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)

Lê Giang & Lê Hoàng Bích PhượngA duo show by LÊ GIANG & LÊ HOÀNG BÍCH PHƯỢNG 02.03 - 15.03.2014 Above Under Sky - March 15, 2014 March 2, 2014 Lê Giang & Lê Hoàng Bích Phượng Including a series of simple but intriguing installations and drawings, ‘Above Under Sky’ by visual artists Lê Giang (Hanoi) and Lê Hoàng Bích Phượng (HCMC) transformed the space of manzi, urging the audience to find out the real layers hidden behind every single artworks. Slightly different from her previous artworks which were deftly painted in subtle watercolours tones, this time, Lê Hoàng Bích Phượng brings us her latest creations in human shapes - all are vague, colourless but reflecting the insentience of mankind. In connection to Phượng's, Lê Giang’s artwork is also an exploration into the multi-layers of personal conflicts, to find out the answer for her question “What is a perfect world?” Using the hole as symbol of an entrance to another world, Giang has tried to create an imaginary realm within the everyday, to make possible the utopian. *This event is supported by the Prince Claus Fund & the Cultural Development and Exchange Fund (CDEF) of the Danish Embassy. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Located in centre of Hanoi, Manzi is known as one of the most dynamic art spaces in South East Asia. Through art exhibitions, talks, workshops, book introductions, movie screenings, music and dance performances, Manzi's mission is to promote contemporary arts, build new audiences, inspire critical thinking and nurture My Items I'm a title. Click here to edit me. More Outside NGUYỄN THỊ XUÂN MAI 2023 29.7 x 42 cm watercolor on paper More Sketch 4 NGUYỄN THỊ XUÂN MAI 2024 42 x 29.7 cm watercolor on paper More Sketch 2 NGUYỄN THỊ XUÂN MAI 2024 42 x 29.7 cm watercolor on paper More Straw NGUYỄN THỊ XUÂN MAI 2024 21 x 29.7 cm watercolor on paper More Little Things NGUYỄN THỊ XUÂN MAI 2024 21 x 29.7 cm watercolor on paper More Cat & Narcissus flowers NGUYỄN TRẦN CƯỜNG 2024 30 x 60 cm lacquer More White Camellia NGUYỄN TRẦN CƯỜNG 2024 42 x 60 cm lacquer More Primitive beings 9 PHAN MINH BẠCH 2024 Dye-Na-Flow color pigments & golden leaf on silk 50 x 70 cm More Daydreaming stroll no. 4 VŨ KIM THƯ 2024 17 (L) x 16 (W) x 14 (H) ink, washi paper, dzo paper & lightbulb More Daydreaming stroll no. 3 VŨ KIM THƯ 2024 24 x 15 x 31 cm (L - W- H) ink, washi paper, dzo paper & lightbulb More Daydreaming stroll no. 2 VŨ KIM THƯ 2024 23 x 16 x 39 cm (L-W-H) ink, washi paper, dzo paper & lightbulb More

mixed media Nghĩa Đặng biography Nghĩa Đặng is a visual artist from Hanoi, Vietnam and currently based in Ho Chi Minh City, Vietnam. His practice encompasses soft sculpture, installation, and drawing, driven by a concern with psychological processes, memories, fantasies and their aftermaths. Dang’s work has been exhibited in local and international spaces, notably The Factory Contemporary Art Centre (HCMC), Galerie Quynh (HCMC), Sullivan Galleries (Chicago), Richard Koh Fine Arts (Singapore). works This artist currently has no available work at Manzi works Seed Chart (illustration for Medusa by Duong Manh Hung - First printed in 'Garden of Six Seasons', Kathmandu Triennale, 2022) NGHĨA ĐẶNG 2021 19 x 21.5 cm graphite, colored pencil on archival paper Enquire works Lung Chart (illustration for Medusa by Duong Manh Hung - First printed in 'Garden of Six Seasons', Kathmandu Triennale, 2022) NGHĨA ĐẶNG 2021 19 x 21.5 cm graphite, colored pencil on archival 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

