Initié en 2021 par les SUBS, Pépites est un programme de professionnalisation à destination des jeunes créateur.rices pluridisciplinaires. Il bénéficie en 2025 du soutien de la DRAC Auvergne-Rhône-Alpes, de la Fondation Daniel et Nina Carasso et du Mécénat de la Caisse des Dépôts.

By SUBS

Hà My Nguyễn participe à l’exposition collective O DES ORIGINES au centre Tignous d’Art Contemporain, ayant lieu du 7 mai au 18 Juillet 2026.

Trương Công Tùng is taking part in the 8th edition of the Arnaldo Pomodoro Sculpture Prize, featuring four other finalist artist: Bronwyn Katz, Dan Lie, Yu Ji and Luana Vitra. The exhibition Dancing at the Edge of the World, is curated by Federico Giani and Chiara Nuzzi.

According to the Prize regulations, the Jury is required to select a single winner. However, following the passing of Arnaldo Pomodoro on June 22, 2025, and referencing prestigious precedents such as the Turner Prize 2019 and the Preis der Nationalgalerie 2024, the finalists expressed their wish to share the Prize ex aequo in memory of Pomodoro.
This request was unanimously accepted by the Jury and both Foundations, in full recognition of the symbolic significance of this decision. By ICA Milano.

A first-time exhibitor at Art Paris, the curator-led Galerie Bao (founded by Lê Thiên-Bảo) engages with the theme of Réparations, exploring repair as a way to restore what once seemed lost. Recognised for a decade-long commitment to contemporary art from Vietnam and Southeast Asia, the gallery presents Trương Công Tùng’s Day Wanes, Night Waxes (2025 – ongoing), recently shown at Hamburger Kunsthalle. Tùng is show alongside Lêna Bùi’s Clean Land (2024), rubbings of cut tree trunks superimposed onto silk paintings and watercolours, drawing from Taoism, animism, and the observation of living things. Finally, a striking selection of sculptures by Nguyễn Duy Mạnh, inspired by 14th to 19th century Vietnamese ceramics, reflecting on vulnerability and what he describes as the “disintegration of values and culture.” par The Cold Magazine

Eliza Palmer in Conversation with Richie Nath.

As an artist living in Paris, whilst mentally and emotionally remaining in part in his native Burma, Richie Nath holds space for difficult emotions to feature in his beautiful, colourful, and narrative art. Nath’s stylized imagery evokes romance across various scenes, featuring active rather than passive figures in his tableaux. We discuss his experiences as a young artist having lived in Burma, in England, and in France, as well as his life now, managing turbulent times in many senses of the word. Nath’s art creates the visual story of his reception of such times.

By Made In Bed.

“Le grand banquet de céramiques orchestré par Nguyễn Duy Mạnh (né en 1984) pour la galerie Bao : autre étape du parcours « Réparation », l’artiste vietnamien s’empare de la tradition ancienne de la céramique blanc et bleu vernissée de Nam Sách pour créer des pièces percées, entaillées, à vif, dont les blessures apparaissent comme saignant d’un rouge vif. Selon la commissaire, il « fait de chaque plaie, de chaque blessure le sujet même de l’œuvre (…).” Par Beaux Arts Magazine

Here is an excerpt from the exhibition text written by Trương Minh Quý for Hà My Nguyễn’s solo exhibition Flesh and Leaf, Sap and Seed (2026) at Galerie Bao, Paris.

by Art & Market Online Magazine.

Trương Công Tùng, is taking part in the third edition of the Diriyah Contemporary Art Biennal « Interludes and Transition » (Saudi Arabia) led by artistic directors Nora Razian and Sabih Ahmed. He is exhibited alongside over 70 artists from all around the world, working across disciplines such as  sound and performance to moving image, architecture and research. Theirs projects will be shown from 30 January to 23 April 2026.

Phan Quang, represented by Galerie Bao (Paris), is nominated for the 2026 Discovery Prize, by the Fondation Louis Roederer, at Rencontres d’Arles (France), alongside Souleymane Bachir Diaw, Jordan Beal, Amira Lamti, Mallory Lowe Mpoka, Magali Paulin and Charlotte Yonga. Their projects are curated by guest curator Nadine Hounkpatin and will be exhibited at the next edition of the 2026 Rencontres d’Arles, from 6 July to 4 October 2026.

