● ● ● Selected Work

01 Unforgotten Land (Đất Quên)

12.2025- 2.2026
Dogma Prize, Dogma Collection, Ho Chi Minh City, Vietnam
Mentor by Bill Nguyễn (Nguyen Art Foundation)
Photo by Mắt Bét

7.2025- 8.2025
Setouchi Triennale, Kagawa Museum, Takamatsu, Japan
Curated by Lê Thuận Uyên (The Outpost)
Photo by Đỗ Văn Hoàng

Composed of hair punched onto fabric by the hands of the artist’s family, the landscape emerges from a collective process that the he hair was gathered from the artist’s mother’s salon and the surrounding community in the suburbs of Hanoi.

Involving family in the creation of the work was not a mere symbolic gesture; it was a way of giving body to a shared memory, even if it remained fragmentary. It was a way of making the process of fabrication an essential part of the work, as important as its result.

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02 The reason is a dog, The reason is a flower

9.2025
Galerie BAO, Paris, France
Curated by Lê Thiên Bảo
Performer: Hằng Hằng, Maya de Vulpilières and her mother (Vui Honne)
Photo by

07.2023
ENSAD, Paris, France
Performer: Hằng Hằng, her father and her younger sister
Mentor by Séphane Degoutin, Élise Capdenat
Photo by Maxim

A lifetime performance was imagined as a “garden in movement.” The space is immersed in an intensely saturated chroma blue. The air carries an imprint, infused with a scent that recalls petrichor. Shimmering metallic fragments are suspended within this monochrome field. A lullaby’s mournful voice echoed through the space, lingering, choked in the throat.

Three performers—the father, the sister, and the artist herself—dressed in blue, recite a poem in turn, each in a different language: Vietnamese, English, and French. From a suitcase, the artist drew drawings, books, photographs. The performance is happening before the spectator arrives, while they are present, and after they leave, and the garden is continually changing.

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03 Thị

Vivamus sed sapien
March 2047

The first part, a performance and immersive installation presented in the corridor of the Théâtre de l’Aquarium in Vincennes, Paris (2021), centers on the search for images of the artist’s grandmother.

The second part is an installation with a series of images printed on fabric, presented at Nhà Sàn Collective’s program as part of Documenta 15 in Kassel (2022).

The third part is a screenplay, a film on paper, that exists in two forms: a digital PDF and a sealed wooden box made by the artist’s father from salvaged beams. Inside the box are fragments written about this house: three hundred pages in which family history intertwines with that of the country—war, land reform, politics, love, forgetting, the architecture of the house, and the place of women in Vietnamese society. The book is written in three languages—French, Vietnamese, and English—without translation from one to another.

Thị

Thị est un arbre

Thị est un clan

Thị est un fruit parfumé

Thị est un marché

Thị est une clarification

Thị est un nom intercalaire

Thị est une femme silencieuse

Thị est elle

et Thị est moi

Thị

Thị is a tree

Thị is a clan

Thị is a fragrant fruit

Thị is a market

Thị is a clarification

Thị is a middle name

Thị is a silent woman

Thị is her

and Thi is me

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04 100 years, three days, 30 minutes

Vivamus sed sapien
March 2047

Praesent bibendum a elit non efficitur. Etiam et velit vitae quam aliquet fermentum. Quisque sit amet nulla dictum, cursus erat a, tempus est. Sed laoreet, magna eget mattis tincidunt.

05 Project Name

Vivamus sed sapien
March 2047

Praesent bibendum a elit non efficitur. Etiam et velit vitae quam aliquet fermentum. Quisque sit amet nulla dictum, cursus erat a, tempus est. Sed laoreet, magna eget mattis tincidunt.

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