Trần Trung Tína solo exhibition by Trần Trung Tín Birdsong - December 17, 2023 October 20, 2023 Trần Trung Tín Manzi and Blue Space Gallery are pleased to present an extraordinary exhibition by Trần Trung Tín entitled ‘Birdsong’ on the occasion of the late artist’s 90th birthday anniversary Opening: 06.00 PM Friday 20 October 2023 On display: 11.00 AM - 07.00 PM (Tue - Sun) from 21 Oct until 17 Dec 2023 Venue: Manzi Exhibition Space, 2 ngõ Hàng Bún, Ba Đình, Hanoi Free Entrance Trần Trung Tín (1933 - 2008), a talented man with an exceptional life born into a bizarre epoch, had started painting merely as a way to go through the aftermath of an ideological crisis. Stuck in the extreme disillusionment and suppression, forbidden to speak up his thoughts or write out his opinions, Trần Trung Tín began to draw. In such a strange twist of fate, the used-to-be actor/announcer/film screenwriter then spent the entire last half of his life painting ceaselessly and quietly, and unexpectedly became the most absurd and brilliant phenomenon of Vietnamese art. He painted to release himself from all the suppression, to seek salvation, to break the silence, to not get lost or give up, to hold onto his self, with all its essence and ethos … he painted in a struggle “to overcome the atrocious era we were all living in” ( said by director Tự Huy - a friend of Trần Trung Tín) Perhaps from chaos of all confusion and disappointment, a new strength would blossom; amid the destruction and collapse new construction would arise, as always, though isolated and muted yet absolutely pure and true. The exhibition ‘Birdsong’ at manzi will display over 30 artworks painted on newspaper and photographic paper including both figurative and abstract series. This is the second solo show by Trần Trung Tin in Hanoi (the first one ‘Optimistic Tragedy’ was held ten years ago), naturally it has a sense of home-coming, for most of the displayed works were painted in Hanoi during the years of 1969 - 1973. The period is the peak time of the bombing and airstrike in North Vietnam during the war, and Trần Trung Tín, despite the order to evacuate from the dangerous area, persisted to stay inside the city; then under the bombshelter he painted these works. Coming back here after half of decade, they just like an alternative way the late artist kept his promise to ‘𝑟𝑒𝑡𝑢𝑟𝑛 𝑡𝑜 𝐻𝑎𝑛𝑜𝑖 - 𝑡ℎ𝑒 𝑐𝑖𝑡𝑦 𝐼 ℎ𝑎𝑣𝑒 𝑙𝑜𝑣𝑒𝑑 𝑚𝑜𝑟𝑒 𝑡ℎ𝑎𝑛 𝑜𝑛𝑐𝑒’ (excerpt from Trần Trung Tín’s telegram to Vietnam Feature Film Studio, after moving back to Saigon in 1975) ARTWORKS GALLERY _____________ ‘Birdsong’ also marks the first time his experimental series of abstraction has been introduced publicly. Unlike the figurative series with the idiomatic symbolism that made the artist well-known internationally: the metaphoric images of the girl, rifle, flower, bird,... unveiling an oppressed reality and post-war traumas in bleak gloomy palettes ; his abstract series in the 70s is likely to be in warmer shade and a more lighthearted spirit. In the tragic darkness of war (literally and metaphorically), Tín kept painting under the dim light of the oil lamp inside his small basement, while the air-raid siren was wailing. Through the energy of colors and freedom of lines, Tin's paintings with an idiosyncratic visual language (unprecedented in his generation, which had always been prevailed by French classical style and Soviet realistic & propaganda art ), silently yet powerfully shine with strange optimism and innocence, as if ‘meditative retreats’ to ‘a self-created visual sanctuary from the war raging outside.’ In addition to the abstract body of works, this exhibition also features some figurative paintings he drew in the years of 1972-1975. Here, with 'The little girl of Hanoi', 'My Cat', 'Orange Venus', 'Hanoi Communal House'... shades and strokes are applied in a completely primitive and pristine style (artist Bùi Xuân Phái appraised Trần Trung Tín as a natural - born master of colors ). The sadness and solitude thus, effortlessly oozed out in a gentle yet haunting & powerful way. Trần Trung Tín, with all of the choices of his life, and his art courageously embraced and preserved what people of his time had been forced to abandon to survive and adapt to the chaotic era. That strange audacious bird, an outsider of his land, an outcast of his time, amazingly is still