mở xưởng 'Trên con đường của chúng ta tập 4' của nghệ sĩ trẻ Lê Xuân Tiến open studio 'On our pathway vol.4' by an emerging moving-image artist Lê Xuân Tiến VUI LÒNG CHỌN NGÔN NGỮ Tiếng Việt CHOOSE THE LANGUAGE English

dzo painting Sandrine Llouquet biography Born in 1975 in Montpellier, France, Sandrine Llouquet has lived in Vietnam since 2005. She graduated from École Pilote Internationale d’Art et de Recherche – Villa Arson in 1999. As a dynamic contributor to the development of contemporary art in Vietnam, she was a founding member of Wonderful District, a project that promotes contemporary art through exhibitions, concerts and theater pieces, as well as a member of Mogas Station, a Vietnam-based artist collective. Llouquet’s work has been exhibited in numerous venues including the Palais de Tokyo, Paris, Yerba Buena Center for the Arts, San Francisco, California and Tate Modern, London. She has also participated in a number of biennales with Mogas Station such as the Shenzhen Biennale (2007), the Singapore Biennale (2006) and in Migration Addicts – a collateral event of the 52nd Venice Biennale. Her drawings, objects and videos are in private collections around the world. works This artist currently has no available work at Manzi works Untitled #4 (Sandrine Llouquet) SANDRINE LLOUQUET 2007 60 x 40 cm watercolor, ink, pencil on dzo paper Enquire works Untitled #1 (Sandrine Llouquet) SANDRINE LLOUQUET 2007 60 x 40 cm watercolor, ink, pencil on dzo paper Enquire works Untitled #6 (Sandrine Llouquet) SANDRINE LLOUQUET 2015 29.7 x 42.0 cm pencil on paper Enquire works Untitled #3 (Sandrine Llouquet) SANDRINE LLOUQUET 2007 60 x 40 cm watercolor, ink, pencil on dzo paper Enquire works Untitled #5 (Sandrine Llouquet) SANDRINE LLOUQUET 2007 60 x 40 cm watercolor, ink, pencil on dzo paper Enquire related My Zootopia The sky is the same everywhere 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 what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 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

print Nguyễn Thế Sơn biography Son was born in 1978 in Hanoi and holds an MA in Photography from the Central Academy of Fine Arts (CAFA), Beijing, China. With ten years of experience using photography as a medium to engage in both past and present social and historical issues, he has established a unique and impressive body of work, whilst continuously challenging the definition and role of contemporary photography in Vietnam. The final outcome of Son’s work, which comes in various forms such as traditional silk painting and lacquer or photography installation and video art, is often the result of an enduring research process where different disciplines and systems of knowledge production merge and collide. Son has held numerous solo exhibitions, most notable recently including: ‘A Decade of Exposure’ - Art Vietnam, Hanoi - 2023; ‘Ten years‘City and Memory’ – AGOhub art space, Hanoi – 2018; ‘Colour of the sound’ – K-art gallery, Korea National University of Arts, Seoul – 2017; ‘Devant derrière (Changing Face) – L’espace, Hanoi – 2016; ‘8m2’ – Goethe Institut, Hanoi – 2015; ‘Nhà Tây Transforms’ – Manzi Art Space, Hanoi – 2013. He also participated in many international projects and group exhibitions in USA, China, Sweden, France, Hongkong, Indonesia, Malaysia,.. In 2016, his mobile installation ‘…Carrying the Carriers…’ was included in the public art project ‘Into Thin Air’ – Manzi Art Space. works This artist currently has no available work at Manzi works Helios Tower NGUYỄN THẾ SƠN 2018 50 x 50 cm Photo print on canvas Enquire works 39 Hàng Đồng NGUYỄN THẾ SƠN 2021 40 x 85 cm photo print on canvas Enquire works Building K - Collective living quarter NGUYỄN THẾ SƠN 2017 55 x 55 cm C-print on canvas Enquire works Collective Living Quarter at no. 346 Kim Nguu street (2 versions) NGUYỄN THẾ SƠN 2019 80 x 40 cm fine art printing on ILFORD canvas Enquire related My Zootopia The sky is the same everywhere 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 what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 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

