CV

TRANSTREITMATTER-WWW.DIACRITIC.ORG

HO CHI MINH CITY, VIETNAM

R. STREITMATTER-TRAN

WWW.DIACRITIC.ORGRST@DIACRITIC.ORG

BIOGRAPHY

Richard STREITMATTER-TRAN (b. 1972, Bien Hoa, Vietnam) is an artist living and working in Ho Chi Minh City, Vietnam. He received his degree in the Studio for Interrelated Media (SIM) at the Massachusetts College of Art in Boston.

His solo and collaborative work has been exhibited interna-tonally including Kandada Art Space in Tokyo, 10 Chancery Lane Gallery in Hong Kong, Art Space Hue in Korea, the 4th Guangzhou Triennale (2011), the Singapore Biennale (2008/2006), Ke Center for Contemporary Art in Shanghai (2008), Singapore Art Museum (SAM), Eslite Gallery in Taiwan, 52nd Venice Biennale (2007), Shenzhen and Hong Kong Bi-city Biennale (2007), Thermocline of Art: New Asian Waves at ZKM in Karlsruhe, Germany, Asia Art Now at Arario Beijing, 1st Pocheon Asian Art Festival, Gwangju Biennale (2004), the Hugh Lane Gallery in Dublin, Chula Art Center in Bangkok, the Asiatopia Performance Art Festival, and Art Tech Media 06 in Barcelona. Otther exhibitions included The Singapore Art Museum/Centre Pompidou video exhibition at SAM and The Asia Triennial in Manchester .

He was an arts correspondent for the Madrid-based maga-zine Art.Es and and Ho Chi Minh City editor for Contemporary and has published in several books, catalogs and periodicals. In 2005 he received the Martell Contemporary Asian Art Research Grant from the Asia Art Archive in Hong Kong for his year-long research project, Mediating the Mekong. He was Teaching Assistant at Harvard University (2000-2004), conducted media arts research at the MIT Media Lab (2000) and a visiting lecturer at the Ho Chi Minh Fine Arts Univer-sity in 2003. He was an advisor to the Para/Site Curatorial Programme in Hong Kong and the San Art Artist Residency program in Ho Chi Minh City. He is currently Senior Lecturer at RMIT International University Vietnam.

Upon relocating to Vietnam in 2003, he helped form ProjectOne, a Ho Chi Minh City-based performance art group now defunct. Two years later he became a founding member of Mogas Station, a group of international creators (artists and architects) based in Ho Chi Minh City, working to promote and present contemporary art in Vietnam. Its members came together in 2005 to create Ạart, the very first artist initiated bilingual contemporary arts magazine in Vietnam launched at the Singapore Biennale 2006. Their second major work, Rokovoko, premiered at the 52nd Ven-ice Biennale as an official collateral event with Migration Addicts project.

For the Singapore Biennale 2008, he collaborated with Burmese artist Chaw Ei Thein to create September Sweet-ness, an life-sized pagoda constructed entirely from 6 tons of sugar that slowly eroded throughout the life of the exhibition.

As co-curator he developed The Mekong exhibition with Russell Storer of the Queensland Art Gallery for the 6th Asia Pacific Triennale (APT6) in 2009.

In 2010, he established DIA/PROJECTS, a contemporary art experiment and studio space in Ho Chi Minh City. Work-ing with collaborator Le Tuong Vi under the persona, VILE/RATS, they form projects emerging from artistic research and speculative investigations into the fault lines of sci-ence, philosophy and art. Other projects have included collaborations with CIANT (Prague), The Asia Art Archive (Hong Kong), The Japan Foundation and The Japan Society. Since its inception, dia/projects hosted three researchers-in-residence from Bangkok ,Manila, Montreal and Seoul.

While his practice historically has included performance and new media, his focus is is material and is largely work-ing in sculpture and drawing.

ARTIST

DIA/PROJECTS + DIA/STUDIO MOBILE +84 (0)903.176.199227 Duong 9A, Level 4, Khu Trung Son, Huyen Binh ChanhHo Chi Minh City, Vietnam

RSTREIT@GMAIL.COM

MATERIAL TURN

I’ve chosen the title of this exhibition, Material Turn, for a number of reasons. Over the past several years I’ve found my arts practice shift from conceptual and issue-based works towards a studio-based exploration in craft, material and science. I’ve realigned my studio for the experimentation in sculpture, ceramics, drawing and other forms of creative production with long and deep histories at the expense of my training, which is primarily media art and performance.

I’ve also been conducting research over the last years in the history and philosophy of science and have been intrigued by the parallels between the history of science and the history of art. How the distinction between Isaac Newton’s scientific works in physics did not lay far from his pseudo-sci-entific work in alchemy. Or how Da Vinci’s artistic production did not remain far from his preoccupations with the design of war machines.

I feel that my practice so far has been a manifestation of primarily my education, that is, the contemporary art values of concept over craft. We’ve seen the rise of the factory and contract-based production in the world’s most pre-eminent artists. Critics and writers have proclaimed the death of the individual artist studio. Modes of artistic production have been explained in term of film (read: Baurriaud’s “Post-Pro-duction) and in terms of negation, “The Art of Not-Making.” Over a decade ago as an art student, I eschewed the work-shop for the discursive, enrolling in theory courses heavy on analysis and argument. I still very much enjoy these conversations but I’ve rarely been felt compelled to make something from them. I’ve been disappointed in terms of my own encounters with the spectacle of media art where the technology has become the driving question over the intent. Much of my experience lacked tangibility, or, materiality.

What some forecast as the next new school of philosophi-cal thought is the movement sometimes referred to as the Speculative Realists. These new thinkers inherit a legacy of Heidegger and Deleuze, almost separated by two genera-tions with interlocutors such as Manuel De Landa who trac-es deep histories in geological time. I recently saw a chart on “artistic colors through time” and the amazing thing was the colors correlated directly to our human knowledge in the sciences, notably the p hysics of light and the under-standing of chemistry. The rise of the brilliant cadmiums from the centuries of ochres. On this chart, listed Paleolithic man with only four colors at his disposal: Red Earth, Yellow Earth, Chalk White and Carbon Black. In other words, dirt. And from dirt came the most amazing work of a species that would soon spawn it’s own geologic era, the Anthropocene. We’ve irreversibly changed the material reality and in some ways forever altered the idea of the natural. Embedded in the strata of the earth is deep time and the history of the sum of human creative output. It is from this idea, both his-torically and substantially that I come to this exhibition.

