Nguyễn Đức PhươngFirst solo exhibiton by NGUYỄN ĐỨC PHƯƠNG 03.11 - 26.11.2017 Just by Being - November 26, 2017 November 3, 2017 Nguyễn Đức Phương 'Just by Being', consisting of a series of paintings on old books, pharmacopoeia or old bibles by Tày minority people from Tay Bac (Northwest mountainous areas of Vietnam) using natural pigment originated from soil or flowers and plants; and a series of 9 sculptures made out of paper and clay, acts as a chronicle of a vanishing culture, but also brings hope and life to the ruins of time. * This is part of Manzi’s art programme supported by CDEF of the Danish Embassy in Vietnam. ARTWORKS GALLERY An article for the exhibiton written by Đỗ Tường Linh (Hanoi, November 2017) In his first solo exhibition, Nguyen Duc Phuong takes the audience on a journey through color and the different nuances of paper as material. The very first impressions of Phuong’s works could be seen as Orientalist or spiritual, but when one takes time to examine Phuong’s method and process more closely, it is clear that a lot of effort and patience has been put into the making of this body of work to reverse that notion of thinking. The result is a collection of vibrant and poetic explorations on paper. Trained in a strong academic foundation and Western aesthetics at the Vietnamese Fine Art Academy, Phuong spent his time after graduation focusing on experimentation, eschewing participation in artist groups or exhibitions. Growing up during Vietnam’s transitional period of modernization and urbanization in the 90s, Phuong’s work is tied to the changes he experienced living in suburban Northern Vietnamas a child. Phuong experiments with simple and everyday objects such as paper, earth, and wood, and is inspired by the tales and oral sayings that nurtured him in his daily life. In the process of creating work for this exhibition, Phuong has gone beyond the scope of his early career experimentation with childhood environment and has embarked on journeys to the Northwestern highland to seek the disappearing oral stories from local villages. He has collected ancient texts from different regions and cherished them like living souls. These old texts were mostly written in the old Sino-Chinese alphabet, but in the version of the local language even with the help of Sino-Chinese researchers, no one can understand. Phuong finds a way to blow fresh air into those documents through adding drawings. In all of Phuong’s work, the way he sees the world is saturated with nostalgia, decadence; a mourning for things past but also full of Joie de vivre . Destruction and decay are inevitable in our existence,but they provide the possibility for rebirth. In the series of nine sculptures made out of paper and remains from a burnt stilt house, Phuong didn’t miss out any potential of giving birth for any kind of material. The immateriality and ephemerality in the material that he created is invisible: there lies that contrast and fragile border between death and life. The human beings in Phuong’s works are small, but not invisible. Their presence plays subtly with the details in the paintings. His works are not overwhelming in terms of space or visual spectacle, but rather deliver a subtle private message. His series of small book-sized works can only be viewed by one person at a time, creating a personal space for the viewers to imagine the many worlds each piece contains. The artistic and political attitude in Phuong’s artwork is reminiscent of the Italian Arte Povera movement from the 1960s and 70s, when artists utilized natural materials and everyday objects to express simple messages that reflected the rise of DIY spirit and rebellion against consumerism, war and capitalism. Overall, that nonchalant, carefree and simple spirit in Phuong’s artistic creations is his statement: Just by being. OPENING NIGHT See more about artist(s)

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

