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FRIVOLITY – PHUÂ PHIÏËM
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FRIVOLITY – PHUÂ PHIÏËM
Solo exhibition by Bui Tien Tuan8 – 25 September, 2011
Curated by Craig Thomas and Xuan Mai Ardia
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0302
Craig Thomas Gallery hên haånh giúái thiïåu quyïín catalogue vaâ
triïín laäm Frivolity – PhuâPhiïëm cuãa hoåa syä Viïåt Nam Buâi
Tiïën Tuêën. Triïín laäm seä diïîn ra taåi thaânh phöë Höì Chñ
Minhtûâ ngaây 8 - 25 thaáng 9 nùm 2011, bao göçm loaåt tranh mûåc
vaâ maâu nûúác trïn luåa. Tranhluåa àaä töìn taåi lêu àúâi haâng
thïë kyã úã Viïåt Nam maâ caác hoåa syä nhû Buâi Tiïën Tuêën
àangchuyïín hoáa thaânh möåt chêët liïåu myä thuêåt àûúng àaåi.
Töi biïët àïën Tuêën thöng qua lúâi khen àêìy haâo phoáng cuãa
möåt ngûúâi baån àaä xem triïín laämcaá nhên tranh luåa àêìu tiïn
cuãa Tuêën vaâo nùm 2009. Töi àaä nghô baån mònh quaá phêënkhñch,
nhûng chñnh cuöåc gùåp àoá vaâ nhiïìu lêìn gùåp tiïëp theo nhû
thïë, àaä khiïën töi quyïëtàõnh rùìng mònh phaãi ài xem cho àûúåc
nhûäng bûác tranh luåa cuãa Tuêën cho chñnh mònh. Vaâcuöæi cuâng,
khi töi bûúác vaâo studio cuãa Tuêën taåi Saâi Goân vaâi thaáng
trûúác, töi àaä ngay lêåptûác bõ cuöën huát búãi veã àeåp vaâ tñnh
àöåc àaáo cuãa tranh anh. Bùìng nhûäng maâu sùæc rûåc rúämaâ töi
nghô khöng thïí thûåc hiïån àûúåc trïn chêët liïåu, Tuêën laâm cho
caác chuã thïí àêìy mïhoùåc cuãa anh trúã nïn söæng àöång qua chêët
liïåu luåa. Töi hy voång ngûúâi xem cuäng seä bõcuöæn huát búãi
thïë giúái phuâ phiïëm, quyïën ruä, gúåi caãm cuãa Tuêën nhû
töi.
Triïín laäm àûúåc giaám tuyïín búãi Xuên Mai Ardia vaâ töi.
Nhên cú höåi naây, töi muöæn caãm ún anh Buâi Tiïën Tuêën cho
sûå húåp taác haâo phoáng cuãa anh,Xuên Mai Ardia, Nguyïîn Thõ
Phûúác Khanh vaâ Trêìn Thõ Bay cho nhûäng àoáng goáp cêìn
thiïëtcuãa hoå.
Craig Thomas
Ngaây 18 thaáng 8 nùm 2011
LÚÂI MÚÃ ÀÊÌU
Craig Thomas Gallery has the great pleasure of presenting the
catalog and exhibitionFrivolity – Phu Phiem by Vietnamese artist
Bui Tien Tuan. The exhibition will take placein Ho Chi Minh City on
8 – 25 September, 2011, and is composed of a series of ink
andwatercolor paintings on silk. Silk painting has a centuries-long
history in Vietnam whichartists like Bui Tien Tuan are reclaiming
as a contemporary medium of fine art.
I came to know of Tuan through the lavish praise of a friend who
had seen Tuan’s firstsolo exhibition of silk paintings in 2009.
Chalking this reaction up to exuberance, it tookseveral such
encounters for me to decide that I had to go and see Tuan’s silk
paintingsfor myself. When at last I did walk into Tuan’s Saigon
studio several months ago I wasimmediately taken by the beauty and
originality of his work. In vivid colors that I hadthought not
possible for the medium, Tuan brings his beguiling subjects to life
throughthe silk. I hope that the viewer will be as charmed by
Tuan’s captivating, sensual, phuphiem world as I have been.
