Haus der Kunst

This distinctive approach, allied to her ability to operate across diverse disciplines, forms and scales, and her sensitivity to space and sight, led to her being commissioned to respond to the German pavilion in the 61st Venice Biennale.

Sung was five when she left Vietnam and came to Germany with her mother across the border from Czechia through a forest that has featured as an image in one of her installations, Sugsfang, at the Haus der Kunst in Munich in 2020.

Her father was a so-called contract worker who came to Berlin from Vietnam in the late 1980s, one of around 70,000 Vietnamese migrants who arrived as part of the arrangement between the Communist German Democratic Republic, or GDR, and their Vietnamese government allies.

These conditions and their legacies as Germany unified have formed a crucial subject in Sung's work, along with her own personal testimony.

Last time I presented it was in a wonderful exhibition in Munich about the history of artists who have made works for children.

And it was presented in a room at the Haus der Kunst, which is one of the Nazi buildings.

And so in that context, it came to be read actually as a queer work.

and the importance of inclusion in that space.

And finally, also white cubes, you know, I come very much from museums.

The last bigger museum I worked for was Haus der Kunst in Munich.

And finally, also these bigger museums start to show media art, which is actually reflecting the media that we are working with.

I mean, painting and sculpture, is still when we go there and in these museums where only this like more yeah older older media well because white cuba

Oh, okay.

And the building was called Haus der Kunst, and it was called House of Art.

And at the beginning, and it looked like a Roman building.

And at the beginning of the, the building, the rest was a art, for art exhibit.