Lê Quý TôngA solo exhibition by LÊ QUÝ TÔNG 12.12.2015 - 11.01.2016 Lam - January 11, 2016 December 12, 2015 Lê Quý Tông 'True Blue' - marking Le Quy Tong's return after 7 years - is the result of years of working in silence and marks a clear departure from the artist’s previous interest. Tong last exhibited in 2008, and has since been experimenting with new techniques and themes previously absent from his practice, making each research an inquiry into fine art's most traditional medium - painting. The resulting body of work thus announces more than just a comeback; it marks a revitalizing chapter in Tong's practice and fortifies his position as one of Hanoi’s most dedicated and resilient creative forces. True Blue sees Le Quy Tong experiment with a hybrid of painting, decorated pattern and found imagery. Each of the works takes its starting point from photographic documentations of significant political meetings that influenced the course of history. The images - sourced from historical archives and mass media - have been taken out of their original contexts and appropriated, dissected and reassembled into something new and uncanny, making it difficult to decipher between the make-believe, the manipulated and the genuine. Together, they highlight the generic features of all meetings - big halls filled with hefty chairs, grand tables and elaborate chandeliers; men deep in discussion or signing papers. An air of ceremony lingers even when all content and context are stripped away. Once a photograph found its way onto the artist’s canvas, he employed a number of editing devices such us pixilating, blurring and pattern overlaying. Each of the gloomy, cool and blue-colored finished collages is the accumulation of countless layers of paint, visual motif and imagery, which have been applied, erased, smoothened, scratched and piled on top of each other. Displayed together, they provoke a sense of glamorous nostalgia and contribute to a distinctively elegant style and rhythm, reinforced by a shared perspective, composition and treatment of paint and imagery. As figures and shadows sink and rise, visual cues disappear and become, textures, forms and colors part and merge, recognisable events and times in history are rendered an illusion. But what seems to be specific could allude to any place and any time in any history. Déja vu! What appears before us is familiar to the eyes, yet the mind cannot identify why. Have we seen these imageries before? What do we see when we look at a singular photographic depiction of an event? What about the missing people, voices and actions in history that existed outside the realm of a single frame and evidence? The construction of history and memory, or rather the construction of history and memory through photographic documentation, is called into question, and its limitations are revealed. Is the blurred meant to be forgotten, or hidden? Do the overlays introduce alternative narratives, or sugarcoat darker ones? Does the pixilation highlight individual elements, or obscure something and dismantle the whole? What happens when an image is used in a place and time other than where and when it was intended for? What does this act of displacement do to the final works? Does it inform our knowledge and reinforce our trust in photographic documentation? Or does it lay bare the ability to use it to tell lies, falsify reality and shape our perception with seeming evidence? With his systematic, yet intuitive, ordered but open-ended, labour-intensive methodology, Le Quy Tong presents us with an alternative space to engage with the real and the imagined, the authentic and the fabricated, by erasing the illusive borders that separate them. The blue color palette which connects all the series’ pieces evokes a deeply sad and unsettling atmosphere, which reflects the mood at the basis of the work. The color also stands for loyalty and a commitment to truth – a perfect contrast to the deceptive nature of those concepts as revealed in True Blue. ARTWORKS GALLERY OPENING NIGHT See more about artist(s) Lê Quý Tông

ink/watercolor Till Ansgar Baumhamer biography Dr. Till Ansgar Baumhauer (Ph.D.), born in 1972, is a freelance artist, curator and publicist in Dresden, Germany. After completing a degree in Painting and Fine Arts, he received his doctorate at the Bauhaus University Weimar in 2015. For more than 20 years, the post-doctoral researcher and artist has focused on the relationship between violence and its aestheticization and visualization. What traces do historical events leave behind in the narratives and images of everyday culture? How are societies influenced by war experiences? How does war experience affect the peace-time? How does the history of a country and its people influence their perception of recent warlike events? In 2019, he went to Vietnam as a artist - in - residency in Heritage Space's annual contemporary international art exchange project called ‘Month of Art Practice'. works This artist currently has no available work at Manzi works Day on the beach 1 TILL ANSGAR BAUMHAMER 2019 30 x 42 watercolor on paper Enquire works Day on the beach 2 TILL ANSGAR BAUMHAMER 2019 30 x 42 watercolor on 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

