{"id":6232,"date":"2013-11-14T14:24:34","date_gmt":"2013-11-14T14:24:34","guid":{"rendered":"https:\/\/boitran.com\/?p=6232"},"modified":"2026-04-06T17:04:21","modified_gmt":"2026-04-06T17:04:21","slug":"cao-trong-thiem-a-letter-of-2013-or-the-moment-when-an-institution-pauses-before-a-lived-space","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/cao-trong-thiem-a-letter-of-2013-or-the-moment-when-an-institution-pauses-before-a-lived-space\/","title":{"rendered":"Cao Tr\u1ecdng Thi\u1ec1m, M\u1ed9t B\u1ee9c Th\u01b0, 2013, Hay Kho\u1ea3nh Kh\u1eafc Khi Thi\u1ebft Ch\u1ebf D\u1eebng L\u1ea1i Tr\u01b0\u1edbc M\u1ed9t Kh\u00f4ng Gian S\u1ed1ng"},"content":{"rendered":"

\n\t\t\tCao Tr\u1ecdng Thi\u1ec1m, M\u1ed9t B\u1ee9c Th\u01b0, 2013, Hay Kho\u1ea3nh Kh\u1eafc Khi Thi\u1ebft Ch\u1ebf D\u1eebng L\u1ea1i Tr\u01b0\u1edbc M\u1ed9t Kh\u00f4ng Gian S\u1ed1ng\t<\/h2>\n\tOn 14 November 2013 in Hue, a letter was left for Boi Tran, signed by Cao Trong Thiem. He did not come alone. Alongside him were Phan Van Tien, Vi Kien Thanh, and Le Van Suu;\u00a0figures who, each in their own capacity, embody the institutional structure of Vietnamese art.\nYet what was left behind was not a statement of authority, but a gesture. Not institutional, but human.\n
\n\t\t\t\t\"Cao\n\t\t
Cao Trong Thiem’s letter to Boi Tran, Hue, 14 November 2013.\nSigned by Cao Trong Thiem (Director, Vietnam National Fine Arts Museum, 1998-2003).\nAccompanied by Phan Van Tien, Vi Kien Thanh, Le Van Suu, and Nguyen Thanh Ha.<\/figcaption>\n\t<\/figure>\n\t

Ng\u00e0y 14 th\u00e1ng 11 n\u0103m 2013, t\u1ea1i Hu\u1ebf, m\u1ed9t b\u1ee9c th\u01b0 \u0111\u01b0\u1ee3c \u0111\u1ec3 l\u1ea1i cho B\u1ed9i Tr\u00e2n. Kh\u00f4ng ph\u1ea3i m\u1ed9t v\u0103n b\u1ea3n \u0111\u01b0\u1ee3c chu\u1ea9n b\u1ecb. M\u00e0 l\u00e0 m\u1ed9t d\u1ea5u v\u1ebft.<\/p>\n

B\u1ee9c th\u01b0 mang ch\u1eef k\u00fd c\u1ee7a Cao Tr\u1ecdng Thi\u1ec1m, Nguy\u00ean Gi\u00e1m \u0110\u1ed1c B\u1ea3o t\u00e0ng M\u1ef9 thu\u1eadt Vi\u1ec7t Nam, m\u1ed9t thi\u1ebft ch\u1ebf \u0111\u1ecbnh ngh\u0129a, l\u01b0u gi\u1eef v\u00e0 chu\u1ea9n h\u00f3a l\u1ecbch s\u1eed m\u1ef9 thu\u1eadt. Nh\u01b0ng \u1edf \u0111\u00e2y, \u00f4ng kh\u00f4ng n\u00f3i v\u1edbi t\u01b0 c\u00e1ch th\u1ea9m quy\u1ec1n. \u00d4ng kh\u00f4ng th\u1ea9m \u0111\u1ecbnh. \u00d4ng ch\u1ec9 \u0111\u1ec3 l\u1ea1i m\u1ed9t d\u00f2ng ch\u1eef.<\/p>\n

