Nguyễn Uyên Minh Nguyễn Vương Phương Thảo Cao Hoàng LongOpening act of 'Saigon Invasion' 29.10 - 02.11.2016 NET-KID show /nākid/ - November 2, 2016 October 29, 2016 Nguyễn Uyên Minh Nguyễn Vương Phương Thảo Cao Hoàng Long Coming from the land of sun and rain, NET-KID show which was officially launched at Ga0-Zerostation (Ho Chi Minh City) in early 2016, “hijack” Manzi for a week as the opening act for our initiative “Saigon Invasion” - a series of presentations aiming to showcase the creative landscape of Ho Chi Minh City through the lenses and practices of Saigon-based art collectives. NET-KID is not just an art exhibition nor performance. NET-KID is about having a good time, and creating a space for people to strip off their identities and enjoy the now. NET-KID is mischievously mispronounced from "naked", and embodies the wild and free spirits of the enfants rebelles of the art world. Two emerging Saigon-based photographers Nguyễn Uyên Minh and Nguyễn Vương Phương Thảo (Thảo.intherain) will lead you into their worlds, and use the camera to capture you at your barest, both physically and emotionally. Two separate installation art pieces/studio spaces will be set up, and you are welcome to come join, get drunk and "strip it all off" with the artists. Additionally, “Saturn at your feet” - a site-specific light installation by Cao Hoàng Long, in collaboration with Uyên Minh and Phương, will let you discover another dimension of NET-KID’s cosmic love. Come, bare (feet) it all, enjoy the stars and the sky with us! “We - as those who seek an escape from ourselves - seek not a narrative from you. In return, hopefully, you too won’t have any fixed conception or expectations from us. Let go of your body and mind, and become a part of the now.” - NET-KID Artists: Nguyễn Uyên Minh, Nguyễn Vương Phương Thảo, Cao Hoàng Long Curator: Xuân Hà Assistant curator: Thanh (Nu) Mai Producer: Đăng Bùi *This event is part of Manzi’s art programme supported by CDEF of the Danish Embassy ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

silk Lâm Tú Trân biography Born in 1997, graduated from HCMC University of Fine Arts, Tran is one of Vietnam's most talented emerging artist, specializing in silk. Tran creates her own surrealistic universe in her paintings, using a skilled technique and precise control of lines and colors, with characters and scenery drifting as in dreams. They are remarkably gentle and brave, innocent and nostalgic, lyrical and gloomy, with a poetically hazy suggestion of darkness in the tumultuous psyche of the youth who is continually confronted with the loneliness and uncertainty of modern existence. She firmly believes that an artist is the one who enrich inner beauty. The aesthetic can be explored in little things around our mundane lives, though small and almost invisible, yet always be present and attached with our own feelings. Tran has participated in numerous group art events and exhibitions both locally and internationally. works This artist currently has no available work at Manzi works See LÂM TÚ TRÂN 2023 90 x 68 cm watercolor on silk Enquire works Childhood LÂM TÚ TRÂN 2023 60 x 60 cm watercolor on silk Enquire related My Zootopia The sky is the same everywhere Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025

sculpture Lương Văn Việt biography Born in 1977, graduated from the Viet Nam University of Art in 2002, Luong Van Viet is considered one of the best sculptors in Hanoi today. Using minimal shapes and colours to create a sophisticated and elegant contrast, Viet’s works explore and push boundaries between spaces and forms, revealing the philosophy of coexistence and human existentialism. Luong Van Viet’s notable solo exhibitions include: ‘Sense’ – Manzi Art Space – 2016; ‘The way of metal’ - 2008, ‘The Doors - 2010, ‘The Narrow doors’ - 2012, he also took part intensively in different international group sculpture exhibitions works This artist currently has no available work at Manzi works Door LƯƠNG VĂN VIỆT 2013 23 x 14.5 x 3.5 cm Wood Enquire works Underneath LƯƠNG VĂN VIỆT 2013 7.5 x 8 x 12 cm Aluminium 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

