Trương Công TùngA collaborative installation by plants, insects, earth, water, ash, air... and Trương Công Tùng A state of absence... Words out there - January 30, 2022 December 17, 2021 Trương Công Tùng We are here, right in the presence of things being seen, being heard, being known, and right in your imagination... A state of absence... Words out there. This can be interpreted as transfiguration of a land, a river, a forest, as a change in the scenery, a portrait, and as a metamorphosis of an insect, an animal, or a community. The concept of ‘absence’ propounded here concatenates various states of ‘non-appearance’ of the natural world connecting with how it became non-present in the human mindset and the social behaviours of everyday life. This work is a collaboration between living beings, natural substances like: plants, insects, earth, water, the souls.. and the elements commonly labelled man-made, such as: engines, motors, the camera, electric lights.. Throughout this whole process, the human involvement is merely an intermediary role, serving as a link or a conveyor, that assists the probabilities of operation for both natural and artificial elements. By this installation, the artist, once again goes through that passage, just like many times before - the passage between life and death, between waking and dreaming, between sanity and madness, reality and illusion, between insect and human, between the earth and skin and flesh, between forest canopies and bare hills, between the lost lands and perished states, between nameless places and unknown destinations,...In a move to have a grasp of the subject matter, to create a depiction, to reiterate the words which could not be precisely heard, wholly sensed and fully comprehended just by passing only once; after all, there will be another chance for us to listen, to look into their words, tune in to their thoughts, their souls and their sadness. Words out there, a harmony between machine, nature and human beings, or rather a confession of the conversion and rebirth of beings which were not, are not, and would not become human at all. ARTWORKS GALLERY OPENING NIGHT See more about artist(s) Trương Công Tùng

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

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

Hà Đàoan open studio by Ha Dao </3 - May 19, 2024 April 20, 2024 Hà Đào </3 - an open studio by Ha Dao , a photographer, writer and programme coordinator at Matca. </3 introduces works grounded in real tragedies learned through the press and social media. As media sensations, both stories feature a female outlaw as the protagonist. Amassing two uncommon fates, </3 deals with romance, heartbreak and crime in Vietnam's recent past. Entrenched are her ongoing inquiries into the creative and ethical implications of the camera, or more specifically, of appropriating stories not of one's own. __________________ Juggling with a variety of visual information (photographs, audio recordings, video footages, found and reconstructed materials), in this open studio, Hà proposes A NARRATIVE CONTEXT in which the pure function endowed in the photography almost proved futile: the large volume of visual statement is exposed, the voice of knowledge is clear and directly perceived without any filter, vivid details constitute the very raw material of ‘that-has-been’ yet at the same time can very well say nothing at all, as what represented can be immediately yielded to our perception but extremely elusive once one aims to process them to grasp the whole story. Such interesting narrative context, in turn, provokes questions about what was not allowed/impossible to be represented, about the "blind field "- parts of the scene outside the frame, and reiterates an often overlooked issue of our age which is unfailingly manipulated by mass consumption of information and social media: every photograph/recording only tells a part of the story. The pursuit of truth (in terms of informational aspect ) is impossible here, </3 , however, invites us - in a role of SPECTATOR to embark on a journey of exploring the 'sentimental’ reasons which interested Roland Barthes: 'I want to explore it not as a Question or a Theme but as a Wound: I see, I feel, hence I notice, I observe and I think. " (Camera Lucida) Artist's website: ha-dao.com ARTWORKS GALLERY All things considered (2019) This body of works is based on a murder case in Bình Dương in 2017. The so-called crime of passion made national headlines because of its grotesque yet compelling details. Out of jealousy and in selfdefense, a woman named Hàng Thị Hồng Diễm killed her husband and dismembered his body at their home in a factory worker dormitory. She recounted what happened on that fateful night during the four-hour trial. I was drawn to the discrepancy between the graphic description and deadpan photographic documentation in news reports: captioned as the crime scene, a seemingly innocent street corner, trash cans, and home interiors took on new meanings, providing evidence for the incident without witnesses. Adopting the role of a private investigator as if in a twisted game, I set out to capture observed and staged situations in various locations in Bình Dương. Combining audio excerpted from the trial, this work endeavors to recreate the incident based on the testimony of the woman/convict. ___________ If Heaven Awaits (2024) The video work portrays the Hải Phòng born and bred Dung Hà (Vũ Hoàng Dung) , a notorious gangster who used to monopolize gambling sites, adopt a masculine appearance and openly date women.Together with illegal activities, her sexuality was the subject of discussion and ridicule in the public eye. She was shot point-blank by her rival in the year 2000; the assassination shook Vietnam’s underworld. A fictional rendezvous between the long-gone Dung Hà and her old flame, rumored to be her one true love, plays out along the 2000s pop ballad 'Đêm Nay Anh Mơ Về Em (“Dreaming of You Tonight”). Adopting the aesthetic of music videos from this era, the work centers lesbian longing and butch/transmasculine expressions against the backdrop of heteronormative pop culture. Confronted by the distance of time and the impossibility of knowing, I turn to imagination as a strategy to construct stories about the price of love intertwined with battles for survival. Imagination also offers a certain freedom to explore and resurface fragments of memories that have been either lost or silenced. And yet while delving into intellectual musings and grappling with my own doubts about what images can and should do, I find myself returning to the question: How much could we know about the lives of others? OPENING NIGHT See more about artist(s) Hà Đào

