Miniprint – small-sized printmaking is a genre highly regarded by graphic artists. For decades, international miniprint exhibitions have become annual events in many countries. The practice of small-format printmaking often gathers numerous artists experimenting with new techniques and unique ideas, as the limited surface area of the artwork presents a challenge. Aiming to create similar art events, the Graphic Design Department of the Vietnam University of Fine Arts initiated the Hanoi Miniprint exhibition in 2019, and this year marks its second edition, warmly welcomed by artists nationwide.
In recent years, Vietnamese graphic art has achieved significant milestones. The Hanoi Miniprint 2021 exhibition acknowledges the presence of many young, familiar faces in the graphic arts community. With 110 small prints comprising 72 series and individual works by 43 artists selected and displayed by the organizers, the exhibition highlights not only small-sized works but also new creative explorations and innovative uses of materials, adding fresh value to the art form.
Trang Thanh Hiền – Under the Gourd Trellis. 2021. Monotype. 17x29cm
Vũ Quyền – Boundary. 2021. Zinc engraving. 20x20cm
A major difference in this year’s exhibition is the absence of a strict size regulation, allowing each artist the freedom to decide on their work’s dimensions as long as they are under 20cm. This flexibility resulted in a rich variety of display rhythms and an engaging viewing experience, with works ranging from very small pieces like Vũ Quyền’s zinc portrait duo, each only the size of a matchbox (4cm per side), to other intricate and meticulous works that captivate viewers with their creativity and detail.
In terms of materials, graphic art has continuously evolved with the development of industrial materials. International exchanges have propelled significant advancements in Vietnamese printmaking. New techniques and materials are continually explored to enrich or replace existing ones. This diversity is evident in the exhibition, showcasing various types of printmaking: relief prints on wood and rubber blocks, intaglio prints on metal and mica plates, collagraphs, and planographic prints like lithographs, monotypes, and watercolor prints. Some works even combine multiple techniques and materials to achieve desired effects.
Nguyễn Khải Hoàn – House 19. 2021. Collagraph
Vũ Quyền – Portrait 1. 2021. Zinc engraving. 4x4cm
Vũ Quyền – Portrait 2. 2021. Zinc engraving. 4x4cm
Beyond the mini size and materials, the perimeter of the artwork also varies, with artists experimenting with different forms like squares, circles, triangles, or even ignoring traditional borders. This innovation evokes unique emotions. Many circular works, such as Hữu Quyết’s monotype triptych, provide a serene, realistic yet romantic feel. Phạm Thanh’s mica carvings of poppies offer a non-human, warning sign-like portrayal. Đỗ Hoàng Anh’s copper print “Stillness” consists of spherical shapes reminiscent of planets, arranged as independent pieces in a unified set of four. Trương Chiêu Dương’s “Winter Sleep,” a unique wood carving, uses its form to hint at human shapes. Nguyễn Nghĩa Phương’s three-piece rubber carving set, with a central triangular piece flanked by two shell-like elements, illustrates the boundless nature of creativity in miniprints, which can be complete works or parts of a larger whole.
Đỗ Hoàng Anh – Stillness. 2021. Copper print. Set of 4, 20x20cm each
Technically, the exhibition reflects the latest techniques in contemporary Vietnamese graphic art. Many works display meticulous detail, while others embrace a more relaxed approach, creating diversity. Simple engraving techniques, like Thành Vinh’s four-piece set of carved, scratched, and etched lines and geometric forms, evoke human emotions. Nguyễn Ngọc Vinh’s stainless steel etching “Anh Vũ Loa Điểu” merges classical precision with modern perspectives in a 20x20cm frame. Intaglio prints and collagraphs, like Nguyễn Khải Hoàn’s “House 19,” produce unexpected effects. Impressive lithographs and monotypes demonstrate that creativity knows no bounds.
This year’s exhibition also features Trúc Chỉ art, pioneered by Phan Hải Bằng in Huế about a decade ago. Originating from bamboo and reed paper-making, Trúc Chỉ art combines paper forming and graphic printing, achieving remarkable advancements. Huế artists’ works showcase the diverse expressive capabilities of this medium, harmonizing paper pulp shaping, traditional weaving, and graphic printing to reveal the beauty of the artworks.
Thematically, the exhibition reflects contemporary issues, particularly the impact of COVID-19 on society and individual lives. In addition to common themes, the influence of the pandemic is evident, adding a fresh perspective to Hanoi Miniprint 2021.
Unlike the inaugural 2019 exhibition, this year’s Hanoi Miniprint awarded three equal prizes for outstanding creativity, humanitarian content, and artistic quality. The awarded works are “Boundary” by Vũ Văn Quyền, “Stillness” by Đỗ Hoàng Anh, and Nguyễn Thành Vinh’s series.
The success of this second Hanoi Miniprint in 2021 signals a new voice in Vietnamese printmaking. The organizers aim for future exhibitions to elevate in quality and scope, attracting not only Vietnamese but also international artists to establish a biennial international event in Vietnam. Co-organized by the Vietnam University of Fine Arts, the Vietnam Fine Arts Association, Kim Long Fund, and Thanh Uy Art Gallery, the exhibition marks a positive step forward for the development of graphic art in Vietnam.
Trang Thanh Hiền
