{"id":7954,"date":"2026-03-20T03:16:22","date_gmt":"2026-03-20T03:16:22","guid":{"rendered":"https:\/\/boitran.com\/?p=7954"},"modified":"2026-03-27T09:04:11","modified_gmt":"2026-03-27T09:04:11","slug":"harpers-bazaar-dream-of-dreams-group-exhibition-poetic-amid-the-ancient-capital-of-hue","status":"publish","type":"post","link":"https:\/\/boitran.com\/vi\/harpers-bazaar-dream-of-dreams-group-exhibition-poetic-amid-the-ancient-capital-of-hue\/","title":{"rendered":"Harper\u2019s Bazaar | Tri\u1ec3n L\u00e3m Nh\u00f3m \u201cGi\u1ea5c M\u01a1 C\u1ee7a Nh\u1eefng Gi\u1ea5c M\u01a1\u201d N\u00ean Th\u01a1 Gi\u1eefa C\u1ed1 \u0110\u00f4 Hu\u1ebf"},"content":{"rendered":"

\n\t\t\t“Dream of Dreams” Group Exhibition, Poetic Amid the Ancient Capital of Hue\t<\/h2>\n

\n\t\t\tPham Ngoc Anh, Harper’s Bazaar Vietnam\t<\/h5>\n\t

Tri\u1ec3n l\u00e3m m\u1edf ra nh\u01b0 m\u1ed9t kh\u00f4ng gian n\u01a1i tr\u00ed t\u01b0\u1edfng t\u01b0\u1ee3ng \u0111\u01b0\u1ee3c ti\u1ebfp n\u1ed1i qua nhi\u1ec1u th\u1ebf h\u1ec7, n\u01a1i m\u1ed7i t\u00e1c ph\u1ea9m l\u00e0 m\u1ed9t m\u1ea3nh k\u00fd \u1ee9c, m\u1ed9t kh\u00e1t v\u1ecdng v\u00e0 m\u1ed9t kh\u1ea3 th\u1ec3 ch\u01b0a th\u00e0nh h\u00ecnh. Trong khu v\u01b0\u1eddn ngh\u1ec7 thu\u1eadt \u1ea5y, c\u00e1c h\u1ecda s\u0129 kh\u00f4ng k\u1ec3 m\u1ed9t c\u00e2u chuy\u1ec7n chung, m\u00e0 c\u00f9ng t\u1ea1o n\u00ean m\u1ed9t tr\u01b0\u1eddng c\u1ea3m x\u00fac \u0111a thanh \u0111\u1ea7y x\u00fac c\u1ea3m.<\/p>\n

\n\t\t\t\t\"\"dream\n\t<\/figure>\n\t

Boi Tran Garden, Kim Son, Hue, Vietnam<\/p>\n\tOn view from 21-23 March 2026 at Boi Tran Garden, Hu\u1ebf, unfolds not as a defined thematic proposition, but as a state in which imagination is cultivated and carried across layered temporalities. Its poetic title evokes the quiet persistence of dreams, subtle yet enduring, continually seeking renewal in new forms. Within this context, memory does not remain static, but is in constant motion, opening new possibilities for both artistic expression and lived experience.\n\t

