silk Nguyễn Cẩm Nhung biography Born & raised up in Hanoi, Nguyễn Cẩm Nhung is currently doing her final year at Vietnam Fine Arts University. Choosing silk as the main medium, Nhung's practice focuses on the fascinating equilibrium of nature, as the first step of the likely worth-expecting process of exploring what's in essence of life - the death. She has participated in numerous group shows and was awarded the second prize at her university's competition this year. works This artist currently has no available work at Manzi works Tiny no.3 NGUYỄN CẨM NHUNG 2024 25 x 25 cm watercolor on silk Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

sketch Trịnh Nhật Vũ biography Born 1990 in Hanoi, and graduated from the Fine Art University of Vietnam in 2013, in the recent years, young painter Trịnh Nhật Vũ has gained a huge attention from the art community of Vietnam for his amazing technique in oil paintings depicting daily objects and architectures. Vũ has participated in a wide range of exhibition in Vietnam and abroad, such as ‘More than a Monarch’, Thailand; Pulau Ketam International Arts Festival 2014, Malaysia; ‘Propaganda Art Now!’, Hanoi; The 15th International Calligraphy and Painting Exchange Exhibition, Tokyo Metropolitan Art Museum in Ueno, Tokyo, Japan. works This artist currently has no available work at Manzi works Genesis 1:3 - and the light appeared TRỊNH NHẬT VŨ 2019 29 x 20 cm pencil on paper Enquire works Pulau Ketam Temple by night TRỊNH NHẬT VŨ 2016 34 x 24 cm acrylic on canvas Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

