Capturing The Movements Of The Heart: The ‘In Motion’ Exhibition By Ho Viet Vinh

Architect Hồ Viết Vinh presents a new and relatable artistic experience to the youth of Saigon, blending abstraction with familiarity.

Once upon a time, three monks observed a flag waving in the breeze and engaged in a debate. The first monk remarked, “The flag is moving.” The second countered, “The flag itself cannot move; the wind is moving.” The third monk posited, “Both the wind and the flag move in harmony.” A fourth monk, passing by, declared, “Neither the wind nor the flag truly moves; it’s our perceptions that shift.”
As I explored Hồ Viết Vinh’s “In Motion” exhibition, I felt a mix of emotions and thoughts. Each artwork was filled with different colors and hinted at movement, even though they were still pictures.
Every painting by Hồ Viết Vinh is a visual delight. While his intent might have been to capture the essence of motion in nature, he achieved something profound: a reflection on the inner movements of our souls.

Walking Amidst the Colors

I visited the exhibition on a Sunday afternoon in the vibrant and spacious Audi Charging Lounge. The first thing that struck me was the ingenious arrangement of paintings interspersed within the existing layout of the Audi Charging Lounge – primarily a venue to display and charge vehicles.

In front of the art display area stood an Audi car, embodying the spirit that Architect Hồ Viết Vinh captured in his paintings: the relentless transition of all things. This particular notion resonates with the theme of “art in motion” – the fusion of art and movement, the convergence of paintings and cars, as the artist shared during his talk at the exhibit.
Eighteen paintings were showcased in the space. Some were mounted on walls, while others seemed to “fall” from the ceiling, unexpectedly appearing before the viewers, illustrating the serene shifts of nature.
Among these “falling” artworks, clusters of three or four paintings merged. The movement of these pieces wasn’t merely vertical from the ceiling downwards but also spanned horizontally, unfolding right before the viewers. Additionally, these “falling” artworks leaned against one another, forming pairs that seemed to hover in the air.

Beyond these elements, there appeared to be no specific intent in the sequential arrangement of the paintings, whether front to back or outer to inner. True to what Architect Hồ Viết Vinh mentioned in his interview with Vietcetera: “Relax, let your guard down, and take your time with details that captivate you. If none do, it’s alright to move on.”

Experiencing Art Beyond Just Sight

The first time I saw these paintings, it was a delightful and captivating confusion, and I think many young people who aren’t familiar with art felt the same way.
Almost all the artworks did not depict any tangible objects. Viewers might struggle to grasp solid subjects or sharp features if they cling to traditional aesthetic experiences such as realism or the expectation that every object must be explicitly depicted.
To truly appreciate Hồ Viết Vinh’s art, one needs to feel it in ways beyond just sight. In front of certain paintings, after meticulously following every brush stroke, I had to close my eyes to visualize and organize my perceptions. The essence of understanding his art lies in engaging multiple senses and individual experiences.
What really caught my eye in his artwork was how he played with colors. Some colors smoothly flowed into each other, while others looked intentionally uneven, giving the impression of swirling winds and twisting waves.

The painting that struck me the most, “Untitled 18,” seemed to involve not just paint but also wood – or what seemed like wood. I say this because the canvas isn’t truly flat: upon close observation, you can discern the coarse wooden texture emerging from it. To me, this painting exploits light and material to play with the viewer’s perception.
From a distance, it feels as if you’re looking down a long corridor illuminated by a sidelight, with the soft yellow glow of a house at the end. However, as you draw nearer and notice the rough surface, the perception of depth fades, and the corridor seems to vanish, leaving behind intertwined hazy squares.

The Untitled: Letting the Work Speak for Itself

On the day of my visit to the exhibition, architect Hồ Viết Vinh had a sharing session with the media and attendees. He talked about his artistic endeavors, the confluence of architecture and fine arts, the motivations behind the exhibition, and his insights into his creations.
The highlight of this sharing was his revelations about drawing inspiration from nature and the artistic ethos he adopted. Hồ Viết Vinh expressed a deep resonance with the artworks of Caspar David Friedrich, the emblematic painter from the Romantic era.
Vinh’s pieces echo the evocative style and liberality of nature portrayed in Caspar David Friedrich’s paintings. He saw harmony in Friedrich’s illustrations, emphasizing humanity’s humble stance against the overwhelming majesty of nature.
This sentiment is palpable in Vinh’s “Untitled 5” – a portrayal of the ocean that captures human awe and humility before nature’s magnificence, reminiscent of Friedrich’s “Wanderer above the Sea of Fog.”

