Lương Văn Việt an open studio by Lương Văn Việt Spatium - January 2, 2025 December 20, 2024 Lương Văn Việt SPATIUM - OPEN STUDIO BY SCULPTOR LƯƠNG VĂN VIỆT An unprecedented experimentation with space-time-material-form Manzi Exhibition Space, 2 ngõ Hàng Bún, Ba Đình, Hanoi Free Entrance Phase 1: OPEN WORKING STUDIO - from 20 Dec 2024 to 2 Jan 2025 (10.00 AM - 4.00 PM) For 2 weeks, manzi will turn into a working studio where the artist will complete his large-scale sculpture and handle the installation directly. Visitors are welcomed to watch and record throughout the process. Phase 2: OPEN SCULPTURE-SPACE & INTRODUCE THE WORK - from 5 Jan to 19 Jan (11.00 AM - 07.00 PM) The installation-sculpture artwork, whether completed or unfinished, is open to the public and invites interactions. ______________ Spatium is a Latin word, which roughly translates to "space," encompasses many concepts in many different contexts: it can refer to the general place/room of existence, the physical space governed by natural laws, or the area intervened and covered - a significant quantity that must be calculated and considered in architecture and construction. When used in more abstract contexts, the term ‘spatium' serves as the root for notions and theories in social studies or philosophy, referring to the voids, gaps, and factors that define the distance or connection, as well as specific theory in ontology about perception and reality. Spatium by Lương Văn Việt, which literally comes into being right inside Manzi Exhibition Space, is not just a sculptural practice but rather a space-shaping and space-questioning exercise in numerous aspects. This exhibition room that hosted more than 30 different showcases and installations with works of various forms and materials continuously residing and moving out over the last 5 years, inevitably have been marked with all traces of intervention in the space: erecting and demolishing, hanging on the ceiling and digging down the floor. Now, the entire space is flattened literally, all the holes be filled and the marks be covered, all the walls be repainted in white, only white - a thorough stripping and cleaning in a way of going back to the beginning, a return to the pure state: empty and clear. A blank space. It prepares and waits. Large corten steel plates, then are hauled in, bent, and put together into a single artwork hanging on a support system, allowing visitors to walk around, lean down, and look into it. All steps of this procedure are carried out in just one place, which have fused all creative spaces - artist’s studio, installation/construction site and an exhibition room - into a singular existence. By this way, a place will actively nurture and create an object instead of passively waiting to be occupied and taken over. Space determines the structural form and presence of the displayed object; conversely, a piece of sculpture, when moving and adapting in space, also simultaneously rewrites the surrounding rhythm and regulates the breath of that place. In this sense, a sculpture is no longer labeled as a distinct and unchanging unit or a singular presence defined only by shape, weight, and volume against a white background, but rather the space itself, including the container and the contained, the occupied and the blank, the solids and voids, being and nothingness, all constitute a sculpture. Aside from such experimenting with interpretations in work of art, installation & sculpture, this adventure at manzi also unveils numerous possibilities within the gaps that exist between idea and reality, concept and creation , as well as between industrial materials and manual techniques , technical calculations and aesthetic values. The variable is also generated from the approach of Spatium : such the rotation, the duality of creating and exhibiting spaces, and the dimensions of experiences within them. Artist studio - the working environment which used to be determined by the artist's internal, psychological, and private experiences, in this case, have been transformed into an external, social, and public area that is responsive and uncertain. Spatium at Manzi, therefore, is a brave and unconventional endeavour by an audacious artist who believes strongly in the creative process itself. Like a dedicated traveler, Viet walks tirelessly on a journey but not for a final destination; unflinchingly he embraces all the encounters and revelations along the way, whether they come in the form of challenges or setbacks. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