The Material Turn reflects the shift in my production, from the ideas that inform it (science , philosophy, deep time, art history) and the substance I’ve chosen to work with (char-coal, clay, and food). I’ve had to start anew, relying on my own hands and abilities in a studio environment to create the work rather than having contracted production (which I’ve so often done in the past). The exhibition space at Art Space Hue has for a short time become a direct extension of my studio in Vietnam. Replicating the same process, pace and production for what I hope will mark a significant point in my trajectory as an artist.

2013. Richard Streitmatter-Tran Paju, Korea

EDUCATION MASSACHUSETTS COLLEGE OF ART. BOSTON, UNITED STATES2003. BFA. STUDIO FOR INTERRELATED MEDIA (SIM), GRADUATION WITH DISTINCTION.

MASSACHUSETTS INSTITUTE OF TECHNOLOGY . CAMBRIDGE, MASSACHUSETTS 2001 – 2003. PERFORMANCE STUDIES (JOAN JONAS) 2001 – 2003. INTERROGATIVE DESIGN WORKSHOP (KRZYSZTOF WODICZKO) 2000 – 2001. MEDIA ARTS AND DESIGN. (JOHN MAEDA) RMIT INTERNATIONAL UNIVERSITY VIETNAM . HO CHI MINH CITY, VIETNAM 2009. ROYAL MELBOURNE INSTITUTE OF TECHNOLOGY. GRADUATE CERTIFICATE IN TERTIARY TEACHING.

CAREER

2013. SAN ART, TALKING PARTNER, ARTIST-IN-RESIDENCY PROGRAM.HO CHI MINH CITY, VIETNAM

2010. ASIA SOCIETY: ASIA 21 YOUNG LEADER’S SUMMIT. JAKARTA, INDONESIA.DELEGATE. 150 YOUNG LEADERS UNDER 40 IN ASIA AND THE US DISCUSS THE ASIA-PACIFIC’S MOST PRESS-ING ISSUES.

2010. NEW TECHNOLOGIES FOR SUSTAINABLE DEVELOPMENT (NTSD).EEEA GRANTS (NORWAY) AND CIANT | INTERNATIONAL CENTRE FOR ARTS AND NEW TECHNOLOGIES

2009 – PRESENT. CURATORIAL DEFENSE WORKSHOP. PARA/SITE ART SPACE. HONG KONGDESIGNED EXPERIMENTAL WORKSHOP FOR CURATORIAL STUDENTS WHO DEFEND DEVELOPING EXHIBITIONS ONLINE TO A SELECT TEAM OF INTERNATIONAL ASIA-BASED CURATORS.

2006 – PRESENT. SENIOR LECTURER. RMIT INTERNATIONAL UNIVERSITY VIETNAM CENTRE OF COMMUNICATION AND DESIGN. 2008 TEACHER OF THE YEAR AWARD.

2000 – 2004. TEACHING FELLOW. HARVARD UNIVERSITY SCHOOL OF CONTINUING EDUCATION. CAMBRIDGE, MACREATIVE NEW MEDIA AND THE WWW, INNOVATIONS IN MOBILE COMPUTING.

2000. UNDERGRADUATE RESEARCHER. MIT MEDIA LABMASSACHUSETTS INSTITUTE OF TECHNOLOGY . CAMBRIDGE, MASSACHUSETTS AESTHETICS AND COMPUTATION GROUP (ACG). ADVISOR: JOHN MAEDA.

CURATORIAL

2012. THE TIMES MUSEUM, GUANGZHOU, CHINAKEYNOTE SPEAKER. INHABITING NO MAN’S LAND: SELF-HISTORIZATION AND PROACTIVE PARASITISM.NO GROUND UNDERNEATH: CURATING AT THE NEXUS OF CHANGES

2011, 2013. HAUS DE KULTUREN DER WELT. BERLIN.PARTICIPATING CURATOR. SYNAPSE - INTERNATIONAL CURATORS’ NETWORK AT HKW.

2008 - 2009. CO-CURATOR. ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ART (APT6) QUEENSLAND ART GALLERY. BRISBANE, AUSTRALIA THE MEKONG WITH QAG CURATOR, RUSSELL STORER.

2009. ARTIST IN RESIDENCE. SINGAPORE MANAGEMENT UNIVERSITY (SMU)SMU-ASEAN ARTIST IN RESIDENCY PROGRAM.

2009. 5TH ASIAN MUSEUM CURATORS CONFERENCE.THE NATIONAL ART GALLERY OF SINGAPORE AND THE NATIONAL ART GALLERY OF MALAYSIA.

2004. MEDIA ARTS RESIDENCY. CHIANG MAI UNIVERSITY ART MUSEUM, THAILAND SWITCH MEDIA AND MEDIA ART DESIGN DEPARTMENT, CHIANG MAI UNIVERSITY FUNDED BY THE CHIANG MAI ARTISTS IN RESIDENCY PROGRAM (CARP) AND ARTS NETWORK ASIA (ANA).

+ RESIDENCIES

RESEARCH+ ADVISORY

EXHIBITIONS

2013. ART SPACE HUE. PAJU, KOREA (JUNE 2013)MATERIAL TURN. SCULPTURE AND DRAWING.

2009. KANDADA ART SPACE. TOKYO WHERE THERE IS LEFT, LET THERE BE RIGHT. VARIOUS WORKS-IN-PROGRESS.

2004. L’ESPACE, CULTUREL CENTRE FRANÇAIS DU HANOI BODY FRAME/VIDEO FRAME. VIDEO INSTALLATION AND PERFORMANCE.

EXHIBITIONS 2012

2012. VIP ART FAIR (NEW YORK). “LIGHTNING STRIKING AT BOTH ENDS OF THOUGHT” NETWORKED PERFORMANCE. VILE/RATS IN COLLABORATION WITH TERENCE KOH, GALERIE THADDEUS ROPAC (SALZBURG/PARIS).