MY OWN WORDS / 12 Dec 2025 / By Lê Thiên Bảo,

written by Art & Market Online magazine.

Fostering identity, visibility, community through Galerie BAO.

PARIS — “Go ahead, feel them!” gallerist Lê Thiên-Bảo encouraged visitors to her booth at Asia Now fair. Emboldened by her enthusiasm, I broke the well-worn rule of not touching artworks and caressed the fleshy ceramics of Vietnamese artist Hà My Nguyễn. Inside the grand halls of La Monnaie de Paris, just steps from the Louvre, the fair’s mood remained undisturbed by the museum’s recent brazen heist, which has shaken the country…

Après avoir traversé un couloir, on se retrouve dans la cour d’Honneur de l’institution, habitée pour les prochains jours d’une grande tente blanche et d’un buffet-bar. Dès l’entrée de ce pavillon, le regard se pose sur les sculptures en céramique d’Ha My Nguyen présentées par la Galerie Bao (stand H12).

Sur des murs tapissés de velours noir, ses créations blanches détonnent et intriguent…

Curatrice originaire de Hô Chi Minh-Ville, Bảo-Thiên Lê s’est implantée dans le 11 arrondissement, rue Parmentier, qui, selon elle, abrite « une population jeune et dynamique » , qu’elle espère capter. Son premier local pérenne, de près de 90 m , a été inauguré en septembre. La galerie BAO promeut dix artistes émergents, dont neuf vietnamiens…

Galerie BAO, a gallery dedicated to Vietnamese contemporary art in Paris, founded by curator Le Thien Bao two years ago, has just opened its new facility at 49 Avenue Pamentier Paris 11 on September 12, 2025, with an exhibition combining performance art and installation art by Vietnamese artist Hang Hang, currently living in Paris.

Hằng Hằng calls her installation a “garden”. The word feels familiar, reassuring, but nothing here resembles a place of greenery or rest. The gallery is immersed in an intense saturated chroma-blue, the very same blue once used for video backdrops. One feels that everything here could be erased, replaced, rewritten. - by Stéphane Degoutin

“…Galerie BAQ played an important role in bringing Vietnamese contemporary art to the attention of the Parisian art scene.  The gallery focused on the multilayered histories of Vietnam, showcasing artists that reimagined traditions and sometimes challenged dominant ideologies. After Galerie BAQ’s closure, its founders pursued independent ventures, continuing to champion Vietnamese art in Paris. Lê went on to establish Galerie Bao, which remains committed to showcasing works by contemporary, primarily Vietnamese artists…” - by Naima Morelli

Axée autour des pratiques cérémonielles, la 10ᵉ édition d’Asia Now promettait d’élargir encore un peu plus ses horizons. Réunis à la Monnaie de Paris, ses 70 exposants associaient des habitués, dont les Français Perrotin, Taménaga, Françoise Livinec ou la Sino-Britannique HdM, de jeunes galeries (Idolon de Taipei, LKHAM d’Oulan-Bator), et quelques nouvelles têtes, dont O Art Space de Lahore, et Nao Masaki venue de Nagoya.

Lancée cette année, la foire répond à un objectif de longue haleine : « dévoiler la diversité de la création en Amérique Latine », martèle Manuela Rayo, fondatrice de Mira. Du 18 au 22 septembre, une vingtaine de galeries se sont retrouvées à la maison de l’Amérique latine, dont certaines ayant une forte présence à l’international, comme Continua. La manifestation fédérait aussi plusieurs enseignes latino-américaines réputées pour leur programmation pointue, à l’instar de Proyectos Monclova (Mexique) ou El Apartamento (Cuba, Madrid). - par Alison Moss

“Across the highlands of Vietnam, gourds have stored water, made music, and inspired legends for centuries.1 In his travelling solo show, Truong Cong Tung finds yet another use for these sinuous plants…” - review by Max Crosbie-Jones

“How should we live in a world where our being is inextricably bound up in the deaths of others? What does it mean to situate oneself within a cycle of exchange, rather than at the apex of a hierarchical food chain?” - essay by Blake Palmer