{"id":6621,"date":"2018-04-20T05:54:08","date_gmt":"2018-04-19T22:54:08","guid":{"rendered":"https:\/\/matca.vn\/?p=6621"},"modified":"2020-03-24T10:56:05","modified_gmt":"2020-03-24T03:56:05","slug":"neil-masseys-loud-chaotic-vietnam","status":"publish","type":"post","link":"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/","title":{"rendered":"Neil Massey’s Loud and Chaotic Vietnam"},"content":{"rendered":"
[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]A scarlet fighting cock standing triumphantly on a pile of construction sand, colorful sets of plastic tables and chairs waiting to serve workers, friends and lovers, heavily-tattooed young people lost in a sonic trance. What British photographer Neil Massey has seen during his time in Vietnam bears little resemblance to the often seen image of a tranquil, timeless getaway destination. For 6 years, Neil has chronicled DYI metal shows, sipped iced tea on makeshift street tea stalls and wandered around places existing somewhere between public and private.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column][vc_single_image image=”6612″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]His first self-published work The Vietnam Collection<\/em> has launched at indie artbook store inpages last Friday. It is a creative collaboration between Neil and Rice Creative, the studio trusted to understand the Saigonese spirit and the artist himself. On designing a photographic work that aims to depict a country, designer Mark Bain shares: “We had no intention of expressing any sort of Vietnamese characteristic or symbolism through design. Any cultural reference or depiction would be held solely in the photography”.<\/p>\n

The final results are 4 books of varying sizes, solid color with the robust, clean-cut New Rail Alphabet typeface that contains no Vietnamese symbolism. In conjunction with the consistent typographic approach, the chosen colors unifies 4 books as a collection. Black suits the secretive world in Bloody Chunks<\/em>, white accompanies the quiet, brooding moments in\u00a0Untitled<\/em>, red coincides with vibrant plastic furniture in Monobloc<\/em> and yellow embraces the vibrant beauty within S\u1ed1ng<\/em>. Let’s explore Neil’s vision of a loud and noisy but no less charming Vietnam. <\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6615″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6616″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6617″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6618″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]From your work, I assume you prefer chaos to tranquility\u2014is that correct? How do you see and adapt to the chaos of Vietnam that has troubled many expats?<\/strong>
\nI wouldn\u2019t say I prefer chaos to tranquility. I would say Saigon, where I lived for 6 years, had a very special chaotic energy that inspired me. The Vietnamese people have a great spirit and I wanted to convey that. I wanted to show a Vietnam that I was experiencing on a daily basis, not a stereotypical idea of Vietnam. Even though my images can be seen as raw, I like to think there\u2019s a beauty in this rawness. By the way I\u2019m not adverse to some tranquility in my life (laugh).<\/p>\n

Let\u2019s start with Monobloc<\/em>, your ode to Vietnam\u2019s plastic tables and chairs. Despite or because of their ubiquitous presence on the street, they don\u2019t receive much attention or speculation. What do you see in the bright colored, cheap and temporary furniture?<\/strong>
\nThe Monobloc series started when I photographed a group of plastic chairs and tables, ready and waiting for the next set of customers. In this moment I saw these brightly coloured objects as subjects, as characters with personalities, each formation with their own story. The way they are randomly laid out each morning by the vendor, reminded me of working, functioning, transitory installations – the vendor an unknowing curator.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6607″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6606″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6613″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6614″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]What other things do you look for on the street? Your <\/b>S\u00f4\u0301ng<\/i><\/b> zine is a collection of visual poems heavy with symbolism. Can you share a favorite picture, a memorable moment in the series? <\/b>
\nMost of my work is inspired by the activities that happen on the street. My work is an instinctive reaction and intuitive response to life on the street. It\u2019s only later when I look at my work as a whole, I see patterns and themes developing. Whilst editing, the ideas evolve and I focus in on that theme and repetitively shoot this subject over a long period of time. This enables me to study this theme in more depth and develop the idea.<\/span><\/p>\n