Sto LenOpen Studio by STO LEN 01.10 - 21.10.2016 Water Flows Rock Erodes - October 21, 2016 October 1, 2016 Sto Len Titled 'Nước Chảy Đá Mòn', the open studio by print and performance artist Sto Len invites visitors to observe his practice, have a chat, get their own hands dirty and see his latest body of work produced both in Hanoi and New York. Sto captures (un)expected moments of beauty in the form of monoprints following Japanese Suminagashi (floating ink) marbling methods which he has tweaked over the last years to fit his own practice in which much is left to chance and the process of going with the flow and seeing what happens is an intangible aspect of the finished pieces. To create monoprints that will never be replicated in quite the same way, he prepares bodies of water from all kinds of sources, adds an assortment of paint and invites the surrounding space to add whatever speckles of dust, bugs or grit it can spare, lets all of it stew, waits, plays with the result, might wait some more and eventually places a piece of paper on the resulting surface to visually capture the collaboration of the artist with whatever space he is producing in. Just as memories are given meaning in hindsight, Sto checks in with what he has picked out of the water to see what his catch of the day is and decide whether it was what he was hoping for. In Vietnam Sto will be continuing his recent body of work of printing on old maps and posters - a ‘collaboration’ that unsettles the seeming rigidity and authority of cartography and official information. He will also be producing his ‘natural waste’ prints - having realised that he can employ his printing technique in the soiled waterways of New York he has been experimenting with pulling prints of poisonous beauty out of them and is looking to do the same in the many bodies of water in Hanoi and it’s surrounding Visitors are invited to experience his creative process fully and to return multiple times to witness the body of work grow and see what worked and what didn’t. *The Vietnamese proverb “Nuoc Chay Da Mon”, which directly translates to “Water Flows Rock Erodes”, is employed both to encourage patience and a reminder that change is gradual, inevitable and happens through consistency upheld over a long period of time. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Lê Đình Chungan open studio by Lê Đ.Chunh following the stone wall and we found an electric generator - July 13, 2025 June 13, 2025 Lê Đình Chung Opening party: 06.30 PM Friday 13 June, 2025 On display: 11.00 AM - 07.00 PM Tue - Sun | from 14 June until 13 July 2025 Manzi Exhibition Space, 2 ngõ Hàng Bún, Ba Đình Free entrance >>> CLICK HERE FOR THE FULL CATALOGUE *** This special summer show at Manzi acts as a prelude to Lê Đ.Chunh’s ongoing multimedia art project, which began in 2017. The project is a long-term research into a resettled migrant community in what was known as a New Economic Zone during the Đổi Mới era (from the mid-1980s to the early 1990s), specifically in Di Linh, Lâm Đồng. The occupants were part of a state-enforced resettlement program, a large-scale postwar operation that relocated people from lowland and urban areas to the highland & mountainous areas, and border regions. This program was an effort of the Vietnamese government to redistribute the population and reconstruct the nation’s economy after decades of strife. Over there, life was forcibly re-established atop the lingering ruins of the colonial period: abandoned plantations were converted into state-run farms; houses were erected on the remains of derelict tea factories; and running alongside a stone wall—the leftover irrigation structures on small streams were reused to power rudimentary generators. These acts of appropriation, though obvious and necessary for survival, carried with them the quiet irony and absurdity of a coerced negotiation with history, where survival meant adapting to—rather than overcoming—the alien remnants of another era, a reluctant inheritance that shaped life without ever truly belonging to it. The series of paintings on dzo paper by Lê Đ.Chunh presented in this open studio reflect personal recollections and plain observations about the life in this land—a kind of documentation that layers the artist’s internal compression of memory, physical traces, and communal experiences. In seemingly loose and wild compositions, the impulsive placements of fragmented details appear inconsequential and random at first. However, such constant recurrence begins to disturb our vision, gradually