Lương Văn ViệtA solo sculpture show by LƯƠNG VĂN VIỆT 05.06 - 05.07.2016 SENSE - July 5, 2016 June 5, 2016 Lương Văn Việt Sense is Luong Van Viet’s 7th solo exhibition, marking a new chapter in his artistic journey. Unlike any other conventional sculpture show, Sense is designed to not only incorporate Manzi’s existing architectural features, but also to manipulate its dual function. It asks where Manzi - as an art and exhibition space - ends, and Manzi - as a café and space for social interactions - begins? Sense acts as an invitation for the audience to come into contact with the work using all of their senses. They can, for example, walk around and/or through the work, look at them from afar, or come closer and pick them up for a more intimate inspection. “I hope to offer the audience a sense of freedom. The freedom to physically experience the characteristics of the materials: the warmth of wood, the heaviness of stone and the coolness of metal. The freedom to compare and judge the similarities and differences in terms of composition and distance between the works. The freedom to create their own narrative and relationship with art. The freedom to sense what is real” – the artist stated. *The exhibition is part of Manzi’s art programme supported by CDEF of the Danish Embassy ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

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

Đỗ Thanh Lãng, Nguyễn Đức Đạta display by Do Thanh Lang & Nguyen Duc Dat The world as a draft - April 13, 2025 March 14, 2025 Đỗ Thanh Lãng, Nguyễn Đức Đạt In collaboration with Galerie Quynh (based in Ho Chi Minh City), Manzi Art Space is pleased to present ‘𝑡ℎ𝑒 𝑤𝑜𝑟𝑙𝑑 𝑎𝑠 𝑎 𝑑𝑟𝑎𝑓𝑡’ - a display of new work by 𝗗𝗼 𝗧𝗵𝗮𝗻𝗵 𝗟𝗮𝗻𝗴 and 𝗡𝗴𝘂𝘆𝗲𝗻 𝗗𝘂𝗰 𝗗𝗮𝘁, two seminal members of the art collective 𝗦𝗮𝗼 𝗟𝗮 (*) Featuring the duo’s new paintings which were first exhibited last year at Galerie Quynh, this version for Hanoi will unfold a new presentation with alterations and compromises to adapt into a different space. Rather than just a replicated display to reach new audiences, or merely a shift in physical location, ‘𝑡ℎ𝑒 𝑤𝑜𝑟𝑙𝑑 𝑎𝑠 𝑎 𝑑𝑟𝑎𝑓𝑡’ at Manzi, on the other hand, is a daunting diversion, a swing to keep up the spirit of scrappy improvisation and the spontaneous energy that inspired Sao La Collective's founding. Simply tear up the old draft, erase all the labels of ‘what has been/supposed to be’ in order to freely dream about ‘what can be’ and explore and embrace ‘what is not seen’... THE WORLD AS A DRAFT A display by Do Thanh Lang & Nguyen Duc Dat ➖ Opening: 6.30 Friday night 14 March 2025 ➖ On display: 11.00 AM - 07.00 PM (Tue-Sun) from 15 March until 13 April 2025 📍 Manzi Exhibition Space, No. 2 Ngõ Hàng Bún Free Entrance Do’s paintings take us to ambiguous places inhabited by anonymous characters often engaged in some sort of absurdity; sometimes violent or disturbing acts of transgression play out. Seemingly playful scenes unfold against a backdrop of bright colors and shiny surfaces. Do Thanh Lang often finds visual sources from the internet and news media and then transposes the images to imagined (non)locales. The scenes are not as whimsical as they initially seem but are filled with a tension that seeps through the layers of paint and resin. While Do’s paintings communicate a sense of cool detachment, Nguyen Duc Dat’s works are more emotional and visceral. Everyday (offline) life, moments of beauty and strangeness in the world, and global socio-political conflicts are depicted with a rawness that moves between tragicomedy and honest, profound storytelling. ___ (*) Sao La is a non-profit and independent art project/collective in Southern Vietnam, focusing on relationships among artists, community and art itself. As the nature of a "space traveler," not based on a fixed location, Sao La carries two main objectives: making contemporary art accessible to the general Vietnamese public through educational programs and nurturing Vietnam’s growing creative community. The project will serve not only as a project that organizes exhibitions, film and video screenings, workshops and lectures but also as an informal place for Vietnamese artists to experiment, challenge and develop their creative practices. Found only in the Truong Son mountain range of Vietnam and Laos, Sao La is the name of one of the world’s rarest mammals. The word ‘sao’ on its own can signify ‘star’ or pose the questions ‘how?’ ‘what?’ or ‘why?’ ‘La’ suggests a shriek, call or shout. https://saolacollective.weebly.com/ ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Lê Phi LongA solo exhibition by LÊ PHI LONG 27.10 - 21.11.2019 Land of Leisure - November 21, 2019 October 27, 2019 Lê Phi Long “If hunting is a symbol of colonial domination or recurring subjugation, then doubtfulness or irony shall counteract that domination.” – Excerpt from Nguyen Phan Long in “L’Echo Annamite”. ‘Land of Leisure’ – the first solo exhibition by Le Phi Long, one of the most promising visual artists of Vietnam. This is part of Le Phi Long's research project on Indochina in the late 19th and early 20th centuries. Taking place at both of Manzi’s spaces, the exhibition features a site-specific installation and a series of paintings created from old archival photos and drawings of wildlife hunting activities in Da Lat during the colonial period. The site-specific installation ‘DALAT’ (Dat Aliis Laetitiam Aliis Temperiem) combines a recording of hoof beats and a single-channel video depicting sunbeams in the forest shifting on the floor of the art space. The sunbeams cast the shadow of a pine forest on the room’s gold-coated surfaces, transporting viewers back to Indochina during the early 20th Century, when the European ideology made its way to a new land in the East. In contrast to the installation, the paintings and illustrations in Le Phi Long's series ‘Hunting as a metaphor for politics’( *) were created in black ink, without backgrounds, on white paper scattered with gold leaves. Through the actions of compounding, recreating, cutting, pasting and smearing these images, Le Phi Long is searching for a way to convert layers of meaning, and to create a reflection of the city of Da Lat. (*)The title is taken from the book 'Imperial Heights' by Eric T. Jennings. This is part of Manzi Art Programme supported by the Goethe Institut. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Đinh Thị Thắm Poongan open studio by Đinh Thị Thắm Poong The sky is the same everywhere - December 7, 2025 November 8, 2025 Đinh Thị Thắm Poong Manzi is pleased to present ‘𝐓𝐡𝐞 𝐒𝐤𝐲 𝐈𝐬 𝐭𝐡𝐞 𝐒𝐚𝐦𝐞 𝐄𝐯𝐞𝐫𝐲𝐰𝐡𝐞𝐫𝐞’—the latest body of work by Đinh Thị Thắm Poong, one of the most outstanding female painters in contemporary Vietnamese art. ➖ Time: 08 November – 07 December 2025 | Opening hours: 11.00 – 19.00 (Tuesday – Sunday) ➖ Venue: Manzi Exhibition Space, 2 Hàng Bún Alley, Ba Đình, Hà Nội ➖ Free entrance The paintings featured in this open studio—all oil on canvas, started in early 2025 and only recently completed—mark a new departure for Thắm Poong. Instead of continuing to expand her surreal universe on the flat surface of dzo paper through layers of intricate patterns, dramatic palettes, and interwoven human–nature imagery that have long defined her practice, Thắm Poong now chooses to work within a pre-existing surface: she paints over the landscape oils by her younger brother, painter Đinh Thảo Phong. This series of landscapes, dating back to a decade ago, has long existed as self-contained worlds—each with its own perspective, light, horizon, and chromatic harmony. Thắm Poong’s intervention, though restrained, is strikingly transformative: a single, radiant shade of gold unfolds across the surface, blossoming into delicate ornamentation. Tiny leaves align to cast the shadows of trees or the silhouette of a horse; geometric motifs cascade like water, drift like clouds, or branch out into canopies. Her signature