2012. SINGAPORE ART MUSEUM (SAM). SINGAPOREPANORAMA: RECENT ART FROM CONTEMPORARY ASIA.

2012. MANZI ART SPACE. HANOIDE RERUM NATURA (ON THE NATURE OF THINGS)

20112011. SINGAPORE ART MUSEUM (SAM). SINGAPOREV IDEO, AN ART, A HISTORY 1965-2010. A SELECTION FROM THE CENTRE POMPIDOU AND SINGAPORE ART MUSEUM COLLECTIONS.

2011. ASIA TRIENNIAL MANCHESTER 2011. INSTITUTION FOR THE FUTURE. CURATED BY BILJANA CIRIC WITH THE CHINESE ARTS CENTRE.

2011. GUANGZHOU TRIENNALE 4. ART DOMAIN MIGRATION. CURATED BY MARGARET ZHANG, GUANGDONG MUSEUM OF ART.

2011. SHCONTEMPORARY ART FAIR INSTITUTION FOR THE FUTURE: ARCHIVE & COLLECTION. ORGANIZED BY BILJANA CIRIC. AI LING FOUNDATION. SHANGHAI EXHIBITION CENTER.

20102010. GOEUN MUSEUM OF PHOTOGRAPHY (BUSAN) & ASEAN KOREA CENTER (SEOUL)EMERGING WAVE: ASEAN KOREA CONTEMPORARY PHOTOGRAPHY EXHIBITION

2010. SINGAPORE MANAGEMENT UNIVERSITY (SMU) CONTENT: NAVIGATING A POINT. SMU- ASEAN ARTIST RESIDENCY PROGRAMME.

2010. PARA/SITE ART SPACE, HONG KONGFAX. EXHIBITION CO-ORGANIZED BY THE DRAWING CENTER, NEW YORK AND ICI (INDEPENDENT CURATORS INTERNATIONAL), GUEST CURATOR IS JOAO RIBAS AND ALVARO RODRIGUEZ FOMINAYA.

20092009. SINGAPORE ART MUSEUM (SAM). SINGAPORE TRANSPORTASIAN. PHOTOGRAPHY FROM SOUTHEAST ASIA. NEW PHOTOGRAPHY FOR THE JUNGLE BOOK PROJECT.

2009. 10 CHANCERY LANE GALLERY. HONG KONGTIME LIGAMENTS: CONTEMPORARY VIETNAMESE ART. CURATED BY ZOE M. BUTT AND DINH Q. LE.

2009. IFA GALLERY. SHANGHAI A SNAPSHOT OF CONTEMPORARY VIETNAMESE ART. CURATED BY MARIE TERRIEUX.

2008

2008. SINGAPORE BIENNALE 2008. SINGAPOREWONDER. SEPTEMBER SWEETNESS. SUGAR INSTALLATION. COLLABORATION WITH CHAW EI THEIN.

2008. ESLITE GALLERY. TAIPEI, TAIWAN COFFEE , CIGARETTES AND PAD THAI: CONTEMPORARY ART IN SOUTHEAST ASIA.THE GLEANERS AND THE GHILLIES. PHOTOGRAPHY.

SELECT GROUP

SOLO

2008. SINGAPORE ART MUSEUM (SAM). SINGAPORE POST-DOI MOI: VIETNAMESE MODERN AND CONTEMPORARY ART AFTER 1990s.

2008. KE CENTER FOR THE CONTEMPORARY ARTS. SHANGHAI, CHINA STRATEGIES FROM WITHIN. EXHIBITION ON VIETNAM AND CAMBODIA CONTEMPORARY ARTS PRACTICE.

2008. ASIATOPIA PERFORMANCE ART FESTIVAL - 10TH ANNIVERSARY THE JUNGLE BOOK PERFORMANCE BANGKOK, THAILAND.

20072007. 52ND VENICE BIENNALE. VENICE , ITALYTHINK WITH THE SENSES, FEEL WITH THE MIND.ROKOVOKO. VIDEO INSTALLATION. A MOGAS STATION PROJECT. MIGRATION ADDICTS, COLLATERAL EVENTS.

2007. ZKM: CENTER FOR ART AND MEDIA KARSLRUHE. GERMANY THERMOCLINE OF ART: NEW ASIAN WAVES. MESOVELIA, OR THE WATER TREADERS. PHOTOGRAPHY.

2007. CHULA ART CENTER. CHULALONGKORN UNIVERSITY. BANGKOK, THAILAND PRANA. DONGKUK. VIDEO INSTALLATION. CURATED BY BRIAN CURTIN.

2007. EYEBEAM ATELIER. NEW YORK CITY, UNITED STATES URBAN ATTRACTORS/PRIVATE DISTRACTORS. NEW MEDIA.COLLABORATION WITH ANGIE ENG. NEW YORK CITY – HO CHI MINH CITY – KASSEL. 2007. ASIA PACIFIC AMERICAN INSTITUTE. NEW YORK UNIVERSITY EXQUISITE CRISIS AND ENCOUNTERS. YONG SOON MIN (CURATOR).

2007. THEATREWORKS. SINGAPORE FUTURE OF IMAGINATION 4 (FOI4). THEATRE OF CRUELTY AFTER ARTAUD. PERFORMANCE.WONDERFUL WEEKEND. MICROSOUND. MULTIMEDIA PERFORMANCE. WITH ROB CIANCHI.

2007. HO CHI MINH FINE ARTS MUSEUM. HO CHI MINH CITY, VIETNAMLES MOIS L’IMAGE. ALICE IN. SOUND AND LIGHT PERFORMANCE. A WONDERFUL DISTRICT PROJECT.

20062006. SINGAPORE BIENNALE 2006. SINGAPORE BELIEF. A.ART AND L/Z. PUBLICATION AND INSTALLATIONS. A MOGAS STATION PROJECT.

