Past programs
2025
Exhibitions
The duo exhibition by Huỳnh Công Nhớ and Pecut Sumantri, presented in collaboration with RUCI Arts Space (Jakarta), explores faith, belief, and the human condition through scenes of everyday life. Moving between stark realism and dreamlike abstraction, the exhibition brings together painting and cinematic sensibilities to reveal moments where the ordinary slips into quiet unreality. Rooted in Southeast Asian contemporary art, the works reflect on living, believing, and persisting in an age marked by uncertainty and precarity.
Traveling with guerrilla units in the 1960s–70s to document the front line of the Vietnamese resistance in the Cà Mau region, Võ An Khánh (1936–2023, Vietnam) was tasked with upholding the vision of collective socialist struggle, yet his images often dwell on unexpected moments of stillness, distinctly blurring the boundaries between art and militancy, documentary and spectacle.
Nguyễn Duy Mạnh - First Bone, Then Skin… - his first solo exhibition in Europe. The exhibition brings together two seminal bodies of work: Hồn Xiêu - Phách Lạc (Wandering Souls - Lost Spirits) - the haunting ceramics banquet, part of which currently on display at MASS MoCA (Massachusetts) - and Những Vết Thương Hở (Bare Wounds), a new series of cobalt-blue and sanguine ceramics created for Paris. Together, they reveal the artist’s singular vision: clay as a living body that bears scars, memory, and resilience. Combining stylistic glaze patterns from Chu Đậu ceramics –– its production began in the 13th century in Nam Sách county to the east of Hanoi, before declining in the 17th century –– and the kiln techniques of Bát Tràng village –– a craft village in Hanoian suburb, famous for its vibrant ceramics, he creates uniquely molded and carved pieces.
Born and raised in Vietnam, Hang Hang studied scenography at the École nationale supérieure des Arts Décoratifs in Paris. Her practice blurs the boundaries between performance and installation, weaving together micro-histories and oral traditions. Galerie Bao is proud to present Hang Hang’s first solo exhibition.
Vita Contemplativa presents works by César Cuspoca, Camila Eslava, Camila Rodríguez Triana, as well as a collaborative piece by artists Violeta Cruz and Léo Lescop.
Deeply personal, both in its intent and in its choice of invited artists, this exhibition honors art as a ritual: a silent celebration of what endures and what fades away. The exhibition is curated by Sandrine Prévost-Servent.
Marking the first collaboration between Galerie Zink (Waldkirchen) and Galerie BAO (Paris), the exhibition explores storytelling as a vessel for memory, myth, and cultural identity. We bring together Rosilene Luduvico, Thao Nguyen Phan, Camila Rodríguez Triana, and Trương Công Tùng—four international artists whose practices span film, installation, painting, and textile art. Together, they offer sensorial and poetic responses to the complexities of time, creating works that do not merely narrate, but unfold, resonate, and echo.
Gallery Medium and Galerie Bao are pleased to present Mắt Nhớ (The Gaze That Remembers), the first solo exhibition in Vietnam by artist Huỳnh Công Nhớ, following a series of acclaimed showcases in Paris last year.
This solo exhibition will present Trương Công Tùng’s newest artworks in the prestigious Hamburger Kunsthalle, with the support of the Philipp Otto Runge Foundation. With research interests in science, cosmology, philosophy, and the environment, Trương Công Tùng works with a range of media, including video, sculpture, painting, and found objects, which reflect personal contemplations on the cultural and geopolitical shifts of modernization, as embodied in the morphing ecology, belief, or mythology of a land.
In Dirty & Disorderly: Contemporary Artists on Disgust, Anna Ting Möller, New Red Order, and Nguyễn Duy Mạnh use the aesthetics of disgust to understand the social construction of putrid and squalid things. The exhibition is curated by Riley Yuen.
Public programs
As part of the closing of the group exhibition Tales Without Time – Poetry of Storytelling at Galerie Zink, Paris-based gallerist and curator Le Thien-Bao will prepare a traditional Northern Vietnamese Phở—Vietnam’s beloved noodle soup—inviting guests to share a moment of warmth, connection, and conversation.
Galerie Bao reopens its doors at 49 avenue Parmentier with the inaugural exhibition “The Reason Is A Dog. The Reason Is A Flower.” by Vietnamese artist Hằng Hằng. Known for her poetic performances and immersive installations, the artist transforms memory and intimacy into shared landscapes where language, place, and time intertwine. The exhibition runs from 12 September to 4 October 2025 — with free entrance.
How do artists use the aesthetics of disgust to challenge social norms? Disgust has been interpreted as an evolutionary tool of survival to create distance between ourselves and that which may harm us, particularly foods. In their work, Nguyễn Duy Mạnh, Anna Ting Möller and New Red Order confront the putrid and the squalid, questioning the boundaries of taste, culture, and perception.
2024
Exhibitions
Museion has joined five partner-institutions in Southeast Asia as part of the selection committee of the Han Nefkens Foundation – Southeast Asian Video Art Production Grant, an initiative launched by the private collector Han Nefkens to increase contemporary artistic production in the video art field.
Perhaps, memories are like filaments. A combination of contrasting characteristics, they can be fleeting yet persistent at the same time…
Organized by Wiking Salon and Galerie BAO, “Entrusting to Emptiness” (Kỳ Thác Hư Không) is a duo exhibition featuring more than 25 works by artists Tôn Thất Minh Nhật and Tuyền Nguyễn. These series of silk and lacquer paintings make up two different segments of the exhibition, where the audience will find themselves following the traces of movement, memory and heritage.
Untamed Souls, featuring artists Trương Công Tùng and Nguyễn Duy Mạnh, brings together two contrasting practices and calls into question "earth" in all its physical, historical, and cultural implications.
Fugitive Zone at Galerie BAQ marks the artist’s first solo exhibition in the heart of Paris, declaratively claiming space for a burgeoning of the My Land project beyond its former boundaries.
Public programs
Continuing the 'Surviving in The Art World' talk series, we present the Talk: “The dynamic of relationships between artists, galleries and institutions”. This conversation raises the eternal question about the connection of different actors in the art network.
2023
Exhibitions
Rather than a replacement, a drop of serenity showcases these filmmakers' practice when their minds are most at peace; their art, but in another dimension. The exhibition, without fear, emphasizes the significance of leisure, a concept that has almost become a rarity in the contemporary art world with its frequent art fairs and international exhibitions occurring back to back.
Tropical Hallucinations is a two-part exhibition presented in two different locations, much like two islands in an archipelago - the main geo-culture of Southeast Asia - geographically separate but still closely related.
Part II of À Marée Basse, echoing There is no lonesome wave at POUSH (Aubervilliers), features artworks by Mathilde Cazes, Alexandre Zhu, Đỗ Nguyễn Lập Xuân, Lim Sokchanlina and a response olfactive by Clémence Besse. Inspired by this poetic and mysterious scene, Lê Thiên Bảo proposes an abstract approach to "water" according to East and Southeast Asian ideologies and traditions.
Part of the POUSH "bureau des penseur.euses" (thinkers office) came together to imagine under the Coupole, There is no lonesome wave, a group exhibition on the subject of water, its currents and its properties, both literal and figurative.
Drawing from the work of scholars such as Sylvia Shin Huey Chong and artists like Dinh Q. Lê, the presentation of Éléonore Tran investigates the merging of fictional and documentary imagery and its impact on cultural memory. She offers a critical reflection on the images produced in and about Vietnam during the American War (1955–1975). In contrast, Võ An Khánh’s rarely exhibited black-and-white photographs — reveal the everyday realities of those who lived, resisted, and survived in the mangrove forests of Vietnam.