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</div> </div> </div> </header> <div id="content" class="site-content">  <div class="ad-wrapper ad-bottom-margin ad-leaderboard ad-has-disclaimer htlad-observer_leaderboard_atf" id="observer_leaderboard_atf"></div>  <div id="single-post-wrapper"> <div id="primary" class="content-area"> <main id="main" class="site-main" role="main"> <div class="article-wrap"> <article id="post-1458944" class="post-1458944 post type-post status-publish format-standard has-post-thumbnail tag-exhibitions tag-frieze tag-installation-art tag-white-cube channel-arts channel-art-reviews channel-galleries location-international location-united-kingdom location-london location-england location-europe nyo_person-friedrich-nietzsche nyo_person-gilles-deleuze nyo_person-martin-heidegger nyo_person-nancy-spero nyo_person-antonin-artaud nyo_person-leon-golub nyo_person-rene-descartes nyo_person-kant nyo_person-danh-vo" data-post="" data-title="Danh Võ Stages the Twilight of Idols in His Show at White Cube" data-url="" data-page-url="/2024/11/art-review-danh-vo-exhibition-white-cube-london/" data-date="2024-11-07 08:00:01" data-date-iso="2024-11-07T08:00:01-05:00" data-author="Elisa Carollo" data-coauthors="Elisa Carollo" data-channels="Arts, Art Reviews, Galleries" data-piped-channels="Arts|Art Reviews|Galleries" > <header class="entry-header"> <div class="entry-teaser"> <a href="https://observer.com/arts/" aria-label="Read more articles on Arts">Arts</a><span>  •  </span><a href="https://observer.com/art-reviews/" aria-label="Read more articles on Art Reviews">Art Reviews</a> </div> <h1 class="entry-title" itemprop="headline">Danh Võ Stages the Twilight of Idols in His Show at White Cube</h1> <h2 class="dek">In London, the artist explores the dissolution of icons and ideologies in the uncertainty of contemporary society.</h2> <div class="entry-meta nyo-social-comments nyo-social-comments-above"> By <span class="author" itemprop="author"><a rel="author" class="url fn n" href="https://observer.com/author/elisa-carollo/" title="View All Posts by Elisa Carollo">Elisa Carollo</a></span> • <span class="entry-date"><time itemprop="datePublished" datetime="2024-11-07">11/07/24 8:00am</time></span> <svg aria-hidden="true" style="position: absolute; width: 0; height: 0; overflow: hidden;" version="1.1" xmlns="http://www.w3.org/2000/svg" xmlns:xlink="http://www.w3.org/1999/xlink"> <defs> <symbol id="icon-envelope" viewBox="0 0 28 28"> <path d="M26 23.5v-12c-0.328 0.375-0.688 0.719-1.078 1.031-2.234 1.719-4.484 3.469-6.656 5.281-1.172 0.984-2.625 2.188-4.25 2.188h-0.031c-1.625 0-3.078-1.203-4.25-2.188-2.172-1.813-4.422-3.563-6.656-5.281-0.391-0.313-0.75-0.656-1.078-1.031v12c0 0.266 0.234 0.5 0.5 0.5h23c0.266 0 0.5-0.234 0.5-0.5zM26 7.078c0-0.391 0.094-1.078-0.5-1.078h-23c-0.266 0-0.5 0.234-0.5 0.5 0 1.781 0.891 3.328 2.297 4.438 2.094 1.641 4.188 3.297 6.266 4.953 0.828 0.672 2.328 2.109 3.422 2.109h0.031c1.094 0 2.594-1.437 3.422-2.109 2.078-1.656 4.172-3.313 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of Idols in His Show at White Cube&body=https://observer.com/2024/11/art-review-danh-vo-exhibition-white-cube-london/" target="_blank" title="Send email"> <svg class="social-icon icon-envelope"><use xlink:href="#icon-filled-envelope"></use></svg> </a> </li> </ul> </div> </header> <div class="entry-content" itemprop="articleBody"> <figure id="attachment_1462495" aria-describedby="caption-attachment-1462495" style="width: 970px" class="wp-caption aligncenter"><img fetchpriority="high" decoding="async" class="wp-image-1462495 size-full-width" src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?quality=80&w=970" alt="Image of a fragment of a greek statue and an american flag. " width="970" height="728" srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg 1919w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=300,225 300w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=768,576 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=635,476 635w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=1536,1153 1536w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=970,728 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=320,240 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?resize=50,38 50w" sizes="(max-width: 600px) 