mixed media Nguyễn Đức Phương biography Nguyen Duc Phuong (aka. Phuong Gio) was born in 1982 in Uoc Le - a village specialised in making giò chả (Vietnamese sausages); hence his other namesake, ‘Phương Giò’. After his graduation from the Vietnam Fine Art University in 2007, Phuong spent his time focusing on experimentation, eschewing participation in artist groups or exhibitions. Often uses natural colors originated from soil or flowers and plants for his paintings on dzo paper (a traditional handmade paper), Phương’s works is simple but delicate and full of life. “In all of Phuong’s works, the way he sees the world is saturated with nostalgia, decadence, a mourning for things past but also full of Joie de vivre. Destruction and decay are inevitable in the circle of natural movement but it is also a hope for a rebirth. Overall, that nonchalant, carefree and simple spirit in Phuong’s artistic creations is his statement: Just by being.” Phuong’s most recent notable exhibitions include: ‘ The Foliage 2’ – Vincom Centre of Contemporary Art, Hanoi – 2018; solo exhibition ‘Just by being’- Manzi Art Space, Hanoi – 2017; ‘Looking for the Divine Beings’ group exhibition in the series CRAFTING HOME – Nha San Collective, Hanoi - 2017 works This artist currently has no available work at Manzi works Year of the Wood Snake NGUYỄN ĐỨC PHƯƠNG 2024 57 (W) x 68 (L) x 9 (H) cm lacquer on found object Enquire works Pagoda NGUYỄN ĐỨC PHƯƠNG 2024 64.5 x 33 cm color pigments on dzo paper pasted on canvas Enquire works Salute to Spring NGUYỄN ĐỨC PHƯƠNG 2024 44.5 x 26 cm color pigments on dzo paper Enquire works How Covid-19 has changed Vietnamese art history - Nguyễn Sáng NGUYỄN ĐỨC PHƯƠNG 2020 19 x 27,5 cm ink & watercolor on paper Enquire works How Covid-19 has changed Vietnamese art history - Lê Phổ NGUYỄN ĐỨC PHƯƠNG 2020 19 x 27,5 cm ink & watercolor on paper Enquire works Background check NGUYỄN ĐỨC PHƯƠNG 2021 40 x 40 cm dzo paper, natural colors, golden & silver leaf Enquire works Strive to survive till dawn (12-1983) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (12-1980) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (11-1980) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (8-1981) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (8-1979) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (5-1980) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (5-1982) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (3-1983) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works The Old Master and His Student go swimming in the river NGUYỄN ĐỨC PHƯƠNG 2024 62 x 43 cm color pigments on dzo paper Enquire works Year of the Dragon NGUYỄN ĐỨC PHƯƠNG 2024 54 x 28 cm color pigments on dzo paper Enquire works How Covid-19 has changed Vietnamese art history - Trần Trung Tín NGUYỄN ĐỨC PHƯƠNG 2020 19 x 27,5 cm ink & watercolor on paper Enquire works How Covid-19 has changed Vietnamese art history - Nguyễn Sáng NGUYỄN ĐỨC PHƯƠNG 2020 19 x 27,5 cm ink & watercolor on paper Enquire works How Covid-19 has changed Vietnamese art history - Nguyễn Tiến Chung NGUYỄN ĐỨC PHƯƠNG 2020 19 x 27,5 cm ink & watercolor on paper Enquire works A morden folk song NGUYỄN ĐỨC PHƯƠNG 2019 84 x 150 cm natural colors & resin from Diospyros lotus on silk Enquire works Strive to survive till dawn (12-1981) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (11-1979) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (10-1981) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (9-1981) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (7-1982) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (6-1982) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine Enquire works Strive to survive till dawn (4-1982) NGUYỄN ĐỨC PHƯƠNG 2019 20 x 30 cm ink & natural color pigment on old magazine 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

Trịnh CungA solo exhibition by TRỊNH CUNG 12.01 - 20.01. 2015 CONSCIOUSNESS - January 20, 2015 January 12, 2015 Trịnh Cung ‘Consciousness’ featuring Trinh Cung's latest creations with 9 sketches and 7 large size oil paintings will mark the return of one of the most important artists of Saigon before 1975 after more than 20 years long of absence in the local art scene. ‘I haven’t shown my work to public for a long time as I felt depressed with everything I created, so I wrapped them up, locked them in a tube, brought them along with me with the hope to find a heaven, for me and for them. Now at the age of 77, I have realised that my artwork need to be free, they need to be alive and that’s why they are here, at manzi art space today’ - Trinh Cung. By setting up an ambiguous interplay between foreground and background, transforming his canvas into a composition of loose, organic forms, in this series of work, Trinh Cung has created a perpetual motion, candidly confronting themes of identity, sexuality and the fear of loss and abandonment. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

A historical display exploring the attire worn by Vietnamese people throughout 1000 years 23.08 - 09.09.2013 A Study of Vietnamese Costumes in the last 1,000 years - September 8, 2013 August 23, 2013 A collaboration of manzi art space with Nha Nam Publishing House, 'Ngàn Năm Áo Mũ' is a very special historical display of images, paintings and royal costumes exploring the attire worn by Vietnamese people from all levels of society throughout the last 1,000 years. Conducted by the 28-year-old researcher Tran Quang Duc of the Viet Nam Institute of Literature, this study is described as the most comprehensive research ever undertaken on the subject, and was published by Nha Nam Company and World publishing house earlier this year. "It is an absolute blessing that such valuable resources have been published as a book. Up until now, this is most likely one of the most in-depth and into-details studies on the Vietnamese culture and clothing, both locally and internationally." Researcher Trinh Bach, who has spent many years studying traditional culture, especially Vietnamese royal costumes, is one of many experts to praise the book. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

An art-in-public project for Hanoi | Dự án nghệ thuật cho công cộng của Hà Nội. Taking artwork out of the galleries and onto the streets. Turning viewers into co-creators. WHAT: 1 city 10 site-specific, contemporary artworks 10 public spaces. Into Thin Air A public art project A public space is a space that does not belong to anyone, but at the same time, to all. It is a site that doesn’t just hold its inhabitants’ history and memory, but also reflects their personal and collective identity. It is a place that is often neglected or forgotten, but has the potential to become a zone for creativity and freedom. About “Into Thin Air” is a long-term public art project, initiated and curated by Manzi Art Space with a view to building awareness and appreciation for art – particularly contemporary art – among the public, to helping artists develop independent practices whilst encouraging their involvement in social development within the current context of Vietnam. Into Thin Air takes art and creativity outside of its conventional comfort zones (i.e. the museum, gallery, art space etc.) and into public spaces. For the project, all participating artists were asked to consider their everyday urban spaces, or places in Hanoi that are significant to them and their community, and create artistic interventions for the spaces. The artists were also asked to take into consideration the city’s historical, political and social characteristics, to be more open and socially engaging, and to make works which encourage the public to participate or interact with it. For the project, The first edition of Into Thin Air took place successfully from 9 to 19 April 2016 in Hanoi. Ten artworks and projects in the form of site-specific/context-responsive installations, interactive video works and sound installations were placed around Hanoi. A smartphone app was created, functioning as a “treasure map” to aid the audience in “hunting” for and getting information about the works. Following the success of the first edition of Into Thin Air, the second installment continues to explore the core format of the project. It also furthers and broadens its scope by tackling a different type of public space: the Internet. Into Thin Air’s 2nd edition includes a series of virtual artworks (virtual installations, performances, sound-walks and video arts) which will exist permanently in 10 of Hanoi’s public spaces. Audience can view/ interact with a given artwork through a free online application using augmented reality (AR) technology which can be downloaded to their phone or tablet. All artworks exist virtually yet are only accessible at a particular site. This 2nd edition looks to promote the diversity of cultural expression to reiterate the importance of creating an enabling environment that encourages individuals and society as a whole to get access to and enjoy a wide range of cultural activities. Explore Participating Artists See more Nguyễn Huy An Born in 1982 in Hanoi and graduated from the Vietnam Fine Art University in 2008, Nguyen Huy An is considered one of the most dynamic and innovative artists of his generation. Huy An’s work has been a process of trying to dig into the darkness of psychology. Most of his projects have been underpinned by an obsession with memory and the complexities of a pessimistic perspective. From installations, performance art to paintings and sculptures, Huy An’s works are highly acclaimed by international art critics and curators for their introspective, simple and strong concepts. Tạ Minh Đức Born in 1991 in Hanoi, Tạ Minh Đức graduated from the Hanoi Academy of Theatre and Cinema in 2014. His work questions notions of existence, human relationships, isolation of the individual, latent violence and domination. Jamie Maxtone-Graham Jamie Maxtone-Graham is a photographer and filmmaker who formerly worked in NY and LA. He is a Fulbright Fellow and has lived in Hanoi since 2007 with his wife and daughter working in a diverse practice of image making and