Phan Quangan open studio by Phan Quang the sky, the sand, the lashing waves - August 24, 2025 August 1, 2025 Phan Quang 𝑻𝒉𝒆 𝒔𝒌𝒚, 𝒕𝒉𝒆 𝒔𝒂𝒏𝒅, 𝒕𝒉𝒆 𝒍𝒂𝒔𝒉𝒊𝒏𝒈 𝒘𝒂𝒗𝒆𝒔 𝗮𝗻 𝗼𝗽𝗲𝗻 𝘀𝘁𝘂𝗱𝗶𝗼 𝗯𝘆 𝗣𝗵𝗮𝗻 𝗤𝘂𝗮𝗻𝗴 ️ Opening: 06:30 PM Friday night, 1 August 2025 On display: 11.00 AM - 07.00 PM (Tue - Sun) from 02 Aug until 24 Aug 2025 Manzi Exhibition Space, 2 ngõ Hàng Bún, Hà Nội Free Entrance ___________ Unlike his earlier photography practices that established his artistic reputation, the open studio at Manzi this August marks a pivotal shift in Phan Quang’s creative trajectory, foregrounding video installation as the primary medium. Departing from meticulously composed still images characterized by a “𝑠𝑡𝑎𝑛𝑑-𝑎𝑝𝑎𝑟𝑡-𝑓𝑟𝑜𝑚-𝑡ℎ𝑒-𝑚𝑜𝑚𝑒𝑛𝑡” approach—saturated with layered conceptual frameworks and incisive critical observations that dissect reality like a surgical blade, revealing obscured narratives and repressed traumas or persisting sociocultural prejudices—his latest body of work pivots the gaze inward. The artist employs his own body as both a performative medium and a site for phenomenological exploration and embodied confrontation. In the two video works comprising “𝑻𝒉𝒆 𝒔𝒌𝒚, 𝒕𝒉𝒆 𝒔𝒂𝒏𝒅, 𝒕𝒉𝒆 𝒍𝒂𝒔𝒉𝒊𝒏𝒈 𝒘𝒂𝒗𝒆𝒔,” the artist’s body appears as a solitary figure immersed in nature: exposed, unguarded, and defenseless. He confronts the vast, unpredictable, and fundamental forces of nature, such as waves, wind, sunlight along with the compressive force of sand as well as the detrimental potency of water. The bodily gestures, whether passively inert or actively engaged, avoid any sense of theatricality or an exhilarating performance. Rather, they suggest a silent, ritualistic submission, a complete letting go. By stripping away compelled narratives and rejecting metaphor, we are left with a pure, unmediated experience, or corporeal phenomenology. Phan Quang pushes his physical limits not to conquer or assert the will of survival, but to surrender quietly, completely. In the stillness of solitude, he does not resist but yields to be carried, to be undone and dismantled. The body is no longer a vessel of control but a site of openness / a threshold for profound meditative states. And suddenly, something returns: frail, bare, but true. A self remade, one attuned to the tiniest pulses of being—the ‘in and out’ of breath, the hush between heartbeats, the weight of silence, the ebb and flow—as steady and unending as waves against the shore or sand drifting in the wind. This embodied experience is not solely documented and displayed in the two video installations, but it is also diffused and reflected throughout the exhibition space via photographic pieces and an installation portrait made of crushed sand and cracked mirror shards. Here, the dialectic between seeing and being seen, the portrait of the ‘Other’ and one’s own reflected image, as well as the phenomenological tension between observer and observed produce an ambiguous liminal space. This seemingly infinite silence unexpectedly invites the audience to immerse themselves, confront, and engage. Like waves striking the shore and receding, is this accretion or erosion? Fullness or emptiness? These ontological inquiries resonate as reverberations inviting individual contemplation and interpretation. For Phan Quang, he has arrived at a personal epiphany: “Within the depths of suffering lies the seed of happiness.” /// 𝗧𝗛𝗘 𝗦𝗞𝗬, 𝗧𝗛𝗘 𝗦𝗔𝗡𝗗, 𝗧𝗛𝗘 𝗟𝗔𝗦𝗛𝗜𝗡𝗚 𝗪𝗔𝗩𝗘𝗦 𝗔𝗻 𝗼𝗽𝗲𝗻 𝘀𝘁𝘂𝗱𝗶𝗼 𝗯𝘆 𝗣𝗵𝗮𝗻 𝗤𝘂𝗮𝗻𝗴 𝗧𝗲𝘅𝘁 𝗯𝘆: 𝗕𝗿𝗶𝗮𝗻 𝗗𝗼𝗮𝗻 𝗖𝘂𝗿𝗮𝘁𝗲𝗱 𝗯𝘆: 𝗡𝗴𝘂𝘆𝗲̂̃𝗻 𝗧𝗵𝗲̂́ 𝗦𝗼̛𝗻 ARTWORKS GALLERY The sky, the sand, the lashing waves—Phan Quang's Silent Journey Waves Kissing the Sky—Phan Quang’s Silent Journey Nothing ahead Nothing left behind I whistle a stray, discordant tune on a thorny scrubland And walk away Without a word. (Singing to Myself. Lê Thánh Thư, 2011) Across a vast desert, a lone man on horseback, carrying his son behind him—this is the pervasive image from the 1970 film "El Topo" by the renowned Mexican-Chilean director, Alejandro Jodorowsky. It's an unceasing journey of self-discovery and salvation, traversing brutal yet sacred transformations, both tragedy and transcendence, ultimately culminating in a highly symbolic rebirth. "El Topo" gained notoriety through underground screenings, attracting a large audience of students, artists, and intellectuals, and became an underground cultural phenomenon, breaking away from prevailing trends and creating a counterpoint to the values and norms of mainstream culture and established media of its time. If "El Topo" is a journey filled with gunshots, then "The sky, the sand, the lashing waves" is Phan Quang’s silent journey. Throughout his life, from youth to adulthood, establishment, and renown, Phan Quang has persevered like a hermit, calmly, almost dispassionately, confronting life's trials and tribulations. Accompanying him is his own quiet, silent shadow; almost all his energy and activities are ultimately dedicated to a single love: his love for his children. Much like in Binh Nguyen Loc's "Rừng Mắm" (The Mangrove Forest, 1968) , the eventual prosperity is the result of countless silent efforts from preceding generations and nurturing parents. To truly experience "The sky, the sand, the lashing waves," viewers need to prepare themselves with patience, an open and compassionate heart. Because, in every frame, like a still lake—if you pay attention, you will see yourself. Phan Quang merely suggests; you must be the one to fully perceive in the stillness of your inner self. "The sky, the sand, the lashing waves" is a fusion of Eastern and Western philosophies, demanding viewers to contemplate and decipher: from the first rays of dawn to vibrant twilight, the turbulent waves and silent tides, abundant nurturing and empty—handed departures, the snares of life that also serve as steps for support. Manzi—an independent and versatile art space in Hanoi—is where Phan Quang is screening two new films. This is no longer the traditional photography medium that made his name, but a new experience, a challenging one for both the artist and the audience. What will the outcome be? According to him, in the end, it’s still just the sky, the sand, the lashing waves. Brian Doan Hanoi - Summer 2025 OPENING NIGHT See more about artist(s)