Tri\u1ec3n l\u00e3m Gi\u1ea5c M\u01a1 c\u1ee7a Nh\u1eefng Gi\u1ea5c M\u01a1 mang nhi\u1ec1u t\u1ea7ng \u00fd ni\u1ec7m v\u1edbi c\u1ea3m x\u00fac v\u00e0 suy t\u01b0\u1edfng \u0111an xen v\u00e0 k\u1ebft n\u1ed1i<\/p>\n\tDream of Dreams<\/em> brings together eight artists: Tr\u1ea7n Nguy\u00ean \u0110\u00e1n, Tr\u1ea7n V\u0103n M\u00e3ng, Phan Thanh B\u00ecnh, Tr\u1ea7n Anh Huy, Nguy\u1ec5n V\u0169 L\u00e2n, Ho\u00e0ng \u0110\u0103ng Khanh, L\u00ea H\u1eefu Long and L\u00ea Th\u1eeba H\u1ea3i. Each works with a distinct practice and visual language, yet when seen together, they form a quiet harmony, like converging currents within a shared landscape of contemporary Vietnamese art.\nRather than following a linear structure, the exhibition unfolds as an open space, a point of encounter where different artistic voices coexist. Each work becomes a fragment of memory, a reflection on lived experience, or a vision of something not yet realised. There is no single narrative to follow; instead, viewers are invited to move freely through layers of meaning, where emotion and thought gently intertwine.\n\tAdvisor Tr\u1ea7n \u0110\u00ecnh Th\u1ee5c \u0110oan, representing Boi Tran Garden, shares:\n“In Vietnamese culture, dreams often exist on a fine line between poetry and destiny. They are at once intimate and shared. This sensibility runs through the works in the exhibition, from landscapes and abstraction to fragments of urban life and imagined worlds, each quietly in dialogue within a wider reflection on humanity and time.\nFor Boi Tran Garden, this exhibition is also the continuation of a dream long held. Within the garden that bears its name, connections begin to form between generations, between memory and the future. From here, dreams do not end, but continue to travel, as seeds carried outward, taking root and flowering in new creative grounds.”\n\tEight leading artists of contemporary Vietnamese painting.\n

\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nHo\u1ea1 s\u0129 Tr\u1ea7n Nguy\u00ean \u0110\u00e1n\n

<\/p><\/strong>Born in 1941, Tr\u1ea7n Nguy\u00ean \u0110\u00e1n belongs to a generation of artists who continually return to the visual roots of folk tradition, where images are not only seen, but remembered. In Market Fair Revelry<\/em> and The Legend of Saint Gi\u00f3ng<\/em>, the artist places everyday life alongside the mythic realm, two currents that may seem separate, yet are deeply intertwined within Vietnamese culture.\nExecuted in traditional woodblock printing, the works are defined by bold colour, decisive line, and an unadorned, almost elemental composition. A highland market scene unfolds with a man leading a horse, children gathered nearby, the setting at once simple and familiar. Yet within this grounded reality, the figure of Saint Gi\u00f3ng suddenly appears, riding across the sky, as though a layer of collective memory has entered the present moment.\nIn Tr\u1ea7n Nguy\u00ean \u0110\u00e1n’s work, reality and myth are not opposed, but coexist as two facets of a shared cultural memory. These images may begin as personal recollection or echo well-known folk narratives, yet ultimately they move beyond history, becoming part of a living Vietnamese imagination.\n<\/section>\n

\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nH\u1ecda s\u0129 Tr\u1ea7n V\u0103n M\u00e3ng
\n<\/strong>
Tr\u1ea7n V\u0103n M\u00e3ng is often associated with Hu\u1ebf in much the same way that B\u00f9i Xu\u00e2n Ph\u00e1i is inseparable from the streets of Hanoi. If Hanoi is marked by “Ph\u00e1i’s Streets,” then Hu\u1ebf, with its quieter and more introspective rhythm, finds its own visual counterpart in the works of Tr\u1ea7n V\u0103n M\u00e3ng.\nIn three works, Sunlight Through the Village<\/em>, Blue Street<\/em> and Winter<\/em>, the artist approaches the landscape of Bao Vinh not through direct depiction, but through shifting states of memory and light.\nIn Blue Street<\/em>, rooftops emerge through layers of blue and grey, dissolving into a surface that recalls water. Sunlight Through the Village<\/em> captures the fleeting sensation of light passing swiftly across a rural scene. By contrast, Winter<\/em> recedes into a darker palette, where forms seem to appear only to dissolve again within dense layers of paint.\n<\/section>\n
\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nHo\u1ea1 s\u0129 Phan Thanh B\u00ecnh\n