I\u2019m really interested in diptychs and how images work together, so with <\/span>S\u1ed1ng<\/span><\/i> I was able to play with this idea. Through pairing images together on a double page spread, they take on a new significance which is open to the viewers interpretation. One of my favourite photos is the <\/span>fish out of water<\/span><\/i> image (which in the book is next to the <\/span>Tan Son Nhat airport<\/span><\/i> image). I was in Mui Ne with Chi-an from RICE, we were on a fresh fish finding mission for our friends\u2019 dinner that evening. It was a very hot day and this fish somehow flipped itself out of a water tank and onto the street below in front of us<\/span>\u2014i<\/span>t was a very surreal moment.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6600″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6602″ img_size=”full” add_caption=”yes”][vc_single_image image=”6601″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Youth culture is a recurrent theme in your work. You have been photographing concerts and raves from 1999 to 2005, and metalheads in Vietnam from 2009 to 2015. This 6-year project resulted in Bloody Chunks, the largest book in the collection. What insights have you got from immersing in the underground music scene? <\/b>
\nI\u2019ve been documenting youth culture since 1990. When I was 19 years old, I spent 3 months travelling around Thailand. I documented the full moon beach raves, the party paradise that inspired the book and film <\/span>The Beach<\/span><\/i>. In the late 90s I moved to London and started to work for style\/youth\/music magazines<\/span>\u2014<\/span>The Face<\/span><\/i> and <\/span>Sleazenation<\/span><\/i>. During this time I travelled the world commissioned to shoot musicians and youth cultures. This work makes up the 1999-2005 film collection. All this work was shot on film and is now on show at <\/span>Boxpark Croydon<\/span><\/a> in London. <\/span><\/p>\n

I was drawn first and foremost to The Vietnamese Underground Metal Scene, as it reminded me of my experiences at punk gigs in the UK when I was a 15. The hardcore energy and spirit of the metal bands and fans resonated with me. The metalheads were a great bunch of people dedicated to this underground sound and way of life. I admired that, I felt compelled to document this scene, during the years I lived in Vietnam. I always felt great after a gig<\/span>\u2014<\/span>the sheer intensity of it. I\u2019ve found over the years that I\u2019ve been documenting youth culture that around the world there are connections<\/span>\u2014<\/span>the universal theme of identity, the emotions of being young, experimenting and evolving.<\/span><\/p>\n

The <\/span>Bloody Chunks<\/span><\/i> book is A3 in size as its the loudest and most energetic of the 4 books. Myself and Rice wanted the size to reflect that<\/span>\u2014<\/span>it should engulf you overpower you when you open it.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column width=”1\/2″][vc_single_image image=”6610″ img_size=”full” add_caption=”yes”][vc_single_image image=”6609″ img_size=”full” add_caption=”yes”][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”6608″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]Why do you choose the book format to publish these works? Tell us more about your collaboration with Mark from Rice creative, one of the leading creative studios in Vietnam.<\/b>
\nI wanted to produce a limited edition run of 100 of each zine\/book, signed and numbered. Rather than publish 4 hardback books over a period of years i wanted them all to come out at the same time together. From a design perspective, we really liked how this format seemed best suited to tell these 4 stories, we thought they worked well together as a set or as individual titles. Each title has its own personality. The different sizes, colourways and image layout reflect that.<\/span><\/p>\n

Mark and the Rice team have been amazing throughout this whole process, massive respect to him as he\u2019s seen the process through to the end designing all the inpages book launch posters and postcards, all in his signature design style. The process of editing took me about two years. I edited all the images for all the books and got the order and flow of images ready, then I handed over the images to Mark and his team and he came back with cover design, font choices and images layout design on the pages. Hardly anything was changed from Rice’s first design presentation to me over skype from Saigon to me in London, which is a testament to their work. I\u2019ve got nothing but great words to say about Rice<\/span>\u2014i<\/span>t was the perfect collaboration.<\/span><\/p>\n

I just want to say a big thank you to Long and team at inpages for working with me to launch and stock my books, limited edition prints and posters.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column][vc_empty_space height=”40px”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” gap=”20″ content_placement=”middle”][vc_column][vc_single_image image=”6619″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”20px”][vc_column_text]Neil Massey<\/u><\/span><\/i><\/a> is a British photographer who has worked in HCMC from 2009 to 2015 and now based in London. His four books <\/span><\/i>The Vietnam Collection<\/u><\/span><\/i><\/a> are finished and published recently. Neil with his wife Julia Massey, a producer, are working together on the <\/span><\/i>Vietnam KIN Project<\/u><\/span><\/i><\/a> that aims to collect photos from the 1950s to the 1970s and give them back to their rightful owner.<\/span><\/i>
\nConnect with Neil Massey on <\/span><\/i>Instagram<\/u><\/span><\/i><\/a>.<\/span><\/i><\/p>\n