2006. JAVA ART GALLERY. PHNOM PENH, CAMBODIAREFLOW. THE LOUDEST SOUND. PHOTOGRAPHY. BIRDSNEST HEART. SOUND SCULPTURE WITH SOPHEAP PICH. 2006. ARARIO BEIJING AND SSAMZIE SPACE. BEIJING AND SEOUL GLOBALIZATION AND LOCALITY: ASIA ART NOW 2006. 2006. SIX CITY EXHIBITION IN MANILA, HCMC, BANGKOK, LONDON, LOS ANGELES, BERLIN600 IMAGES. UNTITLED SERIES. PHOTOGRAPHY. AN ALBB PROJECT.

2006. ART TECH MEDIA 06. MADRID, SPAIN

2006. THAI NEW MEDIA ART FESTIVAL. BANGKOK, THAILAND

20052005. ASIATOPIA 2005. BANGKOK, THAILANDHARDCOPY. PERFORMANCE WITH CHAW EI THEIN.

2005. 1ST POCHEON ASIAN ART FESTIVAL. POCHEON, KOREA ROAD | ROUTE. THE ECSTASY OF BEING ELSEWHERE. PERFORMANCE. WITH CHA YOON-JOO.

2005. THE DUBLIN CITY GALLERY THE HUGH LANE. DUBLIN, IRELAND OFFISIDE. CURATED BY BRIAN DUGGAN.

2005. GALLERY WITHOUT WALLS. KUALA LUMPUR, MALAYSIA SURREAL POLITIK GROUP EXHIBITION.

2005. LAWRENCE S. TING BUILDING GALLERY. HO CHI MINH CITY, VIETNAM CHÚNG TA LÀ AI. LAND OF MILK AND HONEY. INSTALLATION WITH LIVE BEES.

2004

2004. GWANGJU BIENNALE 2005. GWANGJU, KOREA A GRAIN OF DUST, A DROP OF WATER. IN CLUB (BIENNALE PERFORMANCE PLATFORM) GITMO/SATCHMO. PERFORMANCE.

2004. SEOUL PERFORMANCE ART CONGRESS. SEOUL, KOREA 2004. NET VIDEO LAB, ART NETWORK ASIA (SINGAPORE)MISSED CONNECTIONS. VIDEO. A PROJECTONE PROJECT.

2004. HUE FESTIVAL 2004. HUE CITY, VIETNAM 2x2 METER CONTAINERS. INSTALLATION AND PERFORMANCE. A PROJECTONE PROJECT. 2004. ORANGE COUNTY MUSEUM OF ART (OCMA) ORANGE LOUNGE. NEW MEDIA COLLABORATION.

2003 2003. BINH QUOI PARK. HO CHI MINH CITY, VIETNAM YOUNG VIETNAMESE ARTISTS EXHIBITION. THERE IS A LIGHT THAT NEVER GOES OUT. INSTALLATION. 2003. EVOS ARTS. LOWELL, MASSACHUSETTS FRAG. THE YEAR OF THE RAT. INSTALLATION. 2003. MOBIUS ART SPACE. BOSTON, MASSACHUSETTS BOSTON STUDENT PERFORMANCE ART WORK IN PROGRESS. THE MURAKAMI TABLEAUS. PERFORMANCE. MOBIUS 25TH ANNIVERSARY EXHIBITION. SUBMARINE. PERFORMANCE. WITH JED SPEARE. 2003. BAKALAR GALLERY. MASSACHUSETTS COLLEGE OF ART. BOSTON, MASSACHUSETTS KY UC | MEMORY. VIDEO INSTALLATION.

2002 AND EARLIER

2002. STUDIO FOR INTERRELATED MEDIA. MASSACHUSETTS COLLEGE OF ART, BOSTON HOW NOT TO SPEAK. PERFORMANCE. WITH NGO THAI UYEN.

2002. BERWICK RESEARCH INSTITUTE. ROXBURY, MASSACHUSETTS TOPOLOGY/TOPOGRAPHY: ISSUES IN SURVEILLANCE SPACES. PERFORMANCE.

2002. TREMONT GALLERY. BOSTON, MASSACHUSETTS CULTURE CLUBBING. UNTITLED DURATIONAL PERFORMANCE. PERFORMANCE. 2002. MIT VISUAL ARTS DEPARTMENT. CAMBRIDGE, MASSACHUSETTS INTERROGATIVE DESIGN WORKSHOP. SOUND INTERVENTIONS. INSTALLATION. WITH ANDREW TODD MARCUS 2001. MIT MEDIA LAB. CAMBRIDGE, MASSACHUSETTS FUNDAMENTALS OF COMPUTATIONAL MEDIA GROUP EXHIBITION. NEW MEDIA.

SCREENINGS2006. BANGKOK DEMOCRAZY. THAI EXPERIMENTAL FILM FESTIVAL 4 (BEFF4). BANGKOK, THAILANDMISSED CONNECTIONS (2004), BODY FRAME/VIDEO FRAME (2004).

PRESENTATIONS

2013. SILPAKORN UNIVERSITY , BANGKOK.SPEAKER. WE/ME. ASEAN ART SPACES. AUG 2013.

2013. TEMBUSU COLLEGE, NUS, SINGAPORE.PAPER PRESENTATION. THE LIFE, NON-LIFE AND HALF LIFE OF MINERALS. WITH LE TUONG VI AS VILE/RATS. ASIA-PACIFIC SCIENCE, TECHNOLOGY AND SOCIETY. NETWORK BIENNALE CONFERENCE. JULY 2013.

2013. BANGKOK UNIVERSITY.SPEAKER. SPARK. FACULTY OF VISUAL ARTS AND DESIGN. FEB 2013.

2012. THE TIMES MUSEUM. GUANGZHOU, CHINA.SPEAKER. . TERMINAL GROUND WITH LE TUONG VI AS VILE/RATS JULY 2012 NO GROUND UNDERNEATH: CURATING ON THE NEXUS OF CHANGES

2012. NATIONAL UNIVERSITY OF SINGPAORE (NUS). SINGAPORE.SPEAKER. . NEITHER PLANT NOR ANIMAL. WITH LE TUONG VI AS VILE/RATS. SEPTEMBER 2012 DESIGNING FOR THE ANTHROPOCENE: FOOD, CLIMATE, HEALTH. STS CLUSTER SYMPOSIUM

2011. SAMUSO & ARTSONJE. SEOUL.SPEAKER. THE RUPTURE AND THE RAPTURE. 5TH ARTSONJE WORKSHOP & SCREENING. APRIL 2011 SPEAKER. SMALL SPACES IN THE MEKONG. DECEMBER 2011

AND LECTURES

+ FILM

2011. INIVA (LONDON) EXPLORING ASIA: PERSPECTIVES ON ARTISTIC PRACTICE IN VIETNAM, CHINA, MALAYSIA AND HONG KONG.

2011. ASEAN-KOREA CENTRE.JURIST AND PANELSIT. CONTEMPORARY VIETNAMESE ART. ASEAN-KOREA MULTIMEDIA COMPETITION. HONGKIK UNIVERSITY, SEOUL KOREA.

