It took me so long to finally see the city that I grew up and live in, Hanoi. At her most chaotic, she would appear in front of all of us - veiled in a layer of smoke and dust, yet saturated and almost vibrating in colorful patterns and textiles, surrounded by a mirage of rows of steel and concrete. She sings the song of a thousand motors and crying children. But where is she? 

Through this, reflecting on womanhood through social experiences, I look outward to survey the many performances of a woman and the small wars against it in a developing techno culture that is so inherently Confucianist. The work focuses on the archive images to straddle with the form of a contemporary woman, with the idea that the battle of domesticity and the specter of the past bait the woman to become an actor of social reproduction in the context of Vietnamese economy and politics.

The project uses the maternal figure as a gulf between lived experience and delineation. In this, the performance of femininity is carried out through the dramatization of family life - the socialization with others, gender roles, sexual performance and child care. Through that, the image internalizes its roles, much like a woman, as an actor of social reproduction in contemporary society. It hypothesizes the future of the woman figure through the manifestation of past and present images - who cares for the Vietnamese woman?

-soon-