1250 Bellflower Blvd, Long Beach, California, United States
Chung received a Bachelor of Fine Arts degree from California State University, Long Beach in 1998.
Tiffany Chung and Phillip Adams.
1250 Bellflower Blvd, Long Beach, California, United States
Chung received a Bachelor of Fine Arts degree from California State University, Long Beach in 1998.
Tiffany Chung and Phillip Adams.
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Chung was born in 1969 in Da Nang, Vietnam. Her father, a pilot in the Southern Vietnamese army who had fought alongside the Americans, was imprisoned from 1971 to 1985. Tiffany was forced to leave Vietnam following the capture of Saigon by Ho Chi Minh's army in 1975. Her family found refuge on the West Coast of the United States.
Chung received a Bachelor of Fine Arts degree from California State University, Long Beach in 1998. Two years later she earned her Master of Fine Arts degree from the University of California, Santa Barbara.
Chung returned to Vietnam in 2000 in order to establish her art practice and contribute to the growing community of contemporary artists. Since 2000 she has participated in solo and group exhibitions. Her solo exhibition "Play", which was held was at Tyler Rollins Fine Art in 2008, included a photo series representing Vietnamese female students and an anomalous "Bubble Shooter" on Northern Vietnamese roads, is featured in the book "Contemporary Photography in Asia".
In 2011, Tiffany was one of 63 artists from 30 countries included in the Singapore Biennale, titled "Open House". A year later she participated in a group exhibition "Six Lines of Flight: Shifting Geographies in Contemporary Art'. In 2007, Chung co-founded the activist art centre Sàn Art along with fellow artists Dinh Q. Lê, Tuan Andrew Nguyen, and Phunam from the Propeller Group.
In 2015, she received a grant from ACC to conduct research on former Vietnamese refugee camps in Hong Kong and Southeast Asia. Tiffany has participated in over 100 exhibitions worldwide and debuted The Syria Project in the 2015 Venice Biennales main exhibition "All the World`s Futures". At Art Basel Hong Kong 2016, she presented the international debut of the first part of The Vietnam Exodus Project, with an installation of new works focusing on the experiences of Hong Kong’s Vietnamese refugee community.
In 2018, Chung participated in the Sydney and Gwangju biennials. Also in 2019, she represented the exhibition "Vietnam, Past Is Prologue". This exhibition probes the legacies of the Vietnam War and its aftermath through maps, videos and paintings that highlight the voices and stories of former Vietnamese refugees. Through this work, Chung documents accounts that have largely been left out of official histories of the period and begins to tell an alternative story of the war’s ideology and effects. Nowadays she lives and works in Ho Chi Minh City.
Chung's works are held in public collections of Minneapolis Institute of Art, M+ in Hong Kong, San Francisco Museum of Modern Art, Herbert F. Johnson Museum of Art, Cornell University, the Ford Foundation, Fukuoka Asian Art Museum, Queensland Art Gallery, Orange County Museum of Art, Louisiana Museum of Modern Art and many others.
Reconstructing an exodus history: boat trajectories in Asia
2017HCMC extreme flood prediction 2050 - ADB & ICEM reports
2013Easter Offensive - The Defense of Quang Tri, 2 April 1972
2016Permanent transitory homes: HK correctional institutions, detention centers and refugee camps from archival records and Google mapping
2015Easter Offensive 1972 - NVA attacks of MR III & battle for An Loc
20181946 survey #28 - blank space: Hitachi Factory, seaside
2016Global Coalition - mapping a conflict without border: areas of influence in Syria and Iraq
2017Study of dots
2006Easter Offensive 1972 - route 13 and abandoned airfields
2018Operation Lam Sơn 719 - the boarder area, MR I-II
201634°03’N 118°15’W - 1934
2009Development Stages of Cluj from the 12th Century to 1957
2012One giant great flood 2050
2012Easter Offensive 1972 - overview of NVA attacks
2018Easter Offensive 1972 - NVA attacks of MR IV
2018Chung's map drawings layer different periods in the history of devastated topographies, reflecting the impossibility of accurately creating cartographic representations of most places.
Her mixed-media installations excavate layers of history, re-write chronicles of places and create interventions into the spatial narratives produced through statecraft.