He also shared the reason why all the paintings are untitled. He didn’t want them to be confined to a predetermined meaning, aiming instead for viewers to find both familiarity and uniqueness in their interpretations. I find this approach intriguing.
Indeed, it’s always insightful to admire a painting and then hear the artist’s thoughts on it, understanding the emotions and intentions behind the colors and strokes. Yet, I often found that my interpretations didn’t fully align with his explanations.
While observing his work and listening to his insights, I began to grasp his artistic intentions. But still, I found myself resonating with emotions that he might not have anticipated.
This disparity might be the essence of art: it’s not about uniformity but about individual interpretations, as long as there’s mutual respect. This seemed to be the core of the discussion: listening, understanding, and appreciating the diversity of perspectives on art, life, and nature.

From 1^st to 10^th September 2023, the ‘In Motion’ art exhibition was held at Audi Charging Lounge, 6B Tôn Đức Thắng. Jointly organized by Lotus Gallery and Audi Vietnam, it was supported by Vietcetera, Saigon Cider, and Cara Lighting, drawing over 2,000 attendees.
The artworks remain displayed at Lotus Gallery (1^st floor, Cspace Center, 12-13 N1 street, District 7, Ho Chi Minh City) until 24^th September 2023, as part of ‘Olfactory Odyssey – Beyond Perfume,’ blending visual arts with fragrance artistry.

The original article is of Vietcetera via the link.

Nestled gracefully above tranquil waters, Maison de l’Eau embodies the harmonious blend of modern architecture and nature. Its unique curved design, crafted from warm wood, invites sunlight to dance through expansive windows, offering breathtaking views of the surrounding forest. This serene retreat not only provides a peaceful sanctuary but also celebrates sustainable living, encouraging a deep connection with the environment. Maison de l’Eau stands as a testament to the beauty of simplicity, where every curve and corner reflects the gentle flow of nature, creating a perfect balance between comfort and elegance.

Maison de la Lune embodies a poetic interplay between architecture and nature, where the invisible space reflects upon the surface of existence. The fluid curves of the structure mirror the organic forms of the surrounding environment, creating a harmonious dialogue between the built and the natural. The expansive glass panels invite the outside in, blurring the boundaries between interior and exterior. Light and shadow dance across the surfaces, evoking a sense of tranquility and introspection. This architectural masterpiece is a serene sanctuary, a place where the essence of nature is captured and reflected, offering a contemplative retreat from the chaos of the world.

The landscape architecture of the museum, spanning 16,000 square meters, is itself a full-scale “Lebadang Space” artwork. Paintings, sculptures, installations, and “Space” artworks by the world-renowned artist Lebadang are periodically rotated, with exhibition content and display methods meeting international standards.
The museum brings to life artist Lebadang’s dream of “an immense artwork, a cosmic landscape, a life in harmony with nature, and an eternal vision.” Its location in Hue, Vietnam’s ancient capital, embodies his aspiration for Hue to become the center of Vietnamese contemporary art and culture in the 21st century.

Le Ba Dang Memory Space reimagines the image of Co Loa as a unique creation of the Vietnamese spirit. Emotions are etched into the landscape like a giant painting. The winding pathways lead us into a vivid tapestry of reality, where people and nature merge as one. The soul finds peace, and emotions flow freely.
Brilliant flowers bloom, birds chirp joyously, the breeze carries drifting clouds, and every element resonates with authentic sounds, drawing our minds back to the dreams of childhood.

Type
Museum
Year
2019
Location
Huong Thuy, Hue
Team
Ho Viet Vinh, Tran Thanh Hai, Le Van Thoi, Ngo Dang Linh
Civil Engineer
Nam Viet
Contractor
Rickenbach Development and Construction
Interior Designer
Eric Mignagd
Lighting Designer
Elek Co, Ltd
Photographer
Dalo lab
Structural Engineer
Nam Viet

Press
ART REPUBLIK 1, Elitism for all, Spring-Summer 2020

Youtube
LeBaDang Memory Space – Contemporary Art in Hue – An article by Dalo Studio on Youtube via the link.

