Revisiting Bidong in 2024

Added on by Alvin Luong.

In June 2024, I revisited Bidong Island on two separate occasions to continue my work on island and below the sea of the island.

The first of these visits came through the invitation of Dr. Hafiz Borkhanuddin, Director of Marine Biology at University Malaysia Terengganu, to join him and his Masters students on their monthly research dives to examine the state of the marine ecosystem on the sea bed around Bidong. This was a long and exhaustive day under the heavy sun of an exceptionally hot Terengganu summer. According to Dr. Hafiz, the intense heat of June had brought with it a heavy bleaching event upon the corals of Bidong. A widespread series of deaths hit many species of corals from corals that are the size of a hand to size of a mattress.

Joining the team for such a long and focused day that extended into the evening for debriefing, transformed my relationship to Bidong. My relationship with Bidong began through my own one-way projection upon the island based on its traumatic history, wherein I expected for the island to have a psychological burden of sorrow. Having experienced a full working day by people who treat the island as a part of their livelihood and research environment, I now have a more realistic relationship to Bidong. This was certainly the case as I observed the joy and satisfaction of the marine research team as they underwent their dives to search and study for what they had been looking, such as the diversity of white sea slugs that support the ecosystem. Further, laying on the boat for a quick nap created an intimate quotidian relationship to the island.

The second visit this summer was joined by my friend Darius where we recounted our steps last year. This year the Terengganu State Museum had cleared dense forest to create a foot path that traces the route where different facilities and lodgings were formerly located in Bidong. These locations are marked with new sign posts, and included language schools, cooking facilities, and aid stations. Mosquitos swarmed us as we moved through rough footpath trying to evade red ants. The main beach that we had landed upon was undergoing the construction of concrete wave walls to reduce the burden of the sea on the beach. I wonder how this new environmental egineering of the island will impact its ecosystem and how people may relate to its history of the island. If the natural gradation of the beach is erased by a concrete cliff so will the means of imagining refugees finding land underneath the feet as the swam to shore after abandoning their boats from a far to avoid the Malaysian coast guard. On this second excursion to Bidong I had taken the same boat that I had last year and from my first visit this summer with the marine biologists. The boat was also also captained by the same person, Toro.

The greatest impact that my visits to Bidong had upon me is my normalisation of and desentimentalization to the island. Bidong is not locked in the misery of history but is rather a living and breathing site where people continue make lives for themselves. The island is a place of traumatic history but is perhaps, even more so, a site where human and non-human life continue to gather.

On graduate School: UPenn MFA Year 1

Added on by Alvin Luong.

Reflecting on the conclusion of my first year in the MFA program at UPenn, I found it challenging to adjust to the cadence of school. In a context of speed that yields the rapid prototyping of ideas, forms, and materials, it was a struggle to present work that may have already contained outdated or vestigial ideas by the time a critique or review session occurred. But it was also edifying to understand what elements are continuous as a work develops and what elements become vestigial, becoming clunky or unnecessary, as development occurs.

This year, I built upon my initial encounter with Bidong island in the summer of 2023, before school had started. At the beginning of school, I had created sketches and plans for sculptures that attempted to articulate being on the island, however, by the end of this school year, I had created work about being around or in distance to the island, in both psychic, physical and temporal terms. To encircle the island rather than be upon it.

I created sculptures comprised of salt in the form of a pair of Yamaha 150 outboard motors that powered my journey to Bidong from the shores of Malaysia. These sculptures degrade over time as they collect ambient moisture from the air and from water vapour that is piped into them. A process that parallels salt water corrosion from the sea, except now with fresh water.

To Bidong

Added on by Alvin Luong.

On 16 June 16, I visited Pulau Bidong, an island that my father and several thousands of Vietnamese refugees had lived on during the Vietnamese refugee crisis during and following the War. The journey took three days, with flights to Kuala Lumpur, Kuala Terengganu, and then a chartered ferry to Bidong. I was able to make this trip happen thanks to Centre A and its former Director, Henry Heng Lu, who invited me to conduct a research trip.

The island is indeed a saddening place however when I was there I didn’t feel this sadness. Rather, as an artist, I found Bidong to be exciting and edifying. It filled empty boxes in my understanding of self and exposed me to many materials and textures that convey history.

Ration Eater and the closing of a chapter

Added on by Alvin Luong.

My Ration Market project took on a new development in its Ration Eater iteration. The artwork was presented at The Plumb in a show curated by Callum Schuster, called “On a Table, Over Time”.