Bảo VươngA solo exhibition by BẢO VƯƠNG 07.06 - 05.07.2019 Another Crossing - July 5, 2019 June 7, 2019 Bảo Vương ‘ANOTHER CROSSING' by visual artist Bao Vuong features his latest series of paintings and a durational performance. Born in Vietnam by the end of the 1970's, Bao Vuong's family fled from Vietnam when he was one year old on a boat like thousands of boat people leaving the country in this period of time. The series of paintings in ANOTHER CROSSING is a projection of the nights in the open seas spent out by his family on the run, the same nights that hundreds of thousands of refugees have lived through the centuries and still know each day. Forsaken in the dark, without no a clue. Darkness increases imminent death and swallows those that have sacrificed and lost everything worth living. Black paint awakens fears associated with the exile, while reflections of light on the paint strokes represent shimmers of hope that give birth to a survival instinct, echoing the promise for a better world. The performance piece by Bao Vuong in the exhibition entitled "Nước"/Water is a creation of a graphic work in situ, which started on the first day of the exhibition and ended four days later. Five days locked, deprived of contact, without food, relying only on the goodwill of the sky to hydrate. The whole performance was broadcasted live on Manzi's Facebook page. ARTWORKS GALLERY “Huge is the night that governs us. It weighs on our hearts at dusk, when the shadows lengthen. It's not always easy to have Vietnam as a legacy.” 1. “The Crossing VII” --- I wonder how far you have to relive the drama to exorcise it. Bao Vuong’s paintings of the series “THE CROSSING” are totally black. They are both realistic and abstract. The conductive thread of this series is a projection of a trauma, a projection of the nights in the open seas spent by his family on the run, the same nights that hundreds of thousands of refugees have lived by the past and are still living in different parts of the world. Here in “The Crossing VII”,the infinite black sky meets the immensity of the sea. The shipwrecked man feels even more lost and humble before such a spectacle, he is invaded by an unspeakable feeling of loneliness. 2. Series of 4 oils paintings entitled “The Crossing XIII” – “Night 1 – 4” "The Crossing XIII - Đêm" is a projection of the artist’s traumatic story. 4 paintings for the 4 nights at sea. Texture of the paintings is sometimes fluid, sometimes dry and rough. The frozen waves are like a bad scar that does not want to be healed and is still itchy. 3. The Crossing XII --- One day there is a crossing. A boat launched on the sea to escape the unspeakable. For those who are fleeing, there are no words. There is a deep wound: that of having to leave everything. That of facing unknown immensities at the risk of their lives. And then there are months of wandering, from camps to camps. The ocean is an impassable gulf. A dark place where the dead disappear without tombs. An abyss of ghosts. Similar to other paintings of “THE CROSSING” series, the artist used black oil paint and completed with a handmade knife work. However, here the sea is smooth and the waves seem like boats: thousands of waves, thousands of boats, and eventually thousands of souls. Those waves of boats are sailing to an unidentified dream but a new promise of life. Each "wave boat" is made with a single, strong stroke of a knife. They are like the decision to leave, radical and definitive. Like a knife planted in the heart. 4. “Untitled” ---I wonder how far you have to play with death to finally learn to live, to breathe normally Here is a basic pencil drawing on paper. It represents the sea, the horizon and the sky. However, during the creative process, a hole was made in the middle of the drawing and we can see through. This drawing is placed between two pieces of very thin transparent glass. The drawing and the two transparent pieces are suspended in the air, attached by a set of black adhesive tape, two transparent fishing wires connect the installation with the ceiling. Any light breeze or any movement of visitors would make this installation swing. The work looks so fragile as if it is going to fall down; this fragility may give visitors a feeling of discomfort. --- How many shipwrecks have fallen and drowned in the immensity of the water, who will never reach their destination ... 