Nguyễn Văn Phúc biography Born in 1978, graduated from Hanoi Fine Art University in 2003, Nguyen Van Phuc is among the top emerging Vietnam new generation of artists, who has set a very distinctive direction from the rest. He often paints different characters in a very unfamiliar background with a hint of humor. Using very vibrant colors and topics of everyday life, Phuc depicts his own world of psychological struggles with social changes and contexts of Vietnam in the new era. His 2 works was selected to exhibit in Salt of the Jungle of the Korea Foundation in 2018. works This artist currently has no available work at Manzi works Happiness NGUYỄN VĂN PHÚC 2007 80 x 100 cm oil on canvas Enquire works Artificial metaphysical structure NGUYỄN VĂN PHÚC 2015 120 x 150 cm oil on canvas Enquire works The Weak man NGUYỄN VĂN PHÚC 2009 120 x 150 cm oil on canvas Enquire works The Garden of Eden NGUYỄN VĂN PHÚC 2015 120 x 150 cm oil on canvas Enquire works The dream war under control of the reason NGUYỄN VĂN PHÚC 2011 146 x 116 cm oil on canvas Enquire works Courtship NGUYỄN VĂN PHÚC 2009 100 x 80 cm oil on canvas Enquire works Artist's Romance NGUYỄN VĂN PHÚC 2008 150 x 120 cm oil on canvas Enquire related what's going on at Manzi

ANIMA - November 30, 2013 November 1, 2013 Maritta Nurmi 'Anima' presenting the new works by Maritta Nurmi, is a exhibition in celebration of the 40 year anniversary of the diplomatic relationship between Finland and Vietnam. This new series of works by Finnish artist Maritta Nurmi, Hanoi resident for over 20 years, continually explore the metaphysical and the unknown. The artist continues this challenge with her intellectual probing into the concrete meaning and essence of form and spirit. Depicting animals has long been the domain of artists since the first recorded Paleolithic cave paintings in France and Spain which recent findings have discovered were largely created by women. The artist’s current works use the animal form in many guises. In this new body of work, Nurmi seems to be questioning the necessity of man to create form, to suggest a bond between human and nature, and the implications of such a need or desire. The artist muses, “Many contemporary artists have chosen to use animals in their work as the ultimate “other”, as metaphor, as reflection.” As she ponders this Nurmi questions whether this need to depict animals is an attempt to understand what it means to be animal or is it an expression of our increasing alienation to nature, a loss of this primal connection? Nurmi was trained as a biologist so this exploration and fascination with the animal world is not a new realm. Her works are at once physical, and yet they seem to yearn to be free from constraint. She questions this apparent human need to have form, boundaries, is it a fear of the limitlessness of eternity, a fear of death, a fear of the unknown? Anima is will, consciousness, thought, breath, life, spirit. The question remains with the viewer, a provocation to examine what remains beyond matter, beyond form. *This event is the collaboration of manzi art space with Art Vietnam Gallery, supported by the Embassy of Finland. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Trần Trọng Vũ biography Vu is a Vietnamese visual artist born in Hanoi and now lives and works in Paris. His works, beyond their aesthetics, reflects the obsession of the past and the political and human derision. He paints on large transparent plastic sheets and installs them as 3D installations. The modes of presentation themselves maintain an ambiguous relationship with the viewers, who should seek a path through the transparency in between the images, figures and colours. Vu’s works have a visual and psychological effects caused by the virtual maze he creates with his choice of material. In 2011, he was awarded the prestigious Pollock-Krasner Grant in New York. works This artist currently has no available work at Manzi works Is it possible #1 TRẦN TRỌNG VŨ 2016 30 x 40 cm medium transparent plastic Enquire works Is it possible #4 TRẦN TRỌNG VŨ 2016 30 x 40 cm medium transparent plastic Enquire works Is it possible #2 TRẦN TRỌNG VŨ 2016 30 x 40 cm medium transparent plastic Enquire related what's going on at Manzi

