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In the 1970s, Nguyen Xuan Khanh (born in 1948 in Phnom Penh) had the opportunity to learn about photography. During that time, he studied a French correspondence course called the Eurelec program, which was dedicated to the fields of Science and Photography. This experience played a significant role in establishing the foundation for Nguyen Xuan Khanh and subsequently influenced his style later on.
After moving to live in Vietnam, he had the chance to travel from the South to the North across the famous 17th parallel while working in the transportation industry. During these trips, he witnessed the ruins of the recently-ended war. Standing on Ben Hai Bridge – the historical border – he wished he had a camera to capture those moments. Also, he wanted to record the lives of people in the North, which were different from those in the South. This was likely the first experience that brought Nguyen Xuan Khanh onto the path of photography. This was likely the first experience that brought Nguyen Xuan Khanh onto the path of photography.
Inspiration from Literature and Paintings
Indeed, studying French Literature at the Faculty of Arts in the University of Literature in Saigon (1971-1975) had a significant influence on Nguyen Xuan Khanh’s sources of inspiration. Not only did he learn about French literature, but he also became acquainted with the art movements in Western paintings. Nguyen Xuan Khanh has expressed that his works were inspired and motivated from two main sources: literature and paintings. After World War II, Europe gradually returned to the golden age of economics and culture. During that time, people praised romanticism and impressionism in both literature and art, which deeply inspired him. The photos he took always carry a gentle, melancholic feeling, similar to the lake in the “Le Lac” poem by Lamartin or the paintings of impressionist art such asÉdouard Manet’s “Luncheon on the Grass.”
This can be observed in Nguyen Xuan Khanh’s works in the Hoa Ta Photo Collection, such as “Untitled 1”, “Untitled 5”, and “Untitled 8”, which were captured during his visits to Dat Mui. On a boat amidst countless rivers and waters, he experienced the insignificance of human beings against the vast sea and rivers. The overwhelming clouds reminded him of childhood memories from when he lived in Cambodia. In his imagination, the clouds took on various forms: some resembled animals, while others resembled dancers moving gracefully above his head. The clouds made people’s souls feel as light as feathers or flowers.
Photography is for preserving memories
To Nguyen Xuan Khanh, photography or the camera itself is a tool for preserving memories, helping us understand the existence of those who have passed away, sending a message to future generations, or to those who have not yet known about us. He refers to these preserved memories as “reality”.
In his opinion, a single photograph cannot fully capture the events or stories that the author wants to express. A photo series, on the other hand, provides both the quality and quantity necessary for viewers to understand the message that the author wants to convey. However, a photo series needs a certain standard to persuade viewers. There is not a fixed formula, but rather a connecting “red thread” running through the body of work, guiding viewers to the meaning behind the images.
Parallel Reality in Photography
Nguyễn Xuân Khánh believes that reading photos is a method with a reference value, not an imposition. The guidelines and criteria, such as basing on historical context and analyzing photo’s elements, help viewers perceive the photo deeply, multidimensionally, and more meaningfully. In addition, he argues that artists must also possess the ability to read photographs. Without the foresight to recognize the significance of a subject on a subconscious level, a photographer cannot effectively communicate that meaning through their work.
He agrees with Susan Sontag’s concept in her book ‘On Photography’ that photography represents a parallel reality. To elaborate, photography does not merely capture the actual reality as it exists, but rather conveys an alternate reality that reflects the author’s perspective. Furthermore, this perceived reality is subject to interpretation by viewers who bring their own perspectives to the artwork. Therefore, viewers must equip themselves with analytical skills and knowledge to evaluate the pros and cons of the pieces beyond just technical aspects like sharpness or camera features, etc.
Photography Education Career
After teaching photography for many years, Nguyen Xuan Khanh realized that Vietnamese students were at a disadvantage due to the lack of available course materials in their native language. It was difficult for them to study and improve their skills since teachers could only cover a limited amount of material during class time, leaving them a lot to learn on their own. Additionally, the library system provided limited resources for self-study. Despite enthusiastic support from IDECAF, most of the available materials were foreign books that were difficult for students with limited language skills to understand. As a result, Nguyen Xuan Khanh often had to sit next to his students and guide them through each page and image of the book to help them achieve better comprehension.
Furthermore, he highlights the pressure of earning a livelihood, which leads to a tendency for passive learning solely for passing classes or graduating, with little focus on practical application. The social inclination towards instant success has caused many students to overlook their unique strengths, which are crucial in shaping them into professional photographers. Consequently, we see a constant stream of superficial images lacking depth and contemplation.
Trends in Photography in the New Age
Nguyen Xuan Khanh believes that artists should consider photography as an art form, using “art” as a noun rather than an adjective. He suggests referring to it as “The Art of Photography” instead of a category labeled as “Art Photography”.
He asserts that photography today is not just a single outcome made by cameras, but it can also be combined with other mediums such as cinema and painting. For example, Chris Marker used black-and-white still photos to create the film ‘La Jetée’. Similarly, artist Benjamin Von Wong used photography in his environmental art project Straw Pocalypse. Creating these photographs requires a significant amount of time and space, unlike the traditional concept of a decisive moment.
Nguyen Xuan Khanh believes that new technological developments and tools will aid photographers in their work, rather than resulting in the demise of photography. Camera technology is becoming increasingly user-friendly, and digital photo files are easy to handle, unlike old analog film. Moreover, the sheer volume of smartphone images being captured highlights society’s growing desire for photos to record their experiences and share them with others.
On the other hand, rapid and easy access to technology may lead people to overlook the true potential of photography. Young people often rely on convenience and overuse Photoshop, neglecting the meticulous attention to detail required to create a truly exceptional image. This trend, however, does not necessarily mean that photography is losing its artistic value, as photographers like Andreas Gursky continue to employ classic techniques in their work.
Despite being 75 years old, Nguyen Xuan Khanh continues to organize talks and workshops on photography, mentoring young photographers and encouraging them to develop their skills and approach their careers with a serious mindset.”
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Writer: Liên Võ for Hoa Ta
Editor: BB Trương
Hoa Ta interviews Nguyễn Xuân Khánh
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