oil/acrylic Nguyễn Đình Hoàng Việt biography Born in 1988 in Dac Lac, Viet grew up in Hue and holds a BA in Applied Arts from the Hue University of Fine Arts. Viet is best known for his trompe l’oeil portraits of animals (fish, duck, chicken, crab…) looking peacefully content, trancelike, as if captured by a wonderful dream. Although playfully depicted, the works seriously have us question our eyes, as on closer inspection all the creatures turn out to be dead. His second area of interest is everyday objects – for which he has been producing 2D replicas of things we see and overlook daily with his trademark photorealist precision: broken glass, a bent nail, pieces of paper and a wall crack. However, the obvious and mundane here is made obscure and abstract – not in terms of style but content. Objects perceived to serve a specific function are rendered useless: a painted nail cannot hold a piece of art, a painted crack cannot be fixed, a painted broken piece of glass cannot be swept up. Viet is able to provoke double-edged meanings and interpretations, whilst questioning the role and value of painting. His works are both witty and thoughtful, lighthearted and destructive. His recent notable exhibitions included: “The Language of the Images”: Hungarian – Vietnamese Contemporary Painting Exhibition – Vietnam Fine Arts Museum, Hanoi & HCMC Fine Arts Museum, Ho Chi Minh city – 2018; ‘?!’ – Solo Exhibition at Manzi Art Space, Hanoi - 2016 works This artist currently has no available work at Manzi works Aquatic 2 NGUYỄN ĐÌNH HOÀNG VIỆT 2024 38 x 28 cm oil on paper Enquire works Escape NGUYỄN ĐÌNH HOÀNG VIỆT 2023 42 x 30 cm oil on paper Enquire works Aquatic NGUYỄN ĐÌNH HOÀNG VIỆT 2024 42 x 30 cm oil on paper Enquire works Summer NGUYỄN ĐÌNH HOÀNG VIỆT 2019 12 x 17 cm oil on paper Enquire works Abandoned house 1 NGUYỄN ĐÌNH HOÀNG VIỆT 2023 42 x 30 cm oil on photograph Enquire works Sumo NGUYỄN ĐÌNH HOÀNG VIỆT 2023 100 x 71 cm oil and newspaper on canvas Enquire works Warning NGUYỄN ĐÌNH HOÀNG VIỆT 2024 42 x 30 cm oil on paper Enquire works Drift NGUYỄN ĐÌNH HOÀNG VIỆT 2018 21 x 16.5 cm oil, pen, pencil on 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

Doãn Hoàng LâmA solo exhibition by DOÃN HOÀNG LÂM 21.08 - 21.09.2015 em|body - September 21, 2021 August 21, 2015 Doãn Hoàng Lâm em|body - an exhibition of both new and never before seen works by Doãn Hoàng Lâm. A Vietnam University of Fine Arts graduate, Lâm belongs to one of the previous generations of academically-trained artists whose talents were endured and pushed to the limit by the then highly-demanding art education system, and is now considered one of Hanoi’s most accomplished painters. With a sense of naturalness of an artist and a disciplined mindset of an artisan, Lâm approaches each painting medium with sensitivity and clarity, utilizing its intrinsic vocabulary and qualities as the foundation for the formation of his ideas and experimentations, and an instrument to communicate his thoughts and mental states. In his works, lacquer would often be associated with depth, silk with delicacy, oil paint with fullness, watercolor with lightness and so on. For Lâm, to conduct a thorough practice with the most primary skills like sketching and life drawing, and to have a clear understanding of the most basic things like how to handle a particular paint and how to choose which brush to use, is as important as to continuously explore and refine his thought-, reflection- and creation-process. They both help to form the visual language and express the artistic vision that define Lâm and separate him from his contemporaries. Comprising four lacquer and five oil on canvas, em|body transforms the walls of Manzi into windows looking out into landscapes that are both cosmic and intimate, recalling images of the galaxy whilst revealing sensuous properties of the human body. The partially rendered human-like shapes look as if they are hovering in space, or emerging from behind the surface. Sometimes vulnerable and concealed, they have their backs to us; but mostly confrontational and powerful, they stare straight ahead, with their bare skin, disembodied figures and provoking positions all on display. Somewhere in this strange galaxy we see snippets resembling body parts: a twisted knee, a sagging breast, a deformed head, contorted limbs or spreading legs. Distorted and exaggerated, the body is repeatedly abstracted through the artist’s manipulations of forms and shifts in scales, acting as much a symbol of desire and a celebration of beauty as an object of fetish and an embodiment of violence. Here, the familiar has been made uncanny. Just a degree or two away from reality, we are left in an uncomfortable position, our senses toyed with, and our perceptions of affection/abjection, normality/abnormality, morality/immorality disrupted and questioned. ARTWORKS GALLERY OPENING NIGHT See more about artist(s) Doãn Hoàng Lâm