painterly language now finds itself displaced—even “misplaced”—within another’s pictorial order, generating a subtle negotiation between two independent visions / autonomous ways of seeing. Without erasure or dominance, this superimposition becomes a kind of pact, where the real and the imagined, the before and the after, coexist in a fleeting yet lyrical resonance. The sky is the same everywhere—a seemingly neutral, immutable expanse suspended beyond reach. Yet the world never discloses itself without the gaze that summons it into presence. Vision does not merely apprehend reality; it gives it form. Thus, even though the sky may appear as a single, unchanging entity, each act of seeing constitutes it anew. ARTWORKS GALLERY ____________________________________ THỎA THUẬN - CÁI NHÌN - GIẢI THIÊNG 'Bầu trời ở đâu cũng giống nhau' - bộ tác phẩm mới hình thành từ đầu 2025, loạt sơn dầu trên toan chính thức đầu tiên của Thắm Poong, đánh dấu một bước thử nghiệm mới, khai mở một lối tiếp cận hoàn toàn khác biệt của chị so với thực hành hội họa trên giấy dó đã làm nên tên tuổi của chị trong nhiều thập niên qua. Thay vì tiếp tục tự dựng nên thế giới siêu thực của mình bằng cách chồng sắp, đan kết từng lớp hoa văn trang trí và bảng màu rực rỡ, xen lẫn chi tiết cách điệu về thiên nhiên và con người như những sáng tác trước đây; trong chuỗi tác phẩm này, nghệ sĩ quyết định thử giới hạn sáng tác của mình trên những bề mặt toan đã được định hình sẵn: Thắm vẽ đè lên trên những bức sơn dầu phong cảnh của em trai chị - họa sĩ Đinh Thảo Phong. Những bức tranh này đã hoàn thiện xong cả mười năm nay, lặng lẽ tồn tại như một thế giới khép kín với phối cảnh, ánh sáng, đường chân trời, sắc độ màu và tạo hình riêng. Ở đây, sự can thiệp của Thắm Poong lại tiết chế và giản lược một cách đáng ngạc nhiên - chỉ thuần một sắc vàng rực rỡ, chảy dài thành các lớp hoa văn rải nhẹ, trôi nổi. Những chiếc lá bé xíu xếp đặt cạnh nhau rọi thành bóng cây, dáng ngựa; hoa văn kỷ hà tràn đổ như thác nước, khói mây, tỏa nhánh như tán vòm... những nét bút pháp đặc trưng của Thắm Poong (vốn quen thuộc trong khung nền siêu thực mộng mị của chị) giờ đây bị di dời và dường như ‘đặt lạc’ trong cái nền cảnh quan địa lý được một người khác bày sẵn. Khung cảnh tả thực lại là điểm bắt rễ và neo đậu cho huyễn tưởng. Các chi tiết hoa văn dù đến sau nhưng cũng không lấn lướt, cố xóa đè, vùi lấp đi cái nền có trước. Sự va đập giữa hai thế giới - hai cái nhìn khác biệt vì vậy không thể tránh khỏi, mà lạ lùng thay, ta không thấy tình thế ấy lâm vào cảnh xa lạ, rời rạc, hay thúc ép tì đè, cải biến. Những hình tướng khác biệt lồng vào nhau, đồng hiện, như thể đã có một sự thỏa thuận, đồng tình theo một giao ước bí mật. Giao ước đó không phải kiểu hòa trộn nhau để tạo dựng một ảo giác, cũng không cự tuyệt nhau nhằm bật cho ra một nghịch lý sâu xa, cái tạo dựng trước và cái diễn tả đến sau vẫn là những chi tiết độc lập, vừa nhắc cái thực, vừa gợi tưởng tượng; chúng tự nhiên chảy vào nhau thành một ‘vùng trung gian’. Tỉ mẩn với từng nét cọ trong hàng tháng trời, Thắm Poong thả từng chiếc lá, xếp từng đường tròn trong động tác mang hơi hướng thiền định, xen giữa những quãng ngơi nghỉ ngắn ngủi trong cuộc sống bộn bề với vai trò một người bà, một người mẹ. Bằng một cách nào đó, bởi chính những dịu dàng, nhẫn nại từ quá trình lao động ấy, loạt sáng tác này đã bắt lấy trọn vẹn những khoảnh khắc giao cảm bất chợt, sự hiển linh thoáng qua của hai cái nhìn , hai lớp thời gian tách biệt, theo kiểu một “cái chạm” đồng thời từ các chủ thể khác nhau vào một không gian chung/một thực tải khả kiến. Điều này gợi nhắc đến ý tưởng của Maurice Merleau-Ponty mà ông từng đề xuất trong tiểu luận cuối cùng được xuất bản của mình (Eye & Mind, 1961): “Tôi nhận ra thị giác (vision), không phải như một ‘suy tưởng/ý nghĩ về việc nhìn’, như cách nói của Descartes, mà là một kiểu chăm chú để tóm lấy, bắt lại thế giới khả kiến — và chính bởi thế, đối với tôi, luôn có thể tồn tại cái nhìn của kẻ khác.” (1) Cái nhìn, vì thế, không còn là thao tác của một chủ thể áp đặt lên vật thể, mà là một trải nghiệm thuận nghịch , nơi người nhìn và thứ được nhìn phóng chiếu qua lại lẫn nhau: “Giữa họa sĩ và thế giới hữu hình, vai trò tất yếu sẽ bị hoán đổi. …nhiều họa sĩ nói rằng sự vật đang nhìn họ. Như André Marchand kể lại, tương đồng với trải nghiệm của Paul Klee: ‘Trong rừng, nhiều lần tôi cảm thấy không phải tôi đang nhìn khu rừng. Có những ngày tôi cảm thấy cây cối đang nhìn tôi, đang nói với tôi... Tôi ở đó, lắng nghe... Tôi nghĩ người họa sĩ phải để cho vũ trụ thấm vào mình, chứ không phải muốn thâm nhập vào nó... Tôi chờ được nhấn chìm, được chôn vùi. Có lẽ tôi vẽ để được thoát ra.’” (2) Trong tinh thần ấy, thực hành lần này của Thắm Poong cũng có thể xem như một cuộc thử nghiệm hoán đổi về tính hiện hữu. Khi vẽ chồng lên bức tranh của Đinh Thảo Phong, chị không chiếm lĩnh mà lắng nghe, để được chạm lại vào một quá vãng từng hiện hình hóa. Cảnh vật của Phong (bầu trời, núi rừng, nơi chốn cũ) không còn là đối tượng đứng im, bị động chờ đợi sự tái diễn giải, mà trở thành tồn tại độc lập đã và đang hiện hữu, liên tục phóng chiếu cái nhìn trở lại nghệ sĩ - giờ dường như chỉ khiêm nhường như một vật thể trung gian… Phải chăng cũng bởi sự rút lui cái tôi ấy mang đến một dạng kinh nghiệm mới về tính hữu hình, hệ quả là những hình ảnh con người từng được khắc họa như một hệ thống nhân vật điển hình trong tranh của Thắm Poong trước đó (nếu không sống động trong các hoạt động đời thường thì cũng bồng bềnh trong những bóng hình mơ màng với ngụ ý về sự đổi dời từ xác trần tới tâm linh) giờ đây hoàn toàn vắng bóng… Điều đặc biệt trong đợt mở xưởng này, một bức tranh phong cảnh của Đinh Thảo Phong dẫu Thắm Poong không can thiệp vào, vẫn sẽ hiện diện. Đó là bức vẽ cây cổ thụ ở Ngọc Chiến, Sơn La — nơi người Thái truyền tai nhau những câu chuyện thần bí về một con hổ thần mang đôi cánh vàng óng rực trú ngụ trong cây. Bức tranh này được Phong vẽ dựa trên tấm ảnh cũ chụp bởi cha mình, giờ mang sức nặng của một ký ức gia đình, cũng là điểm giao cắt lạ lùng cái nhìn của ba cha con ở những lớp thời gian cách biệt vào cùng một biểu tượng thiêng của quê hương. Cây thần ấy giờ đây không còn nữa. Toàn bộ vùng thung lũng đó nay đã chìm dưới nước, trong lòng hồ chứa của dự án thủy điện, và cả một huyền thoại “Hổ thần” từng sống trong lời kể, trong nỗi sợ và lòng tôn kính của người dân địa phương giờ chỉ còn là một dư âm mờ nhạt trên mặt toan. Vì thế, Thắm Poong quyết định không làm thêm gì cả. Không cần vẽ thêm nữa. Hành động giải thiêng đã xong cả rồi, bởi thời gian, bởi bào mòn và vùi lấp không thể đảo ngược của phát triển và quên lãng. Thiên nhiên, từng là thế lực linh thiêng, là nơi bắt rễ và nuôi dưỡng ký ức tập thể, nay chơ vơ như một phông nền trống vắng. Giữ lại nguyên bức tranh ấy, Thắm Poong không tìm cách khôi phục huyền thoại, cũng không phủ định nó; chị chỉ lặng lẽ nhìn thẳng vào khoảng trống sau khi cái thiêng đã rút đi, như một cách để thừa nhận sự biến mất của ký ức, và cả giới hạn của con người cũng như nghệ thuật. Cái nhìn, bình thản và không can thiệp đánh dấu sự tự giải phóng nó khỏi các ảo tưởng về quyền năng và chiếm hữu. Bức tranh hiện diện trong bộ tác phẩm của Thắm Poong mang dáng dấp một hành vi hoài niệm, nhưng không day dứt, trái lại hết sức thản nhiên, một sự chấp nhận tính vĩnh cửu của biến thiên và bản chất không thể thấu đạt của thế giới. Mỗi người chúng ta đều là cựu của một vài điều gì đó, ngay cả khi ta không ý thức về điều ấy. Vậy mà, lại chẳng hề có gì là thật sự bất biến trong quá khứ; nó vẫn luôn chuyển động, biến ảo, và trở nên khác đi nhờ những cái biết mới, cái nhìn mới, những va chạm mới, những lớp sơn mới đời sống ngày qua ngày phủ thêm lên. Bầu trời ở đâu cũng giống nhau – một phông nền khách quan, dửng dưng và vô tận. Chỉ có cái nhìn là khác: chính cái nhìn – trong mỗi khoảnh khắc – hiện hữu hóa thế giới vào trong ta. Vì thế, ngay cả khi bầu trời vẫn còn nguyên đó, mỗi lần ta ngước lên, nó đã là một bầu trời khác rồi. _______________ (1) Maurice Merleau-Ponty, “Eye and Mind,” (1961), tuyển tập lại trong The Primacy of Perception and Other Essays… , biên tập James M. Edie, dịch giả Carleton Dallery (Evanston: Northwestern University Press, 1964) (2) Georges Charbonnier, Le monologue du peintre (Paris: Gallimard, 1960), pp.143–145; trích lại trong Merleau-Ponty, Eye and Mind . 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)

