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Minimal Prayer

Duy Nguyen

Nominated by
Fotogalleriet
2025
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Minimal Prayer is a poetic exploration of spirituality and worship through a speculative sci-fi lens. In this imagined future, religion is banned, yet people continue to create personal altars from whatever materials they can find. These objects, assembled from mixed iconography, ready-mades, and salvaged symbols, reflect improvised belief systems shaped by censorship, misinformation, and cultural migration. Inspired by East-Asian futurism, the project reimagines Vietnam. A country often viewed through the lens of its war-torn past. Now, as a site of spiritual adaptation and quiet resistance. One work from the series, “Altar of Integration”, draws on my family’s early years in Norway. We were placed with a Christian host family—kind and well-meaning, but with strong missionary intentions. Though we practiced Vietnamese folk religion and Buddhism, we attended Baptist church every Sunday. This blending of belief. Part accommodation, part erasure - mirrored the wider pressures of assimilation and cultural survival, and became a form of quiet negotiation between identity, adaptation, and spiritual autonomy. I grew up between religions, yet gradually became atheist. Returning to Vietnam as an adult altered my perspective on faith. I became drawn to the subtle, everyday ways people engage with spirituality. As tradition struggles to keep up with technology and growth, Minimal Prayer asks: how do we preserve spiritual identity in a future that may not allow it, and what does belief look like when it’s improvised? Finally, it poses a question to the Vietnamese diasporic descendants: How can we achieve a deeper understanding of one another?
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The Artist
Duy Nguyen
Nominated in
2026
By
Fotogalleriet
Lives and Works in
Oslo

I'm a Norwegian-Vietnamese designer and artist based between Oslo and Berlin. Born in the Bidong refugee camp in Malaysia and raised on Norway's west coast, my background drives my research into migration, diaspora stories, and multicultural identity.
Much of Vietnamese refugee history remains clouded in post-war trauma and politically charged narratives. My work seeks to make sense of our position as displaced individuals in the Western world and examines diasporic existence beyond simply digesting the past. I wish to envision what our identity looks like in the future.
Through field and archival research interpreted with a poetic lens, I create what I call poetic essays: exhibitions and projects that seamlessly intertwine poetry, photography, sound, video, and installation. My asymmetrical approach allows elements to inspire each other non-hierarchically. The work explores contradictions between perception and reality, truth and staging, filling historical and memory voids by creating plausible simulacra.

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