“Kiến trúc sư cần phát triển khả năng suy nghĩ sáng tạo, đột phá các giới hạn thông thường mà AI có thể khó bắt chước. Các ý tưởng độc đáo, cảm xúc sâu sắc và nghệ thuật trừu tượng luôn khó được mô phỏng bởi AI, vì chúng phụ thuộc nhiều vào trải nghiệm sống và hiểu biết văn hóa của con người.” – KTS Hồ Viết Vinh

The goal is to enhance connectivity between Can Gio and neighboring provinces, particularly Vung Tau. As Ho Chi Minh City continues to expand, the demand for infrastructure grows, posing potential risks to Can Gio’s ecological integrity. Special attention is given to strengthening links with the nearby beach resort of Vung Tau, initially through a speedboat network and eventually with the proposed construction of an undersea tunnel.
While the jury found the tunnel proposal highly debatable, they acknowledged that the previously approved masterplan lacked adequate provisions for improving these connections. Team 4 prioritized these links, making them a central focus of their proposal.

Another key aspect of the development proposed by the team is the diversification of tourism activities. These could range from walking or boating excursions through the mangroves to farm visits, beach activities, and trips to nearby provinces made more accessible through the improved transportation links.
The team also presented a project to reclaim land and create two artificial islands off the coast at the eastern and western ends. These islands are envisioned as hubs for diverse tourism activities, offering unique experiences to visitors.

Achieving these objectives will require significant improvements to infrastructure. A high-speed transportation system must be implemented in a way that respects the environment and minimizes pollution, bringing Can Gio closer to nearby development areas.
Freshwater supply is critical for both residents and tourists. A sustainable water collection and recycling system should be established to optimize this valuable resource while preventing water pollution.
The construction of eco-houses will help balance the infrastructural development, ensuring harmony with the natural surroundings. Additionally, all other modes of transportation within the area will be designed to be environmentally friendly.

The project seeks to enhance the quality of life for the residents of Can Gio. This will be accomplished by preserving and upgrading traditional activities such as farming and those along the beach.
Locals will be encouraged to participate in service, trade, and production activities to meet the demands of tourism while maintaining their cultural heritage. Traditional practices will be promoted, enabling those living in the forest, on the beach, or along the river to share their unique ways of life.
Additionally, numerous public spaces and recreational activities will be developed, fostering leisure and entertainment opportunities for both residents and visitors.

The southern area of Can Gio along the beach will be developed with a focus on preserving the connections between the forest and the sea. Six key axes will serve as the foundation for these links: an agricultural production axis, a commercial axis, a festival axis, a handicraft village axis, a traditional market axis, and a public space axis.
This approach ensures that development respects the natural and cultural heritage of the region while creating vibrant and functional spaces for both residents and visitors.

The ultimate aim of this proposal is to evoke and enrich people’s senses and emotions, creating an “emotional city”. Both visitors and locals will be immersed in a symphony of sensory experiences:
They will listen to the soothing sounds of the forest and the rhythmic waves of the beach. They will marvel at breathtaking views of the sea and lush forests, swim in the waves, and feel the textures of the forest’s natural wonders.
The air will carry the refreshing scent of the sea, mingling with the intricate fragrances of the mangrove. They will savor the local flavors, from seafood harvested from the river and sea to traditional delicacies.
Beyond these sensory delights, their emotions will be further deepened by the rich history, vibrant culture, and timeless traditions of Can Gio, making every moment a journey of discovery and connection.

Team 4

• Ho Viet Vinh – Leader Architect, Urban Planner
• Pham Phu Cuong – Architect
• Nguyen Hong Minh – Architect
• Hoang Anh Tu – Architect, Urban Planner
• Pham Anh Tuan – Architect, Urban Planner
• Nguyen Anh Tuan – Architect, Landscape Architect

Team 4, comprised entirely of Vietnamese professionals and led by Architect Ho Viet Vinh, brought a profound vision for the future of Can Gio. The team outlined a series of key objectives, including the preservation of the mangrove ecosystem—both its core and transitional areas—the optimization and development of local production activities, and the protection of water resources from pollution originating from the Saigon-Dong Nai River and the sea.
For their insightful and forward-thinking approach, Team 4 awarded a special mention from the Workshops of Cergy-Pontoise.

At 4:30 p.m. on February 28, the Trịnh Công Sơn Park in Gia Hội Ward, Huế City, will host a significant event—the unveiling of a bronze statue of Trịnh Công Sơn, sculpted by the late artist Trương Đình Quế (1939–2016). This bronze statue, weighing 500 kg, stands 170 cm tall, with a width of 230 cm and a depth of 160 cm. Its design exudes a sense of intimacy and familiarity.