Ration Eater features a sculpture as well as a tasting event wherein guests can eat an actual bowl of the rau muong/ river spinach-ration congee that was advertised for sale in my Ration Market Special sculpture. The food that was served is a simple congee made with salt, water, and jasmine rice, that is then topped by a slurry of blended rau muong and then garnished with fried shallots. For me, the work was a way to bring the fiction of Ration Market further into life. At the tasting event, guests were encouraged to bring their own bowl and spoon, which for me as an artist, generates a mise-en-scene of a provisional sharing canteen.

The event for Ration Eater was brilliantly accompanied by the curator of the show, Callum, who prepared a cocktail revolving around the Vietnamese herb, Rice Paddy Herb/Ngo Om. An herb that came over to the Americas through the arrival of refugees from Vietnam. Callum had concentrated the rice paddy herb into a simple syrup paired with coconut water, Cointreau, Tanqueray, among other ingredients.

It was my first “relational work”, an activity that brought an intimate depth to the Ration Market project.


The event seemed like a fitting way to mark what feels like the closing of a chapter, with the openings of my three-years-in-making project, After the Cataclysm, Before the Storm, and my show of photographs and computer manufactured images in Destiny Is Not A Good Friend at Hunt Gallery. This period between March and April distills everything that I’ve been working on for three years—when I returned to Toronto in January 2020 after half a year working in Guangzhou, Jakarta, and Ho Chi Minh City, right before the pandemic.

It was a period of breakthrough development, I lived with the folks from HB Station / SJT / Boloho / Fong Fo and Gudskul / Serum / ruangrupa in the lead-up to their Documenta projects which in hindsight, imparted upon me a deep sensitivity to the spatial, political, material characteristics of the places around me. It untethered me from thinking about art production within silos, and to pay attention to the vernacular of culture (in the Bourdieu-sense) around me. To make art that may look less like art and more like the things around its means of production. This I believe, is a path towards continued experimentation.

Plans HG 1.0

Added on by Alvin Luong.

New exhibition plans at HG in April. Thinking about climate control, labour militarism, and the manufacturing of PlayStations.

New and old works made between 2020 and 2023 in HK, Saigon, and Toronto.

Tunnel Rats and Sewer Holes (Hole Story Sketch)

Added on by Alvin Luong.

Some video tests using cheap xerox prints and diptych strategies to combine images of “tunnel rats” and exposed sewage holes around my family home on the outskirts of Ho Chi Minh City. “Tunnel Rats” were often shorter American troops who crawled thru underground tunnel systems in search of Vietnamese guerrillas who built the tunnels to evade aerial assaults. The sewage holes are a result of a contemporary botched real estate development on land that formally trained guerrillas to fight the French and American colonizers.

State of the Studio

Added on by Alvin Luong.

The studio for the past two years has been going exceptionally well.

Through some help from my friends and the funding from the Ontario Arts Council’s Career Catalyst Grant, I’ve been able to build movable walls and acquire a colour-accurate monitor and mobile stand. This set-up has been phenomenal for studio visits as I reconfigure the space depending on my needs. Through the monitor and mobile TV stand, I’ve been able to display my video works, video editing-process, and digital research along with physical sculptures and wall works. The scale of the screen really gives a materiality and presence to screen-based works that would otherwise be blandly viewed on a small computer screen or phone.

A very big thank you and my acknowledgment to the Ontario Arts Council for empowering my studio, which in the past two-ish years has held multiple successful studio visits with writers and curators. Granting me exhibition opportunities and awards. I think a grant like the career catalyst is a perfect fit for emerging artist because it sets an artist up the fundamental tools that they request. It really gets the ball rolling and helps artists work in Ontario which is already a hard thing to do given the cost of living.

Ration Market Special and Underwater of Vietnam

Added on by Alvin Luong.

The universe that my ‘Ration Market’ builds is being extended into a special edition of the project called ‘Ration Market Special’. The title itself is a reference to and follows the grammatical logic of the Vietnamese and Cantonese word ‘dac biet/特別’, meaning ‘special’.

The ‘Ration Market’ will be expanded into a food cart that sells the river spinach rations as a prepared meal consisting of a rice porridge with a topping of reconstituted river spinach with a texture similar to spinach in a saag paneer. This food cart will also sell sim cards for different cellphone carriers in Asia Pacific, advertise a currency exchange service for currencies from Asia Pacific, as well as a makeshift booth for producing headshots for visa applications. Overall, ‘Ration Market Special’ is meant to paint a picture of a precarious station providing a quick meal and low-end services for people trying to flee Vietnam, a region that will soon face growing migratory pressures from Sea Level Rise (more of that below). The picture of migration that this artwork builds is not one for the upwardly mobile, who can migrate through official channels and high-end means of travel through flights, but rather one of the working class who may have to seek grey-market goods and human smuggling services to move across borders. It is a picture of low-end globalization in an era climate crisis.

