The "Down the Thu River 2026" charity exhibition, organized by the "Sowing Houses, Reaping Homes" Foundation, recently concluded in Ho Chi Minh City, raising nearly 450 million VND. From this charitable exhibition, a broader story about the Vietnamese art market emerged: the strong differentiation between regions.
For many years, the Vietnamese art market has operated under a "bipolar" structure, concentrated in the two economic and cultural hubs of Hanoi and Ho Chi Minh City. Hanoi has the advantage of academic depth, a strong traditional collecting force, and an early-established network of galleries.
Meanwhile, Ho Chi Minh City is more dynamic in terms of transactions, with a class of young entrepreneurs ready to approach art as a means of enjoyment or long-term investment. Representatives of the "Sowing Houses, Reaping Houses" Fund stated that, after 10 years of organization, "Down the Thu River" has become a reputable charitable art activity, bringing together many well-known artists. However, the activity is only organized in Hanoi and Ho Chi Minh City and has not yet been able to expand to other localities.
Even in Da Nang City, a bright spot in the art market thanks to developing tourism and a growing community of young creatives, the market size remains quite modest. Art enthusiasts are still more inclined to "look for information" than to own the artwork.
Not only in Vietnam, but in many Southeast Asian countries, the art market is often concentrated in a few major cities. The Thai art market is mainly centered around Bangkok; Indonesia is concentrated in Jakarta and Bali; and the Philippines is entirely focused on Manila.
However, the difference is that these countries have built systems of art fairs, investment funds, and mechanisms connecting artists with businesses. This system allows artists, no matter where they are, to showcase, promote, and sell their works, helping to keep the art market stable.
In Vietnam, the art market has shown many positive signs recently. Independent art fairs, private creative spaces, and models combining art, cafes, and tourism have opened up new approaches for the public. However, we still lack a synchronized ecosystem encompassing aesthetic education, policies supporting art spaces, promoting the cultural industry, and building a habit of appreciating and collecting art within the community.
With such a system, we cannot rely solely on the passion of artists or the individual efforts of galleries and art funds; we need specific policies from relevant authorities and the domestic art community. Only when nurtured by policy and community support can aesthetic education and the art market develop sustainably, creating opportunities for artists regardless of their location.
Source: https://www.sggp.org.vn/lap-he-sinh-thai-dong-bo-cho-my-thuat-viet-post853841.html
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