Through the looking glass - April 9, 2022 March 16, 2022 Nguyễn Trần Nam Known as one of Hanoi’s second wave of contemporary artists, Nam’s practice embraces a diverse body of multimedia works such as paintings, installations and video art. ‘Through the looking glass’ is the artist’s third solo exhibition with Manzi, following ‘Undone’ in 2017 and 'The broken chapters' in 2013. Consisting of a stop motion film, a few sketches and a series of found objects, the exhibition questions the relationship between human belief, power and violence, and between loss and oblivion. In the works on display at Manzi, the film – the only moving element of the exhibition – is composed of pure fantasies and unreal chronicles, like an aimless journey through an unknown tunnel with various exits, leaving us disoriented in the shattered imagery and incongruous juxtaposition of faith and violence, a phantasmagoric hybrid between ‘Alice in Wonderland’ and Dante's ‘Inferno’. In here and out there, or out here and in over there. The hand drawn pictures – frozen moments – have now been endowed with movement through a stop motion technique and have come to life in the form of an animation which is ultimately just another kind of freezing over. The other parts of the exhibition feature left-over elements that were used in constructing the film and its motions. Paper sheets reveal the figures and traces of the drawing process; Bone fragments collected by chance around the walls of Huế Citadel now turn into a poem arranged with the dense areas and white spaces of a written composition or a painting; evoking undeciphered ancient writings, the poem seems to be whispering the lost tales of extinct civilizations; The Landolt C chart, developed by the Swiss-born ophthalmologist Edmund Landolt for vision testing, can readily be found in any ophthalmology clinic in Vietnam; The Katuk plant blends the artist’s own memories of his childhood garden with Andersen’s fairy tales ‘The Rose Elf’ and ‘Under the Willow tree’; Soil and sickles are found objects from the artist’s hometown, intimately associated with personal loss – soil collected on a field that the artist has never cultivated and sickles that are just blades without handles that have never been used. Side by side, these two elements are reflections of each other in different dimensions. Creating a parallel world unbound by truth, time or place, ‘Through the looking glass’ can be seen as a change in Nguyễn Trần Nam’s artistic practice, leading to a new phase in his creative path. The show will commence on 16 March and will be on display until 09 April 2022. Notes for visitors: Due to the fragility of the installation and the complexity of the set up, we can only accommodate max 10 persons for each slot. In light of the current coronavirus developments, please wear mask when visiting, scan QR code and use the hand sanitizer provided at our door. 'Through the looking glass' is part of Manzi art programme supported by the Goethe Institut ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Second Opinion - January 7, 2019 December 7, 2018 Nguyễn Thị Huệ Hà Đào Hạnh Trần Lê Xuân Tiến Nguyễn Đức Huy Mai Phạm Thịnh Nguyễn Jamie Maxtone-Graham 'The several different series of photographs presented in this exhibition were developed out of a long-term workshop experience at Hanoi DocLab and produced in 2017. Each of the photographers located a public or private landscape that held meaning for them and for a number of months explored that photographically. The projects were developed out of group critique sessions with participants sharing their works-in-progress with the others also producing their own series. It was a highly supportive, nurturing and ultimately collaborative effort. So the opportunity to exhibit the results of that process presented a moment to continue the collaboration - the curators of this exhibition came through the workshop and have seen all the portfolios developed from the beginning, they know the difficulty and the processes intimately and have brought them to this realization on the wall before you. This is the second group exhibition of DocLab’s photography work. The first, in 2013, was called Autopsy Of Days – a title suggesting a kind of clinical examination, a post-mortem by the photographers in examining their own lives, their own time within their own city of Hanoi. In medicine, when patients receive a difficult diagnosis from a doctor and are uncertain about how to proceed with treatment, often they will get a second opinion from another medical professional in order to confirm, dispute or amend the original finding. So here, by a different group, is a second look' - Jamie Maxtone-Graham ARTWORKS GALLERY About the artworks 1 . Story of Blue and Red by Nguyễn Thị Huệ Everybody could be described by one or a group of color. It could be their aura or physical appearance. It could be the melancholic, cold deep blue or the burning red of fire. It could be a beautiful confluence or vast emptiness that cannot be be connected. Through the memories of her parents in her childhood and her feelings about their relationship, the artist wants to portray their relationship as to look back and to discover more about them through the photography process that has interaction with her parents 2. The Mirror by Hà Đào In this interior setting, two bodies experience pain, pleasure and sensations in between. The camera is turned at both the girl and her lover, sometimes peering at what’s living inside a house with a half open window, an enclosed fish tank and a sealed plastic bag. This is a slightly truthful, slightly fantastical diary that is open to the public. These are captured moments of craving, clinging, confronting and pushing away, which rely on the camera sensor as a safe box, whose meanings slip once the person is not present. 