occasionally running workshops. Vũ Ngọc Khải Khải is a professional dancer and choreographer who has been studying and working in Vietnam and Europe. Khải studied at the Dance School of Hanoi and in 2006 gained a full scholarship from the Holland General Consulate to study at the Rotterdam Dance Academy in the Netherlands. One year later, he gained a scholarship from the company for a special course focusing on training dancers and choreographers. Huy Trần Born to an artistic family, Huy Trần decided to pursue a professional dance career at a very young age. A 2006 graduate of the Vietnam Dance College, he worked for the Vietnam National Opera and Ballet (VNOB) and was eventually awarded a scholarship from Cinevox Junior Company in Switzerland where he studied until 2011, He then started to perform at the Ballet Hagen Theatre and the National Mannheim Theatre – Germany. He is currently working for the Pfalztheatre Kaiserslautern as a dancer and choreographer. Cao Thanh Lan Cao Lan is a versatile musician, she was trained as a classical contemporary music pianist (by Pierre-Laurent Aimard) in Cologne’s and in Brussels’ Conservatories, but finds her main interest in sound. She has been experimenting with analogue synthesizer, amplified objects, prepared marxophone, daxophone and low-tech electronics. Gregor Siedl Gregor Siedl was born in Vienna, Austria. He is deeply engaged in the field of experimental and improvised music. Through his explorations of extended techniques, preparations on the saxophone, clarinet and the use of extra-musical instruments such as game-calls and water, he has developed a unique voice in music. Gregor won first prizes as best improviser at the international music competitions XL-Jazz and Gent Jazz festival. He has been involved in experimental music, jazz and multi-disciplinary projects with performers, visual artists and artificial intelligence. Trí Minh Trí Minh started his career as a performing artist in the early 1990s, when he co-initiated Hanoi’s first jazz band, which performed for years in various venues across Vietnam’s capital. In the late 1990s, Trí Minh started experimenting with electronic music through collaborations with international artists performing as a solo artist and in various forms of collaborations in Vietnam and Europe. See more Maritta Nurmi Maritta is a Finish artist based in Hanoi. Her 25 years in Vietnam, together with an education in Finland both in natural sciences and visual arts have merged into an alchemist-like metallurgic experimentation in painting. Maritta equally enjoys exploring other genres of art, including ceramic art, wearable art, public art and community based art projects. She has exhibited in numerous countries across 3 continents. Nhung Nguyễn Nhung Nguyễn has been creating sonic waves in Hanoi’s underground music scene for the last couple of years. In addition to her solo projects, she has teamed up with artists working across various media and from around the world to add audio elements to visual experiences. Since 2014, Nhung has been releasing music under the project Sound Awakener and eventually under her real name. She has worked with labels such as Time Released Sound [US], Unknown Tones Records [US] Soft [FR], Flaming Pines [UK], Fluid Radio [UK] and Syrphe [Germany]. Christian Grothe Christian Grothe is a musician and music producer based in Berlin. He is producing and performing music under the alias Kryshe and collaborates with many artists, such as the trio Unland. His work combines trumpet, guitar and his voice with live electronics to create sound pieces for exploration and deep listening. Every piece is based on the use of improvisation and experimentation, to produce a variety of moods from soft and dreamy to dark and distorted. See more Nguyễn Oanh Phi Phi 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. SEE MORE OF MANZI Manzi Art Space, Cafe & Art Shop 14 Phan Huy Ích, Ba Đình, Hanoi Manzi Exhibition Space 2 Ngõ Hàng Bún, Ba Đinh, Hanoi Submit

Lê Hoàng Bích PhượngA solo exhibition by LÊ HOÀNG BÍCH PHƯỢNG 08.09 - 02.10.2017 Beyond The Hills - October 2, 2017 September 8, 2017 Lê Hoàng Bích Phượng Marking her return to silk work after a deviation to ceramics stems, in ‘Beyond The Hills’, Phuong shows a series of delicate silk paintings and a minimalist installation, dealing with the question about concepts of self consciousness, time and personal space --- “he took his last breath and he was gone. I wondered what was going on - did he ever think about what he wanted to do in life for himself? Or was it just to raise the children and make money for the family? At that moment – as everyone was gathered - I saw this landscape, a full moon, above the forest.” - Le Hoang Bich Phuong – Ho Chi Minh City, August 2017, speaking about the moment her grandfather passed a month earlier. This dreamscape which materialised in front of Le Hoang Bich