300px, 620px" /><figcaption id="caption-attachment-1462495" class="wp-caption-text">Danh Võ’s latest exhibition at White Cube in London expands his exploration of power structures and their influence on both personal and collective identity. <span class="media-credit">© The artist, Photo © White Cube (Theo Christelis)</span></figcaption></figure> <p>Danh Võ has become internationally known thanks to his highly critical work, which directly challenges and deconstructs the failures of idols and ideologies of past and present using readymades and contextualization to interrogate these structures. His latest exhibition, which opened at White Cube London during Frieze week against the backdrop of the then-upcoming U.S. election, delves further into the impact of power structures on personal and collective identity, critiquing the current disintegration of ideological systems—a theme particularly resonant in today’s political climate and in the wake of Trump’s re-election.</p> <section class="wp-block-observer-newsletters observer-newsletters--in-content"> <form class="newsletters-block__container" method="post" action="#" id="newsletter-6747bd1f154257.68985763" data-form="subscribe-newsletter" data-recaptcha-key="6LexvRggAAAAAF1HvCWrHtG4UAa7m0WIdyIgstAo" data-form-action="https://observer.com/newsletter-subscribe.json"> <div class="observer-newsletters__in-content-icon"> <svg fill="none" xmlns="http://www.w3.org/2000/svg" viewBox="0 0 51 51" width="50" height="50"><path d="M18.124 15.961C23.25 8.783 30.096 4.967 33.682 7.305a4.04 4.04 0 0 1 1.013.97c0 .028 8.3 16.017 8.3 16.017l4.634 2.989a6.39 6.39 0 0 1 1.793 1.732c.472.684.798 1.45.96 2.253.161.804.154 1.63-.02 2.432a6.075 6.075 0 0 1-.995 2.24l-.209.291c-.977 1.355-2.475 2.288-4.17 2.598a6.827 6.827 0 0 1-4.883-.943L32.662 48.32c-1.095 1.285-3.197 2.564-5.792 1.059a3.834 3.834 0 0 1-1.15-1.093 3.63 3.63 0 0 1-.587-1.444 3.763 3.763 0 0 1 .008-1.55 3.85 3.85 0 0 1 .635-1.427l6.556-9.208s-15.5-1.174-15.557-1.196a3.812 3.812 0 0 1-1.35-.552c-1.842-1.19-2.502-3.688-1.865-7.035.573-3.082 2.2-6.572 4.564-9.914Zm29.349 19.182.208-.292c.334-.467.567-.992.687-1.545a4.09 4.09 0 0 0 .012-1.678 4.18 4.18 0 0 0-.665-1.555 4.407 4.407 0 0 0-1.239-1.193l-4.002-2.592-5.282 7.405 4.002 2.592a4.64 4.64 0 0 0 1.624.655c.581.114 1.18.119 1.764.013a4.65 4.65 0 0 0 1.634-.631 4.42 4.42 0 0 0 1.257-1.179Zm-20.03 9.809a1.96 1.96 0 0 0-.324 1.528c.108.53.433.998.904 1.3.472.302 1.05.413 1.608.31A2.158 2.158 0 0 0 31 47.23l7.42-10.405-2.983-1.93-.788-.06-7.205 10.117Zm7.832-12.009 5.757-8.072-5.491-10.657c-.533 2.993-2.091 6.55-4.582 10.04-2.49 3.49-5.386 6.18-8.108 7.758l12.424.931ZM18.188 31.66c2.768-.171 7.275-3.143 11.092-8.497s5.056-10.42 4.205-12.94a2.354 2.354 0 0 0-.877-1.185 2.55 2.55 0 0 0-1.44-.47c-2.746 0-7.42 2.989-11.347 8.497-2.212 3.099-3.823 6.34-4.263 9.175-.863 5.42 2.63 5.42 2.63 5.42Z" fill="#000"/><path d="M25.364 16.165a5.726 5.726 0 0 1 2.148.01c.708.14 1.38.412 1.976.8.11.073.204.166.276.272a.941.941 0 0 1 .14.73.947.947 0 0 1-.158.347.998.998 0 0 1-.285.263 1.047 1.047 0 0 1-.767.133 1.046 1.046 0 0 1-.364-.15 3.572 3.572 0 0 0-1.25-.503 3.648 3.648 0 0 0-1.355-.01 3.574 3.574 0 0 0-1.257.486c-.381.238-.71.546-.966.906s-.436.763-.528 1.189a3.152 3.152 0 0 0-.01 1.29c.086.427.26.834.51 1.197.25.363.574.675.952.92a.972.972 0 0 1 .382.48c.07.194.074.405.01.602a.969.969 0 0 1-.37.49 1.048 1.048 0 0 1-.601.186 1.026 1.026 0 0 1-.58-.165 5.305 5.305 0 0 1-2.01-2.363 4.999 4.999 0 0 1-.29-3.028 5.165 5.165 0 0 1 1.527-2.67 5.592 5.592 0 0 1 2.83-1.412h.04Zm-8.491-6.914h-.098c-.25 0-.493-.088-.679-.248a.95.95 0 0 1-.329-.617l-.782-7.234a.919.919 0 0 1 .21-.725c.083-.1.188-.185.306-.247a1.05 1.05 0 0 1 1.14.105.974.974 0 0 1 .36.668l.776 7.24a.933.933 0 0 1-.222.707c-.17.199-.414.325-.682.351ZM3.771 7.763c.149-.214.38-.363.644-.414.264-.052.538-.002.764.138l7.06 4.41a.974.974 0 0 1 .396.482.922.922 0 0 1 .014.611.969.969 0 0 1-.376.496 1.05 1.05 0 0 1-.613.182 1.07 1.07 0 0 1-.58-.155l-7.06-4.41a.961.961 0 0 1-.415-.622.928.928 0 0 1 .166-.718ZM1.61 19.54l8.214-1.406c.265-.045.538.011.759.158.221.146.372.37.42.622a.93.93 0 0 1-.166.723c-.154.21-.389.354-.654.4l-8.207 1.405h-.18c-.258.007-.51-.08-.703-.243A.933.933 0 0 1 .97 19.88a1.03 1.03 0 0 1 .646-.358l-.005.017Z" fill="#000"/></svg> </div> <div