[ELLE VOICE] LINH AN: Because Asian art is on the rise.

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Ten years after earning a Master of Science in Art Management from INSEEC in Paris, Linh An has been working full-time in the communications and advertising industry ever since. During this time, she continued to observe both the Vietnamese and global art markets. Her unwavering passion for art led her to found Asian Art Bridge – a gallery dedicated to promoting talented Asian artists, especially Vietnamese artists in Paris.

Asian Art Bridge (AAB) is the first online platform in Paris dedicated to exhibiting and selling Asian art. At the same time, AAB regularly participates in international art fairs and organizes physical exhibitions to connect more closely with art lovers and collectors. With the motto “art for everyone,” AAB aims to inspire a passion for Asian art and broaden access to information about talented artists among audiences in France, Europe, and worldwide. Although it has been operating for less than a year, AAB has already attracted a large following, mainly from the United States, France, Switzerland, China, Japan, and to a lesser extent Southeast Asia.

Positioning itself as “selective” compared to other online galleries, what are AAB’s criteria for selecting artworks and artists?

AAB prioritizes emerging artists, as they likely need more support. This stems from a personal challenge: to help partner artists gain recognition and generate their own income, rather than relying on already famous artists for an easier path lacking a curator’s distinct identity. Additionally, I choose to work with artists who have a strong personal style, continuously innovate, and are willing to collaborate with AAB in the long term.

Focusing on Asian artists in the European, particularly French, market—how do you see the reception of Asian art evolving there?

Honestly, Asian art has made some progress in Europe. However, in the European—and especially French—mindset, old motifs still dominate: boat people, colonialism, Indochina, or war. These themes reflect a post-colonial perspective, often seen as exotic and captivating. Works with historical or geopolitical elements tend to be more collectible. I do not deny history, but I want Europeans to view Asia differently. My work aims to gradually change how Asian art—especially Vietnamese contemporary art—is perceived.

In my view, Asian art will grow significantly over the next decade. Many Asian artists are currently living and creating in Europe. Additionally, Asian museums across Europe are seeking to attract younger audiences. Their collections will no longer be limited to colonial-era works or antiquities but will expand to include contemporary Asian art, particularly from Southeast Asia.

As a Vietnamese woman founding an art gallery in France - one of Europe’s art centers - the journey must not have been easy. What has been your biggest challenge?

My biggest challenge has been the lack of solidarity among Vietnamese people in this environment. There are more than 2,000 galleries in France and over 1,000 in Paris alone. Without unity within the Asian and Vietnamese communities, our efforts are like a drop in the ocean. It is common for galleries here to disappear after 2 to 5 years. Although many Asian and Vietnamese galleries have been established, their numbers are declining.

As a Vietnamese woman, I have never felt any barriers in France. I was raised simply as a student, not as a female student. Later in my career, I never saw myself as a working woman, just a person doing what she loves. With a bilingual French education and international experience, I have not faced major challenges in communication or lifestyle. However, human-related difficulties can create a sense of loneliness.

Is that the loneliness of pursuing a path abroad alone? What gives you the strength to continue?

Yes, that feeling exists. But I continue because I love what I do and because I am deeply influenced by my parents. They built their lives from nothing, and I witnessed their struggles. I understand that both financial and mental stability come through hardship. They taught me values, ways of working with others, and perspectives on business and purpose. In difficult times, I recall their lessons to keep going.

Soon, the Guimet Museum Society has invited me to present Vietnamese contemporary art in Paris. Until now, their conferences have mainly focused on China, Japan, and India. This will be the first time a Vietnamese speaker presents Vietnamese contemporary art there. I hope to use this opportunity to change perceptions and show that, 100 years after the founding of the Indochina School of Fine Arts, a new chapter has begun. This event also strengthens my belief that small actions today can lead to meaningful change in the future.