The project is the culmination of years of dedication by Mr. Lê Hùng Mạnh from Gia Hòa Company in Ho Chi Minh City. The journey to place a statue in a public space was far from simple, but his passion for commemorating artists didn’t stop there—he dreams of creating similar tributes for other cultural icons, such as the poet Bùi Giáng.

The choice of Trương Đình Quế as the sculptor was deliberate. He was one of Vietnam’s most renowned visual artists, celebrated with numerous national and international accolades. Born in 1939, the same year as Trịnh Công Sơn, Quế graduated from the Gia Định College of Fine Arts in 1960—the very year Trịnh penned his first song, Ướt Mi. This synchronicity in their lives laid the foundation for a deep friendship rooted in a shared passion for art and music, allowing Quế to capture the essence of his lifelong friend with ease.

The statue took a year to complete at Giang Điền Waterfall in Đồng Nai. Reflecting on the creative process, Mr. Mạnh shared, “Trương Đình Quế and I agreed on how Trịnh should be depicted—as you now see him, leaning forward, as if gazing into a book, or perhaps into his own soul. Naturally, we couldn’t forget the ‘companion’ who stayed with him from ‘the day my mother bore me into this life of burden’ to ‘the noon field, where we met and vanished into the void’—his guitar.”

“The image of Trịnh bowing is intentional,” Mạnh explained, “and it aligns with his own lyrics: Cúi xuống. Cho tình dấy lên. Cho da thịt mềm. Cho cơn mặn nồng ngất lịm. Cúi xuống. Cho đời lãng quên. Cho mây trời chìm. Cho đêm mở hội âm thầm.

When designing the statue’s base, we collaborated with architect Hồ Viết Vinh, who envisioned it as an eye—650 cm long, 350 cm wide, and 55 cm high. This symbolic choice reflects Trịnh’s longing for human compassion: Những con mắt trần gian, Xin nguôi vết nhục nhằn. Những con mắt muộn phiền, Xin cấy lại niềm tin. Even when inspired by Bùi Giáng’s poetry, Trịnh expressed hope and tenderness: Con mắt còn lại nhẹ nhàng từ tâm. Nhìn em ra đi lòng em xa vắng. Con mắt còn lại là đêm tối tăm. Con mắt còn lại là đêm nồng nàn.

This collaboration between sculptor Trương Đình Quế and architect Hồ Viết Vinh embodies the essence of Trịnh Công Sơn’s music—where visual art and sound converge in a harmonious message of love and humanity.

Today, as we gather to unveil this statue on Trịnh Công Sơn’s birthday, it is more than a celebration—it is the realization of a dream. With hearts full of love for his music, Mr. Mạnh and his team gift this statue to the city of Huế as a gesture of gratitude.

“With this sincere endeavor,” Mr Lê Hùng Mạnh remarked, “we are grateful for the support from the Huế City authorities and the province of Thừa Thiên-Huế, who have made this possible. Today, as the statue of Trịnh Công Sơn stands in the park bearing his name, we believe it brings joy to millions across the country who remember him. And surely, our gifted musician and his dear friend, sculptor Trương Đình Quế, would be pleased. For in life, they shared many moments of artistic communion, exchanging ideas and toasting to the beauty of creation.”

See the original article at this link.

Project
Container Resort
Location
Cu Lao Pho, Bien Hoa City, Dong Nai Province, Vietnam
Area
1.500 m²
Services
Masterplan, Architecture and Interior design
Status
Under construction
Team
HVV Architect & Partners

Intro
Standing in the garden feels like stepping into a separate realm, where time seems to pause, leaving only gentle sounds and serene imagery. Beneath the shade of an ancient Bodhi tree, the Buddha statue exudes a quiet majesty, offering a soft reminder to let go of burdens and listen to the tranquil rhythm within the depths of the soul.
This is not just a place of retreat but a sanctuary for rediscovering peace amidst life’s constant flow. Here, lush greenery embraces every contour of modern architecture, together composing a perfect harmony that guides individuals back to their true selves.

“A delicate symphony of muted hues pirouettes in the ever-changing light. Its dance mirroring the soul’s ebb and flow, serving as a melancholic ode to time’s fleeting passage and life’s ephemeral beauty: a poignant reflection of existential drift.”

Ho Viet Vinh