Plonk & Replonk.A show by PLONK & REPLONK 26.03 - 26.04.2015 Smile! Temporary Art - April 26, 2015 March 26, 2015 Plonk & Replonk. As a collaboration of manzi art space with L’Espace Hanoi, the exhibition 'Smile! Temporary Art' presents the weird and wonderful world of Plonk & Replonk. Well-known in both their place of birth Switzerland and neighboring country France as Plonk & Replonk, the artist duo/brothers Hubert Froidevaux (b. 1966) and Jacques Froidevaux (b. 1963) explore the endless possible uses of humour in various art forms: object, sculpture, installation, light box, postcard, graphic print etc. Characterized by a mix of black humour and wicked wit, which borders on the sarcastic and mischievous, Plonk & Replonk deal with worldwide relevant topics such as environment, globalization, education and consumerism with both criticality and lightheartedness, making their work brutally honest yet playful and fantastical. By turning ordinary objects, habits and events upside-down and inside-out, Plonk & Replonk ask us to see reality in other ways. Or rather, they invite us in for a not-your-usual exhibition, a never-ending laughter work-out, and a hard-to-find chance to at least, for once, let ourselves loose and laugh at art. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

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)

Maritta NurmiA solo exhibition by MARITTA NURMI 01.11 - 30.11. 2013 ANIMA - November 30, 2013 November 1, 2013 Maritta Nurmi 'Anima' presenting the new works by Maritta Nurmi, is a exhibition in celebration of the 40 year anniversary of the diplomatic relationship between Finland and Vietnam. This new series of works by Finnish artist Maritta Nurmi, Hanoi resident for over 20 years, continually explore the metaphysical and the unknown. The artist continues this challenge with her intellectual probing into the concrete meaning and essence of form and spirit. Depicting animals has long been the domain of artists since the first recorded Paleolithic cave paintings in France and Spain which recent findings have discovered were largely created by women. The artist’s current works use the animal form in many guises. In this new body of work, Nurmi seems to be questioning the necessity of man to create form, to suggest a bond between human and nature, and the implications of such a need or desire. The artist muses, “Many contemporary artists have chosen to use animals in their work as the ultimate “other”, as metaphor, as reflection.” As she ponders this Nurmi questions whether this need to depict animals is an attempt to understand what it means to be animal or is it an expression of our increasing alienation to nature, a loss of this primal connection? Nurmi was trained as a biologist so this exploration and fascination with the animal world is not a new realm. Her works are at once physical, and yet they seem to yearn to be free from constraint. She questions this apparent human need to have form, boundaries, is it a fear of the limitlessness of eternity, a fear of death, a fear of the unknown? Anima is will, consciousness, thought, breath, life, spirit. The question remains with the viewer, a provocation to examine what remains beyond matter, beyond form. *This event is the collaboration of manzi art space with Art Vietnam Gallery, supported by the Embassy of Finland. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