<\/p><\/strong>Phan Thanh B\u00ecnh approaches painting as a process of emergence rather than description. In works such as Afternoon Light<\/em>, Shadow of Time<\/em> and Season of the Night Herons<\/em>, fields of colour collide, layer upon one another, and unexpectedly give way to light.\nIn Garden of Eden<\/em> and Echo<\/em>, angular structures suggest forms in the process of assembly, while in Memory<\/em> and Highland Realm<\/em>, the image gradually dissolves into a more atmospheric, emotional state.\nHis paintings do not anchor themselves in a defined space, but instead evoke an order in the process of becoming, where colour itself serves as a language of thought.\n<\/section>\n

\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nH\u1ecda s\u0129 Tr\u1ea7n Anh Huy
\n<\/strong>
Born into a family with a strong painting tradition in Hu\u1ebf and guided early on by the artist Tr\u1ea7n M\u1eadu L\u1ed9c, Tr\u1ea7n Anh Huy developed a visual language closely attuned to light and the rhythms of urban life.\nIn B\u1ea1ch \u0110\u1eb1ng Street After the Rain<\/em>Trong \u0110\u01b0\u1eddng B\u1ea1ch \u0110\u1eb1ng Sau C\u01a1n M\u01b0a, m\u1eb7t \u0111\u01b0\u1eddng \u01b0\u1edbt tr\u1edf th\u00e0nh t\u1ea5m g\u01b0\u01a1ng ph\u1ea3n chi\u1ebfu, n\u01a1i m\u00e1i nh\u00e0, xe \u0111\u1ea1p v\u00e0 con ng\u01b0\u1eddi tan v\u00e0o nh\u1eefng m\u1ea3ng m\u00e0u rung \u0111\u1ed9ng. Hoa Xu\u00e2n Tr\u00ean Ph\u1ed1 m\u1edf ra m\u1ed9t d\u00f2ng ch\u1ea3y nh\u1eb9 c\u1ee7a s\u1eafc h\u1ed3ng, v\u00e0ng, c\u00f2n Ch\u1ee3 Ng\u00e0y Xu\u00e2n l\u1ea1i d\u00e0y \u0111\u1eb7c v\u00e0 s\u1ed1ng \u0111\u1ed9ng nh\u01b0 m\u1ed9t v\u0169 \u0111i\u1ec7u \u0111\u1eddi th\u01b0\u1eddng. Spring Blossoms on the Street<\/em> unfolds in a gentle flow of pinks and yellows, while Spring Market<\/em> appears dense and animated, like a choreography of everyday life.\nFor the artist, the street is not simply a place, but a moment in which light reconfigures space.\n<\/section>\n
\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nH\u1ecda s\u0129 Nguy\u1ec5n V\u0169 L\u00e2n<\/strong>