He is accompanied by figures representing the highest levels of Vietnam’s art system: a museum director, a state official in charge of fine arts, and a university rector. A complete structure. A system capable of assigning value.<\/p>\n

H\u1ec7 th\u1ed1ng \u1ea5y \u0111\u1ebfn Hu\u1ebf. V\u00e0 d\u1eebng l\u1ea1i tr\u01b0\u1edbc m\u1ed9t kh\u00f4ng gian kh\u00f4ng thu\u1ed9c v\u1ec1 n\u00f3.<\/p>\n\t

B\u1ed9i Tr\u00e2n kh\u00f4ng x\u00e2y d\u1ef1ng m\u1ed9t thi\u1ebft ch\u1ebf. B\u00e0 t\u1ea1o ra m\u1ed9t m\u00f4i tr\u01b0\u1eddng. \u1ede \u0111\u00f3, t\u00e1c ph\u1ea9m kh\u00f4ng \u0111\u01b0\u1ee3c ph\u00e2n lo\u1ea1i theo tr\u00e0o l\u01b0u. Kh\u00f4ng \u0111\u01b0\u1ee3c \u0111\u1ecbnh ngh\u0129a b\u1eb1ng l\u00fd thuy\u1ebft. Ch\u00fang hi\u1ec7n di\u1ec7n trong kh\u00f4ng gian, trong ki\u1ebfn tr\u00fac,\ntrong \u0111\u1eddi s\u1ed1ng.<\/p>\n

\u0110i\u1ec1u di\u1ec5n ra trong b\u1ee9c th\u01b0 kh\u00f4ng n\u1eb1m \u1edf n\u1ed9i dung c\u1ee7a n\u00f3.<\/p>\n

M\u00e0 \u1edf s\u1ef1 chuy\u1ec3n d\u1ecbch v\u1ecb tr\u00ed.<\/p>\n

M\u1ed9t ng\u01b0\u1eddi t\u1eebng \u0111\u1ea1i di\u1ec7n cho h\u1ec7 th\u1ed1ng kh\u00f4ng mang h\u1ec7 th\u1ed1ng \u1ea5y v\u00e0o ng\u00f4n t\u1eeb. Kh\u00f4ng \u0111\u00e1nh gi\u00e1. Kh\u00f4ng kh\u1eb3ng \u0111\u1ecbnh. Ch\u1ec9 c\u00f2n m\u1ed9t c\u1eed ch\u1ec9.<\/p>\n

Thi\u1ebft ch\u1ebf kh\u00f4ng bi\u1ebfn m\u1ea5t. Nh\u01b0ng n\u00f3 l\u00f9i l\u1ea1i.<\/p>\n

\n\t\t\t\t\"Tran\n\t\t
Tran Nguyen Dan, Deputy Director, Vietnam National Fine Arts Museum (1998-2003); Boi Tran and Cao Trong Thiem, Director, Vietnam National Fine Arts Museum (1998-2003); Hanoi, circa 2000.<\/figcaption>\n\t<\/figure>\n\t

In the words “health, beauty and prosperity”, language no longer belongs to title. It becomes the language of a person standing before a presence that requires no validation.<\/p>\n

Trong m\u1ed9t b\u1ee9c \u1ea3nh ch\u1ee5p kho\u1ea3ng n\u0103m 2000 t\u1ea1i H\u00e0 N\u1ed9i, n\u01a1i Tr\u1ea7n Nguy\u00ean \u0110\u00e1n, B\u1ed9i Tr\u00e2n v\u00e0 Cao Tr\u1ecdng Thi\u1ec1m c\u00f9ng hi\u1ec7n di\u1ec7n, kh\u00f4ng c\u00f2n s\u1ef1 ph\u00e2n chia r\u00f5 r\u00e0ng gi\u1eefa c\u00e1c vai tr\u00f2. Kh\u00f4ng c\u00f2n trung t\u00e2m. Kh\u00f4ng c\u00f2n ngo\u1ea1i vi.<\/p>\n