5. Performance “Nước “ 5 days – 4 nights from the 07/06/19 7pm to 11/06/19 6.30pm Bao Vuong's performance is entitled "Nước" : a creation of a graphic work in situ, which starts on the first day of the exhibition and ends 4 days later. Almost 5 days locked and deprived of contact, without food, relying only on the goodwill of the sky to hydrate. It will be a kind of long invocation, an ultimate test, to remember, to be closer to the memory of his parents, and the two hundred people with whom they shared a boat, of their suffering, those of all the boatpeople and all the migrants. It is for him a necessity, an extreme act to understand, to relive and to question, to create. I asked my mother what state of mind she was on the boat at that time. She said she was not scared or sad. She couldn’t think of anything. She was just thirsty. My first word as a child I pronounced, it was on the boat. This first word was « nước » (water) Because our eyes have not cried, because our hearts did not give up, because they escaped that hell, I carry their destiny in me. “As a witness, a smuggler of memory, as an artist, I speak for those who cannot speak, those who have no voice or words to say the unspeakable, to say what is buried in them. Like someone who is a novelist, director or lecturer, I tell by visual art, my story, that of my family, that of thousands and thousands torn people. But it is also an endless journey, that of migrants throughout the world. Since 2014, the International Organization for Migration (IOM) has recorded nearly 17,000 deaths and missing in the Mediterranean, including 5773 migrants whose bodies were found. The problems of borders and exile will be even more central issues in the near future with global warming and the displacement of thousands or even millions of people who will be deprived of agrarian land or whose places of life have been invaded by waters. This performance is for me a moment of spiritual retreat, a cut off from daily reality. It is an artistic meditative act; I create a work that consists of lines more or less straight. A visual Buddhist "ohm" in a refound silence. This performance is finally an act of ecological commitment. Our society is a society of excessive consumption; the having is more glorified than the being. Hyperconsumption becomes a duty and in the end a permanent dissatisfaction. While by this artistic gesture, that is a non gesture, I show that it is totally possible to live with nothing.” - Bảo Vương (Hanoi, June 2019) OPENING NIGHT See more about artist(s)

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 Huy An Võ Trân Châu Phan Thảo Nguyên Trương Công Tùng Nguyễn Trinh ThiA group exhibition about Time 03 - 26.09.2020 Extended Realities - September 26, 2020 September 3, 2020 Nguyễn Huy An Võ Trân Châu Phan Thảo Nguyên Trương Công Tùng Nguyễn Trinh Thi ‘Extended Realities’ – a group exhibition featuring works from five contemporary artists of Vietnam: Võ Trân Châu, Nguyễn Huy An, Phan Thảo Nguyên, Nguyễn Trinh Thi and Trương Công Tùng. Through a minimalist installation, a video art piece, an ephemeral installation and a series of 10 multimedia paintings, ‘Extended Realities’ examines how the artists are working with ideas of time, memory and history. Drawing from literature, philosophy and daily life, artist Phan Thảo Nguyen observes ambiguous issues in social conventions and history. Nguyên’s work ‘Hunger Thread ’ is part of her personal interpretation of the rarely discussed 1945 famine in Vietnam. This ephemeral installation consists of hundreds of raw jute balls scattered throughout the exhibition space. These jute balls can be blown away by the wind or kicked or stepped on by the viewers. In this work, the artist proposes a more nuanced approach to personal and historical tragedies using a new perspective on history and narration, and an artistic medium. Meanwhile, artist Võ Trân Châu recreates collective memories via her embroidery and mosaic artworks depicting long gone architectural structures or historical figures, in an attempt to access obscured or unwritten histories of Vietnam. In contrast with Châu and Thảo Nguyên, artist Trương Công Tùng considers time as one medium for his series of paintings ‘The time of passing shadows (1 2 3 4...)’