Nguyễn Huy An, Lại Thị Diệu Hà, Nguyễn Trần Nam, Nguyễn Văn Phúc, Nguyễn Trinh Thi & Nguyễn Văn Thủyan open studio simultaneously at two different spaces of manzi More than Human #1 - March 19, 2023 February 23, 2023 Nguyễn Huy An, Lại Thị Diệu Hà, Nguyễn Trần Nam, Nguyễn Văn Phúc, Nguyễn Trinh Thi & Nguyễn Văn Thủy A shoe A ladder A lightning strike Malevich Hydra The Sound Hòn non bộ (miniature landscape) A fleeting outline scribbled down, that outline of a Story not yet to be fully-formed just awaiting to be unveiled, but rather of the happenings to be encountered and recorded. Throughout over three weeks, six artists (working in different disciplines: visual arts, performance art, sound & moving images) will collaborate together in a series of “symbiotic experiments”, an open studio simultaneously at two different spaces of manzi: MORE THAN HUMAN #1: The Understories ► Participating artists: Nguyễn Huy An, Lại Thị Diệu Hà, Nguyễn Trần Nam, Nguyễn Văn Phúc, Nguyễn Trinh Thi & Nguyễn Văn Thủy ► Opening party: 6.30 PM Thursday, 23 February, 2023 ► Open studio: 11.00 AM - 07.00 PM (Wednesday - Sunday) until 19 March 2023 ► Venues: the front yard of manzi art space - 14 Phan Huy Ích, Ba Đình, Hà Nội & manzi exhibition space - no.2 ngõ Hàng Bún, Ba Đình, Hà Nội Provoked by an infinite conundrum about More-Than-Human World, ‘The Understories’ simulates a site-specific staging in which many elements/characters would be involved; they can appear suddenly or quietly withdraw, with unexpected movements and mise en scène: There is Light and Darkness Sound and Silence Natural beings and Man-made Objects Remembrance of things past Promise of things that just begin There are Handcrafts along Machines The Original and Imitation Materiality and Dematerialization Flesh and Spirit Divine and Earthly Then Decaying… Such complex and multivalent ‘entities’ are inextricably woven in the same ‘habitat’, this staging constructs a loose representation of an ECOSYSTEM. For three weeks’ duration, ‘The Understories’ will transform through four ‘Phases’ (or we can call them ‘Rhythms’ as in Biology / ‘Acts’ as in a Theatre / ‘Chapters’ as in a Story), each lasts for 4 - 5 days. As the time passed, the performance of each artist, their body of works would be gradually formed - adjusted/ sustained- dissipated as if regulated by a general principle that’s comparable to the ’interspecies collaboration / competition’ practice in the natural ecosystem. We will see, hear, and feel them - the 'beings' of 'The Understories' breathing, growing, staying alert to their surroundings, responding to stimuli: They do not only interact with each other (like with their neighboring species) but also react with internal factors of the exhibition space (their living conditions), as well as with the audience - external stimuli (or invaders of their environment); not to mention that they also respond to the flow of time. However, just as a draft script is still open to adaptations and improvisation, ‘The Understories’ has a huge potential for unusual twists and spontaneous turns because conflict is inherent in all forms of systematization, no matter if it's a natural or social structure. In such unavoidable collisions between the dynamic parts and the static whole, between the free will of individuals and the intrinsic limits of collective action, the Climax (of this whole staging) will emerge. Then what to be revealed in the aftermath of all those more-than-human experiences: ‘Everything has a Spirit’ (in theory of animalism) or ‘Everything is transient’ (in Buddhism and Taoism). At the end of all these rhythms, what’s to come: A state of rest in the perfect & eternal equilibrium? Or a point of extinction signaling an upcoming phase of post-apocalyptic rebirth? *During the course of the open studio, there will be a series of various events including film screenings, discussions and artist’s talks. 'More than human' #1 is organized by Hanoi Doclab and Manzi with the support of the Prince Claus Fund. ARTWORKS GALLERY OPENING NIGHT See more about artist(s) Nguyễn Trinh Thi Nguyễn Văn Phúc Nguyễn Huy An