Ch\u1ec9 c\u00f2n nh\u1eefng con ng\u01b0\u1eddi c\u00f9ng t\u1ed3n t\u1ea1i trong m\u1ed9t tr\u01b0\u1eddng ngh\u1ec7 thu\u1eadt.<\/p>\n

B\u1ee9c th\u01b0 n\u0103m 2013, v\u00ec v\u1eady, kh\u00f4ng ph\u1ea3i l\u00e0 m\u1ed9t v\u0103n b\u1ea3n mang t\u00ednh thi\u1ebft ch\u1ebf. N\u00f3 l\u00e0 kho\u1ea3nh kh\u1eafc khi quy\u1ec1n l\u1ef1c c\u1ee7a ng\u00f4n ng\u1eef d\u1eebng l\u1ea1i, v\u00e0 nh\u01b0\u1eddng ch\u1ed7 cho s\u1ef1 hi\u1ec7n di\u1ec7n.<\/p>\n

Kh\u00f4ng ph\u1ea3i \u0111\u1ec3 x\u00e1c nh\u1eadn gi\u00e1 tr\u1ecb. M\u00e0 b\u1edfi v\u00ec gi\u00e1 tr\u1ecb \u1ea5y kh\u00f4ng c\u00f2n c\u1ea7n \u0111\u01b0\u1ee3c x\u00e1c nh\u1eadn.<\/p>\n

\u0110\u00e2y kh\u00f4ng ph\u1ea3i l\u00e0 m\u1ed9t v\u0103n b\u1ea3n c\u1ee7a thi\u1ebft ch\u1ebf. \u0110\u00e2y l\u00e0 kho\u1ea3nh kh\u1eafc khi thi\u1ebft ch\u1ebf nh\u1eadn ra gi\u1edbi h\u1ea1n c\u1ee7a ch\u00ednh m\u00ecnh.<\/p>\n

\n\t\t\tB\u1ea1n c\u00f3 th\u1ec3 quan t\u00e2m\t<\/h2>","protected":false},"excerpt":{"rendered":"

Ng\u00e0y 14 th\u00e1ng 11 n\u0103m 2013 t\u1ea1i Hu\u1ebf, m\u1ed9t b\u1ee9c th\u01b0 \u0111\u01b0\u1ee3c \u0111\u1ec3 l\u1ea1i cho B\u1ed9i Tr\u00e2n, mang ch\u1eef k\u00fd c\u1ee7a Cao Tr\u1ecdng Thi\u1ec1m. C\u00f9ng \u0111o\u00e0n l\u00e3nh \u0111\u1ea1o c\u00e1c thi\u1ebft ch\u1ebf m\u1ef9 thu\u1eadt, \u00f4ng \u0111\u1ebfn kh\u00f4ng \u0111\u1ec3 \u0111\u1ecbnh danh hay th\u1ea9m \u0111\u1ecbnh, m\u00e0 \u0111\u1ec3 ghi nh\u1eadn.\n\n\u0110i\u1ec1u hi\u1ec7n ra t\u1eeb m\u1ed9t ghi ch\u00fa ng\u1eafn l\u00e0 m\u1ed9t chuy\u1ec3n d\u1ecbch: ng\u00f4n ng\u1eef c\u1ee7a th\u1ea9m quy\u1ec1n l\u00f9i l\u1ea1i, v\u00e0 thay v\u00e0o \u0111\u00f3 l\u00e0 m\u1ed9t c\u1eed ch\u1ec9. Kh\u00f4ng c\u00f2n l\u00e0 thi\u1ebft ch\u1ebf, m\u00e0 l\u00e0 con ng\u01b0\u1eddi.<\/p>","protected":false},"author":2,"featured_media":6205,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,29,9],"tags":[90,91,17,92,93],"class_list":["post-6232","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-history-stories","category-stories","tag-boi-tran","tag-boi-tran-art-gallery","tag-boi-tran-garden","tag-cao-trong-thiem","tag-tran-nguyen-dan"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6232","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/comments?post=6232"}],"version-history":[{"count":8,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6232\/revisions"}],"predecessor-version":[{"id":8096,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/6232\/revisions\/8096"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/6205"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=6232"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=6232"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=6232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}