. In this intriguing series, Tùng sets out a layered narrative of time that is coherent yet tacitly perplexing, with images and information interleaved with fact and fiction Time and history are always central themes in Nguyễn Huy An’s research. In this exhibition, Huy An presents a minimalist installation entitled ‘Exercise No. 2’ which forms part of his ongoing project inspired by the undeniable significance of Lenin as a political figure in the history of the country. The work is created following the artist’s study of the changing shadows of a public sculpture of Lenin over the course of one day, according to the time and position of the sun. Nguyễn Trinh Thi’s practice as a moving image artist has consistently engaged with memory and history, and her work ‘Eleven Men’ is no exception. ‘Eleven Men’ is composed of scenes from a range of Vietnamese classic narrative films featuring the same central actress, Nhu Quynh. Spanning three decades of her legendary acting career, this multilayered work has created a personal connection with and contemplation of the complicated history of Vietnam. *The exhibition is part of Manzi’s Art Programme supported by Goethe-Institut Hanoi. ARTWORKS GALLERY ABOUT THE ARTWORKS 1. Installation ‘Exercise No. 2’ của NGUYỄN HUY AN ---translated from Vietnamese Exercise no. 2: Find an equation that shows the variation of shadow area of Lenin monument over time. Figure 1: Illustration of sun’s position and projection angle at 2.30 pm on the Autumnal equinox of 2014. Note: The Shadow area calculated at different times has tolerance due to the correlation between the positions of Sun and Earth -- - This installation forms part of Huy An’s ongoing project inspired by the undeniable significance of Lenin as a political figure in the history of the country, and of Hanoi in particular. The work is created following the artist’s study of the changing shadows of a public sculpture of Lenin over the course of one day, according to the time and position of the sun. In the study, the shadow exists as an entity arising from the interaction of the natural (the sun and the spinning of the earth) and the unnatural (the concrete form of the statue). Written in the form of a math exercise requesting people to determine the area of Lenin's shadow at different times of the day, consolidated into a mathematical equation, the work gives the viewers an opportunity to reflect on the way our logic, ideals, and world views have always been constrained and impacted by natural forces beyond our control. 2. Embroidery paintings by VÕ TRÂN CHÂU *Portraits no.8,10,11 - (Embroidery on fabric) : Portraits of Emperor Hàm Nghi, Emperor Thành Thái and Emperor Duy Tân – three Emperors of the Nguyễn Dynasty who all were dethroned by the French and exiled to Africa. *‘Somewhere near here 1’ (secondhand clothing, found cabinet door) : image of Thủ Đức Market and Thủ Đức Communal House which no longer exist. *‘Somewhere near here 2’ (secondhand clothing, found cabinet door) : Image of the long gone Chợ Lớn Post Office By pixelating the photographs of architectural structures or historical figures that have completely or partially disappeared from public memory and then laboriously reconstructing them with secondhand clothing or threads and fabric, Tran Chau’s latest series of mosaic and embroidery paintings are a way of re-creating collective memories, as she observes and more deeply explores multiple angles of history. 3. Video art 'Eleven Men' by NGUYỄN TRINH THI (2016) Single-channel installation, sound, 28 minutes ‘Eleven Men’ is composed of scenes from a range of Vietnamese classic narrative films featuring the same central actress, Nhu Quynh. Spanning three decades of her legendary acting career, most of the appropriated movies — from 1966 to 2000 — were produced by the state-owned Vietnam Feature Film Studio. The film’s text was adapted from “Eleven Sons”, a short story by Franz Kafka first published in 1919, which begins with a father’s declaration: ‘I have eleven sons’, then describes each one of them in acute and ironic detail. Transposing the ather’s voice of Kafka’s story, the film begins with a woman stating: ‘I have eleven men’. Footage found from films: ‘Đến hẹn lại lên’ (1974, dir. Trần Vũ) ‘Ngày lễ thánh’ / The Holly Day (1976, dir. Bạch Diệp) ‘Bài ca ra trận’ / Song to the Front (1973, dir. Trần Đắc) ‘Mối tình đầu’ / First Love (1977, dir. Hải Ninh) ‘Nổi gió’ / The Wind Rises (1966, dir. Huy Thành) ‘Hy vọng cuối cùng’ / The last hope (1978, dir. Trần Phương) ‘Mùa hè chiều thẳng đứng’ / Vertical Rays of the Sun (2000, dir. Trần Anh Hùng) ‘Xích lô’ / Cyclo (1995, dir. Trần Anh Hùng) 4. Series The time of passing shadows (1 2 3 4 ...) by TRƯƠNG CÔNG TÙNG Pencil and digital prints on Mylar film, light, darkness, dust, time... 29 cm x 21cm/ 8 layers per piece 20.. – on going Tung’s works are often multilayered, appearing as a coherent narrative, yet tacitly perplexing with images and information interleaved with fact and fiction. 