singing by now, as " Truth cannot be executed / Beauty cannnot be buried…” (*), giving voice to the muted and recalling memories of what once denied, erased by the war and historical turbulence. ____ (*) From a poem Trần Trung Tín wrote in 1964 ============== TRẦN TRUNG TÍN (b.1933, from Ben Tre), joined the Resistance against the French at the age of 12. In 1954, he gathered in Hanoi and was directly recruited into the first course of the Vietnam Film School, then worked as an actor, a screenwriter for some propaganda films ; he was also an announcer for the Voice of Vietnam radio. In 1969 he started drawing. In 1975, he moved to Ho Chi Minh city and lived there until he died in 2008. Trần Trung Tín had his first solo exhibition at the Singapore Art Museum in 2001. He was also the first Vietnamese artist invited to exhibit at the British Museum in London in 2002, then 2007. His works also participated in many international exhibitions in the US, France, England, Thailand, Singapore, Japan... and are included in many large art collections. In 2013, 5 years after his death, his wife - Mrs. Tran Thi Huynh Nga organized a solo exhibition for him at the Vietnam Fine Arts Museum. = = = = = = BLUE SPACE GALLERY was founded in 1996 by Mrs. Trần Thị Huỳnh Nga, first operated in collaboration with the Ho Chi Minh Museum of Fine Arts. Since 1997, with funding from the Ford Foundation, ‘Blue Space’ has continually propelled experimentation in the arts through monthly exhibitions for young artists from a variety of backgrounds, from the North to South and also from outside the country. Many of them today are honored in the art scene: Jun Nguyen Hatsushiba, Nguyễn Minh Thành, Nguyễn Văn Cường, Lê Thừa Tiến, Mai Anh Dũng, Bùi Công Khánh, Ly Hoàng Ly, Nguyễn Thị Châu Giang, Nguyễn Sơn, Nguyễn Thái Tuấn, Bùi Hải Sơn, to name a few. ‘Blue Space’ also promotes international exchanges through conferences, workshops, and art camps focusing on performing art and installation. Since 2007, ‘Blue Space’ has been halting the experimental side of their activities due to Huỳnh Nga’s health. OPENING NIGHT See more about artist(s)

oil/acrylic Lãng Đỗ biography Born in 1986, Do Thanh Lang received his Bachelor of Fine Art from the Ho Chi Minh University of Fine Art in 2011. The fact of belonging to the generation of young Vietnamese born at the turn of Đổi Mới and coming of age into a brave new open-market economy, has impressed itself on Lang’s artistic practices, particularly his featured themes of freedom and transgression. Approaching art practice with a rare instinct — visible through the craggy edges of his canvases, or the occasional insect fossilized by his resin pour — Do Thanh Lang is aptly positioned to extract lightness from a dire situation. Drenched in blazes of bold shapes and colors, Lang’s paintings involve faceless figures and hypnagogic settings evocative of Italian giallo films. The situations and actions depicted range from being unsettling to downright grotesque, while the ambiguity at play throughout openly invites viewers to weave individualities into these psychedelic backdrops and at the same time hints at the inevitability of universal history repeating itself. In all their hazy strangeness, his artworks are akin to pieces of a memory — a visual journal of altered consciousness. His work has been exhibited in numerous group shows in Vietnam and across the region, including Displacement (Gallery Rhim, Seoul); Salt of the Forest (Korea Foundation Gallery, Seoul & CUC Gallery, Vietnam Women's Museum, Hanoi); Modern Wind (Ho Chi Minh City Fine Arts Association); My Sister (Sàn Art, HCMC); Fall (Cafe Trầm, HCMC); Falling from the Sky (Sao La, HCMC); March: Art Walk (various venues, HCMC); and the series mù dạ quang , Dăm Kết Mặt Trăng , Bồi Tích , Cicada Song in a Summer of Poppies , Lò Cò , and NGUCHONOBAY (curated by Sao La) at Galerie Quynh, HCMC. He also participated in Spot Art Singapore 2014 (ARTrium @ MCI, Singapore) and the Brownian Motion artist residency at Heritage Space, Hanoi. works This artist currently has no available work at Manzi works Hard-boiled wonderland LÃNG ĐỖ 2021 20 x 20 cm acrylic on F.O panel 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