Nguyễn Hàa display of architecture by Nguyễn Hà & associates at arb architects A saga of unrealised projects - August 21, 2022 July 29, 2022 Nguyễn Hà Paul Valéry, had famously declared: “That which has always been accepted by everyone, everywhere, is almost certainly to be false”. Then, what about the things not accepted? Is it probable that there has always been a kind of truth, a particular significance existing in the unaccepted, rejected things? If so, should we (instead of putting them away) take a step back and give them another look? Such a sudden burst of thoughts got us disoriented, in the persistent hot days of this prolonged summer, and finally prompted us to melt all away in a pop-up show of architecture at our exhibition space: A SAGA OF UNREALISED PROJECTS A display of architecture by Nguyễn Hà & associates at arb architects Opening: 6.30 pm Friday night, 29 July 2022 On display: 30 July until 21 August 2022 (11AM - 07PM; Tues - Sun) Location: Manzi exhibition space, no.2 ngõ Hàng Bún ARTWORKS GALLERY _____________________________________________ #1. WHAT IS IT ABOUT? WHERE IS IT FROM? 24 architectural design models 24 building projects developed by Nguyễn Hà and her associates at arb architects 24 design briefs (prescribed by the clients), 24 visions (provided by the architects) 24 proposed solutions, all forms determined and shapes laid out 24 abandonments/ rejections/ futile compromises in consequence of 24 different situations, issues 24 unrealised projects yet, ultimately by the way never brought into being, are also 24 original concepts, 24 pure ideas full of irrational drives for experiments untouched by any fixing, modification (inevitably) requested by a second party rather than the architects themselves. _____________________________________________ #2. ANY PLOT TWIST OR TRIGGERS? Aldo Rossi (1931 - 1977), the first Italian architect to receive the Pritzker Prize, admitted in his famous theoretical work ‘A Scientific Autobiography (1981): “What surprises me most in architecture, as in other techniques, is that a project has one life in its built state, but another in its written or drawn state.” So, what if one life is nowhere to find, as in our saga? Never put into being, thus no presence of a physical functional entity called ‘building’ exists at all, the only kind of life of a project that we could attain is just represented in 3D miniature simulations at a scale of 1: 100 Here we are, finding ourselves confronted with a new trial, not only questioning the validity of other existence / presence of architecture but at the same time justifying the essence of “the unrealised”, as shared by Louis Kahn (1901 - 1973), the most influential master of twentieth-century architecture: “I had drawings which could not be brought into fruition. I was told a very loving thing, that often the things that you are unable to put into being are more powerful in that stage than they are when put into being. The purity lies in the incompletion.” (A verbal Autobiography, from conversation with Jaime Mehta, October 22, 1973) _____________________________________________________________________________ #3. WHY THIS TALE OF ARCHITECTURE IS TO BE TOLD AT MANZI? Adolf Loos (1870 - 1933) had this infamous declaration in 1910, that architecture “is not one of the arts” in “On Architecture” (1910), here is his view on the difference between architecture and art: “A building should please everyone, unlike a work of art, which does not have to please anyone. A work of art is a private matter for the artist, a building is not. A work of art is brought into the world without there being a need for it, a building meets a need. A work of art has no responsibility to anyone, a building to everyone. The aim of a work of art is to make us feel uncomfortable, a building is there for our comfort. A work of art is concerned with the future and directs us along new paths, a building is concerned with the present. We love anything that adds to our comfort, we hate anything that tries to pester us into abandoning our established and secure position. We love buildings and hate art.” This brings him to the seemingly inevitable conclusion that “Everything…that serves a practical purpose should be ejected from the realm of art” . Of course no modern architect believed Loos (likely not even Loos himself), but nearly every modern architect, as well as any other creative practitioners, has always felt the force of the claim. Adopting this perspective, the installation of ‘unrealised architectural projects’ at an art space as manzi’s is to offer an unexpected test, where we try to play around with created objects - creative practices and the creative spaces, and to explore the unpredictable outcomes in the absurd juxtaposition of different labels/ definitions such as: The Architect - The Artist Architectural Space - Exhibition Room A project design model - A work of art OPENING NIGHT See more about artist(s)