dzo painting Nguyễn Minh Thành biography Born in 1971 in Hanoi, Minh Thanh graduated from the Vietnam University of Fine Arts in 1996. He belongs to the first generation of Vietnamese avant-garde artists who experimented with the less traditional methods of art-making such as performance and installation in the 1990s and 2000s, and later played an influential role in nurturing and shaping the subsequent development of contemporary and experimental art in Hanoi. Intrigued by Buddhist concerns of attachment and escape, and using mainly Chinese ink and watercolour on handmade Vietnamese dzo paper, Thanh’s melancholic portraits are the results of his meditative and spiritual search for beauty, harmony and tranquility. Having been exhibited widely both nationally and internationally, Thanh’s work is included in numerous public and private collections, such as the National Art Gallery of Queensland, Brisbane, Australia, the Fukuoka Asian Art Museum, Japan, the World Bank Art Program, and the Post Vi Dai Collection of Contemporary Vietnamese Art. works This artist currently has no available work at Manzi works To be one NGUYỄN MINH THÀNH 2022 60 x 120 cm gouache and watercolor on hand-made dzo paper, pasted on canvas Enquire works Random waves of melancholy NGUYỄN MINH THÀNH 2011 120 x 80 cm gouache on dzo paper Enquire works Portrait no. 2 NGUYỄN MINH THÀNH 2021 40 x 60 cm gouache on dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2010 60 x 120 cm gouache on dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2012 70.5 x 50 cm gouache on dzo paper Enquire works Infinity NGUYỄN MINH THÀNH 2017 80 x 60 cm oil on canvas Enquire works Timeless NGUYỄN MINH THÀNH 2017 79 x 59 cm watercolor, gouache on handmade dzo paper Enquire works Still Life NGUYỄN MINH THÀNH 2012 44 x 26.5 cm gouache on dzo paper Enquire works Lotus NGUYỄN MINH THÀNH 2011 60 x 120 cm gouache on dzo paper Enquire works Halfblood NGUYỄN MINH THÀNH 2011 250 x 150 cm watercolor and gouache on handmade dzo paper Enquire works The horizontal siesta NGUYỄN MINH THÀNH 2012 71.5 x 20 cm ink, gouache on dzo paper Enquire works Roses NGUYỄN MINH THÀNH 2019 80 x 60 cm watercolor on silk Enquire works Intelligent Hole NGUYỄN MINH THÀNH 2017 79 x 59 cm watercolor and gouache on handmade dzo paper Enquire works Landscape 3 NGUYỄN MINH THÀNH 2018 30 x 20 cm gouache on dzo paper Enquire related My Zootopia The sky is the same everywhere Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025

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

ink/water color Hồ Hưng biography Born in 1981 in Hue, after graduating from the Art University of Hue in 2005, Hồ Hưng attended a series of training courses on water colour paintings in Japan and Thailand. Hồ Hưng has been considered one of the best water colour painters in Vietnam and his works have been exhibited widely in Vietnam and other countries in the region. Hồ Hưng’s solo exhibitions such as ‘The trees and the sun’ (2011), ‘Water Colour’ (2013) and ‘Monsoon’ (2014) have been highly acclaimed by local public and international audiences. works This artist currently has no available work at Manzi works The scenery of Tau cave in Moc Chau HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works Traces of the past in Dương Lam village HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works Spring in the mountainous region HỒ HƯNG 2023 38 x 56 cm watercolor on paper Enquire works The scenery of núi Đôi HỒ HƯNG 2024 38 x 56 cm watercolor on paper Enquire related My Zootopia The sky is the same everywhere Catching Faces Faint Traces the sky, the sand, the lashing waves following the stone wall and we found an electric generator 6𝒗➡️¹/² The world as a draft The Fifth Cardinal Direction Spatium 47 Days, Sound-less in spaces of everyscape, at time without end </3 Hồi Sóng Birdsong on our pathway vol. 4 Entrusted Conjectures Hanoi 1985 - 2015, In The Years Of Forgetting Then and Now, Hanoi streets in transition 'Neo-Romanticism' More than Human #1 Arca Noa no-think The Four Subjects A saga of unrealised projects what's going on at Manzi My Zootopia | Zootopia của tôi See more December 28, 2025 Bầu trời ở đâu cũng giống nhau | The sky is the same everywhere See more November 8, 2025 Tình See more October 5, 2025 Tình See more October 4, 2025 Bắt mặt | Catching Faces See more October 4, 2025 Tình See more October 3, 2025 Artist Talk vs Nguyễn Thị Thanh Mai See more September 27, 2025 Art Tour | Những Vệt Mờ / Faint Traces See more September 10, 2025 Những Vệt Mờ | Faint Traces See more September 6, 2025 Between the Strings See more August 5, 2025

