MINH–ANH TRAN NGUYEN
work
diary
book/zine
one day, I will ‘nhớ’
(2024–ongoing)
multimedia installation
WHILE IT LASTED (2025)
hARTslane Gallery, London
Co-curated by Kimberly Suchonvanich and Theeratatt Tongbai
Movements towards the self, movements towards history (2025)
LCC Photography Degree Show, London
Curated by Krasimira Butseva
3D Visualisations of The Exhibition by Kim Nguyen
3D Visualisations of The Exhibition by Kim Nguyen
3D Visualisations of The Exhibition by Kim Nguyen
3D Visualisations of The Exhibition by Kim Nguyen
Medium: multimedia installation
Year: 2024-ongoing
Location: London
one day, I will ‘nhớ’
is an ongoing project that builds multisensory archives to
explore how sensory experience shapes our relationship
with memory. Working across artist books, photography,
installation, publishing, and participatory experiences, the
project continues to grow chapter by chapter, remaining
open to new people, places, materials, and sensory encounters.
The project began with an unexpected encounter:
the lingering scent of an old perfume returned me to memories
I thought had disappeared, revealing how the senses reshape
our relationship with memory. Since then, each chapter has
approached this relationship from a different perspective,
expanding through new experiences while remaining connected
by the same curiosity.
Rather than preserving memory as something fixed or complete,
one day, I will ‘nhớ’ embraces it as an evolving process.
Each chapter expands a growing multisensory archive, inviting
memories to return and unfold through experience. As the project
continues to grow, every encounter leaves another trace within
the archive, which remains open to new people, places, and
sensory experiences.
While It Lasted
“While It Lasted” is an attempt to preserve the sweetness of
extinguished days, through the hazy tales-both sweet and bitter.
We walk out into this messy mindscape to find lost tenderness,
long stored in the back of our minds. Some might never have
existed. Some are merely stories pieced together by the brain
to keep us going.
Through this exhibition we, 6 Southeast Asian artists,
venture from one remembrance to another, hoping from haunting
memories to sour events with the hope to find the innocent
past inbetween. Using pencils, paint, clay, camera and ink,
we set out to find and try to preserve the warmth of the
bygone times among this cold mist of reality.
extinguished days, through the hazy tales-both sweet and bitter.
We walk out into this messy mindscape to find lost tenderness,
long stored in the back of our minds. Some might never have
existed. Some are merely stories pieced together by the brain
to keep us going.
Through this exhibition we, 6 Southeast Asian artists,
venture from one remembrance to another, hoping from haunting
memories to sour events with the hope to find the innocent
past inbetween. Using pencils, paint, clay, camera and ink,
we set out to find and try to preserve the warmth of the
bygone times among this cold mist of reality.
Co-curated by Kimberly Suchonvanich and Theeratatt Tongbai
Writing/Written by Theeratatt Tongbai and Kimberly Suchonvanich
Movements towards the self, movements towards history (2025)
LCC Photography Degree Show, London
Curated by Krasimira Butseva
ALBUM MUSIC
‘ECHNO’ MACHINE
At the beginning of this journey stands ‘ECHNO’ MACHINE, a claw game reimagined as a vessel of time and memory. Drawn from a childhood name, it becomes both a container of memory and a reflection of self. Each attempt retrieves not only fragments of the past but also a gift of gratitude in the present, honouring what was, cherishing what is, and carrying it forward.
More details
At twenty—four,
I find myself at a crossroads of introspection
and anticipation, embarking on a personal
artistic journey that blends nostalgia with
deep self—reflection.
A whimsical claw machine is central to this
journey—a symbol of self-discovery and love,
far more than just a childhood relic. This playful
machine, bright with colours and rich in memories,
invites viewers to engage in a delightful dance
with destiny. Inside, a collection of treasures
awaits, each carefully selected to represent a
part of my journey defined by love, healing, and
the beauty of life.
As the claw descends, it serves as more than a
tool of chance; it becomes a mirror reflecting
the complexities of human experience. Each prize
won reminds me of the resilience of the human
spirit, the transformative power of healing, and
our boundless capacity for love.
Amidst the whimsy lies a deeper narrative—a
testament to my journey towards self—love and
acceptance. Through this project, I seek to
unravel the intricacies of my heart, navigating
emotions with compassion and grace.
This project is an ode to the human experiences—a
celebration of love in all its forms and a testament
to resilience. It gently reminds us to savour life's
moments, cherish the bonds that unite us, and
embrace each day with wonder and gratitude.
Standing amidst my whimsical claw machine,
I am reminded of the beauty in life's twists and
turns. Through the road ahead may hold
challenges, I find comfort in knowing that with
each moment,
I am
one step closer to embracing
the fullness of my own truth.
Chapter 02:
‘100 Năm Hạnh Phúc’
(100 Years of Happiness) Books
At the heart of this chapter is a pair of books that mirror and respond to one another. One is shaped from my grandmother’s photographic archive, the other from my own images. The first gathers fragments of family history such as celebrations, milestones and beginnings. These photographs were originally taken by my grandmother and later arranged and designed into a book by me. The second reflects my perspective, portraying my family in the present while leaving spaces open for the future. Held together magnetically, the two books create a dialogue across time, where memory becomes both legacy and renewal.Chapter 3:
Vòng Xoay Tuổi Thơ
(Childhood Carousel)
Emerging in this stage are toys from childhood, transformed into instruments of memory and play.
Inspired by the thaumatrope and the pinwheel, they become photographic surfaces infused with scent. As they spin, images blur into motion while subtle fragrances drift from the paper.
Memory here is not a fixed archive but a sensory experience animated through sight, smell and movement. These spinning toys suggest that to remember is to engage the body, to play, and to keep the past alive in motion.
HOME?
HOME? is an ongoing series of handmade photobooks and poems born from revisiting my photographic archive. Through fragments of encounters, places, and lived experiences, the work reflects on how memories become intertwined with love, movement, and belonging. Rather than offering a definitive answer, it keeps the question of home open—fragile, shifting, and continually rewritten with each new journey.