Tung Monkey: “I Am Not a Cultural Preservationist”

The latest episode of LOXO features a dialogue between Duong Do and Tung Monkey—a pioneering Visual Artist who has used “light and pixels” to redefine performance spaces in Vietnam over the past decade. From explosive EDM stages to conceptual digital art exhibitions, Tung is not merely a practitioner but a vital link bringing Vietnam’s Digital Art out of the shell of conventional illustration.

The conversation does not stop at art but delves into the mettle of creators in the AI era. Stubbornly holding one’s ground, or remaining open to evolution?

1. Must Art… Be Understood?

Opening the conversation, Duong Do puts Tung in a difficult position: Where is the boundary between a chaotic cluster of data serving entertainment and a true work of art? He bluntly questions whether artists are intentionally “layering” academic concepts onto an image that was initially created merely to decorate a stage.

Tung Monkey responds with a straightforward priority: Aesthetics must meet standards before discussing concepts. For Tung, if it cannot make people stop and look, all profound messages are meaningless. He respects the audience’s freedom, even if they understand nothing at all. An artwork, once it leaves the artist’s hands, will live a life of its own, independent of the crowd’s decoding.

That freedom leads to a broader question when the tools to create images are no longer entirely in human hands…

2. “Can AI-Generated Works Be Called Art?”

When AI starts taking over the work of hands, can a prompt replace arduous training? Duong Do raises doubts about calling AI-generated products “art” if they lack the “artisan touch”—which is inherently the catalyst for concepts to be transmitted most delicately.

Conversely, Tung Monkey perceives “artisanship” on a different level: The ability to internalize and coordinate complex tools.

For Tung, an artwork only truly lives when there is a singular “intent” behind the screen, arranging all effects according to a distinct worldview. The tools may be new, but the soul must still originate from a human.

Image from the LOXO Podcast recording session | Credit: Thang Bina

That filter, when projected onto cultural heritage, creates a controversial perspective…

3. “I Am Not a Cultural Preservationist”

Tung Monkey breaks the stereotype of using heritage elements in modern art. To him, culture is not a treasure in a glass case but a living, breathing current: from the honking of motorbikes and the hustle of the city to the street vendors present right before our eyes.

He considers heritage a “massive library” for adaptation rather than for worship. The true value does not lie in the percentage of how much the artwork “resembles” tradition, but in how the artist molds that material to construct a unique world. But for that world to be recognized, we need a fair playing field.

4. Is Vietnam’s Digital Art 20 Years Behind the World?

Tung agonizes over Vietnam’s lack of touchpoints like Art Seoul or Art Basel to validate digital art. He dreams of a Digital Art Festival in his homeland—where Vietnamese artists can converse on equal footing with the world instead of having to seek opportunities abroad.

Image from the LOXO Podcast recording session | Credit: Thang Bina

Duong Do counters the issue: Is it that Tung wants to build a playground simply because he is a “player” within it? His viewpoint is very clear: Inviting international artists is not difficult, but if the internal strength of local artists is not commensurate, that Festival will merely be a borrowed sense of awe from the outside.

Why don’t you proactively raise your own standards first?

Despite standing at different vantage points, both ultimately meet at the final destination: the desire to elevate Vietnamese creative values out of prejudice, reaching international recognition through intellect and mettle.

Ending with quick definitions:

If he were a tree? Tung chooses the Pine tree (Tùng)—sturdy and growing straight.

If he were jewelry? He chooses Stone—carrying a mystical hue.

Ultimately, who will buy digital art? Interestingly, Tung believes that “strict” individuals like Duong Do will be the most potential customers. Because what they buy is not a data file; they buy “identification” and the “ownership of experience” within a community that dares to believe in the weight of concepts.

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Edited by Toong Editorial

Content synthesized from the dialogue between Duong Do and guest Tung Monkey on the LOXO program.

Watch the full Podcast episode

TUNG MONKEY: “I AM NOT A CULTURAL PRESERVATIONIST”

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