silk Phan Minh Bạch biography Born in 1979, Phan Minh Bach graduated from the Vietnam University of Fine Arts in 2004. After more than ten years working as a graphic designer and layout artist at Tien Phong newspaper, she left to pursue her art full-time, quickly establishing herself as a prominent contemporary silk painter. Influenced and guided by her father - artist Phan Bao, a painter, history and culture researcher, from a young age, Phan Minh Bach was exposed to traditional brushes and practiced calligraphy and classical ink painting. Based on her thorough education, the feminine aesthetic sensibility, and ideas influenced by Taoism's philosophy of natural spontaneity, Phan Minh Bach has developed an idiosyncratic approach to silk: both skillfully controlled and randomly wild and loose. The figures in her works have a minimalist forms insinuating an effortless action, the authenticity and simplicity. The required techniques and journey to master the medium, on the other hand, are an extended labor and calculation with each brushstroke marking then being washed away relentlessly - a long process demanding an equilibrium of meticulousness, delicacy and boldness. Following that process, the themes of Phan Minh Bach's works also record her journey of discovery about the ego, the ‘non-being’ as well as presence of femininity outside the limits of human existence, in the primitive era, merely based on space-time reference of the universe. In recent years, Bạch has been actively involved in several group exhibitions in Hanoi and has also held her first solo exhibition, Mây Ngỏ (Open Clouds), at ART30 Gallery in 2023. works This artist currently has no available work at Manzi works Primitive beings 9 PHAN MINH BẠCH 2024 Dye-Na-Flow color pigments & golden leaf on silk 50 x 70 cm 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 Đức PhươngFirst solo exhibiton by NGUYỄN ĐỨC PHƯƠNG 03.11 - 26.11.2017 Just by Being - November 26, 2017 November 3, 2017 Nguyễn Đức Phương 'Just by Being', consisting of a series of paintings on old books, pharmacopoeia or old bibles by Tày minority people from Tay Bac (Northwest mountainous areas of Vietnam) using natural pigment originated from soil or flowers and plants; and a series of 9 sculptures made out of paper and clay, acts as a chronicle of a vanishing culture, but also brings hope and life to the ruins of time. * This is part of Manzi’s art programme supported by CDEF of the Danish Embassy in Vietnam. ARTWORKS GALLERY An article for the exhibiton written by Đỗ Tường Linh (Hanoi, November 2017) In his first solo exhibition, Nguyen Duc Phuong takes the audience on a journey through color and the different nuances of paper as material. The very first impressions of Phuong’s works could be seen as Orientalist or spiritual, but when one takes time to examine Phuong’s method and process more closely, it is clear that a lot of effort and patience has been put into the making of this body of work to reverse that notion of thinking. The result is a collection of vibrant and poetic explorations on paper. Trained in a strong academic foundation and Western aesthetics at the Vietnamese Fine Art Academy, Phuong spent his time after graduation focusing on experimentation, eschewing participation in artist groups or exhibitions. Growing up during Vietnam’s transitional period of modernization and urbanization in the 90s, Phuong’s work is tied to the changes he experienced living in suburban Northern Vietnamas a child. Phuong experiments with simple and everyday objects such as paper, earth, and wood, and is inspired by the tales and oral sayings that nurtured him in his daily life. In the process of creating