prompting contemplation: A fire burning before a church, A horse bearing a pair of breasts, A couple struck by lightning, Dogs with uncanny expressions and ambiguous gestures, suggesting a mysterious twist or unexpected accident, A crowd gathering, jubilant as they await the rare broadcast of an entertainment program, Faceless figures masked by drooping hoods, heads huddled in gossip or fighting mid-drunken stumble, Someone on crutches… Someone holding a “flambeau/flaring sword”? ARTWORKS GALLERY There is no main character. Everyone appears to be a passing extra, drifting in and out of a scene with a disorienting and unstable perspective: a shadow curled into a black hole, a tilting plank, an overturned table, a crooked ladder, or a car flipped upside down. Everything accumulates like raw data awaiting a long-form fictional narrative—or possibly a draft storyboard for a serial drama that cycles through a maze of intertwined events and plot turns. Surprisingly, it is precisely through these scattered and chaotic bits that we see glimpses of a whole generation's silent struggles, exposing shards of a collective memory about what was once an "unwilling promised land." Though it was a destination no one opted for and few could avoid, as if exiled and deprived of memories of a lost home, there is yet hope for a new homeland. A quirk of fate underlines the prospect of a whole new belonging?! Alongside a series of dzo paper drawings, this open studio also presents “99% Tetris Game | the cold war is over… almost,” an interactive video game work by Lê Đ.Chunh. Tetris (Тетрис) , the iconic puzzle game where tetromino blocks (composed of 4 squares) fall from the “sky,” was created in 1984 by Soviet engineer Alexey Pajitnov. It became the very first video game exported from the Soviet Union—unexpectedly becoming a global phenomenon, especially after reaching American players through Nintendo’s Game Boy. Lê Đ.Chunh, too, grew up with memories of handheld gaming consoles and sibling rivalries over playtime. Borrowing the 1988 U.S. marketing slogan for Tetris—“The Cold War is over... almost”—the artist has created his own absurdist version of the game. In place of clean geometric blocks, he uses fragments from daily life: hoes, sickles, sandbags, cattle, plants, pots, rubber sandals, silhouettes of residents… all cut from photographs he captured around the stone walls of the old tea factory. Like in Tetris, the pieces fall into a fixed screen; the player can rotate or move them sideways, but because there’s no unifying geometry, they never quite align. There is no neat fit, no completed lines, and no score. The fragments simply pile up—off-kilter and unresolved—in a system of illogical self-cancellation. The work gently links personal memory with broader historical shifts—from a transforming local landscape to the distant echoes of a crumbling world order—not to interrogate or conclude, but to propose a wry scenario: when pieces never fit, how long can the game go on—and for what reason? ____________________ Stubborn and still—the stone wall never yielded, never crumbled, nor could it be torn down, despite the ravages of war and the churn of time. Once, it was merely a forgotten colonial remnant, too obscure for anyone to name or trace. And yet, from its silence, a roof was raised, a well was dug, and a childhood was tenderly nurtured. “Following the stone wall,” thus, to Lê Đ.Chunh, is no longer just a gesture of personal remembrance but perhaps a long journey through overlapping strata of memory, tracing around the ruptures of history—an undiscovered zone that opens up to endless possibilities and re-imagination. OPENING NIGHT See more about artist(s)

