoi, Vietnam

2002 Biennale Liverpool Exhibition, Liverpool City, UK 

2004 Kitch, Chim sao, Hanoi, Vietnam Newspapers Have No Meaning, Installation at Cave Gallery, NYC, USA

2005 The Ten Courts of the Kings of Hell, Bankside Gallery, London UK

2006 The Ten Courts of the Kings of Hell, Fielding Lecht Gallery, Austin - Texas, US

2007 Oriental Colors, Red Gallery, Dubai, UAE

2009 Art Vietnam gallery HanoiVietnam

 

MISCALLEN

2000 Prof Design for “Hat Mua Roi Bao Lau”

2007 Stage Design, Hair Fashion Show Event by Dep Magazine, Hanoi

Stage Design, Multimedia Show by Nokia, Hanoi, Vietnam

2008 Stage design, the day of Versace in Vietnam Hermes display in Hanoi

 

AWARDS AND SCHOLARSHIPS

1993 Participated in the 3rd National Sculpture Exhibition (organized once every 10 years from 1973 in Hanoi). Awarded the 1st  National prize.  

 

RESIDENCIES AND WORKSHOPS

2000 Workshop at the Liverpool Biennale, Liverpool

2002 3 month residency in Paris, France

2002 3 month residency in Cave, Brooklyn, New York

2007 6 months residency in Chang Dong studio, Seoul, Korea

2009 2 months workshop at the China biennale, BeijingChina

2009 3 weeks at ART OMI, New York

 

Dinh Cong Dat 

The Newspaper Has No Meaning

Dinh Cong Dat began his Vietnamese army service in 1984, just before he turned eighteen. 212 was the number of his unit. Since 2000, the 212 sequence has evolved into a recurring tag or signature, Dinh has painted it on gallery walls, across the faces of his figurative sculptures, and in site-specific installations. But, he says, “this number basically has no meaning, absolutely no logic; it is a stupid number. It’s empty. People look at artwork and ask about the meaning, but art has no special, fixed meaning. People have their own lives, they are born and die, and it has no great meaning—it is quiet. Normal.”

The 212 variations are part of Dinh’s series The Newspaper Has No Meaning; in other iterations the exhibition space is wallpapered with newspapers. Like army-unit numbers, language defines groups; it can enclose a nation or a people, or it can be a barrier to keep cultural others out. Media is ubiquitous, but, for Dinh, “we understand nothing, even though a lot of information is around. Media covers the world, but it has no meaning. 212 or ABC, it is the same.”

The Newspaper Has No Meaning is not nihilistic, however, in that its patterned emptiness makes a container for the viewer’s associations. Birthdates, access codes, or a play on digital ones and zeros may come to mind. New York audiences might see the names of Columbia County routes around Art Omi, the Manhattan area code, or Brooklyn zip codes; when Dinh painted a shed at a coal mine in Vietnam, the miners read the sequence as a reference to the festival day of Ngày Kí Niêm, “The Anniversary of Coal Miners,” which commemorates a 1936 general strike and is celebrated on December 11 (12.11). “I love for people to follow their own ideas,” Dinh observes. “If my work is good, I will say nothing.”