5. Ephemeral installation ‘Hunger Thread’ by PHAN THẢO NGUYÊN (raw jute balls) ‘Hunger Thread’ is part of Phan Thảo Nguyên’s continuing multimedia project entitled ‘Mute Grain’. This ephemeral installation consists of hundreds of raw jute balls that are scattered throughout the exhibition space. Those jute balls can be blown away by the wind or kicked or stepped on by the viewers. Mute Grain is Phan Thảo Nguyên’s personal interpretation of the rarely discussed 1945 famine in Vietnam, during the Japanese occupation of French Indochina. The famine is believed to have caused the deaths of over two million Vietnamese in the Red River Delta. Mute Grain, with a new perspective on history and narration, and an artistic medium, proposes a more nuanced approach to personal and historical tragedies. Nguyên hopes to present the crop failure and famine in the most compassionate and objective way possible, combining sorrow with optimism to celebrate the ephemeral beauty of plant, animal and human lives OPENING NIGHT See more about artist(s)

Thái Nhật MinhSculpture solo show by THÁI NHẬT MINH 13.06 - 13.07.2014 Breeding Season - July 13, 2014 June 13, 2014 Thái Nhật Minh Inspired by the breeding season, during which living creatures grow enlivened, elated, enraptured, when all crave unification, procreation and seek an escape from sorrow and solitude, this new series by Thai Nhat Minh aspires to portray the connection between sculpture and abstract notions of landscape, time, and mentality. An intimate relationship - seemingly extraneous yet consistent between natural connections and those in contemporary life - one that remains clouded in everyone’s consciousness. * The show is part of manzi art programme supported by the Cultural Development and Exchange Fund (CDEF) of the Danish Embassy. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Nguyễn Phương Linh Trương Quế Chi Đạt Nguyễn Hiroyuki Hattori & Hiroyuki UraAn exhibition by Nguyễn Phương Linh & Trương Quế Chi with Đạt Nguyễn, Hiroyuki Hattori & Hiroyuki Ura Eyes Without A Face - April 20, 2021 March 12, 2021 Nguyễn Phương Linh Trương Quế Chi Đạt Nguyễn Hiroyuki Hattori & Hiroyuki Ura ‘A struggle to start writing about something, without adding to or subtracting from its weight being tricked by a longing for lightness to endure heaviness has its silver lining: one can still sense weight passing the point that makes black humor come distances, varied: geographical, physical, in between those involved 'things that ought to come' does not mean being ready for such the foresight prompts much odd rhythms ungraspable without the pulse of some apparatus light is rhythmic a nonverbal correspondence one instinctive, one austere an exquisite corpse proving difficult to dissect everything revolves around that bed — which I slept on life, death, mirth, and nightmare a pole, a lightning rod first entrance through a veil-skirt hung mid air the collapse of one's own abode all is a stage absurd, sore, romantic fragments a play is but the wait for its happenings inevitable baggage: the objects in front of the partition await those waiting for their allotted number Uhm, Exit one whom Heaven calls forth .’ - Notes from a hiccup-ish conversation between curator Đạt Nguyễn and a newfound friend, Ngân on EYES WITHOUT A FACE ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Lê Quý Tông a new series of paintings by visual artist Lê Quý Tông 'Neo-Romanticism' - April 22, 2023 March 24, 2023 Lê Quý Tông Featuring twenty mixed-media works on canvas and paper, ‘Neo-Romanticism’ marked the return of Lê Quý Tông to manzi after over seven years since his solo show titled ‘True Blue’ (2015) which saw the beginning of his on-going experiment with a ‘input hybrid’ of painting, decorated pattern and found imagery. Along with the participation of a new technique - screen printing in the artist’s practice, this comeback also sees a dramatic change in the color palettes: neither limited to monochromatic color schemes nor restrained in the deep, somber shades as in his previous series ‘True Blue’ and ‘True Gold’ . ‘Neo-Romanticism’ witnesses a bloom in a wide variety of colors, including both bold and subtle, fiery and dusky hues. Yet, what to expect beyond the new method and palette which got an air of Pop Art Style? Further than just the outer expansion in visual accomplishment, can we find any pole vaulting in the inner of this artist’s latest expedition? The first bar to