Sensing a connection between her creative practice and Agnès Varda’s The Gleaners and I (2000), a film about people who make use of items that have been discarded by others, Vietnamese moving-image artist Nguyễn Trinh Thi has described herself as a ‘gleaner’ by virtue of her ecological approach to producing moving-image works.1¹ Nguyễn uses montage to explore processes of historical erasure through found materials mostly sourced from the internet, due in part to the difficulty of accessing such materials via Vietnamese institutional archives.2² Collectively, these materials – including press photographs, tourist and colonial postcards, archival newsreels, drone footage, ethnographic film, popular and art house cinema – envisage the history of Vietnam through colonial, state and cinematic imaginaries. Nguyễn brings these found objects into dialogue with her own video and audio recordings in her non-linear, experimental documentaries, essay films and audiovisual installations. This essay focuses on Nguyễn’s Landscape series – Landscape Series #1 (2013), Letters from Panduranga (2015), Fifth Cinema (2018) and How to Improve the World (2021) – and explores how the interrelated and shifting macro-histories of global and national politics, colonialism and the Cold War are made visible and audible through the micro-ecologies and environments that these works depict.

中文翻译：

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在废墟中觅食：Nguyễn Trinh Thi 的真菌学运动影像实践

越南动态影像艺术家 Nguyễn Trinh Thi 意识到她的创作实践与 Agnès Varda 的The Gleaners and I (2000) 之间的联系，这是一部关于人们利用他人丢弃的物品的电影，她将自己描述为“拾荒者”凭借她制作动态影像作品的生态方法^{。1 1} Nguyễn 使用蒙太奇通过发现的材料探索历史擦除的过程，这些材料大多来自互联网，部分原因是难以通过越南机构档案获取这些材料^{。2 2}总的来说，这些材料——包括新闻照片、旅游和殖民明信片、档案新闻片、无人机镜头、民族志电影、流行和艺术电影——通过殖民、国家和电影想象来设想越南的历史。Nguyễn 在她的非线性实验纪录片、散文电影和视听装置中将这些发现的物品与她自己的视频和录音进行对话。本文重点介绍 Nguyễn 的风景系列 - Landscape Series #1 (2013), Letters from Panduranga (2015), Fifth Cinema (2018) 以及如何改善世界 (2021)——并探讨如何通过这些作品所描绘的微观生态和环境，使全球和国家政治、殖民主义和冷战的相互关联和变化的宏观历史变得可见和可听。