Phuong’s inner eye the moment her grandfather passed away is the subject of the delicate silk works that comprise ‘Beyond The Hills’ – a deeply personal series, rooted in her exploration of the Buddhist lineage she comes from. The new series is underpinned with spirituality that deals with the question that surfaced when she looked into how notions of self, space and meaning are created– where am I me? And in the context of her grandfather’s death: Where Are you between the before and after? What do you experience? How long does it last? What Le Hoang Bich Phuong attempts to comprehend and capture in her work are concepts of time and space that are in their very nature fleeting and cannot be contained (the present moment) or reached (the horizon). She says of the horizons she paints: “It’s a line, a surface and it is the space where mindfulness lives.” And the same goes for the present moment, “here is tomorrow, here is yesterday and here is now which belongs to nowhere.” The horizons painted in simple shapes, clean lines and colour choices are a figment of her imagination - a destination that can only be reached in one's mind. And though this place is meant as a space for the mind and the self to rest, the artist is also depicts the disruptions of a state of mindfulness in a way that is subtle yet significant – they render the soft purple (spirit) of her perfect space red (anger), abstract triangles turn from hills into spikes penetrating the full moon and there is a grotesque underworld eating away at the foundation of pristine landscapes. The Buddhist teaching that suffering is a part of life and to strive towards enlightenment is a quest to be liberated from suffering is present in the work: “How do we accept death and the circle of life and nirvana? You accept that you have to keep living. One afterlife after another, and your accepting that is mindfulness.” (Le Hoang Bich Phuong, Ho Chi Minh City, August 2017) Le Hoang Bich Phuong’s return to silk work after a deviation to ceramic stems from her discovery that her painting practice is a form of meditation. She paints slowly and calms down, turning to her work in moments of anger to see the emotion transformed. As with her self-portrait in the series, which too is rooted in her being forced out of her personal space by spats with and provocations from those closest to her. But in painting the emotions dissipate, only to enter the next cycle of calm followed by emotional upheaval. “When the emotion changes, the plan I had had, like an angry painting, whichshould be ugly turns pretty and gentle. Sometimes I stop there. Can you freeze a moment in time when painting is the thing that makes it evaporate?” (Le Hoang Bich Phuong, Ho Chi Minh City, August 2017) In its entirety ‘Beyond The Hills’ is deeply personal work both in subject and its production by an artist ready to listen to her intuition. Article written for the exhibition by Fabiola Büchele *This event is part of Manzi’s art programme supported by CDEF of the Danish Embassy in Vietnam ARTWORKS GALLERY BEYOND THE HILLS - ARTIST STATEMENT “‘Beyond the Hills’ is a journal of reflections of my most recent personal experiences. Experiences that include the flashes of lighting of loss and the faint remnants of life and death. These works compose a chapter of my psychological diary illustrated during the process of making the exhibition. Also present is the fierce protest of my inner core against a sudden intrusion by another individual of my personal space. My reaction was so strong and all encompassing that even a faint breath of the intruder could boil up my frustration. My raw sense of self and need for being undisturbed coincided with the passing of a member of my family. At the instance of death I was speechless and drifted into dreams where hills, the moon, and layers of grass appeared. In this series, I present all of these intangible emotions and experiences in the form of dreamscapes and shapes that provide a visual record of invisible concepts. I was intrigued by figures and forms subject to the rule of energetic regulations like the planets in our solar system - all of them in orbit around a particular centre that imposes limitations forcing them to trace rings. I believed that the proportions of these rings possess a source of energy that in turn protect the core that binds them. If individuals were to be at the centre of such systems of interconnectedness each individual universe would differ in proportion and trajectory – much like a mandala. Various cultures and scholars have used the concept of mandalas to display an individual’s universe in miniature. The perimeters of such a universe attracts thoughts and energies to gravitate towards its core, while at the same time defining a border which an intruder or visitor crosses when moving into an individual’s personal space. Whether the reaction is to welcome or to expulse