work for this exhibition, Phuong has gone beyond the scope of his early career experimentation with childhood environment and has embarked on journeys to the Northwestern highland to seek the disappearing oral stories from local villages. He has collected ancient texts from different regions and cherished them like living souls. These old texts were mostly written in the old Sino-Chinese alphabet, but in the version of the local language even with the help of Sino-Chinese researchers, no one can understand. Phuong finds a way to blow fresh air into those documents through adding drawings. In all of Phuong’s work, 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 our existence,but they provide the possibility for rebirth. In the series of nine sculptures made out of paper and remains from a burnt stilt house, Phuong didn’t miss out any potential of giving birth for any kind of material. The immateriality and ephemerality in the material that he created is invisible: there lies that contrast and fragile border between death and life. The human beings in Phuong’s works are small, but not invisible. Their presence plays subtly with the details in the paintings. His works are not overwhelming in terms of space or visual spectacle, but rather deliver a subtle private message. His series of small book-sized works can only be viewed by one person at a time, creating a personal space for the viewers to imagine the many worlds each piece contains. The artistic and political attitude in Phuong’s artwork is reminiscent of the Italian Arte Povera movement from the 1960s and 70s, when artists utilized natural materials and everyday objects to express simple messages that reflected the rise of DIY spirit and rebellion against consumerism, war and capitalism. Overall, that nonchalant, carefree and simple spirit in Phuong’s artistic creations is his statement: Just by being. OPENING NIGHT See more about artist(s)

Lê Xuân Tiếnan open studio by Lê Xuân Tiến on our pathway vol. 4 - September 30, 2023 September 8, 2023 Lê Xuân Tiến 𝐎𝐍 𝐎𝐔𝐑 𝐏𝐀𝐓𝐇𝐖𝐀𝐘 - 𝐕𝐎𝐋.𝟒 an open studio by an emerging moving-image artist Lê Xuân Tiến 𝗢𝗽𝗲𝗻𝗶𝗻𝗴 𝗽𝗮𝗿𝘁𝘆: 06.30 PM Friday 08 Sep 2023 At Manzi Art Space, 14 Phan Huy Ích, Ba Đình, Hanoi 𝗢𝗽𝗲𝗻 𝘀𝘁𝘂𝗱𝗶𝗼 featuring ‘‘𝕊𝕟𝕠𝕨𝕪 𝕟𝕚𝕘𝕙𝕥’ ’ - a series of videos, on view from 09 Sep until 30 Sep 11.00 AM - 07.00 PM (Tue - Sun) At Manzi Exhibition Space, 2 ngõ Hàng Bún, Ba Đình, Hanoi 𝗙𝗶𝗻𝗮𝗹𝗲: screening short ‘𝕊𝕦𝕟𝕟𝕪 𝕕𝕒𝕪’ followed by an artist talk 03.30 PM 01 Oct at Manzi Exhibition Space, 2 ngõ Hàng Bún, Ba Đình, Hanoi ‘On our pathway’ is an on-going series that Lê Xuân Tiến has been working on since the end of 2019, up until now, 3 volumes have been completed. In the upcoming open studio at manzi, Tiến will introduce the latest developments of this project - Volume no.4 which he described as “born from a concept of a man lying inside a frozen lamb bone, in the snow”. The volume is composed of two bodies of works - a twin named ‘Snowy Night’ & ‘Sunny Day'. ‘Snowy Night’ consists of 14 videos arranged as a multi-channel installation while ‘Sunny Day’ is a 30-minute short film. ARTWORKS GALLERY "𝑇𝑟𝑒𝑒𝑠 𝑏𝑒𝑎𝑟 𝑓𝑟𝑢𝑖𝑡, 𝑓𝑟𝑢𝑖𝑡 𝑟𝑖𝑝𝑒𝑛𝑠, 𝑎𝑛𝑑 𝑡ℎ𝑒𝑛 𝑓𝑎𝑙𝑙𝑠. 𝐼 𝑝𝑖𝑐𝑘 𝑢𝑝 𝑠𝑜𝑚𝑒 𝑓𝑟𝑢𝑖𝑡𝑠 𝑎𝑛𝑑 𝑡𝑒𝑚𝑝𝑜𝑟𝑎𝑟𝑖𝑙𝑦 𝑐𝑎𝑙𝑙 𝑡ℎ𝑒𝑚: "𝑂𝑛 𝑜𝑢𝑟 𝑝𝑎𝑡ℎ𝑤𝑎𝑦." - Artist’s statement about his project ___________ >>> https://onourpathway.wordpress.com/ >>> https://lxtien.wordpress.com/ ❄ ❄ ❄ ❄ ❄ ❄ ❄ 📝 [VOLUME NO. 4 ] Snowy night awaiting for Sunny day >>> writing for the open studio OPENING NIGHT See more about artist(s)