3. Another World by Hạnh Trần "One day, I was wondering in a vast burning grass field. I saw the wood wastes dried out to make matches. I was silently watching them: the shape of the wood resembles human eyes, the grass burning out from its root still felt warm. I photographed them as an observer. I went on to capture little details of the natural world surrounding me. This allows me to see and feel them close to my body. The shape and lines of a leaf could be the neutrons in my brain or the veins in my heart… With materials from nature that are considered garbage, I hope to reveal and visualize our human connection with another world that exists right here and now, but might fall into oblivion." 4. Mom-me của Việt Vũ Mom-me is my first personal image project about my mom made in late 2016. I used the camera as a means to experience the traces time has left on my mom's body. This collection is also an exploration inside my mind about what the relationship between a mom and a son looks like. While making the nude photos that shows apparent old-age traces on my mom, I had clear intention of using natural on-spot lighting. In that way, I could reach the simplicity and the natural quality of the images. That helped me come closest to the character – my mom. Also, in that way, I could expose the somewhat under-dogged character in the most direct way. Other photos reveal my mom in a gentler and somewhat poetic way as if in a sweet dream. 5. Looking for the 4th side by Lê Xuân Tiến The series is a process of confronting scenes on which the author imposed his memories, dissecting the memories from the scenes so they can both be looked at again in a different form. A piece of memory only exists in the the mind, and the scenes do not carry the author's personal imprint. Could this attempt succeed? 6. '112' by Nguyễn Đức Huy With this work, the artist repeats the process of recording the subject day by day with the same camera angle and composition, following the dying process of the tangerines. In this whole process, the artist asks himself: At which moment are they actually dead? 7. What I shoot when I go around the city by Mai Phạm This project starts when I take my camera around the city where I’m living, recording all imagery that caught my attention, freely and naturally. Slowly, the images that I want to remember from those wandering times started to be more focused. They reflects my feeling about the city. To me, Hanoi is a living creature, that inside which each scenery and resident has connect and exist in different ways. OPENING NIGHT See more about artist(s)

Land of Leisure - November 21, 2019 October 27, 2019 Lê Phi Long “If hunting is a symbol of colonial domination or recurring subjugation, then doubtfulness or irony shall counteract that domination.” – Excerpt from Nguyen Phan Long in “L’Echo Annamite”. ‘Land of Leisure’ – the first solo exhibition by Le Phi Long, one of the most promising visual artists of Vietnam. This is part of Le Phi Long's research project on Indochina in the late 19th and early 20th centuries. Taking place at both of Manzi’s spaces, the exhibition features a site-specific installation and a series of paintings created from old archival photos and drawings of wildlife hunting activities in Da Lat during the colonial period. The site-specific installation ‘DALAT’ (Dat Aliis Laetitiam Aliis Temperiem) combines a recording of hoof beats and a single-channel video depicting sunbeams in the forest shifting on the floor of the art space. The sunbeams cast the shadow of a pine forest on the room’s gold-coated surfaces, transporting viewers back to Indochina during the early 20th Century, when the European ideology made its way to a new land in the East. In contrast to the installation, the paintings and illustrations in Le Phi Long's series ‘Hunting as a metaphor for politics’( *) were created in black ink, without backgrounds, on white paper scattered with gold leaves. Through the actions of compounding, recreating, cutting, pasting and smearing these images, Le Phi Long is searching for a way to convert layers of meaning, and to create a reflection of the city of Da Lat. (*)The title is taken from the book 'Imperial Heights' by Eric T. Jennings. This is part of Manzi Art Programme supported by the Goethe Institut. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Nguyễn Phi Phi Oanh biography Born in Houston in 1979, Phi Phi Oanh received her BFA at Parsons School of Design (2002) and a Masters in Art and Investigation at the University of Madrid Complutense (2012). In 2004, she received a Fulbright Grant to study lacquer painting in Hanoi. Since then, Vietnamese lacquer has become central to her work, which focuses on its potential as a painting medium to convey memory or reflection, examine current theories of the image and expand into more experimental methods and scale. Oanh Phi Phi's notable exhibitions include: SCRY – Manzi Art Space, Hanoi – 2017; ‘Pro Se’ - National Gallery Singapore - 2017; ‘Make Shift’ and ‘Palimpsest’ - FOST Gallery, Gillman Barracks, Singapore – 2017 & 2014; ‘Specula’ - Singapore Biennale – 2013; ‘Black Box’ - Vietnam National Arts Museum, Hanoi – 2007. In 2018, Oanh participated in the public art project ‘INTO THIN AIR 2’ (Manzi Art Space) with a virtual installation ‘From Below, Upward’ works This artist currently has no available work at Manzi works OBELUS 15/315 NGUYỄN PHI PHI OANH 2017 - present 20.5 x 9.5 x 5.5 cm son ta lacquer, pigments and gold silver on iron Enquire works OBELUS 69/315 NGUYỄN PHI PHI OANH 2017 - present 20.5 x 9.5 x 5.5 cm son ta lacquer, pigments and gold silver on iron Enquire works OBELUS 57/315 NGUYỄN PHI PHI OANH 2017 - present 20.5 x 9.5 x 5.5 cm son ta lacquer, pigments and gold silver on iron Enquire works OBELUS 113/315 NGUYỄN PHI PHI OANH 2017 - present 20.5 x 9.5 x 5.5 cm son ta lacquer, pigments and gold silver on iron Enquire related what's going on at Manzi

In Vitra + - March 9, 2019 January 18, 2019 Phạm Khắc Quang ‘In Vitra +' - a solo exhibition by Phạm Khắc Quang, one of the most proficient, diverse and established print artists in Vietnam today. Known for his evocative artworks with a strong personal narrative and connection finding beauty in what others could perceive as the ordinary, in this exhibition, Quang does not offer complex conceptual solutions from the mind of the Artist but an in-depth study and creation of a pioneering process and technique where the Artist tests their capability beyond common bounds. 'In Vitra +' - Quang's fourth solo exhibition shows a body of work created from an ambition to focus solely on his technique and a subversion of the traditional printing technique whilst having the ability to have rest from the creative quest for a defining concept. ARTWORKS GALLERY ‘In Vitra+’ A Solo Exhibition by Pham Khac Quang Bài viết cho triển lãm của Claire Driscoll The choice of medium for an artist is often a combination of personal passion for a technique and process, combined with dedicated direction from an influential teacher or mentor. Print called the most clearly of all practices to PhạmKhắc Quang, who has established himself as one of Vietnam’s most proficient, diverse and established printers, he creates evocative artworks with a strong personal narrative and connection; finding beauty in what others could perceive as the ordinary. In Vitra +, Phạm Khắc Quang’s fourth solo exhibition shows a body of work created from an ambition to focus solely on his technique and a subversion of the traditional printing technique whilst having the ability to have rest from the creative quest for a defining concept. The work you see here does not pretend to offer complex conceptual solutions from the mind of the Artist but is an in-depth study and creation of a pioneering process and technique where the Artist tests their capability beyond common bounds. The choice of medium can often define an Artist’s, work, practice and process - this is especially apparent for a printer. Preparation, testing, planning, technique, the pressure you must learn to apply consistently with both your hand and eye are of equal measure to the response you wish you evoke in your work. The life of a printer can be a complicated emotional response as the practitioner struggles through the definition of their own process before yielding a final result - with often disappointing results for the time laid down beforehand. In Vitra + is a model of Quang’s indomitable desire to make and create, dissatisfied with the constraints press printing can bring but married to the process and technique, Quang looked to deconstruct the material and processes to break away from traditional norms. Beginning with early experiments in ceramic Quang’s gaze moved to glass and stainless steel and he became convinced and fascinated by the possibility of printing onto new surfaces. A complex lonely discourse of sampling, trialing, broken glass, poor prints and bus journeys to use a kiln in another province contributed to the creation of the work you see here in Manzi. In Vitra + is an incomplete completion, a pause to reflect on the achieved new technique which will not only inform future projects but shows the result of an intensely involved and varied journey of discovery. The works here are created as more a body of completed sketches - a documented archive of a perfected technique – than final artistic solutions. More than 1500 hours of trials allowed Quang to progress to this point, hours filled with the discovery of working with an alien medium – glass/stainless steel - and the knowledge gained to create these pieces. Quang has found himself bound by a new set of constraints, a familiar concept to printers: the size of the kiln in which to fire the work, the viscosity of the pigment used to print onto new surfaces, the searing temperatures and the fragility of the glass combined with the interaction of the glass with the printing press, and the unforgiving surface of the metal. Phạm Khắc Quang has broken and recreated not just his technique but his vision and capability as a printer and redefined his role as a practitioner. Too often the printer as an Artist can be mistaken for that of an Artisan, this body of work stands defiant in the face of the supposition that the personal process of the Artist as maker is irrelevant. OPENING NIGHT See more about artist(s)