Xuan Mai Ardia and I are curating the exhibition.
I take this opportunity to thank Bui Tien Tuan for his generous
collaboration and XuanMai Ardia, Nguyen Thi Phuoc Khanh and Tran
Thi Bay for their essential contributions.
Craig Thomas
18 August 2011
FOREWORD
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form that could once again be regarded on an equal footing with
other contemporaryart styles.
Portraying mainly idealized rural landscapes, village life,
pagodas and historical events,there is an inherently conservative
and homogenous character to much of traditionalVietnamese silk
painting. In his Phu Phiem series, Tuan introduces a more
contempo-rary language of expression to the medium through an
evolution of subject matter andthe introduction of a vibrant new
color palette. In the artist’s words: “The way that I amdifferent
from other artists is the way that I look at color, the way I dye
the silk, and themodern urban quality of Saigon that comes into my
paintings.”
Tuan’s choice to represent women in the paintings of his Phu
Phiem series has a strictaffinity to the medium. Silk has a
delicacy that is feminine in essence and in Tuan’s viewthe female
form comes to life through silk; it is perceived through the thin
veil of silk asmysterious, sensual, transparent. Tuan’s women are
mostly portrayed nude with theskin not painted or colored but left
without tincture, emphasizing Tuan’s belief in the in-timate and
symbiotic relationship between silk and skin.
Tuan professes an admiration for the Japanese artistic
sensibility and his work can attimes be seen as influenced by the
ukiyo-e genre of Japanese woodblock prints of the17th – 20th
centuries. Literally translated into English as “floating world,”
ukiyo-e refersto a conception of an evanescent plane, impermanent,
of fleeting entertainments di-vorced from the responsibilities of
the mundane, everyday world. Like the courtesansand geishas of the
ukiyo-e, Tuan’s women are placed in what he calls “noi phu
phiem”
One of the negative sides of development is the propensity for a
society’s treasuredcultural traditions and customs to be diluted
and even abandoned in the headlong rushto embrace the new, the
modern. This phenomenon often manifests in the arts wherenew ways
of thinking often engender a re-evaluation of traditional forms of
artistic ex-pression. Contemporary artists in these changing
societies encounter potent incentivesto embrace the dominant (read
Western) contemporary art forms and to eschew tradi-tional mediums
that lack obvious mass-market appeal.
With a history that dates back centuries, Vietnamese silk
painting enjoyed its “goldenage” during the relatively short
existence of the colonial Ecole des Beaux Arts d’Indo-chine (1925 –
1945). During this time, artists like Nguyen Phan Chanh (1892 –
1984)transformed what had been regarded as simply an indigenous
craft form into an inter-nationally recognized medium of fine art,
winning prizes at the Paris Salon of 1946. Thisheyday was
short-lived, however, and in the succeeding decades Vietnamese silk
paint-ing has in large part returned to its essentially decorative
roots.
After studying silk painting at the Ho Chi Minh City Fine Arts
University, Bui Tien Tuanspent ten years after his graduation
working primarily with oils on canvas – a mediumconsidered by the
prevailing orthodoxy as more modern and commercially viable.Tuan’s
decision several years ago to return to painting on silk sprang
from his love ofthe medium and his sense that it was starting to
fade into a solely decorative form focused on mass-produced pieces.