dzo painting Nguyễn Minh Thành biography Born in 1971 in Hanoi, Minh Thanh graduated from the Vietnam University of Fine Arts in 1996. He belongs to the first generation of Vietnamese avant-garde artists who experimented with the less traditional methods of art-making such as performance and installation in the 1990s and 2000s, and later played an influential role in nurturing and shaping the subsequent development of contemporary and experimental art in Hanoi. Intrigued by Buddhist concerns of attachment and escape, and using mainly Chinese ink and watercolour on handmade Vietnamese dzo paper, Thanh’s melancholic portraits are the results of his meditative and spiritual search for beauty, harmony and tranquility. Having been exhibited widely both nationally and internationally, Thanh’s work is included in numerous public and private collections, such as the National Art Gallery of Queensland, Brisbane, Australia, the Fukuoka Asian Art Museum, Japan, the World Bank Art Program, and the Post Vi Dai Collection of Contemporary Vietnamese Art. works This artist currently has no available work at Manzi works To be one NGUYỄN MINH THÀNH 2022 60 x 120 cm gouache and watercolor on hand-made dzo paper, pasted on canvas Enquire works Random waves of melancholy NGUYỄN MINH THÀNH 2011 120 x 80 cm gouache on dzo paper Enquire works Portrait no. 2 NGUYỄN MINH THÀNH 2021 40 x 60 cm gouache on dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2010 60 x 120 cm gouache on dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2012 70.5 x 50 cm gouache on dzo paper Enquire works Infinity NGUYỄN MINH THÀNH 2017 80 x 60 cm oil on canvas Enquire works Timeless NGUYỄN MINH THÀNH 2017 79 x 59 cm watercolor, gouache on handmade dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2012 44 x 26.5 cm gouache on dzo paper Enquire works Lotus NGUYỄN MINH THÀNH 2011 60 x 120 cm gouache on dzo paper Enquire works Halfblood NGUYỄN MINH THÀNH 2011 250 x 150 cm watercolor and gouache on handmade dzo paper Enquire works The horizontal siesta NGUYỄN MINH THÀNH 2012 71.5 x 20 cm ink, gouache on dzo paper Enquire works Roses NGUYỄN MINH THÀNH 2019 80 x 60 cm watercolor on silk Enquire works Intelligent Hole NGUYỄN MINH THÀNH 2017 79 x 59 cm watercolor and gouache on handmade dzo paper Enquire works Landscape 3 NGUYỄN MINH THÀNH 2018 30 x 20 cm gouache 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

Nguyễn Thị Thanh Maian open studio by Nguyễn Thị Thanh Mai Faint Traces - September 28, 2025 September 6, 2025 Nguyễn Thị Thanh Mai Faint Traces —an open studio by talented Hue-based artist Nguyễn Thị Thanh Mai features Mai's most recent body of work as a further chapter in her decade-long research into the stateless Vietnamese communities residing in Cambodia. ➖ Opening Party: 6.30 pm, Saturday, September 6, 2025 ➖ Venue: Manzi Exhibition Space, ngõ Hàng Bún, Ba Đình, Hà Nội ➖ Opening hours: 11.00 – 19.00 (Tuesday – Sunday) * Free admission *Please note: the open studio is not suitable for audiences under 14 years old. First introduced in July 2025 at the Hiroshima House Art Gallery Project (Phnom Penh), Faint Traces comprises ongoing works across multiple media—video, photography, installation, and drawing. The project mobilizes heterogeneous source materials: colonial and postcolonial maps, cartographies, archival documents, and expert consultations, as well as the artist’s self-assembled repository of field notes, oral testimonies, site photographs & recordings and found objects within the community. Through these materials, the open studio revisits the marginal, often erased histories of Vietnamese diaspora communities in Cambodia. The intergenerational trajectories of these communities are inextricably entangled with Cambodia’s histories of colonial domination, armed conflict, and forced displacement, as well as the collective trauma of genocidal violence under the Khmer Rouge regime. Persistently, the community remains structurally relegated to the position of the outsider, if not actively erased, within dominant historical narratives. Building on her earlier projects concerning identity and belonging based on the specific case of the stateless paracitizens accepted neither by Vietnam nor Cambodia, with Faint Traces, Thanh Mai ‘makes its way back into their collective memories and oral histories, piecing together a blurred and expansive portrait of migration and displacement, one filled with myth and etched with traces of violence.’ (excerpt from the artist statement). While retracing tributaries back to their source, Thanh Mai resists the impulse to resolve origins, to weave a seamless continuum of meaning. Instead, she allows the materials to appear in their very fractures, obscurities, and dispersions, interweaving experimentations and imaginative interventions. The result is an archive that, while partial and fragmentary, remains mutable: shifting from one iteration of display to another, reassembling provisional points of contact where past events, present emotions, and the rhythms of the exhibition space resonate together. Yet, might such an endeavor remain no more than an effort to stitch together shards and fragments, flickering recollections, and unrealized dreams? Precariousness and estrangement are inescapable conditions, as all agents involved—the community itself, the artist, the researcher, and the spectator—inhabit the position of the outsider. Within this framework, Mai’s own stated aim “to keep these stories from dissolving into water” raises a critical question: what forms of resonance might persist? Perhaps precisely when the faint traces are seen, though they endure only as residue of what has already evaporated—irreversible, irretrievable—the void/blank space around them comes into being and becomes perceptible. And through that act of re-narration and re-imagining (painful as it is, often futile as it seems), the traces still bear witness to a life once lived. Was it not Dostoevsky, through his dreamer in White Nights, who confronted us with the question, "How can you ever live if you have no history/no stories to tell?" As for that remaining blank space—though obscure—it may, once recognized, still harbor the possibility that one day dreams might take root, and futures yet unformed might sprout and anchor themselves. ARTWORKS GALLERY _______________________________ "When my mother dreams of home, she dreams only of the house in Hải Phòng where she lived as a child. Though she spent the rest of her life in many other homes, not once did she dream of them. The subconscious is hazy, yet potent." I borrowed the words of a friend to give shape to my own questions and reflections on place and belonging – the very themes that sparked my interest in migration and its intergenerational reverberations, eventually guiding me back through history to the starting point of this research project. If Day by Day was an exploration and inquiry into identity and the often-overlooked experiences of the ethnic Vietnamese communities living on the Tonle Sap in Cambodia, then Faint Traces makes its way back into their collective memories and oral histories, piecing together a blurred and expansive portrait of migration and displacement, one filled with myth and etched with traces of violence. >>> CHECK OUT DETAILS OF WORKS IN THE CATALOGUE HERE OPENING NIGHT See more about artist(s)

ink/water color Hồ Hưng biography Born in 1981 in Hue, after graduating from the Art University of Hue in 2005, Hồ Hưng attended a series of training courses on water colour paintings in Japan and Thailand. Hồ Hưng has been considered one of the best water colour painters in Vietnam and his works have been exhibited widely in Vietnam and other countries in the region. Hồ Hưng’s solo exhibitions such as ‘The trees and the sun’ (2011), ‘Water Colour’ (2013) and ‘Monsoon’ (2014) have been highly acclaimed by local public and international audiences. works This artist currently has no available work at Manzi works The scenery of Tau cave in Moc Chau HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works Traces of the past in Dương Lam village HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works Spring in the mountainous region HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works The scenery of núi Đôi HỒ HƯNG 2024 38 x 56 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