Phạm Hà Ninhan open studio by Ha Ninh Pham Entrusted Conjectures - August 6, 2023 June 23, 2023 Phạm Hà Ninh 𝐄𝐍𝐓𝐑𝐔𝐒𝐓𝐄𝐃 𝐂𝐎𝐍𝐉𝐄𝐂𝐓𝐔𝐑𝐄𝐒 - an open studio by visual artist Hà Ninh Pham Presenting a new series of ‘sculptures - measuring instruments’ as a part of his on-going project titled ‘My Land’ Opening party: 06.00 PM Friday night, 23 June 2023 On display: 11.00 AM - 07.00 PM from 26 June until 06 August, 2023 (Tue - Sun) How much of our perception of the world is shaped by the way we measure it? Measurement refers to various systems of apparatus, units and rules based on which the uncertainty of value is reduced and can be expressed in a quantity. The standardization in measurement establishes a mutual understanding of quantities, and provides the basic reference for many disciplines. Measurement, thus, is a cornerstone of science, a fundamental step in framing and constructing the world. In ‘Entrusted Conjectures’, we are introduced to a series of handmade instruments of measurement. This is part of ‘My Land’, the multi-year, multi-disciplinary world-building project that Hà Ninh has been working on since 2017. “This territory does not correspond to any known culture in human history. It has its own systems of logic, language, and metrology that are functional only within themselves” (from Hà Ninh’s artist’s statement for ‘My Land’). Based on various materials, the construction of ‘My Land’ expands through two-dimensional drawings, three-dimensional sculptures, story writing and a virtual game. Correspondingly, there are four different “entrances”- four starting points to experience the territory. ‘Entrusted Conjectures’, featuring some realizations of the fictional metrology system provides one of the entry points. Designed and created with a DIY aesthetic, most of the sculptures are crafted from wood, with some few elements completed with tracing paper and 3D printed plastic. Measuring instruments are presented along with the ‘display plates’ recording the data and measuring results, as well as other artifacts which have been interpreted, visualized from the outputs of measurements. The whole body of works proclaims its presence right in the center of the exhibition space and defends its autonomy with a kind of fortification: a dry moat has been dug, precisely surrounding the display area. Outside the moat, on the walls is another type of boundary, a line of sketches positioned at eye level, a vague resemblance to a horizon. ‘Entrusted Conjectures’ suggests reflections on the boundary, on the problem of trust and on the possibilities of a proof and an assumption. By juxtaposing the physicality and materiality implied in sculptures with the functionality of the instruments relied on fictional ideas and principles, an intriguing investigation begins, testing the unreality of the reality / the non-real nature of the word thought to be quantifiable and perceivable. There will come a time when every measurement would be an act of re-measuring; as there always comes a time when people can no longer believe in the results of previous measurements. A continuous process of forming a hypothesis then proving and disproving - that’s how science is built. ‘Entrusted Conjectures’, in this version presented at manzi, is just the first step. Surely we can expect more surprises to come in the future. How far can the artist go in this journey of organizing, interpreting our world and architecting his world? A thoroughly independent scientific and technical system - an alternative definition of reality can be achieved someday, maybe? *The open studio is organized by Manzi Art Space & A+ WORKS of ART ___________________ Measuring the world - random notes >>> read here ARTWORKS GALLERY Artist Statement _______________________________ “My work explores how we construct an understanding of a territory from afar through reported materials. Since 2017, I have been working on a long-term project titled ‘ My Land’ , in which I design a world that does not correspond to any known culture in human history. This project consists of paintings, sculptures, drawing scrolls and video games that represent maps, artifacts, steles and stories of an imagined territory. The territory has its own systems of logic, language, and cosmology that only refer to themselves but are fully functional. I want to see how far I can go in persuading that the territory does exist. I also consider the project as a thought experiment of a phenomenal environment in which the personal experience of any viewer is stripped away. They must completely abandon their invalid cultural legacy in order to navigate this world. The project consists of four Series . They are developed based on different frameworks that correspond to different modes of exploring an unknown land. Series 1 is the spatial mapping of the land. Series 2 is the physical properties of the land and their relationships with the properties of our world. Series 3 is the history of the land written in a language that slips between drawing and writing. Series 4 surrounds a real limited company, My Land ltd., that sells merchandise of the land to the public audience. ‘Entrusted Conjectures ’ features the recent development of Series 2 [Logs ] of my world-building project My Land. After maps (Series 1) and language (Series 3) , I want to make up some science for my world. There will be 15 sculptures. They function as measurement or rendering tools that, I hope, translate the paradoxical space in my drawings into 3D. They go with 40 technical drawings that explain how they work. I also show MY CONVERSATION with some AI engines about my work in the open studio - Hà Ninh Pham 💬 'I ASK AI ABOUT MY SHOW' >>> Click here to read OPENING NIGHT See more about artist(s) Hà Ninh Pham