‘47 Days, Sound-less' depicts the narrative about a man who was stranded in a forest with no recollection or clues about his past and is taken in by a village of indigenous people. Adopting such an open fictional structure, Trinh Thi’s installation weaves together sound, moving images and texts from various sources, creating a space with more intuitive cues conducive to multi-sensory experiences beyond just seeing and watching. VUI LÒNG CHỌN NGÔN NGỮ Tiếng Việt CHOOSE THE LANGUAGE English

‘Tân hậu trường’ là dự án hỗ trợ và phát triển hoạt động sân khấu, tập trung vào kịch nói trên địa bàn Hà Nội, do XplusX Studio khởi xướng với sự đồng hành của The Goethe-Institut Hà Nội và Manzi Art Space. 'Tân hậu trường' kêu gọi các đề xuất tham dự để phát triển các In collaboration with XplusX Studio, we launch a new theatre project entitled 'TÂN HẬU TRƯỜNG' (NEW BACKSTAGE) with the aim of supporting the independent theatrical & performing art practice in Hanoi. To nurture an OPEN SPACE an all-embracing residence for all the 'First-time", 'Not-Yet', 'To-Remain-Undone', or 'Waiting-To-Be-Expressed',... TÂN HẬU TRƯỜNG (NEW BACKSTAGE) is a theatre project initiated and curated by XplusX Studio , organized by the Goethe-Institut Hanoi and Manzi Art Space , that aims at fostering independent theatrical and performing art practices in Hanoi. NEW BACKSTAGE invites proposals from any individual or group of creative practitioners: Professional artists, students, beginners, and explorers who want to professionalize their careers are all welcome to submit their theater or performance ideas. open call for 1st phrase submission open call for 1st phrase submission open call for 1st phrase submission open call for 1st phrase submission Deadline: 31 August 2024 Objectives ACCOMPANY individuals and groups of practitioners, encouraging them to realize their ideas into diverse performances with no limitation of genres or methods (it can be an adaptation, an original script or experimental stage) ASSIST the participants during production process, equip them with expert consultation, technical, logistical & financial support, and provide aids throughout the management and organization of the performance events ACTIVATE a fresh, less formal presentation of theatre & performing art, challenging it outside the confined space of official opera house or drama theater, and making this art accessible and relatable for public audience PROMOTE theatre arts in cultural and contemporary art scene of Hanoi BUILD a sustainable community of audiences and theatre practitioners who engage, dialogue and support each other ESTABLISH the role of theater as a responsive, reflective instrument for social dialogues and the creation of an inclusive art environment Objectives Production duration Production Duration Aiming to be an engaging long-term project, NEW BACKSTAGE will run its first edition for one year (06.2024 - 07.2025) The FIRST OPEN CALL for proposal submission is open from June 2024 until August 31, 2024 Selected proposals will undergo a minimum TWO-MONTH-LONG PRODUCTION RUN and be introduced into official performances at manzi spaces Result of the project: an inviting ART PROGRAM OF PERIODIC PERFORMANCES for local audience with a regularity of 1 new production launched every 2 or 3 months and each production to be peformed for 3 - 4 times logistics Logistics support from manzi 1. Manzi provides VENUES and supports part of the FACILITIES for the selected proposal during the production process and performing events 2. Manzi provides assistance within its capabilities to meet the TECHNICAL & HUMAN RESOURCES requirements 3. Manzi is responsible for all the PROMOTION & COMMUNICATIONS campaigns and ORGANIZATION of public events Technical & expertise support from XplusX Studio 1. In the role of an accompanist, XplusX Studio provides CONSULTATION (only as non-interfering guidelines ) throughout the whole production process, assisting in finalizing the script, casting, staging, sound & lighting design, etc. 2. XplusX Studio also supports the participants