and the change in attitude or emotion of the host largely depends on the pace of invasion. So close are the notions of private and public space in relation to the self that the elasticity of the spherical boundary allows the intrusion to a certain degree before determining whether to expel the invader. Each individual is a universe, shaped by the discovery of one’s own great cosmos. The protecting rings are increasingly contoured as you encounter other universes and define your ego in relation to them. And for one individual to penetrate the core of another he or she must overcome a lot of personality rings only to discover that each of them is made from the same materials as the rest of the galaxy. *** About the installation work INVADERS The installation represents an individual cosmos with rings around its centre. Limits are defined on the same plane and reflect all the layers covering the core. This personal space is arranged with the same structure as the solar system, with inner and outer rings, the sizes of which rely on each how the work is encapsulated in the exhibition space and how each individual viewer decides to interact with it. And with any intrusion the first steps into the circle is recorded and an alarm is sent to the core. The recurring depiction of a horizon in my works represents a space between heaven and earth that belongs to neither- it is ‘today’, as it sits between ‘yesterday’ and ‘tomorrow’ but can never be captured. The horizon reflects and senses all intrusion and all personal characteristics revolve around it without favouring of either day or night. It is here, at this unreachable place that I found shelter, a space free from the obligation of making a choice. Nestling in that space, I can be present in two worlds, without a sense of belonging to either. And it is here that the dream of my grandfather lives, one that I saw as he slipped from life. I stood on the landscape that materialised in front of me and promised myself that I would capture the image in paintings. MANDALA The mandala in my work is narrowed in scope than the images it is based on, which include Jung’s personality chart, Buddhist mandalas and the structure of planets in the solar system. There are parallels among inspirations from science, spirituality and human psychology, but my mandala refers only to the labyrinth at the depth of my psyche, which is at once a tranquil oasis and a room with so many doorways and directions that it is likely I will eventually lock myself in and shut myself away in the room of my own mind. Though from a different perspective, this may enable me to discover a brand new skyline shaped both by surroundings factors and inner conceptions at that particular moment. The self thus is a mandala reflecting itself and the other worlds it encounters. I am who I am, exactly as stipulated in DNA, but I realized I also hold the key to happiness in the centre of each cell in my body. OPENING NIGHT See more about artist(s)

Nguyễn Phi Phi OanhA solo exhibition by PHI PHI OANH 16.12.2016 - 16.01.2017 SCRY - January 16, 2017 December 16, 2016 Nguyễn Phi Phi Oanh SCRY features Phi Phi Oanh's latest series of lacquer paintings on glasses which she has worked and experimented on for years. Scrying is the act of divination through focused gazing into a glass or reflective medium. In this exhibition, magnifying glasses are used to view the lacquer skins. The title, Scry, suggests the character of the images presented as embracing of ambiguity and visual magic and that they are desperate attempts to grasp what the future beholds. For this series of paintings, the dimensions of the skins emulate that of a touch tablet screen. Using this visual trope, through lacquer painting, the artist loosely reflects on contemporary imagery—that which new technologies such as drones, digital, satellite, nanotechnology can visualize. They too are a kind of looking glass through which we can grasp our surrounding and material world. The magnifying glasses augment the illusion of magic in lacquer painting while simultaneously giving away its means of construction. The skins are back lit and front lit to optimize the pure qualities of the lacquer painting that one would not be able to see on another surface. ARTWORKS GALLERY It seems almost anachronistic today to talk about medium in the context of contemporary arts and painting. However, to me this substance Sơn Ta is much more than an image-making medium. It is a cultural medium that has embodied all of the major dialectical changes in Vietnamese society through the changes in its forms and usage. As painting, tranh sơn mài is part of a history of otherness. Since its invention as painting in Vietnam, it has also constituted a political media embedded within its use issues of identity, national essence and patriotism. In the era of globalization and virtual reality, the use of sơn ta is my own way of negotiating between the extremes of global homogenization and territorial localism. Using lacquer, I hope to broaden the scope of interpretation of this medium and create works that contribute in a heightened way to our experience with seeing and vision. If the qualities of territorial specificity, materiality, uniqueness and environment hold any meaning today, they can be explored in this substance. - Phi Phi Oanh OPENING NIGHT See more about artist(s)