2010. MINSHENG ART MUSEUM. SHANGHAI SYMPOSIUM. MOVED, MUTATED AND DISTRUBED IDENTITES. CASINO LUXEMBOURG - FORUM D’ART CONTEMPORAIN. MINISTRY OF CULTURE LUXEMBOURG, DDM WAREHOUSE SHANGHAI AND ASIA EUROPE FOUNDATION (ASEF)

2010. TEDx SAIGON. HO CHI MINH CITY, VIETNAM. PRESENTATION: ABOUT TASTE

2010. SOTHEBY’S INSTITUTE OF ART. SINGAPORE LECTURE: CONTEMPORARY ARTS IN VIETNAM AND ARTISTS TALK

2010. SAN ART SPACE. HO CHI MINH CITY. ARTIST PRESENTATIONS: BUI CONG KHANH AND R. STREITMATTER-TRAN

2009. SINGAPORE ART MUSEUM (SAM). SINGAPORE ARTIST TALK. CONSTRUCTED IMAGES: SIMULACRA IN SOUTHEAST ASIA. R. STREITMATTER-TRAN (RMIT UNIVERSITY VIETNAM) & GILLES MASSOT (LASALLE COLLEGE OF THE ARTS).

2009. SCHOOL OF THE ART INSTITUTE CHICAGO (SAIC) ARTIST TALK: MEKONG MUTUAL. R. STREITMATTER-TRAN AND CHAW EI THEIN.

2009. MASSACHUSETTS COLLEGE OF ART. BOSTONARTIST TALK: SEPTEMBER SWEETNESSS: DESIGN AND PROCESSES. 2009. NORTHERN ILLINOIS UNIVERSITY (NIU) DEKALB ARTIST TALK: CONTEMPORARY ART IN BURMA AND SOUTHEAST ASIA. WITH CHAW EI THEIN.NIU ART DEPARTMENT AND THE CENTER FOR BURMESE STUDIES.

2009. HONG KONG ARTS DEVELOPMENT COUNCIL AND PARA/SITE ART SPACEINTERNATIONAL CURATOR’S TALK SERIES: PUBLIC LECTURE.CURATORIAL ENGAGEMENTS IN THE MEKONG SUBREGION OF SOUTHEAST ASIA.

2009. KANDADA ART SPACE, TOKYO ARTIST PREESENTATION AND REPORT ON CONTEMPORARY ART PRACTICES IN THE MEKONG SUBREGION.

2008. PANELIST. WITTE DE WITH, CENTER FOR CONTEMPORARY ART, ROTTERDAM, THE NETHERLANDS ROTTERDAM DIALOGUES: THE CRITICS. PANEL: DIY CRITICISM.

2008. OBSERVER. ASEF/IFACCA MINI SUMMIT ON NEW MEDIA ARTS POLICY & PRACTICE. SINGAPOREWORKGROUP: MEDIA EDUCATION, MEDIA, CIVIL SOCIETY . NEW MEDIA ART AND EDUCATION IN THE GREATER MEKONG SUBREGION.

2008 . PARTICIPANT. INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART (ISEA 2008). SINGAPOREN.E.W.S PROJECT. MODERATED BY RENÉE RIDGEWAY AND LEE WENG CHOY (SUBSTATION).MADE POSSIBLE BY THE MONDRIAN FOUNDATION. 2008. SPEAKER. SINGAPORE ART MUSEUM. SINGAPOREPOST-DOI MOI: VIETNAMESE MODERN AND CONTEMPORARY ART AFTER THE 1990s. CONTEMPORARY ART PRODUCTION IN HO CHI MINH CITY. 2008. PANELIST. SAN ART. HO CHI MINH CITYLIVING THE LOCAL (JANUARY 2008) MODERATED BY PHILLIPE PEYCAM (CENTER FOR KHMER STUDIES) AND ZOE BUTT (CURATOR, LONG MARCH SPACE).

2007. OBSERVER. SUBSTATION. SINGAPORE COMPARATIVE CONTEMPORARIES. WITH THE ASIA ART ARCHIVE (HONG KONG).

2006. PRESENTATION. ASIA ART ARCHIVE. HONG KONG MARTELL CONTEMPORARY ASIAN ART GRANT. MEDIATING THE MEKONG. 2006. SPEAKER. HARVARD PROJECT FOR INTERNATIONAL RELATIONS (HPAIR). TOKYO, JAPAN VISUALIZING ASIA: GLOBAL CULTURE AND NATIONAL NARRATIVES IN CONTEMPORARY ART. ALTERNATIVE ART SPACES IN SOUTHEAST ASIA. 2006. PRESENTATION. A LITTLE BLAH BLAH. HO CHI MINH CITY, VIETNAM HARD COPY: OVERVIEW OF WORK FROM 2000-2006. 2004. LECTURE. BANGKOK UNIVERSITY. BANGKOK, THAILAND INTERSECTIONS IN NEW MEDIA ARTS PRACTICES.

2003. SPEAKER AND ORGANIZER. HO CHI MINH FINE ARTS UNIVERSITY. HO CHI MINH CITY, VIETNAM CONTEMPORARY ART PANEL DISCUSSION. 2000 – 2004. TEACHING FELLOW. HARVARD UNIVERSITY. SCHOOL OF CONTINUING EDUCATION. CAMBRIDGE, MASSACHUSETTS COURSES: CREATIVE NEW MEDIA AND THE WWW, INNOVATIONS IN MOBILE COMPUTING.