with their networks, helps them CONNECT WITH ARTISTS, CREATIVE COMMUNITIES, PRACTITIONERS & RESERCHERS in diverse related disciplines such as literature, history, performing arts, sound art,... expertise growth Growth & development support from the Goethe-Institut 1. Throughout the production process, the Goethe-Insitut contributes to the EXPERTISE and PROFESSIONAL TRAINING of the participants through workshop and coaching program with international partners and experts 2. The Goethe-Institut also provides DEVELOPMENT OPPORTUNITIES through international networking and professional overseas exchange activities 3. As a long-time collaborator, the Goethe-Institut can assist the participants and their project group/collective on STRATEGIC ISSUES and SUSTAINABLE PLANNING for a long career path financial 1. Each selected proposal will receive financial assistance for their production. The offered grants will be considered and decided based on the budget plan and production process Financial support 2. Performances may be ticketed, and the proceeds will be be utilized to cover the cost of administration & event organization Eligibility of applicant Applicants can be either an individual or a group, regardless of practice field, expertise or experience Applicants must have ability to work collaboratively Submitted proposal must be original and can be from either individual or a collective of creators Preference will be given to ideas and proposals, which include: Original script writing Staging designed with site-specific, context-responsive elements that are interactive with the manzi’s spaces * There is no age or place of residence restriction on the applicants. Application package The submissions must include: A brief description of the proposed idea, including the budget plan (no more than three A4 pages), A draft sketch of the performance (which can be in the form of illustration or demo video or filming footage) or a draft script Images/video/audio files of past or present works with any available links to relevant websites or social media accounts (optional) Portfolio and updated CV of applicant(s) [REQUIRED IF APPLICANTS OPERATED AS A GROUP]: Statement about the method of working: One-A4-page description of how you have been working as an artist group/collective and the effective formula you have developed and defined for your own group. Please also specify the collaboration's components that you are still unclear about, as well as how you would need advice and inspiration for your practices in the performing arts. *Language: English or Vietnamese Submission process Please send your application package to manzihanoi@gmail.com , cc studioxplusx@gmail.com with subject line as 'Tham gia dự án TÂN HẬU TRƯỜNG 2024’ (2024 NEW BACKSTAGE PROJECT - SUBMISSION) Please use Google Drive, Dropbox or WeTransfer to upload large size data and send over the link application guidelines >>> Download Notes: 1. Proposals will not be returned to applicant(s) 2. Proposals must be original. Any copyright infringement is unjustifiable and will result in immediate disqualification 3. Proposals will be evaluated by our jury board (representatives from the Goethe-Institut Hanoi, XplusX Studio and Manzi Art Space) 4. INTELLECTUAL PROPERTY: The participants of NEW BACKSTAGE project will retain their rights, after the production in this project is completed, to continue to develop, adapt, and restage their works for any reproduction and performance in their future practices, with appropriate acknowledgement of NEW BACKSTAGE project 5. CONFIDENTIALITY: By submitting an idea to this open call, the entrant acknowledges that the proposed idea is confidential and proprietary information and that the entrant retains ownership of it. The entrant accepts that the proposal will not be shared with any third parties without the entrant's prior written consent. ORGANIZERS To learn more about programs of Goethe-Institut >>> The Goethe-Institut