print Phạm Khắc Quang biography Pham Khac Quang was born in 1975 in Hai Duong Province, and graduated from the Graphic Art department within the University of Fine Art in Hanoi in 2002 and has since been working as a graphic artist. Beginning with traditional woodcuts printing, Quang gradually moved to experiments with a variety of material from ceramic to glasses and stainless steel. He has established himself as one of Vietnam’s most proficient, diverse and established printers, he creates evocative artworks with a strong personal narrative and connection; finding beauty in what others could perceive as the ordinary. Quang has collaborated and participated in a vast number of group shows throughout his career and dedicated his practice to produce four exceptional solo shows: ‘In Vitra +’ – Manzi Art Space, Hà Nội – 2019; ‘Shape of Round’ – Goethe Institut, Hanoi – 2017; ‘Breath’- woodcut installation in Emages Festival, Aarhus, Denmark – 2013; ‘Contemporary Scenario’ – Vietnam Fine Arts Museum, Hanoi - 2011 works This artist currently has no available work at Manzi works Early morning PHẠM KHẮC QUANG 2014 80 x 60 cm woodcut print on paper Enquire works The Garden Corner PHẠM KHẮC QUANG 2014 80 x 60 cm woodcut print on paper Enquire works Absorbed in nature PHẠM KHẮC QUANG 2018 28 x 19 cm linocut printed on inox tray Enquire works Rustling PHẠM KHẮC QUANG 2018 28 x 19 cm linocut printed on inox tray Enquire works Round 1 PHẠM KHẮC QUANG 2017 30 x 30 cm Woodcut print on fired glass at 760°C Enquire works Round 4 PHẠM KHẮC QUANG 2017 30 x 30 cm Woodcut print on fired glass at 760°C Enquire works Quiet countryside PHẠM KHẮC QUANG 2014 30 x 50 cm woodcut print on dzo paper Enquire works Compatriot #3 PHẠM KHẮC QUANG 2014 50 x 70 cm woodcut print on dzo paper Enquire works Barcode 12 (edition 5) PHẠM KHẮC QUANG 2018 30 x 30 cm linocut print on fired glass at 760°C Enquire works Metropolis no. 1 PHẠM KHẮC QUANG 2018 113 x 132 cm linocut print on paper Enquire works Alone PHẠM KHẮC QUANG 2014 80 x 60 cm woodcut print on paper Enquire works Place of peace PHẠM KHẮC QUANG 2018 28 x 19 cm linocut printed on inox tray Enquire works Winter is coming to town PHẠM KHẮC QUANG 2018 28 x 19 cm linocut printed on inox tray Enquire works Villager #5 PHẠM KHẮC QUANG 2017 25 x 40 cm woodcut print on paper Enquire works Round 3 PHẠM KHẮC QUANG 2017 30 x 30 cm Woodcut print on fired glass at 760°C Enquire works Hen-house PHẠM KHẮC QUANG 2014 30 x 50 cm woodcut print on dzo paper Enquire works Compatriot #2 PHẠM KHẮC QUANG 2014 50 x 70 cm woodcut print on dzo paper Enquire works Barcode 13 (edition 5) PHẠM KHẮC QUANG 2018 30 x 50 cm linocut print on fired glass at 760°C Enquire works Barcode 14 (edition 5) PHẠM KHẮC QUANG 2018 30 x 30 cm linocut print on fired glass at 760°C 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

Lê Hoàng Bích Phượng Nguyễn Phi Phi Oanh Nguyễn Đức Phương Nguyễn Huy An Nguyễn Trần Nam Nguyễn Minh ThànhAn exhibition by Six - The Launching Show of Manzi exhibition space 31.08 - 15.10.2019 In Situ - October 15, 2019 August 31, 2019 Lê Hoàng Bích Phượng Nguyễn Phi Phi Oanh Nguyễn Đức Phương Nguyễn Huy An Nguyễn Trần Nam Nguyễn Minh Thành As suggested by the name ‘In Situ’—a Latin phrase meaning ‘in the original place’ , ‘appropriate position’ , or ‘natural arrangement’ —the exhibition not only showcases the latest artworks dedicated to Manzi by Nguyễn Phi Phi Oanh, Lê Hoàng Bích Phượng, Nguyễn Huy An, Nguyễn Trần Nam, Nguyễn Đức Phương and Nguyễn Minh Thành, but also serves as the grand opening for Manzi’s new exhibition space located at 2 Ngõ Hàng Bún, Hà Nội. Presenting a thorough experiment on lacquer and silk through more than 20 works, the exhibition transports the viewer to a diverse reality painted from life, from the nostalgic and carefree spirit in Nguyễn Đức Phương's artworks, the delicate and richly meaningful silk paintings of Huy An, the dark obsessions of Nguyễn Trần Nam’s black and white lacquer series, and the melancholy portraits on silk of Nguyễn Minh Thành, to the obscure relations between time and space in Lê Hoàng Bích Phượng’s fragile silk works, and the reflection of the strangeness and significance of the material and the local in the age of the immaterial, virtual and digital reproduction in Phi Phi Oanh’s lacquer on steel series. Painting has always been an important part of the artistic practice of the six, particularly in this exhibition where silk and lacquer are the main mediums. ‘In Situ’ therefore questions ‘what it is that defines a painting’, and ‘where do the boundaries and rules for the medium lie?’ *‘In Situ’ is supported by the Goethe Institut. ARTWORKS GALLERY PRO SE SERIES - installation by Nguyễn Oanh Phi Phi In this exhibition, the format of the works presented make reference to the touchscreen tablet, a technological device so ubiquitous that it is integral to the way we interact today. Always by our side like an extension of our being, these digital devices entertain us, help record our memories, plan our lives, and connect us. Ultimately they have become how we mediate the world and represent a window into our collective imagination. At first glance, these seem like a series of mass produced tablets showing some random digital image, but upon closer inspection, they are actually lacquer paintings mimicking screens. Although the painting image is static, I rely on the materiality of the lacquer medium and ever shifting light against the gold and silver leaf to suggest movement and to entice the viewer to move in closer, thus entering into its “aura”. The viewer is invited to interact with the work by gently picking it up with two hands. OPENING NIGHT See more about artist(s)

silk Lê Hoàng Bích Phượng biography Trained in silk and oil painting at the Ho Chi Minh City Fine Arts University, Lê Hoàng Bích Phượng who was born in 1984 in Ho Chi Minh City often humorously explores the experience of living in a society where one has to wear a kind of disguise, hiding their true self within. Working between silk, ceramic, oil and installation, Phuong’s art is in part inspired by her 2011 residency in Japan, evident in her soft brushstrokes and ethereal use of colour that is reminiscent of Japanese silk artist Utagawa and the contemporary paintings of Yoshimoto Nara. Phuong currently lives and works in USA. Phuong’s recent notable exhibitions include: ‘Beyond the hills’, Manzi Art Space, Hanoi - 2017 ‘Grapevine Selection Volume II’, Museum of Fine Art, Hanoi - 2015; ‘Above Under Sky’, Manzi Art Space, Ha Noi - 2014; ‘Occupy Utopia: Images Festival’, Aalborg, Denmark - 2014; ‘Women in-between: Asian Women Artists 1984- 2012’, Fukuoka Asian Art Museum, Fukuoka, Japan - 2012; ‘Sapporo Biennale 2011’ , Sapporo, Hokkaido, Japan - 2011; ‘Sai Gon Contemporary’, La Lanta Fine Art Gallery, Bangkok, Thailand - 2011,… works This artist currently has no available work at Manzi works Moonshadow LÊ HOÀNG BÍCH PHƯỢNG 2019 50.5 x 50.5 cm watercolor on silk Enquire works Sketch P. LÊ HOÀNG BÍCH PHƯỢNG 2016 20 x 20 cm inkpen on paper Enquire works MOMA LÊ HOÀNG BÍCH PHƯỢNG 2019 78.5 x 78.5 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

Nguyễn Như Huyopen studio by Nguyễn Như Huy | curated by Nobuo Takamori Catching Faces - November 2, 2025 October 4, 2025 Nguyễn Như Huy CURATORIAL ESSAY In his works, Nguyen Nhu Huy demonstrates both wit and humor. We can see how, in his transition from curator/philosopher to artist, his works carry a strong sense of thought made visible. For human perception, the face has always been a crucial element. Through the face we express emotions, and by observing the subtle movements of others’ faces, we receive the information they convey. Psychologists argue that the brain’s mirror neurons are essential to human social development: when we see someone laugh, it triggers unconscious mimicry in our own facial muscles, bringing us joy; similarly, watching someone cry can evoke empathy and compassion. The entertainment industry is a practitioner of mirror neurons, but different cultural contexts shape facial codes in distinct ways. In Asian film and television, crying has become an entertainment process in itself. Whether in soap operas, family dramas, comedies, or tragedies, actors often end up crying together, stirring emotional resonance in the audience. This is both a culture of crying and an entertainment of