#Opening hours:

05.05 — 21.05.2023

—Wednesday – Friday: 16.00 – 19.00 (closed on Mondays and Tuesdays)
—Saturday – Sunday: 14.00 – 19.00


Á Space, Ngõ 59 Ngô Gia Tự, Long Biên, Hà Nội


The artist and Á Space would like to send our greatest thanks to: Lê Xuân Tiến, Quang Quang, Nguyễn Trần Nam, Hà Thuý Hằng, Nam Nguyễn, Sơn PT, Nguyễn Hữu Hải Duy and APD Center for Art Patronage and Development for all their support in the realization of the exhibition. 


Nguyễn Đức Huy (b.1995, Hanoi) is a visual artist whose mediums include painting, digital art, and animation. Huy’s aesthetic is colorful, humorous, and imbued with confusion and detachment. His works have been featured in various group exhibitions and screenings include: Kontrapunkte – Voices On SCREEN (Staatlich Kunstsamlungen Dresden, Germany, 2022), This is not a love song (Like the Moon in A Night Sky 3, Hanoi, 2022), Running on a golden road (Á Space, Hanoi, 2021), Virtual Private Realms (Manzi Art Space, Hanoi, 2021), Second Opinion (Manzi Art Space, Hanoi, 2019), Hobbling Pedestrian (Nhà Sàn Studio, 2016).

Linh Lê is a curator, writer and researcher currently based in Sài Gòn. Her work taps into the performativity of archives, space, and the body in artistic practice. In 2020, she was selected for a curator exchange between Vietnam and Sydney – a programme by 4A Center with support from the Australian Council. Some of her previous projects include Măng Ta journal and the CáRô arts education programme. She holds a BA (Honours) in Arts Management from Essex University and the Nanyang Academy of Fine Arts (Singapore).


Á Space is very delighted to introduce and invite you to the debut solo exhibition by Nguyễn Đức Huy, ‘Soon The Time Will Come’, curated by Linh Lê.

“A shadow

in technicolour 

a house



awaits for

rhythmic ticks




but not moving

a grass field

the wind


A debut solo presentation of Nguyễn Đức Huy, “Soon the time will come” conjures up an in-between space that hovers over the brink of the domestic and the communal, the hyper-sporting bodies and the prolonged suspension of time. Here, perspectives are bound to a perpetual shift as the artist’s study of masculine physiques jumps from the home to sports fields, and back again: from rhythmic thuds and thwacks borne out of constant movements set against the almost-tranquil lived space to the disquieting absence of sound as the body and its surroundings are rendered motionless.

An indiscernible male figure is seen throughout the exhibition, usually accompanied by a distinctive mass of shadow. Rather than following the traditional depiction of shadow, whose purpose was to reveal practical information about the object and its light source, Nguyễn Đức Huy’s shadows are symbolic representations of the body’s immortal double — its soul. As the shadow-double is materialized and fictionalized through the coexistence of movement and idleness, questions about what kind of information it can reveal and what is missing arise.”