jump over probably is the starting point of all Tông’s paintings - the photographic documentation . These images sourced from historical archives and mass media are easily accessible by an online image search engine. Rather than to intentionally select an image that would anchor his own composition and navigate the viewer’s perception, Lê Quý Tông randomly singles out a photo that he found intriguing as an input element; its original context is of very little significance. It varied from a reliable evidence of a momentous event influenced the course of history to a fragment of manipulative media & information / a dishonest journalistic recording of a person or a conflict (in the past or in the present). The visual source can also be recognizable imagery of popular culture (such as Marvel Comics an Disney characters) or may be borrowed from some religious illustrative motifs and even some propaganda posters. Taken out of their original context, these visual elements once have been appropriated, reassembled together into something beyond space and time which ultimately can erase all boundaries and opposite sides of the initial narratives - no longer exists the enemy, invader & comrade, patriot; justice of war & injustice in war, righteousness & moral weight are all nonsense in the disturbed situation of ‘Neo-Romanticism’. ARTWORKS GALLERY _______________ Besides playing with the massive visual archives by deconstruction & collage, this new body of works by Lê Quý Tông confronts us with a series of new ‘KEYWORDS’ (that can be stated clearly in the form of letters, written texts or presented by figures, drawings) which are LOVE , HEART , ROMANTIC(ISM) , DREAMER , ACROBAT , YOUTH ,… These keywords, together with the overlapping lines, patterns and the bouncing colorful layers on the surface of canvas / paper, construct a particular aesthetic symbolism of the whole series. Then what we see is not ultimately the subjects to be interpreted. Instead, this system of symbols acts as an intermediary that stimulates our imagination and evokes our feelings, thus, thoughts and interpretations can be liberated from political, moral and cultural discourses. Departing from a very specific, prejudiced starting point (available photographic material), through a labor-intensive process of working on layers after layers in which the patience was constantly pushed to the end, the results presented in ‘Neo-Romanticism' are disordered and somewhat abstract reflections, yet in one way or another approaching closer to the essence of the original images / archived reality? Can we see more clearly now when the sight is disturbed, as Roland Barthes suggested in his final book ‘Camera Lucida: Reflections on Photography’: “Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.” From this perspective, the art practice by Lê Quý Tông offers us a way “to shut our eyes” , and therefore, enable us to resist the dominance and manipulation of the visual information in our chaotic modern age. This also proposes a liberation for Tông himself, in a role of an artist, as a creator of new and an interpreter of the past; he can finally free himself out of the conundrum to justify and represent the questioned-by-him reality, time, history, and memories,.... as in the series ‘True Blue’. With ‘Neo-Romanticism’ the artist has put on a pair of spiritual wings, youthful, audacious; he now embraces both life (past and present) and human beings as a tangle of reality and illusion, passion and brutality, authenticity and violence. Such a bold move, though resulting in a new demanding task imposed on the artist: he must maintain the balance constantly, try not to fall into either side: prophetic pessimism on one hand or tremendous optimism on the other. The situation now is comparable to Lê Quý Tông’s own painting in which we see an acrobat, a dreamer who strives to keep on dreaming while knowing that he is dreaming. OPENING NIGHT See more about artist(s)