Ly Hoàng Lya solo exhibition by Ly Hoàng Ly The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) - July 17, 2022 June 5, 2022 Ly Hoàng Ly More than 10 years ago, Ly Hoang Ly officially commenced her project ‘ 0395A.ĐC ’ . 2022 marks the second time she presents it in Vietnam. Vietnam - the beginning of it all, the meeting place where all thoughts are summoned. From this place – bodies have been turned away, disappearing into thin air. To this place – again and again, exiled souls have returned. Spanning many different decades of Ly’s career, ‘0395A.ĐC’ is a multilayered living body of work - consisting of text, painting, sculpture, photography, artist book, video art, installation art, performance art, architecture and public art. From a seed of idea to now an ever-evolving project, ‘0395A.ĐC’ continues to grow alongside the artist's ongoing inquiry into the notions of home, identity, life and death, as well as her re-telling of the epic story and continuous struggle of human (im)migration. In doing so, the project both highlights and contests the ways in which micro and personal narratives are often forgotten in the memorization and circulation of History. In 2017, ‘0395A.ĐC’ was first launched in Saigon. This time, it ‘travels’ to Hanoi under a different name, ‘The dreamer: heterotopia, tabula rasa, noble silence’ . A different self - one that showcases the accompanying artworks in a different composition, under a different light. A deviation from the original, one might say, without realizing that the original, indeed, has never existed. For every time ‘0395A.ĐC’ is shown in a new location or exhibition space, the artist would disassemble its body, reconstruct its parts, transform its essence and breathe new life into its multifaceted identity. Continuously digging into the conceptual and contextual weight of the subjects in study, while also expanding the visual, material and experiential possibilities of both the overall project and its accompanying artworks – this way of working runs parallel with Ly’s examination of ideas of (dis)placement and rootlessness, perfectly illustrating the fluctuating and fluid nature of history and identity. Thus, one thing is for sure: if you have encountered ‘0395A.ĐC’ before (in Saigon or elsewhere), you will now once again meet with images and words that are both familiar and uncanny, transparent and opaque, concealed and revealed, memorized and forgotten. Because just like life, art must always be constantly in flux. Organized by Manzi With support from Nguyễn Art Foundation and words by Bill Nguyen ARTWORKS GALLERY AGAIN. ONCE AGAIN - words by Bill Nguyễn Visiting the exhibition, the viewer would encounter a series of short writings by Bill Nguyễn, presented as “cards”. Although they are numbered, feel free to pick up any cards or read them randomly in any order you wish to. Bill said: “These “cards” contain the thoughts, notes and conversations that Ly and I have exchanged over the years, which come from multiple sources, referring to both Ly’s pool of inspiration and ideas, and my own interpretation of her works and practice. These words of mine are both aged and freshly formed. Some were written and publicly circulated on the occasion of Ly’s exhibition at The Factory; some are newborn, safely tucked away between the pages of my notebook – where truths are told as honestly as possible” >>> CONTINUE READING THE FULL CARDS OPENING NIGHT See more about artist(s)

Nguyễn Trần Naman open studio by Nguyễn Trần Nam in spaces of everyscape, at time without end - August 18, 2024 July 19, 2024 Nguyễn Trần Nam IN SPACES OF EVERYSCAPE, AT TIME WITHOUT END An open studio by Nguyen Tran Nam Opening party: 06.00 PM, Friday night 19 July 2024 On display: from 11.00 AM to 07.00 PM 20 Jul - 18 Aug 2024 (Tue - Sun) Manzi Exhibition Space, no. 2 ngõ Hàng Bún, Ba Đình, Hanoi In this open studio, Nguyen Tran Nam, a Hanoi-based visual artist whose idiosyncratic oeuvre has been shaped by recurring themes of violence & power, death & immortality / incarnation, doubt & imagination, will extend his exploration into surrealism and speculative fiction. 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. More than a reflection of his private memories and obsessions that haunted the artist himself, this series also depicts a shared curse put on his homeland and surrounding people, as indicated by the tactful allusions to some past sociopolitical episodes and the unrest of the current climate. That kind of subtlety and understatement in his paintings stimulates numerous possibilities for interpretation and fictionalization, with three innovative perspectives are suggested: First is the shift in context and space (resulting from material changes): By stepping out of the familiar domain of lacquer and oil paint, which has long been identified with the artist, and toward a new material surface that is fragile yet much more free to drift—dzo paper—the context within Nam’s paintings is