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) Bảo Vương

print Nguyễn Thế Sơn biography Son was born in 1978 in Hanoi and holds an MA in Photography from the Central Academy of Fine Arts (CAFA), Beijing, China. With ten years of experience using photography as a medium to engage in both past and present social and historical issues, he has established a unique and impressive body of work, whilst continuously challenging the definition and role of contemporary photography in Vietnam. The final outcome of Son’s work, which comes in various forms such as traditional silk painting and lacquer or photography installation and video art, is often the result of an enduring research process where different disciplines and systems of knowledge production merge and collide. Son has held numerous solo exhibitions, most notable recently including: ‘A Decade of Exposure’ - Art Vietnam, Hanoi - 2023; ‘Ten years‘City and Memory’ – AGOhub art space, Hanoi – 2018; ‘Colour of the sound’ – K-art gallery, Korea National University of Arts, Seoul – 2017; ‘Devant derrière (Changing Face) – L’espace, Hanoi – 2016; ‘8m2’ – Goethe Institut, Hanoi – 2015; ‘Nhà Tây Transforms’ – Manzi Art Space, Hanoi – 2013. He also participated in many international projects and group exhibitions in USA, China, Sweden, France, Hongkong, Indonesia, Malaysia,.. In 2016, his mobile installation ‘…Carrying the Carriers…’ was included in the public art project ‘Into Thin Air’ – Manzi Art Space. works This artist currently has no available work at Manzi works Helios Tower NGUYỄN THẾ SƠN 2018 50 x 50 cm Photo print on canvas Enquire works 39 Hàng Đồng NGUYỄN THẾ SƠN 2021 40 x 85 cm photo print on canvas Enquire works Building K - Collective living quarter NGUYỄN THẾ SƠN 2017 55 x 55 cm C-print on canvas Enquire works Collective Living Quarter at no. 346 Kim Nguu street (2 versions) NGUYỄN THẾ SƠN 2019 80 x 40 cm fine art printing on ILFORD 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

dzo painting Nguyễn Huy An biography Born in 1982 in Hanoi, Huy An graduated from the Fine Art University in 2008. He is considered one of the most dynamic and innovative artists of his generation. Huy An’s work has been a process of trying to dig into the darkness of psychology. Most of his projects have been under-laid with an obsession with memory and the complexities of a pessimistic perspective. From installations, performance art to paintings and sculptures, Huy An’s works are highly acclaimed by international art critics and curators for their introspective and simple yet strong concepts. Huy An had 4 solo exhibitions: 'The four subjects' - Manzi Art Space, Hanoi - 2022, 'Âm Sáng' - Galerie Quynh, Ho Chi Minh City - 2019, ‘Calculus Exercise #6/5’ – Manzi Art Space, Hanoi – 2018 and ‘78 Rhythms’ - Galerie Quynh, Ho Chi Minh City – 2014; he also participated in numerous group exhibitions and performance art festivals (either as a solo artist or with his performance art group Phu Luc (Appendix) – which he co-founded in 2010) including: ‘Into Thin Air 2’ – the public art project, Manzi Art Space – 2018; ‘Looking for the Divine Beings’, Nha San Collective, Hanoi – 2017; ‘Vietnam Eye: Contemporary Vietnamese Art’ - Casa Italia, Hanoi – 2016; ‘14th Istanbul Biennial’ - Turkey – 2015; ‘Disrupted Choreographies’ - Carré d’Art Musée d’Art Contemporain, Nimes, France - 2014, ‘If The World Change’ - Singapore Biennale - 2013, ‘Sounds of Dust (Somniloquy)’ - 943 Studio Kunming, China - 2011. works This artist currently has no available work at Manzi works Pond NGUYỄN HUY AN 2008 43 x 53 cm watercolor on dzo paper Enquire works Toad & Pavillion NGUYỄN HUY AN 2010 40 x 50 cm ink & color pigment on dzo paper Enquire works The Rain NGUYỄN HUY AN 2021 29 x 35 cm color pigment on dzo paper Enquire works The Pond NGUYỄN HUY AN 2005 60 x 80 cm watercolor on dzo paper Enquire works Toad (Pinky) NGUYỄN HUY AN 2010 40 x 50 cm ink & color pigment on dzo paper Enquire works Alley entrance NGUYỄN HUY AN 2021 44 x 34 cm color pigment on dzo paper Enquire works Pond (pink) NGUYỄN HUY AN 2005 80 x 45 cm watercolor on dzo paper Enquire works The Pond (green) NGUYỄN HUY AN 2014 40 x 50 cm màu nước trên giấy dó 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 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) Trương Quế Chi Nguyễn Phương Linh