class="observer-newsletters__in-content-inner"> <header class="newsletters-block__header"> <h2 class="newsletters-block__title"> Sign Up For Our Daily Newsletter </h2> </header> <div class="newsletters-block__form"> <input type="hidden" name="action" value="subscribe_newsletter"> <input type="hidden" name="newsletters[]" value="newsletter-daily" id="newsletter-daily"> <div class="newsletters-block__fields wp-block-button"> <input class="newsletters-block__input" aria-label="Email Address" placeholder="Email Address" type="email" name="email" required=""> <button class="wp-block-button__link in_article_single_newsletter_button" type="submit"> Sign Up </button> </div> <p class="newsletter-block__success"> Thank you for signing up! </p> <p class="newsletter-block__error"></p> <p class="newsletters-block__disclaimer"> By clicking submit, you agree to our <a href="http://observermedia.com/terms">terms of service</a> and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime. </p> </div> <a href="https://observer.com/subscribe/" class="newsletters-block__see-all in_article_single_newsletter_see_all_link"> See all of our newsletters </a> </div> </form> </section> <p>Early on, one specific piece sets the tone and establishes itself as the exhibition’s central statement: a fragmented and bent rendering of Venus stands in front of an American flag, surrounded by precarious plywood structures. This dramatic scene suggests that the era of solemnity, solidity and monumentality associated with classical statues and temples has faded, leaving only fragments of civilization, democracy and freedom in an increasingly polarized and divided world.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_1" id="observer_article_instream_mobile_1"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_1" id="observer_article_instream_dsk_1"></div> <p>Throughout the exhibition, Võ’s work evokes the kind of deconstruction of idols championed by philosophers like <a href="https://observer.com/person/friedrich-nietzsche/" title="Friedrich Nietzsche" class="company-link">Friedrich Nietzsche</a> and later <a href="https://observer.com/person/martin-heidegger/" title="Martin Heidegger" class="company-link">Martin Heidegger</a> and <a href="https://observer.com/person/gilles-deleuze/" title="Gilles Deleuze" class="company-link">Gilles Deleuze</a>, dismantling the idealism that once characterized Western civilization. These philosophers argued that paradigmatic ideological constructions are mere tools for manipulating worldviews on both individual and collective levels, asserting that the myths imposed by religion and politics have long prioritized abstract ideas over reality, reducing the complexity of physical and historical truth to rigid, limiting constructs.</p> <p>Võ visualizes these metaphysical structures—built to contain and impose order on a chaotic yet dynamic reality—with pinewood scaffolding that partially obstructs both physical and visual access, pointing to inherent fragility and instability. Scattered among these precarious constructions across both floors of the show are fragments of religious idols and political propaganda, symbolizing their clash with historical reality and reminding us of how contemporary society has progressively eroded the once-fixed philosophical and religious foundations upon which Western thought was anchored.</p> <figure id="attachment_1462497" aria-describedby="caption-attachment-1462497" style="width: 970px" class="wp-caption aligncenter"><img decoding="async" class="lazyload wp-image-1462497 size-full-width" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?quality=80&w=970" alt="Image of a fragment of a classical statue and two paintings." width="970" height="728" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg 1919w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=300,225 300w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=768,576 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=635,476 635w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=1536,1153 1536w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=970,728 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=320,240 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=50,38 50w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload wp-image-1462497 