The organization Climate Central provides a very intuitive and easy to comprehend visualization of the current climate models agreed upon by scientists and researchers in the field. Below are visualizations that reference the latest models from IPC2021. We can observe that Vietnam faces tremendous migratory pressures as its largest cities, Hanoi, the political centre in the north of Vietnam, and Ho Chi Minh City, the economic centre in the south of Vietnam, will both be effectively underwater when taking into account Sea Level Rise and the annual floods during the monsoon season. The areas around these sprawling metropolises which include small villages and towns will also be affected. The areas in red are regions that are below the projected flood level by 2050.

More relevant to my personal concerns is the Ho Chi Minh City area and regions to the south of HCMC. Below we can observe how Ho Chi Minh City’s historic quarters, Saigon and most of Cholon, are surrounded by a ring of flooding. Moving out, we can see the entire southern tip of Vietnam is effectively below projected flood levels. This also includes Cần Thơ, a historically important hub where Cantonese diaspora live, and where my grandmother moved to flee from the Japanese invasion of China during WW2. This area also includes Phuong Phu, the land that my video ‘Hole Story’ is about.

Aside from the loss of habitable areas and great cities, another great tragedy comes from the loss of effective agricultural land. When observing satellite images of regions around and south of HCMC, we can see that the land is densely packed with agricultural projects. Below we can see the agricultural lands near the vicinity of HCMC, and then the whole area south of HCMC. A myriad of green polygons can be observed in these satellite images dedicated to farming.

Lastly, we have a simulated fly-over of the southern tip of Vietnam around Ca Mau. In the video there is a simulated rain storm, and the whirring sounds come from the fans of an Nvidia RTX 3090 at full power. The GPU computing a storm sounds like a storm….

Ration Market (11.02.2022)

Added on by Alvin Luong.

Ration Market (11.02.2022)
200 survival rations made of river spinach/通菜/rau muông, 1 cut plastic sheet, 3 found plexi sheets, 9 red stools.

Moving forward, I’d like to make every installation of the ‘Ration Market’ unique by detailing the materials used to install the work, the amount of rations being installed, and using materials around the site of the installation.

Each iteration of a ‘Ration Market’ should be noted by date and documented. The installation should be provisional and low-end.

Forever sunset

Added on by Alvin Luong.

In contrast to the wet and nocturnal images of my ‘degradation pictures’, these sunset images convey a clarity in their fidelity, and a literal brightness in their illuminated form.

As the sun sets in Phong Phú (Ho Chi Minh City), the emerging moon pulls the rivers that surround the commune upwards which floods the land. The severity of the flooding is based on the height of the rivers which is further determined by the seasons, like the monsoon periods, as well as oceanic sea level rise that engorge the rivers. Night fall is then akin to an omen for things to come. As the lunar flooding of tonight becomes the permanent flooding of tomorrow. The southern half of South East Asia is due to be underwater by 2050 according to today’s climate predictions.

Here with these photographs, a permanent sunset is staged through a yellow-orange light that radiates through the smoggy skies of each image depicting Phong Phú in the early Twenty First Century. This current moment in 2022 does indeed feel like a sunset period. A moment before the flooding is permanent. A moment before the flooding is simply known as the shoreline.

This also feels like a sort of mourning.

Above is a picture of my friends observing the rising river waters in Phong Phú during sun set.

Wet Pictures, Degraded Pictures, Sad Pictures

Added on by Alvin Luong.

I’m constructing pictures that build up a visual world for the tong choy rations and Hole Story to exist together in for printed and exhibition contexts. A visual world that conveys degradation from a repeated cycle of wetting and drying.

Photography has existed in my practice for the purposes work to accomplish a specific project. While I take many photographs in leisure, typically with a phone, I had never used these leisurely images in my art practice. These two modes of image production were distinct operations. Now, I have been able to work with my leisure images with these ‘degradation pictures’ (a temporary name). Leisurely images that are specific to the geography of my tong choy rations and Hole Story are selected and given a treatment.

This type of work constitutes a deeper intimacy between myself and the artwork because these ‘degradation pictures’ are sourced from moments when I wasn’t actively laboring. In other words, these are images from my normal daily life tied to a specific and relevant geography and time. These images are a product of life and curiosity while living and researching somewhere. They are low-fi and compressed jpegs. These are photographs that a person makes and are then repurposed as a material to make art with.

When I view a ‘degradation picture’ I recall the moment or the reason why I took the picture. It is not as sentimental as it sounds, these pictures are usually just some curiosity that I come across in mundane life. When the added treatment transforms these images into ‘degradation pictures’, I impose an anticipated underwater future from sea level rise in Southeast Asia. Tragedy occurs when present time mundanity meets a dreaded future.

In an odd way, I think this is a preparation for mourning.