Hanoi was founded in 1997. Its main intention is to foster cultural exchange between Vietnam, Germany and Europe. In this perspective, we organize a broad range of cultural activities, presenting German culture in Asia and intensifying the cultural dialogue between our countries. The Goethe-Institut Hanoi focuses its programme work on seven main areas, which are: Migration & diaspora, Postcolonialism & fair culture, Inclusion, Equality for women & LGBTIQ-persons, Urbanization & urban development, Sustainability in documentary films, Digitalization & society. Established in December 2012 as an independent art space aiming to support contemporary Vietnamese art, Manzi encourages diversity, creativity and co-creation in the arts & culture. Through a wide range of activities, including visual art exhibitions, talks, workshops, movie screenings, music and dance performances, and public art projects, after over a decade of operation, Manzi has established itself not only as a space for contemporary artists (both established and emerging) to realize their new experiments but also as a must-following place for local art-lovers. Manzi has a collaborative approach, working together with local artists, intellectuals and social activists, as well as international cultural institutions. Check out manzi's programs and events >>> XplusX Studio is an independent creative collective in the field of performing arts and scenography, founded by stage director and scenographer Ha Nguyen Long. XplusX Studio was born with the desire to contribute to creating a foothold of traditional Vietnamese performing arts for domestic and international audiences and, at the same time, to create an interdisciplinary community of performing arts and decentralized theatre in Vietnam. XplusX Studio focuses on both researching and experimenting with performing art forms, traditional to modern, creating meaningful references, connections and reflections between Eastern and Western performing arts. We aim to contribute to an ecosystem of sustainable communities for practicing performing arts that is taking shape in Vietnam. Do you need further assistance? Please leave your message below, we will contact soon Email Your question or message for us Submit Thank you for your interest in New Backstage project. Manzi will get back to you via email Phone SUPPORT HOTLINE Theatre project 2024 - 2025

Khóa học ngắn 2 ngày của nhà nghiên cứu Trần Quang Đức (tác giả Ngàn năm Áo mũ). Đi thẳng vào ba trụ cột tư tưởng lớn của triết học phương Đông là Nho - Lão - Phật: Lịch sử các luồng tư tưởng, cách thức ảnh hưởng, chi phối tới đời sống văn hóa, tinh thần của người phương Đông; Đâu là những giá trị cốt lõi, tinh tuý? Đâu là tệ đoan cần trực diện phê bình? Vai trò trong đời sống hiện tại của chúng ta? Đi thẳng vào cốt tủy ba trụ cột tư tưởng lớn của triết học phương Đông là Nho - Lão - Phật. Tư tưởng Khổng Mạnh 9.00 - 12.00 thứ Bảy 26/08 Tư tưởng Phật Đà 9.00 - 12.00 Chủ Nhật 27/08 Tư tưởng Lão Trang 14.00 - 17.00 thứ Bảy 26/08 Toàn cảnh 14.00 - 17.00 Chủ Nhật ngày 27/08 HỌC PHÍ: 3,000,000 vnđ/người (cho 2 ngày học) *đã bao gồm: đồ uống, bánh ngọt phục vụ trong giờ nghỉ giữa buổi Về người hướng dẫn Trần Quang Đức là nhà nghiên cứu độc lập, có nhiều hoạt động trong các lĩnh vực nghiên cứu lịch sử, văn hoá, tư tưởng. Anh tốt nghiệp Đại học Bắc Kinh Trung Quốc năm 2009. Trần Quang Đức từng làm việc ở Viện Nghiên cứu Văn học Việt Nam (2012-2014). Công trình được biết đến nhiều nhất của anh là “Ngàn năm áo mũ” (2013, NXB Nhã Nam), tư liệu hoá phục sức của người Việt từ xưa đến nay. Ngoài công việc nghiên cứu, Trần Quang Đức còn thực hành nghệ thuật thư pháp, dịch thuật và giảng dạy. Anh dạy chữ Hán Nôm cùng tư tưởng phương Đông từ năm 2014 tới nay. Đăng ký tham gia Họ và tên Số điện thoại Email Bạn câu hỏi nào cho manzi/ anh Đức không? ĐĂNG KÝ Chúng tôi đã ghi nhận thành công đăng ký của bạn và sẽ liên hệ xác nhận qua email. Cảm ơn bạn rất nhiều và mong được gặp sớm!