AWARDS2012. ALUMNI AWARD FOR OUTSTANDING CREATIVE ACHIEVEMENT MASSACHUSETTS COLLEGE OF ART, BOSTON, MASSACHUSETTS.

2010. ASIA SOCIETY ASIA 21 YOUNG LEADER & DELEGATE ASIA SOCIETY ASIA 21 YOUNG LEADER’S SUMMIT. JAKARTA, INDONESIA

2005. RECIPIENT. MARTELL CONTEMPORARY ASIAN ART RESEARCH GRANT MEDIATING THE MEKONG. FOR THE ASIA ART ARCHIVE. HONG KONG.

2003. RECIPIENT. RON PLAZECK THEATER ARTS AWARDMASSACHUSETTS COLLEGE OF ART. BOSTON, MASSACHUSETTS.

2000. RECIPIENT. ROY H. BROWN SCHOLARSHIPMASSACHUSETTS COLLEGE OF ART. BOSTON, MASSACHUSETTS.

COLLECTIONS DOCUMENTA ARCHIVES. KASSELL, GERMANY. LEO SHIH, TAIWAN. PRIVATE COLLECTION. THE SINGAPORE ART MUSEUM (SAM). PERMANENT COLLECTION.

PUBLICATIONS AND PRESS 2013

2013. WORLD OF ART: SCULPTURE NOW) ANNA MOSZYNSKA. LONDON: THAMES AND HUDSON.

2013. MATERIAL TURN: SOLO EXHIBITION OF R. STREITMATTER-TRAN ART SPACE HUE, PAJU, KOREA.

2013. TOMORROW TODAY: CONTEMPORARY ART FROM THE SINGAPORE ART MUSEUM (2009-2011) SINGAPORE ART MUSEUM.

20122012. INSTITUTIONS FOR THE FUTURE. R. STREITMATTER-TRAN. TOWARD A CERTAIN SMALLNESS. BILJANA CIRIC AND SALLY LAI (EDS). MANCHESTER: CORNERHOUSE PRESS, 2012.

2012. MOVED, MUTATED , AND DISTURBED R. STREITMATTER-TRAN, LE TUONG VI. CATEGORY VIOLATION. FABIENNE BERNADINI & SYLVIE BLOCHER (EDS). LUXEMBOURG: CASINO LUXEMBOURG, 2012.

2012. YISHU: JOURNAL FOR CONTEMPORARY CHINESE ART. VOL 11, NO 5 R. STREITMATTER-TRAN. FUTURE INTUITIONS. P. 50-60.

2012. ART ASIA PACIFIC . ALMANAC 2012, VOL. 7 VIETNAM COUNTRY PROFILE, P.201-02.

2012. ASIAN ARTSPACE NETWORK. GWANGJU, KOREA. R. STREITMATTER-TRAN. RES PUBLICA. 2011

2011. VIDEO, AN ART, A HISTORY: A SELECTION FROM THE CENTRE POMPIDOU AND SINGAPORE ART MUSEUM COLLECTIONS. A SINGAPORE ART MUSEUM PUBLICATION, SINGAPORE.

2011. EX-FILES. R. STREITMATTER-TRAN, LE TUONG VI (VILE/RATS). CRITICAL LOAD. MICHAEL LEE (ED). STUDIO BIBLIOTEQUE. SINGAPORE.

2011. BROADSHEET MAGAZINE (AUSTRALIA). OCTOBER 2011 STREITMATTER-TRAN. THE MONEY SHOT. IN CONNECTION WITH ASIA TRIENNALE MANCHESTER 2011.

+ ARTS WRITING

+ GRANTS

2011. ART JOURNAL. SUMMER 2011 NORA A TAYLOR. ART WITHOUT HISTORY: SOUTHEAST ASIAN ARTISTS AND THEIR COMMUNITIES IN THE FACE OF GEOGRAPHY.

2011. ART ASIA PACIFIC . ALMANAC 2011, VOL. 6 VIETN AM COUNTRY PROFILE, P.201.

20102010. ASIA ART NOW / CONTEMPORARY ASIAN ART MELISSA CHIU & BENJAMIN GENOCCHIO. MONICELLI PRESS, NEW YORK/ THAMES & HUDSON, LONDON.

2010. MUSES AND DRIVERS: 23 CURATORIAL PROPOSITIONS FOR TOMORROW MICHAEL LEE (EDITOR). PARA/SITE, STUDIO BIBLIOTEQUE AND SEED. HONG KONG.

2010. PLAYING BY THE RULES: ALTERNATIVE THINKING/ALTERNATIVE SPACES. B. CIRIC. SEARCHING FOR TOMORROW’S ALTERNATIVE CHINA, VIETNAM AND CAMBODIA. NEW YORK: APEX ART.

2010. ART ASIA PACIFIC . ALMANAC 2010, VOL. 5 VIETNAM COUNTRY PROFILE, P198.

2010. ASIAN ART NEWS GINA F AIRLEY. RECHARTERED WATERS: THE MEKONG PROJECT. JANUARY 2010.

2010. ART IN CULTURE MAGAZINE (KOREA) KIM JANG-UN. NEW DECADE, HOT ARTIST 29. JANUARY 2010. PP 144-145.

2010. BANGKOK POSTSTEVE RHODES. 18 YEARS SHOWCASING ASIAN AND PACIFIC ART. MARCH 11, 2010.

2010. ASIAN CURRENTS (THE ASIAN STUDIES ASSOCIATION OF AUSTRALIA)ANNETTE VAN DEN BOSCH. MAPPING THE MEKONG. MARCH 2010.

2010. INDEPENDENT CURATORS INTERNATIONAL: DISPATCH ZOE BUTT. THE PILGRIMAGE OF INSPIRATION - ARTISTS AS ENGINEERS IN VIETNAM. JUNE 2010.

2010. KIEN TRUC AND DOI SONG (ARCHITECTURE AND LIFE) NGO THAI UYEN AND . JUNE 2010.

20092009. THE 6TH ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ARTRST. MAPPING THE MEKONG. APT6 CATALOGUE PP. 120-123.

