MINH NGOC NGUYEN



Visual Artist and Photographer living and working in Copenhagen, Denmark. Feel free to reach out for questions, commissions and love letters. 

For general inquiries say hello@minnnh.com.
Represented by NEVVEN


Instagram

CV 




Education
2016 - 2018 
MFA in Photography, HDK-Valand Academy of Art and Design, Gothenburg, SE


2013 - 2016 
BA in Visual Communication, Danish School of Media and Journalism, Copenhagen, DK


Solo/Duo Exhibitions
So Be it, Minor Gallery, Copenhagen, DK
2025

MILKSHAKE #4, duo exhibition with Christine Clemmesen, MELK, Oslo, NO
2025

Duo exhibition with Sigve Knutson, CHART Art Fair with NEVVEN, Kunsthal Charlottenborg, Copenhagen, DK
2024

Sweet, Sweet Nectar, NEVVEN, Gothenburg, SE
2024


Everlasting Karaoke, Oblong, Copenhagen, DK
2023


Indulgent Elevator Music, Galleri Format, Malmö, SE
2022

Electric Marble Fountain, PAR, Copenhagen, DK
2019

Calculated Coin Flips, Galleri Rotor, Gothenburg, SE
2018




Group Exhibitions
It Takes Many Threads to Make a Carpet; in Fairy Tales Carpets Can Fly, NEVVEN, Gothenburg, SE
2025

K-WHOLE, ODP3, Copenhagen, DK
2025

Konvergenser #10 (Ten Years of NEVVEN), NEVVEN, Gothenburg, SE
2025

Feel First, Think Later, Andréhn-Schiptjenko, Stockholm, SE
2025

Mastabatoom, Mastabadtomm, NEVVEN, Bologna, IT
2024


Tre Utställningar #8, 3:e Våningen, Gothenburg, SE 
2023


Young Danish Photography, Fotografisk Center, Copenhagen, DK
2023


Untitled Entropics, Springbrættet 6A, Copenhagen, DK
2022


BOOKS, TABLES, COFFEE, Galleri Golsa, Oslo, NO 
2021


Et annet sted enn her, KÖSK, Oslo, NO
2021


Next to the Ocean, Röda Sten Konsthall, Gothenburg, SE
2018


Demo, Galleri Format, Malmö, SE
2017


Public and Private Collections 
Göteborgs Stad

Jönköpings kommun

Museum of Contemporary Art Kiasma

Nacka kommun

Region Gävleborg

Statens Kunstfond  [The Danish Arts Foundation]

Todolí Citrus Fundació

Västra Götalandsregionen




Press/features 
VICE
DerGreif
Same Paper
The Baffler
ZEITmagazin
Paper Journal
It’s Nice That
See-Zeen
Nowness Asia
TANK Magazine
FT Magazine
Humble Arts Foundation
         




Selected Work





So Be It (2025) 
Solo Exhibition at Minor Gallery, Copenhagen. 

 “In So Be It, Minh Ngọc Nguyễn constructs glossy, surreal still lifes where humor, seduction, and estrangement converge. Drawing on the visual language and technical conventions of commercial photography, he isolates and reconfigures everyday objects, transforming them into compositions that are at once playful and destabilising.

Nguyễn’s images negotiate the intimate and the collective, carrying personal nostalgia while resonating on broader cultural wavelengths. They show how the personal intersects with the universal, how distant memory collides with Nordic restraint, and how stereotypes may be dismantled through strategies of playful deconstruction. 

Within the chorus of contemporary image culture, his works prompt us to reconsider what we recognise and what remains unseen.

By mobilising still life’s art-historical symbolism and refracting it through the glossy tropes of photography, from the polished seductions of advertising to the vernacular of post-internet culture, Nguyễn opens a distinctive topological space. 

Within these frames, cultural signifiers are displaced from their contexts and reframed in tableaux that simultaneously entice and resist, resisting the flattening gaze of both commodification and stereotype.

So Be It embraces contradiction rather than resolving it: East and West, memory and media, suffering and joy. Instead of offering resolution, the works hold these tensions in suspension. They invite us to inhabit vignettes of ambiguity, to question the images we consume, and to let new meanings emerge in the act of looking.“





Wholehearted Chorus (2025) 
Installation as part of the exhibtion “K-WHOLE” at ODP3, Curated by Tofu Collective


Archival prints on lightbox panels, each 60x85cm


“For the launch of K-Whole, Minh Ngoc Nguyen produced four site-specific works engaging with the decorative languages of consumer and entertainment spaces such as bowling alleys, amusement arcades and fast-food chains. 

These are environments where interiors are designed to project the brand’s core narrative in its most polished and idealised form, reinforcing a promise of immersion and belonging that often slipsinto glossy exaggerations both seductive and artificial. 

Drawing on the atmosphere of karaoke, and placed within the karaoke room itself, the works amplify and mirror these aesthetics, prompting us to reflect on how such staged atmospheres choreograph
collective moods while disguising spectacle as sincerity.“ 




MILKSHAKE #4 (2025)
Duo Exhibition with Christine Clemmesen in MELK, Oslo.

”Two artists who explore materiality and image culture through distinct photographic approaches, yet both engage in contextualizing and questioning the boundaries of the still life genre.“

Press text can be found here




Feel First, Think Later (2025)  Group Exhibition at Andréhn-Schiptjenko in Stockholm. Alongside Annika Elisabeth von Hausswolff, Dev Dhunsi, and Sally von Rosen. 

Press text can be found here





Sweet, Sweet Nectar (2024) Solo Exhibition at NEVVEN, Gothenburg. 
Press text can be found here




Sour Sun (2021) 
Artist Book published by Heavy Books

Buy here  Sour Sun by Minh Ngọc Nguyễn operates as a vocabulary for his photographic work and offers a kaleidoscopic view of tricks and tinkering. Through the guise and semantics of commercial photography and contemporary still life, the book looks to examine shapes of consumerism, taste and fetishization through western visual touchstones of Southeast-Asian culture.

By utilising exaggerated scales, inverted colors, and photographic tropes, along with his fluency in Post-Internet and Southeast Asian visual cultures, the images attempt to re-constitute and dissect somewhat familiar objects.

The images attempt to maintain a lax dichotomy: the presence of superfluous and natural objects, accompanied by reckless artificial lightning, ultimately creating a personal reappropriation of the objects and symbols. These interventions are often created through the manipulation of still life arrangements - acting as agents, to subvert codified expectations of how the images are constructed and understood.

By restructuring the controlled parameters into a space of level playing field and imagination, Sour Sun also points to the ways in which images and visual media inscribe ideas of nationality and the desire for individual concession within photography.