Nguyễn Phi Phi Oanha series of new works by Phi Phi Oanh Arca Noa - February 5, 2023 December 24, 2022 Nguyễn Phi Phi Oanh Coming back to manzi after six years (since her solo exhibition ‘Scry ’ in December 2016), Phi Phi Oanh displays new results of her ongoing exploration in expanding the abilities and unfolding possibilities of the Vietnamese lacquer medium. ‘Arca Noa ’, features a series of 10 small and medium sized paintings from different series and two Lacquerscopes. "‘Arca Noa’ attempts to hold still and record, in lacquer form, our relationship to the earth and our will towards the domestication and objectification of nature around us. The works are conceived as vestiges of this epoch currently hanging in delicate balance and as iconography of its human centered gaze." The works here also explore a type of realism in lacquer based on repeated direct observation over many days and layers then sanding away like erosion - a journey simply reflects the passage of time, as well as fossilizes and preserves all the mental & visceral states of the artist along with the outer conditions of space. This whole process of continuous accumulation and subtraction, for Phi Phi Oanh, “leads to an image of the observed that seems to exist at different moments and times. While not tonally realistic like a photograph, this lacquer realism is more involved with the slippery ever changing experience of sight and of memory which I consider to be son ta’s major potential contribution to the field of painting. The paintings in ‘Arca Noa’ explore new representational models of son ta lacquer painting in both the physical (though experimentations on different materials and substrates) and in the symbolic (through what can be interpreted and a broadening of its theory). For Phi Phi Oanh, sơn ta lacquer is not an inert image - making medium rather it assembles a wide range of relationships in locality, culture, environment and nature. Objecthood versus dematerialization, domestication and possession, the physical embodiment of memory built to last, the correlations between the micro and the macro, between cherishing one’s own personal memories and questioning the position and scale of the human being, are some themes that run through Arca Noa. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Đóng hộp một khoảnh khắc trong không gian triển lãm, ‘Đêm Tuyết’ không có tuyến tính, hay đúng hơn là KHÔNG THỂ có chút nào vận động thời gian.   Một người đàn ông nằm ngoài trời tuyết; Một con quái vật trong hang động; Một tay súng và Một kiếm sĩ trước cửa hang; Tập 4 . Phần thứ nhất 'Đêm tuyết' Đóng hộp một khoảnh khắc trong không gian triển lãm, ‘Đêm Tuyết’ không có tuyến tính, hay đúng hơn là KHÔNG THỂ có chút nào vận động thời gian. Ở một bên tường, bốn lớ p cảnh được trình hiện như những lát cắt của một khoảnh khắc duy nhất được kể đi kể lại, từ nhiều góc độ. Các tình huống đồng hiện , xen vào giữa những khoảng hoặc RỖNG hoặc IM hoặc LẶNG: Một người đàn ông nằm ngoài trời tuyết; Một con quái vật trong hang động; Một tay súng và Một kiếm sĩ trước cửa hang; ... Các nhân vật với số phận oái oăm bị trói vào lẫn nhau, đang yên lặng chờ đợi và buộc phải chờ đợi. Mở đầu đã được trình bày, kết thúc dường như mở sẵn, làm sao đi từ mở đầu đến kết thúc, những mối nhân-quả cũng được giải thích rõ ràng; nhưng tất cả hoàn toàn phi logic và bất khả. Ngoài việc nối với nhau như một vòng lặp khép hờ của một mảnh thời gian bị đông cứng, không một diễn biến nào khác là có thể. Ở phía tường còn lại, đối lập với sự đứt gãy và không thể tiếp tục ấy là một loạt những vụn hình khác, ghi lại các sự vật và sự việc độc lập: " quả bí, súng, con chó, cây kim, bóng đè, ngọn giáo... .". Tất cả từ chối áp đặt một trật tự thứ bậc về kết cấu và kiến trúc, nhưng kỳ lạ là vẫn vang vọng lẫn nhau. Chúng chẳng tuân theo cái gì hết, không một quy luật nào, không một sự xâu chuỗi nào hoàn toàn vừa vặn. Và nhất là, dường như chúng cũng không tuân theo chính tác giả của chúng. Có thể khởi phát từ một xúc động nhất thời, một kích thích ngẫu hứng (chẳng hạn một hình ảnh nhớ lại từ trong mơ, một giai điệu đột nhiên lọt tai và kẹt lại trong tâm trí): Cái “duyên” mở đầu, rồi mọi thứ tự nhập lưu và nhào nặn. Dẫu mượn một cảnh huống nghịch lý (nhưng không cải trang ngụ ngôn, cũng không khoa trương nặng màu bi kịch) làm khung ráp để nối lại toàn bộ tập 4 của chuỗi tác phẩm lần này, nghệ sĩ chẳng hề cố ý dấy lên những hoài nghi hiện sinh chua cay, hay khơi gợi những hoang mang u uẩn về số phận và bản thể con người. Khước từ việc ‘TÌ M KIẾM’ , anh chỉ đơn giản là ‘NHÌN & THẤY’ , ‘NHẶT L ÊN’ , mời tất cả cùng thưởng thức. "Cây ra trái, trái chín, chín rồi rụng. Tôi nhặt lấy vài tr ái và tạm gọi chúng là: Trên con đường c ủa chúng ta." < Giới thiệu của nghệ sĩ về chuỗi tác phẩm trên trang web của dự án> Có lẽ vì vậy mà ‘Đêm tuyết’ (và toàn bộ Tập 4) dẫu có những yếu tố huyễn tưởng dày đặc, đậm mùi và vị riêng, lại không được dọn lên theo kiểu nóng