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

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

mixed media Ngô Văn Sắc biography Born in 1980, Ngo Van Sac graduated from Vietnam University of Fine Arts. Sac’s works reflect the tension between real-life and a fantasy world and the complicated relationships between people while conveying his emotions and sharing his stories. He employs a variety of mediums such as wood cut, wood burn combined with newspaper, sand or acrylic to create renderings of figures, texture and contrast between black and white. Each component of his art tells a story. Concrete figurative details and simple empty spaces refer to both real and imagined life as well as to dreams. Besides having participated in many international group exhibitions (in Thailand, Malaysia, Hongkong, the Netherlands), Ngo Van Sac has held numerous notable solo exhibitions, most recently including: ‘Slices’ – Craig Thomas Gallery, Ho Chi Minh city – 2017; ‘In the midst of Life 2’ – A Gallery, Ho Chi Minh city – 2016; ‘Between Two Generations’ – The East Gallery, Toronto, Canada - 2013 works This artist currently has no available work at Manzi works Portrait #2 NGÔ VĂN SẮC 2024 40 x 50 cm mixed media on wood Enquire works Indochina #4 NGÔ VĂN SẮC 2024 40 x 50 cm mixed media on wood Enquire works Faded IV NGÔ VĂN SẮC 2023 30 x 30 cm mixed media on canvas Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Portrait #1 NGÔ VĂN SẮC 2024 40 x 50 cm mixed media on wood Enquire works Indochina #2 NGÔ VĂN SẮC 2024 40 x 50 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2019 30 x 40 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire works Childhood memories series NGÔ VĂN SẮC 2016 D: 30 cm mixed media on wood Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

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) Nguyễn Thế Sơn

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

oil/acrylic Lê Thanh Tùng biography Born in 1989 in Hanoi, graduated from the Bejing Academy for Fine Art in 2015 (MA course), Lê Thanh Tùng has been seen in Vietnam as one of the most potential painters. As an artist with multicultural background, Tung’s works focus on cultural conflicts and hierarchy in society. Since his return to Vietnam in 2015, Tùng has participated in different prestigious exhibitions in Korea, Japan and China. Tung lives and works in Hanoi works This artist currently has no available work at Manzi works Broken AC LÊ THANH TÙNG 2022 150 x 70 cm oil on canvas Enquire works Tiger on the moon LÊ THANH TÙNG 2024 50 x 40 cm oil on canvas Enquire works Pastel LÊ THANH TÙNG 2022 50 x 40 cm oil on canvas Enquire works Seal on the moon LÊ THANH TÙNG 2024 50 x 40 cm oil on canvas Enquire works Otter on the moon LÊ THANH TÙNG 2024 50 x 40 cm oil on canvas Enquire related Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects The dreamer: heterotopia, tabula rasa, noble silence (a part of ongoing project 0395A.ĐC) Through the looking glass what's going on at Manzi Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025 sóng vỗ cát trời | the sky, the sand, the lashing waves See more August 1, 2025 Nguyên (âm) đơn See more July 20, 2025

Jamie Maxtone-GrahamPhotography by JAMIE MAXTONE - GRAHAM 30.03 - 30.04.2013 The Desiring Garden - April 29, 2013 March 29, 2013 Jamie Maxtone-Graham The photography exhibition ‘The Desiring Garden’ showcases a series of fascinating works by Jamie Maxtone-Graham, an American photographer based in Hanoi. Produced within intensely urban Hanoi, Vietnam, the images in The Desiring Garden are the record of a place that exists between the projected and the perceived. "The images in The Desiring Garden prey on the Western perception of the exotic; a Rousseau-like play on an environment – here, the urban center of Hanoi - in which certain indigenous species of plants, some items of human utility and sources of nourishment are presented together in some arrangement alongside people with an uncertain relationship to these objects. The physical view of the people inhabiting the frame, observed within these embellished environments, is that of an outsider; of one who looks upon the scene - but not in - and, in turn, is unnoticed." ARTWORKS GALLERY OPENING NIGHT See more about artist(s) Jamie Maxtone - Graham