\nNguy\u1ec5n V\u0169 L\u00e2n’s paintings seem less painted than excavated. Their surfaces are built through layers of acrylic, applied, scraped back, fractured and reconstructed. What emerges is not a single image, but a field of traces, where colour, material and gesture record their own process of becoming.\nIn Fragment of Memory<\/em> and Traces of Time<\/em>, structural elements appear like remnants of walls or landscapes gradually revealed. Intersections heighten a sense of visual tension, as lines cut across one another before dissolving. With Sediment<\/em>, the surface grows dense and weighty, almost geological in presence.\nIn Street within Memory<\/em>, the outline of the city briefly surfaces, only to merge again into the material body of the painting. Dragon and Clouds in Celebration of Water<\/em> and Shadow of Time<\/em> extend this visual field further, where colour moves less as description and more as a natural force in motion.\n<\/section>\n
\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nH\u1ecda s\u0129 Ho\u00e0ng \u0110\u0103ng Khanh
\n<\/strong>
Stillness emerges before the landscape fully takes shape. In Ho\u00e0ng \u0110\u0103ng Khanh’s paintings, scenes seem to drift within a fragile atmosphere, where colour softens contours and the world slows to an almost suspended state.\nIn House on the Hill<\/em>, a few small dwellings rest quietly above a field of flowers. The horizon dissolves into a pale sky, as if the landscape were suspended between earth and air. Two Children<\/em> opens onto a luminous field, where, beneath an expansive pink sky, small figures move almost imperceptibly within a sea of trembling blossoms.\nWith Inner Citadel Moon<\/em>, the palette deepens. The gates of Hu\u1ebf emerge under the blue of night, their architectural gravity gently offset by the quiet presence of a lone cyclist passing through. Finally, Moonlit Street<\/em> draws the viewer into a narrow lane, where houses emit a faint glow beneath a crescent moon. These places remain recognisable, yet time appears to slow, and the world settles into a quiet, poetic stillness.\n<\/section>\n
\n\t\t\t\t\"Dream\n\t<\/figure>\n
\nH\u1ecda s\u0129 L\u00ea H\u1eefu Long
\n<\/strong>
Sinh n\u0103m 1988, L\u00ea H\u1eefu Long \u0111\u1ea1i di\u1ec7n cho th\u1ebf h\u1ec7 h\u1ecda s\u0129 tr\u1ebb theo \u0111u\u1ed5i c\u00e1ch ki\u1ebfn t\u1ea1o kh\u00f4ng gian qua nhi\u1ec1u l\u1edbp th\u1ecb gi\u00e1c. Trong tranh c\u1ee7a anh, phong c\u1ea3nh kh\u00f4ng ch\u1ec9 \u0111\u01b0\u1ee3c ghi l\u1ea1i m\u00e0 \u0111\u01b0\u1ee3c d\u1ef1ng n\u00ean t\u1eeb \u00e1nh s\u00e1ng, m\u00e0u s\u1eafc v\u00e0 \u0111\u1ed9 s\u00e2u.\n\u0110i\u1ec7p Tr\u00f9ng T\u00e2y B\u1eafc m\u1edf ra nh\u1eefng d\u00e3y n\u00fai nh\u01b0 n\u1ebfp g\u1ea5p \u0111\u1ecba h\u00ecnh, n\u01a1i \u00e1nh s\u00e1ng ch\u1ea1m v\u00e0o t\u1eebng l\u1edbp \u0111\u1ea5t \u0111\u00e1, d\u1eabn m\u1eaft nh\u00ecn t\u1eeb ti\u1ec1n c\u1ea3nh \u0111\u1ebfn xa th\u1eb3m. Ho\u00e0ng Cung Xanh chuy\u1ec3n sang c\u1ea5u tr\u00fac ki\u1ebfn tr\u00fac, v\u1edbi Kinh th\u00e0nh Hu\u1ebf hi\u1ec7n l\u00ean nh\u01b0 m\u1ed9t m\u1ea1ng l\u01b0\u1edbi tr\u1eadt t\u1ef1.<\/em> unfolds as a series of mountainous folds, where light touches each stratum of terrain, guiding the eye from the foreground into the far distance. In Emerald Citadel<\/em>, the focus shifts toward architectural structure, with the Imperial City of Hu\u1ebf appearing as an ordered network of forms.\nIn Scent of the Ng\u00f4 \u0110\u1ed3ng Tree<\/em>, nature and architecture intersect, creating a space that feels at once tangible and atmospheric.\n<\/section>\n
\n\t\t\t\t\"Dream\n\t<\/figure>\n
\n
\nH\u1ecda s\u0129 L\u00ea Th\u1eeba H\u1ea3i
\n<\/strong>
Ti\u1ebfp c\u1eadn h\u1ed9i h\u1ecda nh\u01b0 m\u1ed9t h\u00e0nh vi khai qu\u1eadt h\u01a1n l\u00e0 t\u00e1i hi\u1ec7n. Trong lo\u1ea1t t\u00e1c ph\u1ea9m V\u1ebft T\u00edch I, II, III, b\u1ee9c tranh kh\u00f4ng c\u00f2n l\u00e0 khung c\u1eeda m\u1edf ra th\u1ebf gi\u1edbi, m\u00e0 tr\u1edf th\u00e0nh m\u1ed9t b\u1ec1 m\u1eb7t mang d\u1ea5u \u1ea5n c\u1ee7a th\u1eddi gian\u2014b\u1ecb ch\u1ed3ng l\u1ea5p, b\u00e0o m\u00f2n v\u00e0 t\u1ed5n th\u01b0\u01a1ng. \u1ede \u0111\u00f3, h\u00ecnh \u1ea3nh kh\u00f4ng xu\u1ea5t hi\u1ec7n ngay l\u1eadp t\u1ee9c, m\u00e0 \u1ea9n m\u00ecnh d\u01b0\u1edbi nhi\u1ec1u l\u1edbp v\u1eadt ch\u1ea5t, ch\u1edd \u0111\u01b0\u1ee3c h\u00e9 l\u1ed9. Traces I, II, III<\/em>, the canvas no longer serves as a window onto the world, but as a surface marked by time, layered, eroded and wounded. Images do not present themselves immediately, but remain embedded within strata of material, waiting to be revealed.\nTraces I<\/em> is defined by a gaunt figure emerging amid forceful passages of grey and black, while a muted red mass beneath it glows like an ember not yet extinguished. In Traces II<\/em>, the space expands horizontally, the surface scraped and torn to expose fragmented imagery, as though memory itself were caught within layers of paint. By Traces III<\/em>, the painting takes on an almost geological presence, with extended bands of colour interrupted by small forms that recall unearthed relics.\nWithin L\u00ea Th\u1eeba H\u1ea3i’s practice, painting is no longer about rendering an image, but about uncovering what has been buried. Each scratch, each layer, each void carries the imprint of time, like wounds not yet healed, from which meaning begins to emerge.\n<\/section>\n<\/section>\n