Tuan wished to preserve what he regarded as animportant part of
Vietnam’s cultural heritage and to play a part in its transition
into a
FRIVOLITY – PHU PHIEM
04 05
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Möåt trong nhûäng mùåt tiïu cûåc cuãa sûå phaát triïín laâ thiïn
hûúáng xem nheå vaâ thêåm chñ ruöçngboã nhûäng truyïìn thöæng vùn
hoáa xaä höåi quñ baáu vaâ caác phong tuåc trong sûå vöåi vaâng
nùæm bùëtlêëy caái múæi, caác hiïån àaåi. Hiïån tûúång naây thûúâng
xaãy ra trong lônh vûåc nghïå thuêåt, núi caáclöæi suy nghô múái
nhiïçu khi gêy ra sûå àaánh giaá laåi caác hònh thûác biïèu hiïån
nghïå thuêåt truyïçnthöæng. Caác nghïå sô àûúng àaåi trong caác xaä
höåi àang biïæn àöèi naây thûúâng gùåp phaãi nhûängsûå khuyïæn
khñch coá sûæc thuyïæt phuåc maånh meä theo àuöíi nhûäng hònh thûác
nghïå thuêåt àûúngàaåi àang chiïæm ûu thïæ (àoåc caác hònh thûác
nghïå thuêåt àûúng àaåi phûúng Têy) vaâ traánh neácaác chêët liïåu
truyïçn thöæng vöæn roä raâng thiïæu khaã nùng tiïëp cêån thõ
trûúâng àaåi traâ.
Töçn taåi trong nhiïìu thïæ kyã, tranh luåa Viïåt Nam àaä àaåt
àïæn “thúçi kyâ hoaâng kim” cuãa mònh tronggiai àoaån töçn taåi
tûúng àöæi ngùæn cuãa Ecole des Beaux Arts d'Indochine (1925-1945).
Trongthúçi gian naây, caác hoåa syä nhû Nguyïén Phan Chaánh (1892 –
1984) àaä biïæn àöèi nhûäng gò vöænàûúåc xem àún giaãn nhû möåt
hònh thûác thuã cöng baãn àõa thaânh chêët liïåu myä thuêåt àûúåc
quöæctïæ cöng nhêån giaânh caác giaãi thûúãng taåi Paris Salon nùm
1946. Tuy nhiïn, thúâi kyâ hoaâng kimnaây khaá ngùæn nguãi, vaâ
trong nhiïçu thêåp niïn tiïëp theo, àa phêçn tranh luåa Viïåt Nam
àaä quaytrúã laåi caái göæc mang tñnh trang trñ cuãa mònh.
Buâi Tiïæn Tuêën hoåc tranh luåa taåi Àaåi Hoåc Myä Thuêåt
thaânh phöæ Höç Chñ Minh, nhûng sau khi töætnghiïåp anh àaä coá
àïæn mûúâi nùm laâm viïåc chuã yïæu vúái sún dêçu vaãi böæ - möåt
chêët liïåu thõnhhaânh àûúåc xem laâ coá tñnh hiïån àaåi hún vaâ
coá khaã nùng thaânh cöng hún vïç mùåt thûúng maåi.Quyïæt àõnh cuãa
Tuêën vaâi nùm trûúác quay trúã laåi veä luåa xuêët phaát tûâ tònh
caãm daânh cho chêëtliïåu luåa vaâ caãm giaác tranh luåa àang sa
vaâo hònh thûác trang trñ àún thuêìn têåp trung úã nhûängtaác phêèm
saãn xuêët haâng loaåt. Tuêën mong muöæn duy trò nhûäng gò maâ anh
xem laâ möåt phêìn
FRIVOLITY – PHUÂ PHIÏËM
(places of frivolity) where they can proudly flaunt their
beauty, their fashion, their nakedform. In paintings like Dreamy
and Dreamy 2 they live in a land devoid of time andspace, existing
in a world apart.
Many of the paintings in the Phu Phiem series evoke the Art
Nouveau poster art of the1890’s, also influenced by ukiyo-e,
produced by devotees of Japanisme such as Henride Toulouse-Lautrec.
Paintings like Smooth as Silk call to mind a Toulouse-Lautrecstyled
world of burlesque dancers in vivacious colors and can can dancers
with theirlegs spilling enticingly out of their multi-layered
skirts.