Rice Creative<\/u><\/span><\/i><\/a> is an award-winning branding and creative studio set up in Saigon in 2011. Their young, multicultural team are the ones behind many original identity and packaging system design including Marou Chocolate and Uber. <\/span><\/i>
\nView more of their works on <\/span><\/i>Facebook<\/u><\/span><\/i><\/a> & <\/span><\/i>Instagram<\/u><\/span><\/i><\/a>.<\/span><\/i>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″ offset=”vc_hidden-xs”][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]A scarlet fighting cock standing triumphantly on a pile of construction sand, colorful sets of plastic tables and chairs waiting to serve workers, friends and lovers, heavily-tattooed young people lost in a sonic trance. What British photographer Neil Massey has seen during his time in Vietnam bears little resemblance to the often seen image of a tranquil, timeless getaway destination. For 6 years, Neil has chronicled DYI metal shows, sipped iced tea on makeshift street […]<\/p>\n","protected":false},"author":9,"featured_media":6612,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[36,108],"tags":[888,889,813,903,904,909,893],"class_list":["post-6621","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-journal","tag-city-en","tag-documentary-en","tag-must-read-en","tag-photobook-en","tag-review-en","tag-saigon-en","tag-vietnam-en"],"yoast_head":"\nNeil Massey's Loud and Chaotic Vietnam - Matca<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Neil Massey's Loud and Chaotic Vietnam - Matca\" \/>\n<meta property=\"og:description\" content=\"[vc_row content_placement=”middle”][vc_column width=”1\/6″ offset=”vc_hidden-xs”][vc_column_text][\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-xs-12″][vc_column_text]A scarlet fighting cock standing triumphantly on a pile of construction sand, colorful sets of plastic tables and chairs waiting to serve workers, friends and lovers, heavily-tattooed young people lost in a sonic trance. What British photographer Neil Massey has seen during his time in Vietnam bears little resemblance to the often seen image of a tranquil, timeless getaway destination. For 6 years, Neil has chronicled DYI metal shows, sipped iced tea on makeshift street […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\" \/>\n<meta property=\"og:site_name\" content=\"Matca\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/matca.vn\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/hadaowashere\" \/>\n<meta property=\"article:published_time\" content=\"2018-04-19T22:54:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-03-24T03:56:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/matca.vn\/wp-content\/uploads\/2018\/04\/neilmassey_vietnamcollection_025.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"1067\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"H\u00e0 \u0110\u00e0o\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@matcavn\" \/>\n<meta name=\"twitter:site\" content=\"@matcavn\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"H\u00e0 \u0110\u00e0o\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\"},\"author\":{\"name\":\"H\u00e0 \u0110\u00e0o\",\"@id\":\"https:\/\/matca.vn\/en\/#\/schema\/person\/5a5ec172cb18d0bc724eb8a6f4b151fc\"},\"headline\":\"Neil Massey’s Loud and Chaotic Vietnam\",\"datePublished\":\"2018-04-19T22:54:08+00:00\",\"dateModified\":\"2020-03-24T03:56:05+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\"},\"wordCount\":2277,\"image\":{\"@id\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/matca.vn\/wp-content\/uploads\/2018\/04\/neilmassey_vietnamcollection_025.jpg\",\"keywords\":[\"city\",\"documentary\",\"must read\",\"photobook\",\"review\",\"saigon\",\"vietnam\"],\"articleSection\":[\"Features\",\"Journal\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\",\"url\":\"https:\/\/matca.vn\/en\/neil-masseys-loud-chaotic-vietnam\/\",\"name\":\"Neil Massey's Loud and Chaotic Vietnam - 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What British photographer Neil Massey has seen during his time in Vietnam bears little resemblance to the often seen image of a tranquil, timeless getaway destination. 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