crying . Nguyen Nhu Huy precisely captures this cultural phenomenon, employing a Stephen Chow–style satire that compels us to confront face after face. Beyond the weeping actors, Face 01 , the artist also presents his own face in Face 02 , mechanically twisting as the toy cars moving disorderly under the silk screen on which the artist face is screened. This self-performative representation carries multiple layers of metaphor. Yet to me, it may also serve as a symbolic narrative of Homo sapiens evolving into Homo technicus . On one hand, globalization compels us to reimagine contemporary Asian narratives; on the other, as humans, we must continually renegotiate our place within new technologies. As media theorist Marshall McLuhan suggested, media and technological interfaces are extensions of the human body and organs. The face, being our foremost interface with the world, raises the question: how does this extension become a new mode of representation? Since the 2021 Asian Art Biennial , I have sought to examine the relationship between Asian futurism, contemporary Asia, and Asia’s past. I found that in techno-orientalism , technology is often overstated in Hollywood’s discourse, to the point that the human subject disappears. In contrast, Asian film and television exaggerate faces so overwhelmingly that technology seems to have no place in the human-centered world. Nguyen Nhu Huy’s artistic experiments expose the absurdity of this tension and weave it into a coherent structure. What is even more valuable is that the artist avoids lengthy polemics, instead engaging in a powerful dialectic through his images. Nobuo Takamori ARTWORKS GALLERY ARTWORK DESCRIPTION: Face No.1 Nguyen Nhu Huy’s Face 01 is an extraordinary single - channel video that foregrounds the face as both medium and cultural symbol. The work presents a series of actors—among them the celebrated Vietnamese actress Như Quỳnh—each revealing nothing but their faces while enacting the act of crying. What emerges is not simply a study of performance, but an exploration of crying as a gesture that exceeds its own action. In the context of Asian television drama, crying has long been codified as a core element of entertainment, a calculated means of eliciting audience response. Here, however, it is reconfigured into an assemblage that is at once abstract and satirical: abstract, in its stripping away of narrative to isolate a pure affective sign; satirical, in its reflection on and critique of the melodramatic conventions of Asian storytelling. By focusing the faces in this way, Nguyen underscores its role as a cultural vessel—an interface where emotion, identity, and social expectation converge. Yet precisely because of this cultural weight, the face is also revealed to be less a site of authentic expression than a surface transformed into symbol, abstracted from the very emotions it purports to convey. ========= Face No.2 Building upon his sustained engagement with the motif of the face, Nguyen Nhu Huy’s Face 02 turns inward, using his own face as the work’s central material. The artist projects his face onto a fabric screen, which becomes a thin interfaceto manipulation by toy cars moving behind it. As these small machines traverse the surface, the projected features are pressed, warped, and reshaped—transforming the artist’s face into an unstable image. At moments, it takes on the comic exaggeration of a clown; at others, it recalls the convulsions of an involuntary spasm, hovering between humor and unease. This dynamic of distortion resonates with the tradition of Stephen Chow’s comedies, in which pain and comedy coexist within a single gesture. But in Nguyen’s work, the scene is not only playful video. It became a metaphor for the conditions of contemporary life, where the pressures of technological innovation and industrial transformation bend and reconfigure both human identity and the artist’s own position within society. Face 02 thus stages a complex interplay: the mechanical and the human, the humorous and the agonizing, the personal and the collective. The work renders the face as neither a stable surface of selfhood nor a transparent index of emotion, but as a site of continual negotiation—caught between embodiment and abstraction, agency and subjection. In doing so, Nguyen extends his inquiry into the face as a cultural vessel, revealing its fragility and its capacity to mirror broader shifts in the world around it. OPENING NIGHT See more about artist(s)