The Phu Phiem paintings are in many cases festooned with
scattered confetti that con-fers a festive carnival feel to the
boudoir-like depictions, reinforcing the reference to the“noi phu
phiem” ambience. The monochrome backgrounds set the subjects off as
ifthey were floating in space. Tuan’s women are attractive,
sensual, mysterious. Theycould be anyone we want them to be,
anywhere we desire them to be. They become apart of our fantasy, a
door into Bui Tien Tuan’s world.
Tuan was born in the city of Hoi An in Quang Nam Province in
1971, and currently residesin Ho Chi Minh City. Tuan is a 1998
graduate of the Ho Chi Minh City Fine Arts Univer-sity where he now
works as a lecturer. Phu Phiem is Tuan’s second solo exhibition of
silkpaintings in Vietnam.
Craig Thomas & Xuan Mai Ardia
06 07
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àûúåc àùåt úã nhûäng núi maâ anh goåi laâ “núi phuâ phiïëm”, núi
hoå coá thïí tûå haâo khoe veã àeåp cuãamònh, thúâi trang, nhûäng
hònh thïí trêìn truåi. Trong caác tranh Möång Mú vaâ Möång Mú 2 hoå
söëngtrong möåt vuâng àêët khöng coá thúâi gian vaâ khöng gian,
töçn taåi úã möåt thïë giúái taách biïåt.
Nhiïìu tranh trong loaåt tranh Phuâ Phiïëm gúåi nhúá àïën caác
aáp phñch Art Nouveau nhûäng nùm1890, cuäng chõu aãnh hûúãng cuãa
ukiyo-e, àûúåc giúái thiïåu búãi caác tñn àöç cuãa Japanisme
nhûHenri de Toulouse-Lautrec. Caác tranh nhû bûác Luåa Laâ laâm
ngûúâi ta nghô àïën möåt Toulouse-Lautrec thïë giúái kiïíu caách
cuãa caác vuä cöng vui nhöån trong nhûäng maâu sùæc sinh àöång vaâ
caácvuä cöng can can vúái nhûäng cuá àaá chên cao möåt caách àêìy
cuöën huát trong nhûäng chiïëc vaáynhiïìu lúáp.
Trong caác tranh Phuâ Phiïëm, nhiïìu bûác coá nhûäng sûå miïu
taã nhû caãnh phoâng the, trang trñbùçng caác hònh veä raãi raác
cuãa hoa giêëy, àûúåc tung lïn trong nhûäng lïî höåi carnival söi
àöång,cuãng cöæ sûå liïn quan àïæn khöng khñ cuãa “núi phuâ
phiïëm”. Caác hònh nïìn àún sùæc laâm chocaác chuã thïí nöíi roä,
taách biïåt trïn nïìn tranh nhû thïí hoå àang lú lûãng trong khöng
gian.Phuå nûä trong tranh Tuêën hêëp dêîn, gúåi caãm, bñ êín. Hoå
coá thïí laâ bêët cûá ai maâ chuáng ta muöën,bêët cûá núi àêu maâ
chuáng ta mong ûúác. Hoå trúã thaânh möåt phêìn cuãa trñ tûúãng
tûúång cuãa chuángta, möåt caánh cûãa ài vaâo thïë giúái cuãa Buâi
Tiïën Tuêën.
Tuêën sinh nùm 1971 taåi thaânh phöë Höåi An, tónh Quaãng Nam,
hiïån àang söëng taåi thaânh phöëHöì Chñ Minh. Anh töët nghiïåp
trûúâng Àaåi Hoåc Myä Thuêåt Thaânh phöë Höì Chñ Minh nùm
1998,hiïån taåi cuäng àang laâ giaãng viïn cuãa trûúâng. Phuâ
Phiïëm laâ triïín laäm caá nhên thûá hai cuãa Tuêënúã thïí loaåi
tranh luåa taåi Viïåt Nam.