size-full-width" src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?quality=80&w=970" alt="Image of a fragment of a classical statue and two paintings." width="970" height="728" srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg 1919w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=300,225 300w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=768,576 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=635,476 635w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=1536,1153 1536w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=970,728 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=320,240 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-10.jpeg?resize=50,38 50w" sizes="(max-width: 600px) 300px, 620px" /></noscript><figcaption id="caption-attachment-1462497" class="wp-caption-text">A work combining two fragments of ancient Roman marble is flanked by two paintings: Nancy Spero’s <em>All writing is pigshit </em>(1969) and a portrait of the Spanish dictator Francisco Franco by Leon Golub (1976). <span class="media-credit">© The artist, Photo © White Cube (Theo Christelis)</span></figcaption></figure> <p>On the ground floor, Võ presents an overtly critical or perhaps parodic commentary on contemporary politics, leaving little room for interpretation. The display addresses the failure of civilization to uphold political ideals and order: <a href="https://observer.com/person/nancy-spero/" title="Nancy Spero" class="company-link">Nancy Spero</a>’s <em>All writing is pigshit</em> (1969), which quotes French poet and playwright <a href="https://observer.com/person/antonin-artaud/" title="Antonin Artaud" class="company-link">Antonin Artaud</a> and denounces the failure of writing to make powerful statements, faces <a href="https://observer.com/person/leon-golub/" title="Leon Golub" class="company-link">Leon Golub</a>’s 1976 portrait of Spanish dictator Francisco Franco. These works suggest that, in a controlled society, information becomes both constructed and prescriptive, designed to encourage passive acceptance within a political system that has forgotten the democratic values of the <em>polis</em>.</p> <p>Descending the stairs, visitors encounter a bronze cast of a 16th-century Spanish figure of Christ crucified, hanging inert, stripped of both arms and the promise of redemption. In it, Võ presents pillars of “images of thought” imposed by religion, philosophy and politics as lifeless relics of the illusions they once held. These objects embody the failure of “representational thinking,” wherein ideals hold value only insofar as they conform to predefined forms or notions established by authority. This concept, deeply rooted in Western philosophy—from spiritual forms to the ideas of René Descartes and Immanuel <a href="https://observer.com/person/kant/" title="Kant" class="company-link">Kant</a>—restricts knowledge to categories that fit our understanding, limiting the creative processes essential for new insights into the world. Ultimately, this reactive mindset, which relies on interpreting the present through the past, leads to a constrained worldview controlled by power dynamics that dictate societal norms and stifle engagement with the future.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_2" id="observer_article_instream_mobile_2"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_2" id="observer_article_instream_dsk_2"></div> <blockquote><p><em><strong>SEE ALSO: <a href="https://observer.com/2024/11/art-review-dominic-chambers-solo-show-meraki-lehmann-maupin/" data-lasso-id="2634864">Dominic Chambers’ Debut Solo Show in London Explores the Poetic Dimensions of Reality </a></strong></em></p></blockquote> <p>Other works in the exhibition consider how the global circulation of cultural symbols has eroded their profound, often centuries-old, symbolic significance. Abandoned cases branded with Coca-Cola and Johnnie Walker logos contain carved wooden figures from biblical narratives and the fragmented torso of a wooden <em>putto</em>—all reduced in meaning by overproduction and endless circulation, leading to global homogenization. Bas-reliefs smuggled and concealed within a RIMOWA suitcase reference the global elite that engages with these symbols within a touristic framework while disregarding the deeper cultural histories of the communities that created them.