Nguyễn Trinh ThiA video & sound installation by Nguyen Trinh Thi 12.12.2020 - 10.01.2021 Landscape #4: How to Improve the World - January 9, 2021 December 11, 2020 Nguyễn Trinh Thi Landscape #4: How to Improve the World is an aurally-centered video installation reflecting on the past, present, and future of indigenous cultures of the people of Vietnam's Central Highlands. The work foregrounds the indigenous sound, voice and music against a backdrop of a land that has gone through periods of Christianization, war, socialist and contemporary transformations. ARTWORKS GALLERY 'As our globalized and westernized cultures have come to be dominated by visual media, I feel the need and responsibility as a filmmaker to resist this narrative power of the visual imagery, and look for a more balanced and sensitive approach in perceiving the world by paying more attention to aural landscapes, in line with my interests in the unknown, the invisible, the inaccessible, and in potentialities' - Nguyễn Trinh Thi Comments on ‘Landscape #4’ “Beautiful and intriguing, beautiful music, intriguing form/structure/techniques, lots to think about in terms of sound as sound, sound as music, song as story, memory and the senses, memory as shared performance, and of course much more. The intersection with Christianity is of course tragic while at the same time the congregational songform has its own kind of beauty.” - Ernst Karel, musician, recordist, composer, teaches sonic ethnography at Harvard University “One of things that struck me most powerfully is how the film is all about listening. The act of making the work is in itself an act of listening. Listening to the story being told by the singer, alongside the other listeners around him, but also the film itself tunes in to the musicality, rhythms, and acoustic layers of memory, time and a history of this specific location.” - Philippa Lovatt, lecturer at University of St. Andrews, Scotland, with research interests in sound in audio-visual media, Southeast Asian and East Asian Cinemas, Experimental Film and Documentary OPENING NIGHT See more about artist(s) Nguyễn Trinh Thi

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) Võ Trân Châu Trương Công Tùng Phan Thảo Nguyên Nguyễn Huy An

ink/watercolor Nadege David biography Born in 1975 in Poissy, France, Nadege David received an MA in Political Philosophy from the University La Sorbonne in Paris and an MA in Contemporary Political Philosophy from theUniversity of Paris VIII. She was a lecturer in Sociology at the University Marne La Vallée between 1999 and 2005. “Drawing emerges to me as an expression of exchange between images, thoughts, and the languages of real and imagined worlds. These visual appropriations take root in the confrontation with the living, an enthusiasm for the aesthetic potency of certain Asian expressions, the precision of scientific drawing and the fascination for ink and its unpredictable flow.” David’s exhibitions include ‘Experience Sweet and Relaxing Dreams’ - Mai’s Gallery, Ho Chi Minh City, ‘Of Reveries and Obsessions’ and ‘Soil-Less®’- Galerie Quynh, Ho Chi Minh City works This artist currently has no available work at Manzi works Fais-nous naître aux cieux du dedans, (Deliver Us Afresh to Skies) NADEGE DAVID 2019 36 x 51 cm ink on paper Enquire works Fais-nous naître aux cieux du dedans, (Deliver Us Afresh to Skies) NADEGE DAVID 2019 36 x 51 cm ink on 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 Đào Tùng biography Dao Tung is a multidisciplinary artist whose experiments with sound, installation and video draw heavily from his practice as a composer and sound artist. A graduate of the University of Economics Ho Chi Minh City, Tung has since worked on various experimental performances and theater productions as a visual artist, composer and director, in Vietnam, as well as Korea and the US. One of his most notable theater projects is Erasable (2012), a five-act performance that sought to blur the distinction between art and the quotidian. Tung is also a founding member and organizer of the art event Nổ Cái Bùm (Hue, 2020 and Dalat, 2022), and a co-founder of Open Room and Nest Studio. In 2021, he was chosen as one of the finalists of the prestigious Dogma Prize. Dao Tung’s works have been featured in various individual and group exhibitions, including Edge of the Citadel , Hue, Vietnam, 2022; Video Box , as part of the online SWAB Barcelona Art Fair, Barcelona, Spain, 2020; Henosis , Baik Art Seoul, Seoul, South Korea, 2018; Open Room II , Capa Studio, HCMC, Vietnam, 2016; and howdy cowboy , MoT+++, HCMC, Vietnam, 2015. In 2017, he participated in the Open Studio residency at 18th Street Arts Center, Santa Monica, CA, USA. works This artist currently has no available work at Manzi works '- -' ĐÀO TÙNG 2022 22,5 cm x 32cm x 1,5cm Copper box, letters carved on copper, typewriter letters, paper (unlimited edition) Enquire works '- -' ĐÀO TÙNG 2022 22,5 cm x 32cm x 1,5cm Copper box, letters carved on copper, typewriter letters, paper (unlimited edition) 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