sketch Đào Anh Khánh biography Born in 1959, Khanh worked for the police force from 1976 to 1993. In 1994, he transferred to work in various art fields, including fine arts, sculpture, music, choreography, performance arts and installation. Khanh is one of the most notable figures of the Vietnam contemporary art scene, known for his bold, striking and shocking works. Khanh has created a very distinctive creative world for himself, in which human instincts, untamed emotions and expressive body language emerge. Khanh has held many international exhibitions, now spanning fifteen different countries, including the US, the UK, France, Switzerland, Spain and China. Khanh and his works have been featured on established global networks and magazines including the BBC, Discovery Channel, NHK and The New York Times. He was also promoted by Asia Art Magazine as the most active artist in Asia. works This artist currently has no available work at Manzi works The Fountain of all species ĐÀO ANH KHÁNH 2014 21 x 30 cm ballpoint pen on paper Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

silk Trần Thị Thu Thảo biography works This artist currently has no available work at Manzi works T10 Cyphochilus TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire works T08 Atlita TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire works T02 Sagrafemorata TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire works T09 Pyrops TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire works T06 Coccinellidae TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire works T01 Xystrocera TRẦN THỊ THU THẢO 2022 11 x 11 cm watercolor on silk Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

print Dorian Gibb biography works This artist currently has no available work at Manzi works Print no. 5 DORIAN GIBB 2020 61 x 48 cm Digital print Enquire works Print no. 6 DORIAN GIBB 2020 61 x 44cm Digital print Enquire works Print no. 2 DORIAN GIBB 2020 61 x 46 cm Digital print Enquire works Print no. 1 DORIAN GIBB 2020 60 x 60 cm Digital print Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

Đào Tùng, Đỗ Thanh Lãng, Nguyễn Ban Ga, Nguyễn Đức Đạt, Nguyễn Huy An, Nguyễn Trần Nam, Nguyễn Văn PhúcA collaborative installation 6𝒗➡️¹/² - June 8, 2025 May 18, 2025 Đào Tùng, Đỗ Thanh Lãng, Nguyễn Ban Ga, Nguyễn Đức Đạt, Nguyễn Huy An, Nguyễn Trần Nam, Nguyễn Văn Phúc What’s this fuss? What’s this strange cry? Seven full spirits (*) — half slipped by. Lost a half, not quite the whole, Still enough to play the role! ____________________ “6 v ½” stretches beyond the idea of a group show; it is an unfolding tension — spatial, sensorial, and affective — between what masculinity claims and what it conceals. Born from a passing joke in the haze of a drunken night, the work has grown into a porous assemblage of image, sound, scent, performance, and residue. The space tilts, splits, collapses — invaded by bizarre forms, solitary presences. These objects appear not as universal signs but as private traces — too personal, too peculiar to be decoded through type or symbol.They linger between presence and reticence, between the compulsion to reveal and the instinct to withhold. This restless motion reveals itself in skewed shadows, shifting lights, simmering smells, murmuring machines, and faltering words — all suspended in the shared field: | the fragility & the masculinity | — a condition that can reach neither a plenitude of meaning nor a truly stable referent. --- (*) Seven full spirits (from the original 7 “vía” in Vietnamese) According to Vietnamese folk belief, a man is said to have seven vía (women have nine) — immaterial spirits or life-essences that govern vitality, luck, and emotional balance. The phrase “seven full spirits” echoes this notion while gesturing toward the fragility and flux of masculine identity. The humorous phrase “losing half a spirit” plays on this concept while teasing the idea of masculine instability. With just six and a half left — is one never quite masculine or ever more virile/effeminate? ARTWORKS GALLERY Seven artists, one installation—sharing one stage, one play. You’d think they speak in unison, share one spirit. But well… "One man, two ___ Three men got ___ Four men dropped their ___ Who dropped their ___? Who left? Who left? Four men — no. One man — not yet. Half a man… no? Who says yes? Who wants — ? Who wants... not?" (a made-up rhyme written by Đào Tùng & Nguyễn Trần Nam) OPENING NIGHT See more about artist(s) Nguyễn Đức Đạt Đào Tùng Nguyễn Văn Phúc Nguyễn Trần Nam Lãng Đỗ