hôi hổi rồi tàn nguội nhanh để ta có thể chóng xơi và tấm tắc gật gù. Lối sắp đặt đa kênh với những khoảng trống duỗi dài không phải nhằm dàn dựng cho một cú kết mãnh liệt bàng hoàng, ngay lập tức bùng nổ những sóng rung tới giác quan và xung thần kinh nơi não bộ. Trái lại, ta phải chờ đợi những tín hiệu khác: giữa nhịp điệu triền miên màu xám xịt, rất khẽ có những xúc cảm đơn lẻ bật rung đâu đó giữa các hình ảnh và lớp cảnh. Một tính thơ của ngẫu nhiên và bất trắc. Lê Xuân Tiến sử dụng đa dạng các chất liệu theo kiểu cắt dán (collage): các đoạn ghi hình gốc (được quay lại từ những chủ động sắp đặt hoặc vô tình bắt gặp), hoạt hình vẽ tay, thêm cả những dữ liệu góp nhặt từ truyện tranh, trò chơi điện tử, các lưu trữ ảnh và phim tư liệu tìm thấy trên internet… Ngồn ngộn các thông tin thị giác, tất cả có vẻ còn thô ráp ấy thế mà tổng hòa lại mượt mà lạ lùng, dù chẳng hề yên ả. Chỗ này chỗ kia sẽ có những gợn lên bất chợt của xúc cảm lạc điệu, chẳng qua cũng như những dấu ngắt quãng ngắn ngủi hay những vết cắt nhỏ. Vết cắt này rất nông, chỉ đủ cứa xước bề mặt kiềm tỏa phẳng lì của dải đơn sắc tịch mịch và âm thanh êm ro. Vết cứa quá yếu ớt… Vậy nhưng trong vòng lặp không ngừng của các đoạn băng, khi mắt nhìn đã quen và bóng tối nhạt dần, khi tai nghe đã thuận và âm thanh (như thể đêm tuyết cuồng nộ) kia không còn chút uy hiếp nào nữa, trong sự loãng dần của thời-không ấy, cảm giác về những vết cắt âm ỉ này cứ mạnh dần lên, khuếch đại từng chút một, đến một lúc nào đó sẽ đủ để ta giật mình xuýt xoa còn ý thức bị đánh lạc hướng. Yếu tố câm - Yếu tố nhìn thấy - Yếu tố đọc thấy (cấu thành ngôn ngữ hình ảnh mà ý thức ta thường neo đậu vào) trong ‘Đêm tuyết’ cũng như toàn bộ Tập 4 dường như rất rời rạc và hỗn độn, kháng cự những nỗ lực xâu chuỗi và thống nhất. Những chỉ dấu cho lý trí vì vậy dần mơ hồ và sự chuyên chế của ý thức dễ dàng buông lỏng. Phải chăng khi đó, tâm trí ta sẽ chuẩn bị đạt tới những quan sát thuần khiết hơn, và chiêm nghiệm rồi cũng đến, tự nhiên và bình thản. Không đòi hỏi một hoàn tất hay khẩn cầu xác định; chỉ đơn giản là: “Vì ta giống như đất xanh chờ tuyết Và tuyết chờ băng tan.” - Paul Ernst (Brunhild) Tập 4 . Phần thứ hai Ngày nắng Sunny day 'Đêm tuyết' sẽ tắt hẳn sau 19 giờ ngày 30 tháng 9. Tới ngày hôm sau, 'Ngày nắng' thế chỗ, nhưng không phải là một sự tiếp nối. Một khả thể khác, độc lập & đối lập (?) Thay vì một khoảnh khắc bị cô đặc lại như 'Đêm tuyết', kéo giãn & lặp lại từ ngày này sáng tuần khác; 'Ngày nắng' là một phim ngắn - thời lượng trình chiếu chỉ khoảng 30 phút, giới hạn trong một buổi chiếu duy nhất; nhưng có trình tự và diễn biến - một cuộc miên trường điên rồ của đủ mọi giấc mơ và nỗi ám ảnh, với những vào ra không ngừng, những lật mở nơi chốn kỳ dị CĂN PHÒNG XA LẠ .... CĂN PHÒNG THÂN THUỘC Cá thể tự tách ra và tự nhân lên thành vô số dạng thức tâm thần / bản thể ... Điểm cuối của cuộc hành trình, sau hết thảy những đêm tuyết và ngày nắng, liệu có thể thấy được chút nào hay chăng? 15 giờ 30 phút 01 tháng 10 FINALE Đăng ký FINALE Về đợt mở xưởng 'Trên con đường của chúng ta'

oil/acrylic Nguyễn Văn Phúc biography Born in 1978, graduated from Hanoi Fine Art University in 2003, Nguyen Van Phuc is among the top emerging Vietnam new generation of artists, who has set a very distinctive direction from the rest. He often paints different characters in a very unfamiliar background with a hint of humor. Using very vibrant colors and topics of everyday life, Phuc depicts his own world of psychological struggles with social changes and contexts of Vietnam in the new era. His 2 works was selected to exhibit in Salt of the Jungle of the Korea Foundation in 2018. works This artist currently has no available work at Manzi works Balance NGUYỄN VĂN PHÚC 2009 - 2024 120 x 150 cm oil on canvas Enquire works The dream war under control of the reason NGUYỄN VĂN PHÚC 2011 146 x 116 cm oil on canvas Enquire works Courtship NGUYỄN VĂN PHÚC 2009 100 x 80 cm oil on canvas Enquire works Artist's Romance NGUYỄN VĂN PHÚC 2008 150 x 120 cm oil on canvas Enquire works Happiness NGUYỄN VĂN PHÚC 2007 80 x 100 cm oil on canvas Enquire works Artificial metaphysical structure NGUYỄN VĂN PHÚC 2015 120 x 150 cm oil on canvas Enquire works The Weak man NGUYỄN VĂN PHÚC 2009 120 x 150 cm oil on canvas Enquire works The Garden of Eden NGUYỄN VĂN PHÚC 2015 120 x 150 cm oil on canvas Enquire related My Zootopia The sky is the same everywhere Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025