Trần Trọng VũText installation by TRẦN TRỌNG VŨ 19.03 - 23.03.2014 I will come to see you with a visual story - March 23, 2014 March 19, 2014 Trần Trọng Vũ Images and languages are used as tools for human expression. They both are often being put together and sometime act as integral part of each other in order to bring multi-meanings & answers for an object. Read the images and see the words, write a picture and draw and essay – we can call these the jobs of both art-makers and art-enjoyers. Read the images with words might be a fascinating way to break away from the images. Search for images in words can also be a nice suggestion to go beyond the words. ‘I will come to see you with a visual story’ will show to the audience the first part of Trần Trọng Vũ’s new art project, in which language and visual aspect are results of a series of extraordinary facts. This visit will also introduce other artworks of the project under the possible forms of litrature and visual art. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Knee JerkA showcase of stencil art by KNEE JERK 25.09 - 07.10.2013 (E)MOTION - October 7, 2013 September 25, 2013 Knee Jerk Knee Jerk is a graphic designer, illustrator and stencil artist currently residing in Hanoi. His colourful work ranges from abstract to realistic, minimalist to high detail and anywhere in between. Usually, his designs begin in Adobe Photoshop and Illustrator and end up as large multilayer stencils that are painstakingly cut by hand before being sprayed onto canvases, walls and other objects. The focus for the (E)Motion exhibition at Manzi is a series of anomalous motion illusions and other optical art pieces that will make you wonder if you are seeing things or if in reality it is the artwork that is itself moving! As with all of Knee Jerk's work there is a social and environmental commentary within the pieces and rather than having a knee jerk (automatic) reaction to the work, the artist urges you to think about the art and its context to understand more fully the juxtaposition of geometric beauty and hidden meanings. This is the artist's first solo show and features a new body of work that promises to deliver a fresh taste of something you probably haven't seen before - Artwork that appears to move in some way, in what is the first gallery exhibition of stencil art in Vietnam's history. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)

Vũ Kim ThưA solo exhibition by VŨ KIM THƯ 06.05 - 31.05. 2016 Into Darkness - May 31, 2016 May 6, 2016 Vũ Kim Thư ‘Into Darkness’ is the outcome of Kim Thu’s continuous experimentation in combining Japanese Washi with Vietnamese Dzo paper, and line drawing with lighting. The project-in-progress started in 2013 with Kim Thu’s residency at Mino Paper Art Village (Mino, Japan) where she learnt the art of Washi and lantern. It later developed into a light installation at her 2014 residency at Sapporo Artist in Residence Program (Hokkaido, Japan). The artist’s 2015 experimentation with the project at ECO Art Project (Muong Art Studio, Hoa Binh, Vietnam) saw her including elements of space and light design. “My world is a miniature world. It consists of landscape, nature, architecture and abstract mark making and line drawing. It forms a three-dimensional map, possibly of a city, possibly an imaginary one. These images change as I arrive at a new destination, and as my personal experience and impression of that place begin to form. As a traveler, I navigate a new city by synthesizing its repeated forms, fragmentations, and architectural spaces with memory and observation. I reimagine the place in the form of a map and with my personal visualization. I start with one small detail by creating a mark – one that never stops spreading outwards. And from there, the city keeps growing and growing…” *The exhibition is supported by the Cultural Development and Exchange Fund (CDEF) of the Danish Embassy. ARTWORKS GALLERY OPENING NIGHT See more about artist(s)