Craig Thomas & Xuên Mai Ardia
quan troång cuãa di saãn vùn hoáa Viïåt Nam vaâ àïè àoáng goáp
cho sûå chuyïín tiïëp cuãa luåa sangmöåt hònh thûác coá thïí giuáp
noá giaânh laåi àûúåc võ trñ ngang haâng vúái caác phong caách
nghïå thuêåtàûúng àaåi khaác.
Chuã yïëu miïu taã caãnh quan nöng thön àûúåc lyá tûúãng hoáa,
cuöåc söæng laâng quï, chuâa chiïìnvaâ caác sûå kiïån lõch sûã, coá
möåt sûå baão thuã vaâ giöæng nhau vïì cú baãn àöæi vúái nhiïçu
tranh luåatruyïìn thöæng Viïåt Nam. Trong loaåt tranh Phuâ Phiïæm
cuãa mònh, Tuêën giúái thiïåu möåt ngön ngûäbiïíu hiïån nhiïìu
chêët àûúng àaåi hún trïn chêët liïåu luåa thöng qua sûå phaát
triïín múái àïì taâi vaâgiúái thiïåu möåt baãng maâu múái rûåc rúä.
Noái theo caách cuãa hoåa syä: “Töi khaác caác hoåa syä khaácúã
caách nhòn maâu sùæc, caách nhuöåm luåa, vaâ chêët thõ thaânh hiïån
àaåi Saâi Goân bûúác vaâo tranh”.
Sûå lûåa choån cuãa Tuêën miïu taã phuå nûä trong caác tranh
cuãa Phuâ Phiïæm coá sûå tûúng àöçng chùåtcheä vúái chêët liïåu.
Sûå moãng manh, duyïn daáng cuãa luåa, giöæng nhû phuå nûä, laâ
àùåc tñnh quantroång nhêët vaâ theo quan àiïím cuãa Tuêën hònh thïí
phuå nûä trúã nïn söæng àöång hún qua luåa; phuånûä àûúåc nhòn qua
têëm maån moãng manh vûâa bñ êín, vûâa gúåi caãm, trong suöët.
Nhûäng ngûúâiphuå nûä trong tranh Tuêën hêìu hïët àûúåc hoåa khoãa
thên vúái laân da khöng àûúåc tö veä hay àiïímmaâu maâ giûä laåi
maâu nguyïn thuãy cuãa chêët liïåu luåa, nhêën maånh sûå tin tûúãng
cuãa Tuêën trongmöëi quan hïå thên thiïët vaâ cöång sinh giûäa luåa
vaâ laân da.
Tuêën baây toã sûå ngûúäng möå àöæi vúái tñnh duy myä cuãa
ngûúâi Nhêåt vaâ taác phêím cuãa anh àöi khicoá thïí nhêån thêëy
sûå aãnh hûúãng cuãa thïí loaåi ukiyo-e in khùæc göî cuãa Nhêåt
Baãn vaâo khoaãngthïë kyã 17 - 20. Dõch sang tiïëng Viïåt laâ “thïë
giúái nöíi”, ukiyo-e àïì cêåp àïën yá niïåm vïì nhûäng núicao xa
khöng tûúãng, sûå tiïu khiïín ngùæn nguãi thoaát li khoãi nhûäng
traách nhiïåm cuãa thïë giúái trêìntuåc haâng ngaây. Giöëng nhû
caác naâng geisha cuãa ukiyo-e, nhûäng ngûúâi phuå nûä cuãa
Tuêën
08 09
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10 11
Cö Naâng Möång MúDreamy Girl
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
Möång MúDreamy
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
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12 13
Khoãa Thên 2Nude 2
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
Möång Mú 2Dreamy 2
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
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14 15
Möåt Mònh 2Alone 2
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
Möåt Mònh 1Alone 1
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
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1716
Möåt Mònh 3Alone 3
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
OÃn EÃnCoquette
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