2009. ARTFORUM PHILLIP TINARI. 2008 GWANGJU BIENNALE, SINGAPORE BIENNALE 2008, 3RD YOKOHAMA TRIENNALEJANUARY 2009.

2009. ESSAYS ON MODERN AND CONTEMPORARY VIETNAMESE ART RST. PHASES AND CONDITIONS FOR CONTEMPORARY ART PRODUCTION IN VIETNAM.

2009. TRANSPORTASIAN : VISIONS OF CONTEMPORARY PHOTOGRAPHY FROM SOUTHEAST ASIA RST & GILLES MASSOT. SIMULACRA. PP. 129-133

2009. ART GUIDE TO ASIA (THE JAPAN FOUNDATION)NOSE YOKO. HO CHI MINH CITY, A CITY WHERE FUTURE PROGRESS INTERSECTS WITH PAST HISTORY. P. 69

2009. ART ASIA PACIFIC ALMANAC VIETNAM AND MYANMAR COUNTRY PROFILES; ART FESTIVALS. VOLUME 4. P 84, 217, 267, 270.STRATEGIES FROM WITHIN. ISSUE 62. MAR/APRIL 2009. P.117

2009. TOKYO ART BEATDARRYL JINGWEN WEE. LEAVING THE WEST TURNING EAST. FEBRUARY 9, 2009.

2009. ARTLINES. QUEENSLAND ART GALLERY | GALLERY OF MODERN ART RUSSELL STORER. THE MEKONG. PP. 21-23.

2009. THE AUSTRALIAN (NEWSPAPER) ROSEMARY SORENSON. PILGRIMS OF THE PACIFIC. NOVEMBER 30, 2009.

2009. BROADSHEET MAGAZINE SUE HAJDU. MISSING THE MEKONG. 38. 4. PP. 267-269. DECEMBER 2009.

2009. ART & AUSTRALIADAVID TEH. SWEET AND DOWNSIZED: SINGAPORE BIENNALE 2008. VOLUME 46, NO. 3, AUTUMN 2009.

2009. HERE, THERE, AND EVERYWHERE: ANTICIPATING THE ART OF THE FUTURE.TRANSCULTURAL EXCHANGE. PEOPLE VOL. III. CATALOGUE.

2009. YISHU: JOURNAL OF CONTEMPORARY CHINESE ARTJO-ANNE BIRNIE DANZKER. POST-WEST: GUANGZHOU TRIENNALE, TAIPEI BIENNALE, AND SINGAPORE BIENNALE. JANUARY/FEBRUARY 2009. VOL. 8, NO. 1.

2009. RIMBUN DAHAN – MONIKA BEHRENS (CATALOGUE)RST. ART AND GRAFT: THE WORK OF MONIKA BEHRENS AT RIMBUN DAHAN

2008 2008. WONDER. SINGAPORE BIENNALE 2008 (CATALOG) SEPTEMBER SWEETNESS. RICHARD STREITMATTER-TRAN, CHAW EI THEIN.

2008. ARTLINK. VOL 28, NO. 4, 40-46FELICITY FENNER. PLACES AND CONTEXTS IN TWO SINGAPORE BIENNALES: CURATING COURTROOMS, CONTAIN-ERS AND CAMPS.2008. BLUEPRINT ASIA ADELE CHONG. SINGAPORE BIENNALE HIGHLIGHTS: SEPTEMBER SWEETNESS (2008). OCT/NOV 2008. P. 30.

2008. ART IN ASIA (KOREA) NORA TAYLOR. VIETNAMESE ART IN THE 21ST CENTURY.

2008. C ARTS. JOSELINA CRUZ. PROJECTING SOUTHEAST ASIA. (VOL. 5).CARLA BIANPOEN. CONTEMPORARY ART IN SOUTHEAST ASIA. (VOL. 4).

2008. THE STRAIGHTS TIMES (SINGAPORE) SHETTY DEEPIKA. IT’S ALL ART. AUGUST 27, 2008.MUGILAN RAJASEGERAN. THE SWEET TASTE OF ART. SEPTEMBER 9, 2008.ANJANA KRISHNA KUMA. STICKY END TO SWEET TRIBUTE. OCTOBER 1, 2008.

2008. NAFAS ART MAGAZINE. CONTEMPORARY ART FROM THE MAGHREB TO S. E. ASIA (BERLIN) SEPTEMBER SWEETNESS. CHAW EI THEIN AND R. STREITMATTER-TRAN. SEPTEMBER ISSUE.

2008. STRATEGIES FROM WITHIN (CATALOG). KE CENTER FOR CONTEMPORARY ART. SHANGHAIRST. MANY RIVERS TO CROSS.

2008. THE CHINA POST (TAIWAN)MACDONALD, JAMES. CIGARETTES AND PAD THAI. JUNE 27, 2008.

2008. SINGAPORE ART GALLERY GUIDERST. NAVIGATING CONTEMPORARY ART SPACES IN HO CHI MINH CITY. MAY 2008.RST. THE MAKING OF ‘SEPTEMBER SWEETNESS’. SEPTEMBER 2008.

2008. COFFEE , CIGARETTES AND PAD THAI: CONTEMPORARY ART IN SOUTHEAST ASIA (CATALOG)RST. IN THROUGH THE OUT DOOR: CONTEMPORARY ART IN HO CHI MINH CITY.

2008. POST-DOI MOI: VIETNAMESE MODERN AND CONTEMPORARY AFTER THE 1990s. (CATALOG)RST. CONDITIONS FOR CONTEMPORARY ART IN VIETNAM. 2008. CONTEMPORARY ART STUDIO. YANG WEI, EDITOR. BEIJING MEDIA ART CENTER. BEIJING: HUNAN FINE ARTS PUBLISHING HOUSE. PP. 310-311.