silk Lê Hoàng Bích Phượng biography Trained in silk and oil painting at the Ho Chi Minh City Fine Arts University, Lê Hoàng Bích Phượng who was born in 1984 in Ho Chi Minh City often humorously explores the experience of living in a society where one has to wear a kind of disguise, hiding their true self within. Working between silk, ceramic, oil and installation, Phuong’s art is in part inspired by her 2011 residency in Japan, evident in her soft brushstrokes and ethereal use of colour that is reminiscent of Japanese silk artist Utagawa and the contemporary paintings of Yoshimoto Nara. Phuong currently lives and works in USA. Phuong’s recent notable exhibitions include: ‘Beyond the hills’, Manzi Art Space, Hanoi - 2017 ‘Grapevine Selection Volume II’, Museum of Fine Art, Hanoi - 2015; ‘Above Under Sky’, Manzi Art Space, Ha Noi - 2014; ‘Occupy Utopia: Images Festival’, Aalborg, Denmark - 2014; ‘Women in-between: Asian Women Artists 1984- 2012’, Fukuoka Asian Art Museum, Fukuoka, Japan - 2012; ‘Sapporo Biennale 2011’ , Sapporo, Hokkaido, Japan - 2011; ‘Sai Gon Contemporary’, La Lanta Fine Art Gallery, Bangkok, Thailand - 2011,… works This artist currently has no available work at Manzi works Moonshadow LÊ HOÀNG BÍCH PHƯỢNG 2019 50.5 x 50.5 cm watercolor on silk Enquire works Sketch P. LÊ HOÀNG BÍCH PHƯỢNG 2016 20 x 20 cm inkpen on paper Enquire works MOMA LÊ HOÀNG BÍCH PHƯỢNG 2019 78.5 x 78.5 cm watercolor on silk Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

sketch Nguyễn Kim Duy biography Starting the artistic process with Painting, Kim Duy questioned the hidden layers of color and form, the contents of art contained in words. His creations with ballpoint pens inscribed on canvas began in his early years at an art academy in Germany, and since then Duy has continued to pursue visual arts with a focus on content and ideas, using words and phrases. language as a creative material for the visual arts. Duy's compositions dissect the concept of complete words, disassemble the word structure back to the state of arrangement, and transform them from being read to being seen. Duy's artistic practice experimented with a variety of objects and materials such as printers, paper cutters, napkins, ballpoint pens, markers, etc. to more traditional materials such as pencils and paper. His works have been featured in group exhibitions, open studios of Nha San Collective, MoT+++, Heritage Space, etc.. works This artist currently has no available work at Manzi works Untilted NGUYỄN KIM DUY 2025 18,5 x 8,2 cm compact pen on paper Enquire works Prologue NGUYỄN KIM DUY 2021 39,5 x 19,6 cm CD marker on paper Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

Titled ‘In spaces of everyscape, at time without end’, his fourth showcase at manzi and his first-ever body of painting using dzo paper as the main medium will present a catalogue of situations. Some of them are common and familiar in his art world, but the majority of other scenarios are quite new and uninvestigated. VUI LÒNG CHỌN NGÔN NGỮ Tiếng Việt CHOOSE THE LANGUAGE English