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1918
Àaân Baâ vaâ Mùåt Naå 1The Woman and The Mask 1
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
TùëmThe Girl Bathing in the Lake
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
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2120
Luåa LaâSmooth as Silk
2010Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
Sûå Quyïën Ruä Ngoåt NgaâoSweet Charm
2010Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
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2322
Cö Gaái trong Vaáy HoaThe Girl in the Flower Dress
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
83 x 135 cm
Cö Gaái trong Vúá HoaThe Girl in the Flowered
Socks2011
Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
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2524
Cö Gaái trong Böå Bikini ÀoãThe Girl in the Red Bikini
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
Tiïíu ThûYoung Lady
2011Mûåc vaâ maâu nûúác trïn luåaInk and watercolor on silk
135 x 83 cm
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2726
Biography
1971 Born in Hoi An, Quang Nam Province, Vietnam
1998 Graduated from Ho Chi Minh City Fine Arts University,
Vietnam
Present Lecturer of Ho Chi Minh City Fine Arts University,
Vietnam
Member of Ho Chi Minh City Fine Arts Association, Vietnam
Solo exhibitions
2011 Frivolity, Craig Thomas Gallery, Ho Chi Minh City,
Vietnam
2009 Silk, Tu Do Gallery, Ho Chi Minh City, Vietnam
2007 The Figure in the Street, Ho Chi Minh City Fine Arts
Association, Vietnam
Group exhibitions
2011 To be or…, Cactus Contemporary Arts Gallery, Ho Chi Minh
City, Vietnam
2010 DIESIS, Ho Chi Minh City Fine Arts University, Vietnam
De Peintures, Centre Culturel de Vietnam en France, Paris,
France, hosted byHo Chi Minh City Fine Arts University
2009 Thai-Viet Contemporary Art Exhibition, Art Gallery,
Silpakorn University, Wang Thaphra, Thailand
Thai-Viet Contemporary Art Exhibition, Ho Chi Minh City Fine
Arts University, Vietnam
2006 Ho Chi Minh City Club of Young Artists, Ho Chi Minh City
Fine Arts Association, Vietnam
2003 Hoi An Artists living in Ho Chi Minh City, Exhibition House
of Hoi An, Quang Nam, Vietnam
2000 Art Exhibition for World Peace, Gana Gallery, Seoul,
Korea
Annual Exhibition Ho Chi Minh City Club of Young Artists, Ho Chi
Minh City Fine ArtsAssociation, Vietnam
Young Artists Group, Blue Gallery, Da Nang, Vietnam
1999 East Meets West, Coombe Farm Gallery, Dartmouth, Devon,
UK
Annual Exhibition Ho Chi Minh City Club of Young Artists, Ho Chi
Minh City Fine ArtsAssociation, Vietnam
Ho va Toi, Blue Space Gallery, Ho Chi Minh City, Vietnam
Young Artists, Vietnam Galerie, Ho Chi Minh City, Vietnam
1998 Four Young Artists Bui Tien Tuan, Bui Cong Khanh, Nguyen
Thi Chau Giang, Ly Hoang Ly,Vietnam Galerie, Ho Chi Minh City,
Vietnam
Annual Exhibition Ho Chi Minh City Club of Young Artists, Ho Chi