20072007. JUN NGUYEN-HATSUSHIBA (CATALOG). MUSEUM OF ART LUCERNERST. THE EXPLORATIONS OF JUN NGUYEN-HATSUSHIBA.

2007. MIGRATION ADDICTS. 52ND VENICE BIENNALE. (CATALOG)ZHENG WEIMIN. SHANGHAI: DDM WAREHOUSE.

2007. THINK WITH THE SENSES, FEEL WITH MIND. (CATALOG)52ND VENICE BIENNALE COLLATERAL EVENTS CATALOG. 2007. THERMOCLINE OF ART: NEW ASIAN WAVES. (CATALOG) ZKM CENTER FOR ART MEDIA KARLSRUHE. 2007. PRANA (CATALOG) CHULA ART CENTER. CHULALONGKORN UNIVERSITY. BANGKOK. 2007. MIGRATION ADDICTS. SHENZHEN AND HONG KONG BIENNALE OF ARCHITECTURE AND URBANISM 2007. FRONTIERS. THE SARAI READER 07. (JOURNAL) RAQS MEDIA COLLECTIVE. DELHI, INDIA. MOGAS STATION PROJECT. 2007. ART IN AMERICA. (OCTOBER 2007. No. 9) JOE FYFE. OUTSIDE THE SYSTEM . PP. 115-119.

2007. ART ASIA PACIFIC ANNUAL 2007 VIETNAM COUNTRY AND ARTISTS PROFILE. 2007. ART ASIA PACIFIC ANNUAL (ISSUE 51) GLEESON, ERIN. CROSS-BORDER RELATIONS HEAT UP. 2007. THE ART NEWSPAPER (FEB 19, 2007) ANNA SOMERS COCKS. THE WEAKEST SCENE IN SOUTHEAST ASIA: CAMBODIA, VIETNAM, MYANMAR AND LAOS MILESTONES. 2007. THE AMERICAN PROSPECT (NO. 182, JUL - AUG 2007) THRUPKAEW, NOY. SIGHT UNSEEN. 2007. LE MOIS L’IMAGE (CATALOG) HO CHI MINH CITY: IDECAFE CENTRE CULTUREL FRANCAISE.

2007. FRANKFURTER ALLGEMEINE ZEITUNG JOCHEN BUCHSTEINER. 86 MILLIONEN UNTERNEHMER.2007. JOURNAL OF VISUAL CULTURE JEANNINE TANG. SPECTACLE’S POLITICS AND THE SINGAPORE BIENNALE. 6; 365. P. 370.

20062007. ART.IT (SPRING-SUMMER 2006, JAPAN) UDA, MOTOKO. HOW FAR WILL FREEDOM OF EXPRESSION GO? NEW ART MAGAZINE FOR SAIGON.2006. A.M. POST (NO. 30, ISSUE B). HONG KONG ARTMAP RST. DIGITAL MEDIA IN THE MEKONG. 2006. BELIEF: SINGAPORE BIENNALE (CATALOG) MOGAS STATION. 2006. FINE ART MAGAZINE (JULY 2006, VOL. 3, NO. 22) BRIAN CURTIN. THE FLUX AND FLOW OF INFORMATION: AN INTERVIEW WITH RICHARD STREITMATTER-TRAN. 2006. ART ASIA PACIFIC ALMANAC VIETNAM COUNTRY PROFILE. P. 167. 2006. CONTEMPORARY MAGAZINE RST. EMERGENCIES AND EMERGING CITIES: VIETNAM’S SAIGON OPEN CITY PROGRAM. 2006. THE KOREA TIMES (DECEMBER 6, 2006) GARCIA, CATHY ROSE. ASIAN ARTISTS TACKLE CURRENT ISSUES. 2006. CONTEMPORARY MAGAZINE RST. EMERGENCIES AND EMERGING CITIES: VIETNAM’S SAIGON OPEN CITY PROGRAM. 2006. ẠART MAGAZINE (SINGAPORE BIENNALE, ISSUE 1) RST (EDITOR). SINGAPORE/HCMC: MOGAS STATION.

20052005. THE 1ST POCHEON ASIAN ART FESTIVAL (CATALOG) YOON JIN-SUP. SEOUL: PAAF ORGANIZING COMMITTEE. 2005. INTERNATIONAL HERALD PRESS TRIBUNE (JUNE 9, 2005) JONATHAN NAPACK. VIETNAM’S ARTISTS TRY TO BREAK FREE OF THEIR ‘VELVET PRISON’.2005. OFFSIDE (CATALOG) DUBLIN: PALLAS STUDIOS. DUBLIN CITY GALLERY. THE HUGH LANE.2005. CIRCA ART MAGAZINE (AUTUMN 2005, ISSUE 113. PP 77-79) DUBLIN: OFFSIDE AND OFFSITE LIVE AT DUBLIN CITY GALLERY THE HUGH LANE2004. ART4D (MARCH 2004, ISSUE 102). THAILAND MEDIA POWER. (PAGE 34) INTERVIEW WITH R. STREITMATTER-TRAN2005. GOING GLOBAL. MASSART ALUMNI ASSOCIATION Q&A: R. STREITMATTER-TRAN.2005. ART WORK MAGAZINE (WINTER 2005, ISSUE) LAM, KIMLING. DETOUR VIETNAM. 2005. ART.ES MAGAZINE (JANUARY 2005, ISSUE NO. 5) RST. BIENNALES SECTION: GWANGJU AND BUSAN. SHANGHAI.

2004 AND EARLIER

2004. IN CLUB. GWANGJU BIENNALE (CATALOG) IN CLUB PERFORMANCE PLATFORM.2002. OPENDOOR. MIT ALUMNI ASSOCIATION (MARCH 2002) Q&A: R. STREITMATTER-TRAN.

2002. THE BOSTON PHOENIX (NOV. 7-14, 2002) EDITOR’S PICKS: GETTING ‘ARTRAGED’ AT MOBIUS.1996. FROM BOTH SIDES NOW. (POETRY ANTHOLOGY) BUI DOI. (THREE POEMS) RICHARD STREITMATTER - TRAN. MAHONY, PHILIP (ED). NEW YORK: SIMON & SCHUSTER. 1996.

BROADCAST MEDIA

2009. AUSTRALIA RADIO NATIONAL & THE AUSTRALIAN CHANNEL ARTWORKS FEATURE. ASIA PACIFIC TRIENNIAL. DECEMBER 13, 2009.2009. MEDIACORP RADIO SINGAPORE TRANSPORTASIAN. MAY 31, 2009.2008. MEDIACORP NEWCHANNEL ASIA SEPTEMBER SWEETNESS. SINGAPORE BIENNALE 2008.

RADIO + TELEVISION