lacquer Lê Kim Mỹ biography Born in 1946 from an artistic family, Lê Kim Mỹ graduatedfrom Viet Nam University of Fine Arts (formerly Hanoi Fine Art College) in 1973. Mỹ worked as a teacher at the University of Fine Art for more than 45 years and her work is aunique and humorous visual diary of her daily life. Le Kim My’sexhibitions include “Daily stories” in 2016 and “Daily Conversation” which she collaborated with her daughter at L’Espace in Ha noi. She also participated in different group shows organized by Vietnam Fine Arts Association. works This artist currently has no available work at Manzi works Street LÊ KIM MỸ 2024 17x 22 cm lacquer Enquire works Weaving LÊ KIM MỸ 2022 20 x 30 cm watercolor on silk 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

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)

A group show by students majored in Silk, Painting Faculty of the Vietnam Fine Arts University The subtle moves - May 16, 2021 April 30, 2021 Curated by artist Nguyễn Thế Sơn Manzi Exhibition Space, No.2 Ngõ Hàng Bún alley, Ba Đinh, Hanoi 30 Apr - 16 May (10AM - 7 PM, Tuesday to Sunday) Free Entrance Featuring nearly 30 silk works, which are all composition assignments of art students in their final year of Bachelor’s studies, ‘The Subtle Moves’ introduces to the public the promising representatives of a new artist generation as well as offers the artists themselves essential motivation at their significant turning point. “Silk is inherently fragile and sometimes fairly elusive, thus, hardly becomes the first choice of many Fine Arts students. And even in case of someone who got attracted by this delicate material in the beginning of their art training, this path of practice is eventually not their pursuit after graduation. 'The Subtle Moves' is an effort to showcase latest works by students majored in Silk, Painting Faculty of the Vietnam Fine Arts University. As the teacher and instructor, who had a chance to observe and accompany students in a process of striving to improve/make certain ‘moves’ through each composition module, I understand that every attempt, no matter how trivial the ‘move’ was, had been a real struggle. And for me, such kind of struggle is very valuable, the moves resulting from this process, including both the enhancement of technique/skill and the shifts in thinking and reflection, not only are crucial for personal growth of every creative individual but also should be fundamental philosophy of the training system. These ‘moves’ need to be acknowledged and encouraged so that rather than being limited to the surface only in technical terms of characteristics, features or personal style, this ephemeral medium could go further to provoke thoughts and self-reflections in the audience. ” - Nguyễn Thế Sơn, curator of the show. The exhibition is part of manzi’s art programme supported by the Goethe Institute ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Nguyễn Thế Sơn Trần Hậu Yên ThếA Duo exhibition by NGUYỄN THẾ SƠN & TRẦN HẬU YÊN THẾ 10.10 - 29.10 - 2013 Nhà Tây Transforms - October 29, 2013 October 10, 2013 Nguyễn Thế Sơn Trần Hậu Yên Thế Duo exhibition by Nguyen The Son & Tran Hau Yen The – an exploration of the physical and moral landscape of Hanoi as it transforms and mutates into the 21st century. In his previous body of work, Nha Mat Pho (Houses facing the street), Son addressed the social issues of the rampant materialism of the society, the discrepancy of wealth between the rich and the poor, and the imposing Western commoditization of the people. In this latest series 'Nhà Tây Transforms', Son continues his research of the transformations of the urban landscapes. Fellow artist, researcher Yen The adds yet another historical layer to this discovery of the life of the Nhà Tây (Western Villa). Following the maps and drawings of the French intellectual Henri Oger, who in 1908-1909 created 4,577 drawings of every aspect of the lives of the inhabitants, Yen The creates his own layer of analysis of the lifestyle of the inhabitants and the original façade of the villa. With this 'Nhà Tây Transforms', Nguyen the Son and Yen The leave the viewer alone with their perceptions of how life is transformed by progress as it is named, and the repercussions of this modernity upon society. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

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 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