Nguyễn Thị Xuân Mai biography works This artist currently has no available work at Manzi works Đô Đô NGUYỄN THỊ XUÂN MAI 2023 27 x 34 cm watercolor on silk Enquire works Sketch Saigon 03 NGUYỄN THỊ XUÂN MAI 2022 21 x 29.7 cm watercolor on paper Enquire related what's going on at Manzi

Fragments of Nostalgia - August 9, 2021 July 9, 2021 Nguyễn Tuấn Cường ‘Fragments of Nostalgia’ features Nguyen Tuan Cuong's latest lacquer works, continuing his signature series of still life paintings. Overstepping its own boundaries of the familiar serenity and stillness, Cường’s practice this time has gone further than the subtleties in the technique or the poetry in the representation. The lyricism has become more demanding while the narrative gets more compelling, ‘Fragments Nostalgia’ uncovers the interrelationships in space and time, provides the reflection on presences and absences, shapes and shadows in liminal space. This exhibition is part of Manzi’s art programme supported by the Goethe Institut. ARTWORKS GALLERY ABOUT 'FRAGMENTS OF NOSTALGIA’ - A writing for exhibition by artist Oanh Phi Phi A lacquer painting is the sum of two parts— the building up of paint and symbols and the sanding away. How much to reveal by sanding away is the most essential and thoughtful decision as an author. In Nguyễn Tuấn Cường’s paintings, we are inside an intimate and dusky interior. Forms seem to come into view but stay buried under the penumbra of Son ta. The layers of then and canh gian lacquer become deep space while small still life objects are merely there to delineate the empty space within them and anchor our gaze. These domestic bowls, jars, and lanterns transport us to a time in the past of oral traditions. Looking at the paintings I am reminded of such stories as 'Chuyện người con gái Nam Xương' . In this tale when the father goes away to war the mother comforts their young son nightly by telling him her casted shadow is his father. The paintings are like the intimate moment before mother lights the candle and “father” appears. This light would be a reverie and psychological comfort before a harrowing reality, but knowing what happens in the tale, it is only an illusion. Cuong’s decision to embrace the liminal space of shadows rather than removing it is a reminder that shadows are where transitions and transformations happen and of the Buddhist sutra, "Form is emptiness (śūnyatā), emptiness is form. OPENING NIGHT See more about artist(s)

Phan Minh Bạch biography works This artist currently has no available work at Manzi works Primitive beings #2 PHAN MINH BẠCH 2022 Dye-Na-Flow color pigments & golden leaf on silk 50 x 70 cm Enquire related what's going on at Manzi

no-think - December 5, 2022 November 17, 2022 Nguyễn Văn Phúc Originated from an unrealized series of installations ten years ago that Phúc had fully formed idea about, ‘no-think’ when comes into being at manzi this month, is an interplay of the physical presence and the re-appearance of what -used -to- exist-and-archived: A bottle of penicillin filled with tears A reptile animal A flying strip of fabric tied with a knot A painting made of scorched rice A man running on a blooming field of yellow flowers A man perching on a loofah pergola A man lying on a blossom bush A ring on the floor formed by buffalo dung Such an overload of visual materials on disparate forms, ‘No-Think’ offers a space crammed full with images. They collide, or more accurately pushing down and simultaneously lifting up, interrupting while harmonizing & backing each other. The audience gets struck by a great amount of visual information and an overwhelming force inherent therein that directly attacks their senses. Though being perceived, this visual data is seemingly unable to be processed, obviously incomprehensible due to its absurdity and lack of coherence. Rejecting any logical connection or cohesiveness, the visual fragments featuring in ‘No-Think’ are nevertheless authentic and original as Nguyễn Văn Phúc “...did not aim to question their origins, but rather to perceive and keep them in one’s own limited memory”. As if an effort to catch some random images popping into our heads or to summon fleeting shadows in a dream. From this perspective, the immateriality of our subconscious mind has been materialized in Nguyễn Văn Phúc’s installations, with