devoid of any specified position and staging arrangement. With borders dissolved, 'the spaces of everyscape', therefore, collapsed into one and single co-presence, in which everything comes into being and anything is permitted. Such a universe allows for both violence and oppression; fancy is all soothed with dreams, and no doubt is left unresolved. Second is the set of signals coming from the characters in paintings: absurd yet consistent. The human-shaped individuals, the main protagonists of Nguyễn Trần Nam’s painting, continue to be presented without faces or any definitive identities. These mysterious characters are performing indecipherable actions, whether in an innocent, despairing posture or a sly, cunning masquerade.Their motivations and ambitions remain ambiguous. However, it is evident that no matter how minor or benign the behaviors begin, when reenacted by the protagonists, all activities become brutalized or ritualized, full of menace and divinity. Third is the presence of a new set of bizarre objects in the painting (a ladder, a dead tree, a fallen eye, dissected internal organs, a deer carcass, etc.). The co-existing structure of space, projected around this system of symbols, will undoubtedly bloom with numerous new signs, much like an illusion sprouting from the rotation of a kaleidoscope: They are holy relics or evidence denouncing sins, remnants from an execution site or a sacrifice altar, an imperative punishment or a deliberate voluntary offering ... Ten years after his first presentation at manzi ( solo exhibition Broken Chapters), ‘In spaces of everyscape, at time without end’ marked a change in concept, aesthetics, and creative energy of Nguyễn Trần Nam, promising a new chapter in his future practice. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

ink/watercolor Lê Công Thành biography Born in 1932 in Danang and graduated from the Vietnam Fine Art University in 1962, Le Cong Thanh is considered the most important sculptor in Vietnam. Having been exhibited widely both nationally and internationally, Thanh’s work is included in numerous public and private collections in France, Italy, the US, Holland, Switzerland, Hong Kong, Singapore and Korea. Le Cong Thanh is also well-known in the art community for his paintings of the theme of women and love. works This artist currently has no available work at Manzi works Wish LÊ CÔNG THÀNH 1999 49 x 43 cm color pigments on paper Enquire related My Zootopia The sky is the same everywhere 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 what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 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

Ly Hoàng Ly Patricia Nguyễn John LeeA group exhibition by Ly Hoàng Ly, Patricia Nguyễn & John Lee 26.07 - 17.08.2015 PRISM - lăn[g] kính lăn[g] trụ - August 17, 2015 July 26, 2015 Ly Hoàng Ly Patricia Nguyễn John Lee PRISM - lăn[g] kính lăn[g] trụ - is an interactive multi-media video, sound, photography installation and poetry performance project including a series of artist’s books that explores the relationship between bodies, shifting landscapes, and cultural memory in Vietnam. Through an embodied experience attending to the sense of sight, sound, and tactile navigation, PRISM - lăn[g] kính lăn[g] trụ - offers an experience that challenges the viewer to question the relationship between notions of memory and amnesia, home and displacement, and construction and destruction. Playing with the formation of memory and space through reflective distortions and through audience collaboration, based on the audience’s decision to actively participate or refusal to interact, PRISM - lăn[g] kính lăn[g] trụ - can be considered as a gesture to invite the viewer to experiment with their perceptions of a world that is emerging alongside another world that is possible. PRISM - lăn[g] kính lăn[g] trụ - is made possible by collaboration between a Vietnamese, Vietnamese American, and Korean American artist. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Doãn Hoàng LâmA solo exhibition by DOÃN HOÀNG LÂM 21.08 - 21.09.2015 em|body - September 21, 2021 August 21, 2015 Doãn Hoàng Lâm em|body - an exhibition of both new and never before seen works by Doãn Hoàng Lâm. A Vietnam University of Fine Arts graduate, Lâm belongs to one of the previous generations of academically-trained artists whose talents were endured and pushed to the limit by the then highly-demanding art education system, and is now considered one of Hanoi’s most accomplished painters. With a sense of naturalness of an artist and a disciplined mindset of an artisan, Lâm approaches each painting medium with sensitivity and clarity, utilizing its intrinsic vocabulary and qualities as the foundation for the formation of his ideas and experimentations, and an instrument to communicate his thoughts and mental states. In his works, lacquer would often be associated with depth, silk with delicacy, oil paint with fullness, watercolor with lightness and so on. For Lâm, to conduct a thorough practice with the most primary skills like sketching and life drawing, and to have a clear understanding of the most basic things like how to handle a particular paint and how to choose which brush to use, is as important as to continuously explore and refine his thought-, reflection- and creation-process. They both help to form the visual language and express the artistic vision that define Lâm and separate him from his contemporaries. Comprising four lacquer and five oil on canvas, em|body transforms the walls of Manzi into windows looking out into landscapes that are both cosmic and intimate, recalling images of the galaxy whilst revealing sensuous properties of the human body. The partially rendered human-like shapes look as if they are hovering in space, or emerging from behind the surface. Sometimes vulnerable and concealed, they have their backs to us; but mostly confrontational and powerful, they stare straight ahead, with their bare skin, disembodied figures and provoking positions all on display. Somewhere in this strange galaxy we see snippets resembling body parts: a twisted knee, a sagging breast, a deformed head, contorted limbs or spreading legs. Distorted and exaggerated, the body is repeatedly abstracted through the artist’s manipulations of forms and shifts in scales, acting as much a symbol of desire and a celebration of beauty as an object of fetish and an embodiment of violence. Here, the familiar has been made uncanny. Just a degree or two away from reality, we are left in an uncomfortable position, our senses toyed with, and our perceptions of affection/abjection, normality/abnormality, morality/immorality disrupted and questioned. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

ink/watercolor Nguyễn Thị Xuân Mai biography Born in 1998, graduated from Ho Chi Minh University of Fine Arts (Silk painting major), Nguyen Thi Xuan Mai is one of outstanding young talent among Southern emerging artists. While Xuan Mai's silk paintings are technically proficient and painstakingly executed, with a rich traditional Asian poetry style, her watercolor sketches have a free and fresh spirit, with innocent and whimsical touch of Western comics, and modern anime art. Teenage characters appear frequently in Xuan Mai's paintings, whether in urban dull settings or abstract backgrounds and surreal scenes. These characters appear to be stuck, disconnected in loneliness, feeling lost, insecure - all of which are unavoidable youth crises in an era of rapidly changing technology. With brilliant, lively hues that contrast with the dismal mood and features reminiscent of the stifling metropolis, Xuan Mai's paintings breathe life into all the nuances: beauty and struggle, trust and disillusionment, joy and disappointment. works This artist currently has no available work at Manzi works Outside NGUYỄN THỊ XUÂN MAI 2023 29.7 x 42 cm watercolor on paper Enquire works Sketch 2 NGUYỄN THỊ XUÂN MAI 2024 42 x 29.7 cm watercolor on paper Enquire works Little Things NGUYỄN THỊ XUÂN MAI 2024 21 x 29.7 cm watercolor on paper Enquire works Sketch 4 NGUYỄN THỊ XUÂN MAI 2024 42 x 29.7 cm watercolor on paper Enquire works Straw NGUYỄN THỊ XUÂN MAI 2024 21 x 29.7 cm watercolor on paper Enquire related My Zootopia The sky is the same everywhere 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 what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 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

Nguyễn Thị Huệ Hà Đào Hạnh Trần Lê Xuân Tiến Nguyễn Đức Huy Mai Phạm Thịnh Nguyễn Jamie Maxtone-GrahamA group photography exhibition 07.12.2018 - 07.01.2019 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)