</p> <figure id="attachment_1462501" aria-describedby="caption-attachment-1462501" style="width: 970px" class="wp-caption aligncenter"><img decoding="async" class="lazyload wp-image-1462501 size-full-width" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?quality=80&w=970" alt="Image of a wood case and altar piece inside " width="970" height="1293" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg 2360w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=225,300 225w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=768,1024 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=450,600 450w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1152,1536 1152w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1536,2048 1536w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=970,1293 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=320,427 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1920,2559 1920w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=38,50 38w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload wp-image-1462501 size-full-width" src="https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?quality=80&w=970" alt="Image of a wood case and altar piece inside " width="970" height="1293" srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg 2360w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=225,300 225w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=768,1024 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=450,600 450w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1152,1536 1152w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1536,2048 1536w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=970,1293 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=320,427 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=1920,2559 1920w, https://observer.com/wp-content/uploads/sites/2/2024/10/a228880.jpeg?resize=38,50 38w" sizes="(max-width: 600px) 300px, 620px" /></noscript><figcaption id="caption-attachment-1462501" class="wp-caption-text">Danh Vo, <em>Untitled</em>, 2024; 16th-century German carved oak wood altarpiece with Kiss of Judas and Coca-Cola wooden box, 50 x 31 x 26 cm | 19 11/16 x 12 3/16 x 10 1/4 in. <span class="media-credit">© The artist, Photo © White Cube (Theo Christelis)</span></figcaption></figure> <p>Similarly, a suite of bronze sculptures cast from original East Asian stone-carved artifacts depicting Hindu and Buddhist figures reveals a history of cultural predation that stripped these sacred objects of their spiritual significance. Exhibited from behind, the bronzes expose abstract patterns left by the looters who hacked and sawed them from their stone towers to satisfy the wants and whims of Western collectors.</p> <p>Other works in the show reflect an appreciation for craftsmanship, celebrating labor and creativity as cornerstones of human ingenuity. A set of floral canvases originally painted by Northern European female artists between the late 19th and early 20th Centuries traveled to Thailand, where artisans applied gilding to the calligraphic lettering. These objects, surviving into contemporary times, retain an aura of dedication to the “religion of making” and serve as testaments to the intercultural exchanges that have propelled human progress.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_3" id="observer_article_instream_mobile_3"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_3" id="observer_article_instream_dsk_3"></div> <figure id="attachment_1462499" aria-describedby="caption-attachment-1462499" style="width: 970px" class="wp-caption aligncenter"><img decoding="async" class="lazyload wp-image-1462499 size-full-width" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?quality=80&w=970" alt="Image of a rimowa metal colored suitcase and a scafolding with statues." width="970" height="1293" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg 1080w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=225,300 225w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=768,1024 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=450,600 450w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=970,1293 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=320,427 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=38,50 