\n\t\t\tB\u1ea1n c\u00f3 th\u1ec3 quan t\u00e2m\t<\/h2>","protected":false},"excerpt":{"rendered":"

Tri\u1ec3n l\u00e3m m\u1edf ra nh\u01b0 m\u1ed9t kh\u00f4ng gian n\u01a1i tr\u00ed t\u01b0\u1edfng t\u01b0\u1ee3ng \u0111\u01b0\u1ee3c ti\u1ebfp n\u1ed1i qua nhi\u1ec1u th\u1ebf h\u1ec7, n\u01a1i m\u1ed7i t\u00e1c ph\u1ea9m l\u00e0 m\u1ed9t m\u1ea3nh k\u00fd \u1ee9c, m\u1ed9t kh\u00e1t v\u1ecdng v\u00e0 m\u1ed9t kh\u1ea3 th\u1ec3 ch\u01b0a th\u00e0nh h\u00ecnh. Trong khu v\u01b0\u1eddn ngh\u1ec7 thu\u1eadt \u1ea5y, c\u00e1c h\u1ecda s\u0129 kh\u00f4ng k\u1ec3 m\u1ed9t c\u00e2u chuy\u1ec7n chung, m\u00e0 c\u00f9ng t\u1ea1o n\u00ean m\u1ed9t tr\u01b0\u1eddng c\u1ea3m x\u00fac \u0111a thanh \u0111\u1ea7y x\u00fac c\u1ea3m.<\/p>","protected":false},"author":4,"featured_media":7953,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23,25,27,32,9],"tags":[90,91,17,166,169,172,171,167,170,93,168],"class_list":["post-7954","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-culture","category-event","category-exhibition","category-stories","tag-boi-tran","tag-boi-tran-art-gallery","tag-boi-tran-garden","tag-exhibition","tag-hoang-dang-khanh","tag-le-huu-long","tag-le-thua-hai","tag-phan-thanh-binh","tag-tran-anh-huy","tag-tran-nguyen-dan","tag-tran-van-mang"],"_links":{"self":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/7954","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/comments?post=7954"}],"version-history":[{"count":7,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/7954\/revisions"}],"predecessor-version":[{"id":7964,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/posts\/7954\/revisions\/7964"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media\/7953"}],"wp:attachment":[{"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/media?parent=7954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/categories?post=7954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/boitran.com\/vi\/wp-json\/wp\/v2\/tags?post=7954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}