Born and raised in Montreal (CA), French-Canadian of Vietnamese origin, Jacqueline Hoang Nguyen is a research-based artist currently based in Brooklyn (NY) and Stockholm (SE). Nguyen recently completed the Whitney Museum of American Art’s Independent Study Program (Studio 2010-2011). She obtained her MFA and a post-graduate diploma in Critical Studies at the Malmö Art Academy in Malmö, Sweden (2003-2005), and had previously completed her BFA degree with distinction at Concordia University in Montreal, Canada (1999-2003). Amongst selected exhibitions, her work were shown internationally such as the ICA, Institute of Contemporary Art in Philadelphia (2011); the Mason Gross Galleries in New Jersey (2011); the Galerie Im Regierungsviertel in Berlin (2010); Gasworks in London (2010), Pictura Gallery/Skånska Konstmuseum in Lund (2009), Cranbrook Museum in Cranbrook (2008), Rooseum Museum of Contemporary Art in Malmö (2005), and the Living Art Museum in Reykjavik (2004). Upcoming solo exhibitions include VOX: Centre de l’image contemporaine in Montreal (2012); AXENEO7 in Ottawa (2013); in addition to partaking in the group show The Last Laugh curated by Kari Cwynar at Apexart in New York (2013) to name a few. Nguyen also has had the distinction of participating in a number of sought-after residencies such as the Banff Centre in Canada (2012 & 2010); Dia/projects & Nhàsan Studio in Vietnam (2011); L’appartement 22 in Morocco (2010) and USF Verftet in Norway (2009). She is currently an artist-in-residence fellow at NARS Foundation in Brooklyn (2012). She was awarded a number of distinguished grants including the Canada Council for the Arts, Production Grant to Film and Video Artists (2012); the Banff Centre, Brenda and Jamie Mackie Fellowships for Visual Artists (2011); the IASPIS Swedish Arts Grants Committee, One-Year Work Grant (2011) the BRIC Arts|Media|Bklyn, Bric Media Fellowship (2011); and a number of travel grants from the Canada Council for the Arts (2010 & 2011) and IASPIS, The Swedish Arts Grants Committee’s International Program for Visual Arts (2009 & 2010); in addition to the prestigious Swedish Research and Development Fellowship in the Arts (2007) by the Royal College of Fine Arts in Stockholm. Furthermore, her engagement to grassroots politics led her to join the editorial board of the Swedish anti-racist magazine MANA (2005- 2007), and later to become editor for the contemporary art section of the Swedish queer cultural magazine FUL (2008), which was later awarded best magazine of the year in 2010. In addition to her editorial work, Nguyen was an active member of the Remembering Olive Collective (ROC) between 2008 and 2011 in London. This women’s collective is composed of over thirty members including artists, activists, academics, archivists, curators, cultural theorists and community workers of varied generations and cultural backgrounds. ROC’s aim was to create public and permanent memories of Brixton-based activist Olive Morris (1952-1979), and sought to bring her history to wider public attention by undertaking an extensive oral history and cataloguing project leading to the creation of the Olive Morris Collection. Their efforts were celebrated in Britain, and their work presented at the International Slavery Museum (2010); the Museum in Docklands (2009); the Karibu Education Centre (2009); and the Damilola Taylor Centre (2009) amongst many others.