Minh City Fine ArtsAssociation
Awards
2010 Silver Medal at National Exhibition of Vietnam 2010, Hanoi,
Vietnam
BUI TIEN TUAN
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2928
Tiïíu Sûã
1971 Sinh úã Höåi An, tónh Quaãng Nam, Viïåt Nam
1998 Töæt nghiïåp Àaåi Hoåc Myä Thuêåt Thaânh phöæ Höç Chñ
Minh
Hiïån taåi Giaãng viïn Àaåi Hoåc Myä Thuêåt Thaânh phöæ Höç Chñ
Minh
Höåi viïn Höåi Myä Thuêåt Thaânh phöæ Höç Chñ Minh
Triïín Laäm Caá Nhên
2011 Phuâ Phiïëm, Craig Thomas Gallery, Thaânh phöæ Höç Chñ
Minh, Viïåt Nam
2009 Luåa, Tûå Do Gallery, Thaânh phöæ Höç Chñ Minh, Viïåt
Nam
2007 Nhûäng Hònh Nhên trïn Àûúâng Phöæ, Höåi Myä Thuêåt Thaânh
phöæ Höç Chñ Minh, Viïåt Nam
Triïín Laäm Nhoám
2011 To be or…, Gallery Myä Thuêåt Àûúng Àaåi Cactus, Thaânh
phöæ Höç Chñ Minh, Viïåt Nam
2010 Dêëu Thùng, Àaåi Hoåc Myä Thuêåt Thaânh phöæ Höç Chñ Minh,
Viïåt Nam
De Peintures, Trung Têm Vùn Hoáa Viïåt Nam taåi Phaáp, Paris,
Phaáp, do Trûúâng Àaåi HoåcMyä Thuêåt Thaânh phöæ Höç Chñ Minh töè
chûác
2009 Thai-Viet Contemporary Art Exhibition, Art Gallery, Àaåi
Hoåc Silpakorn, Wang Thaphra,Thaái Lan
Viet-Thai Contemporary Art Exhibition, Àaåi Hoåc Myä Thuêåt
Thaânh phöæ Höç Chñ Minh, Viïåt Nam
2006 Cêu Laåc Böå Hoåa Syä Treã, Höåi Myä Thuêåt Thaânh phöæ Höç
Chñ Minh, Viïåt Nam
2003 Nhûäng Hoåa Syä Höåi An söæng taåi Thaânh phöæ Höç Chñ
Minh, Nhaâ Triïín Laäm Thaânh phöæ Höåi An,tónh Quaãng Nam, Viïåt
Nam
2000 Art Exhibition for World Peace, Gana Gallery, Seoul, Haân
Quöëc
Triïín Laäm Thûúâng Niïn Cêu Laåc Böå Hoåa Syä Treã Thaânh phöæ
Höç Chñ Minh, Höåi Myä ThuêåtThaânh phöæ Höç Chñ Minh, Viïåt
Nam
Nhoám Hoåa Syä Treã, Blue Gallery, Àaâ Nùéng, Viïåt Nam
1999 East Meets West, Coombe Farm Gallery, Dartmouth, Devon,
Vûúng Quöæc Anh
Triïín Laäm Thûúâng Niïn Cêu Laåc Böå Hoåa Syä Treã Thaânh phöæ
Höç Chñ Minh, Höåi Myä ThuêåtThaânh phöæ Höç Chñ Minh, Viïåt
Nam
Hoå vaâ Töi, Gallery Khöng Gian Xanh, Thaânh phöæ Höç Chñ Minh,
Viïåt Nam
Hoåa Syä Treã, Vietnam Galerie, Thaânh phöæ Höç Chñ Minh, Viïåt
Nam
1998 Böæn Hoåa Syä Treã Buâi Tiïën Tuêën, Buâi Cöng Khaánh,
Nguyïîn Thõ Chêu Giang, Ly Hoaâng Ly, Vietnam Galerie, Thaânh phöæ
Höç Chñ Minh, Viïåt Nam
Triïín Laäm Thûúâng Niïn Cêu Laåc Böå Hoåa Syä Treã Thaânh phöæ
Höç Chñ Minh, Höåi Myä ThuêåtThaânh phöæ Höç Chñ Minh, Viïåt
Nam
Giaãi Thûúãng
2010 Huy Chûúng Baåc Triïín Laäm Toaân Quöëc, Haâ Nöåi, Viïåt
Nam
BUÂI TIÏËN TUÊËN
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Published 2011 by
Craig Thomas Gallery
27i Tran Nhat Duat Street
Tan Dinh Ward, District 1
Ho Chi Minh City, Vietnam
Tel: +84 (0) 903 888 431
Email: [email protected] www.cthomasgallery.com
Graphic Design by Smart Design
Photography by DaG (andrea da gasso) STUDIODAG
Translation by Nguyen Thi Phuoc Khanh
Copyright Craig Thomas Gallery
All rights reserved. No part of this publication may be
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