a distinct structure composed of aggressiveness along with playfulness, roughness mixing into delicacy. By that way, ‘No-Think’, though saturated with its visual indulgence, is not a spectacular superficial parade. Neither is a cunning disguise concealing an internal shallowness nor a tactfully strategic formation striving for a defined goal. The intensity and purity of visual perceptions as well as physical sensation are confronted with the (active) emptiness of thoughts. Such juxtaposition of body & mind in ‘No-Think’ provokes the transparency closing to mindfulness - a mental state in the insight meditation. When thinking is insignificant and futile; when any labels/beliefs/concepts, … all abstract forms that often shadow our view of things have all been eliminated, in such cases where shall we be led to? Can it be close to the truth itself, as Phúc expects: “[...] I make no attempt to protest against or intentionally diverge from the movement of postmodern art which centers on the concept; instead, my approach is simply based on my own living experiences, and as I believe it offers me a way to come to the truth.” “No-Think” marks an end of twelve-year -(half) absence of Phuc from the local art scene and excitingly opens up a brand new chapter of his art practice. ARTWORKS GALLERY ARTIST'S STATEMENT An artwork that is merely an image, without any thinking and concept. Long time ago, back in 2012 or so, I had a plan to do an installation featuring images that I had envisioned and kept in my mind. Time passed by, then somehow I did put a stop to thinking about them. Now, I want to put those specific images into being, display them in a physical space - a presence of the fragmented and logically incoherent images. Due to an unfavorable situation at that time, I could not realize my idea. However, ever since then, those images have been preserved perfectly in my mind; until this year when I chanced upon an invitation from Manzi, encouraging me to do a solo show at their exhibition space; I decided to let it take its own course and chose to display my unrealized project ten years ago. I know that anything that occurs in our minds, the whole of our thoughts and mental visualizations, do not exist by accident, without any particular cause. In fact, they either stem from our past obsessions and traumas, appear as an inevitable consequence, (from the point of view of Psychoanalysis) or emanate from forgotten memories of our past lives (in the explanation of Buddhism). Nevertheless, I did not aim to question their origins, but rather to merely perceive them, and keep them in my own limited memory. There was a period of time when I found myself coming into a dead end and lost in a search for the meaning or the core essence of the problems in my own life. Overthinking to no avail, I put a stop to the thinking itself. I started engaging in some practices of ‘no-think’ that cultivates an empty state of mind, for example, watching the ripples on the lake’s surface for hours, looking at a burning flame, or examining the leaves stirred high on a tree without having any thoughts. I applied the same technique in conversations with other people. At the moment I realized that I could not follow what they were talking about, I would turn my focus to their gestures, their attitudes, their mental states. That’s also my personal way to connect with others. Regarding my new installation, I make no attempt to protest against or intentionally diverge from the movement of postmodern and contemporary art which centers on the concept; instead, my approach is simply based on my own living experiences, and as I believe it offers me a way to come to the truth.” - Nguyễn Văn Phúc, Hanoi, October 2022 ____________________________________ SOME THOUGHTS ON 'NO-THINK' A dialogue between Nguyễn Như Huy (a thinker) and artist Nguyễn Văn Phúc about Phúc's new series of installations titled 'no-think' 1. First of all, let’s imagine a scene like this: There was a baby not talking yet. One day, when the family was gathering around, this baby suddenly pointed to a chair. All members of that family then looked at each other, trying to guess what the toddler wanted. The father said, “Maybe he wants to sit on the chair.” The mother disagreed, “No, he does not know how to sit on the chair yet. Probably, he thinks that the chair is a walking pet.” The sister laughed out loud, “I don’t think so. He just wants to go through the chair, so he is asking us to put the chair away.” The toddler’s grandparents just shook their heads, smiled and explained, “You are all wrong, he is implying that many ministers only know how to keep their “chairs” rather than how to do their jobs well.” The family went on arguing until bedtime. Everybody was frustrated because there was no way to know for sure what the toddler meant when he pointed to the chair. What did he actually mean then? >>> CLICK HERE TO CONTINUE READING OPENING NIGHT See more about artist(s)