38w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload wp-image-1462499 size-full-width" src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?quality=80&w=970" alt="Image of a rimowa metal colored suitcase and a scafolding with statues." width="970" height="1293" srcset="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg 1080w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=225,300 225w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=768,1024 768w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=450,600 450w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=970,1293 970w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=320,427 320w, https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-2.jpeg?resize=38,50 38w" sizes="(max-width: 600px) 300px, 620px" /></noscript><figcaption id="caption-attachment-1462499" class="wp-caption-text">Two luxury Rimowa suitcases housing priceless artifacts—the limbs of the aforementioned putto and a Gandharan schist relief—offer wry commentary on value paradigms. <span class="media-credit">© The artist, Photo © White Cube (Theo Christelis)</span></figcaption></figure> <p>Violently removed from their context and introduced into the endless commercial circulation of objects, art and artifacts and ruins are reduced to relics of a civilization that has progressively destroyed its idols, weakened its systems of law and order and stripped itself of sacrality and spirituality. The absence of new beliefs upon which to ground contemporary life, combined with extreme relativism, creates a sense of cultural disorientation, leaving individuals to navigate global events without a historical conscience—a struggle that becomes especially fraught in turbulent geopolitical times, which can give rise to darker forces.</p> <p>Yet Võ’s quiet, bittersweet reflections also suggest the possibility of redemption through artistic labor, which still allows humans to shape a sense of reality and, thereby, to resist, adapt and endure any socio-political climate in which they find themselves. Confronted with the task of making sense of the world, creative thought enables individuals to resist imposed worldviews while critically questioning and engaging with the reality of a universe in constant flux—one that requires new interpretative approaches.</p> <p>Võ’s work aligns with Gilles Deleuze’s idea that art alone can trace new worlds of meaning by embracing the complexity and continuous change inherent in reality, beyond the limitations of past prescriptions. The show suggests that only by actively engaging with chaos in the creation of the new can humanity evolve on both individual and collective levels—true thinking is a creative act, liberated from imposed rules, protocols and outdated idols.</p> <p><strong><a target="_blank" target="_blank" rel="noopener" href="https://www.whitecube.com/gallery-exhibitions/danh-vo-masons-yard-2024" data-lasso-id="2634865">Danh Võ’s solo show</a> is on view at White Cube London through November 16.</strong></p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_4" id="observer_article_instream_mobile_4"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_4" id="observer_article_instream_dsk_4"></div> </p> <img itemprop="image" src="https://observer.com/wp-content/uploads/sites/2/2024/10/Danh-Vo-Danh-Vo-White-Cube-Masons-Yard-11-October-16-November-2024-medium-res-6.jpeg?quality=80&w=970" alt="Danh Võ Stages the Twilight of Idols in His Show at White Cube" style="display:none;width:0;"> </div> <footer class="entry-meta"> </footer> </article> <div class="breadcrumbs"> <span class="before-text"> Filed Under:</span> <a href="https://observer.com/arts/" aria-label="Read articles filed under Arts">Arts</a>, <a href="https://observer.com/art-reviews/" aria-label="Read articles filed under Art Reviews">Art Reviews</a>, <a href="https://observer.com/galleries/" aria-label="Read articles filed under Galleries">Galleries</a>, <a href="https://observer.com/person/antonin-artaud/" aria-label="Read articles filed under Antonin Artaud">Antonin Artaud</a>, <a href="https://observer.com/person/kant/" aria-label="Read articles filed under Kant">Kant</a>, <a href="https://observer.com/person/gilles-deleuze/" aria-label="Read 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