{"id":8104,"date":"2026-03-23T00:26:10","date_gmt":"2026-03-22T17:26:10","guid":{"rendered":"https:\/\/battrang.museum\/?post_type=journal&p=8104"},"modified":"2026-03-23T00:26:11","modified_gmt":"2026-03-22T17:26:11","slug":"the-giao-chi-collection-primal-forms-of-memory","status":"publish","type":"journal","link":"https:\/\/battrang.museum\/en\/journal\/the-giao-chi-collection-primal-forms-of-memory\/","title":{"rendered":"The Giao Ch\u1ec9 Collection – Primal Forms of Memory"},"content":{"rendered":"
[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1774194851927{background-image: url(http:\/\/battrang.museum\/wp-content\/uploads\/2026\/03\/BTMJ-LAI_7170.jpg?id=8105) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”20rem” el_class=”hide-mobile”][vc_empty_space height=”48rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”3rem”][vc_empty_space height=”3rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

The Giao Ch\u1ec9 Collection – Primal Forms of Memory<\/h2>\r\n[\/vc_column_text][vc_empty_space height=”1rem” el_class=”hide-mobile”][vc_empty_space height=”3rem”][\/vc_column][vc_column width=”1\/2″ offset=”vc_col-md-5 vc_col-sm-offset-2″][vc_column_text]\r\n

The collaboration between artist Ph\u1ea1m Ki\u1ec1u Ph\u00fac<\/strong> and B\u00e1t Tr\u00e0ng Museum Atelier (BTMA)<\/strong> offers a contemporary approach to cultural traces of origin, where memory is transformed into singular artistic forms.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”6rem”][vc_column_text]\r\n

*<\/h3>\r\n
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\r\n<\/strong>Photograph L\u00ea Lai\r\n<\/strong>Florals\u00a0V\u1ef9 Nguy\u1ec5n<\/strong><\/h5>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][\/vc_column][vc_column width=”1\/6″ offset=”vc_col-md-offset-1 vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-4 vc_col-xs-4″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md vc_hidden-sm”][vc_empty_space height=”2rem”][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”8080″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”6rem”][vc_empty_space height=”6rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-offset-2 vc_col-md-3 vc_col-sm-offset-2″][vc_row_inner][vc_column_inner offset=”vc_hidden-sm vc_hidden-xs”][vc_empty_space height=”10rem”][\/vc_column_inner][\/vc_row_inner][vc_column_text el_class=”no-indent”]\r\n

Over time, the Giao Ch\u1ec9 toe has come to be seen as a lost marker. Yet what is lost does not disappear\u2014it transforms.<\/span><\/h3>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-6 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_row_inner][vc_column_inner offset=”vc_hidden-lg vc_hidden-md”][vc_empty_space height=”4rem”][\/vc_column_inner][vc_column_inner width=”2\/3″ offset=”vc_col-md-6 vc_col-xs-8″][vc_empty_space height=”4rem”][vc_empty_space height=”4rem” el_class=”hide-mobile”][vc_single_image image=”8110″ img_size=”large”][\/vc_column_inner][vc_column_inner width=”1\/4″ offset=”vc_col-md-2 vc_col-sm-offset-1 vc_col-xs-offset-1 vc_col-xs-3″][vc_single_image image=”8122″ img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”14rem” el_class=”hide-mobile”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_column_text]\r\n

A Cultural Trace of the Ancient Vietnamese<\/strong><\/p>\r\n

For generations, various narratives surrounding the physical traits of early Vietnamese people have been passed down through oral tradition. Among them is the notion of the \u201cGiao Ch\u1ec9 toe,\u201d a distinctive outward-turning big toe believed to signify ancestral lineage.<\/p>\r\n

Over time, the term \u201cGiao Ch\u1ec9\u201d has also been interpreted as \u201cintertwined toes,\u201d yet it continues to evoke enduring associations with identity and cultural origin. This distinctive image of the foot appears not only in folklore, but also in literature and poetry as a means of preserving collective memory\u2014much like customs such as betel chewing or teeth blackening, once integral to Vietnamese cultural identity.<\/p>\r\n

While archaeology has not established definitive evidence of this physical trait in the historical Giao Ch\u1ec9 region, it has nonetheless persisted as a symbolic marker of cultural identity within collective memory.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_section el_class=”.grid-collection”][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8112″ img_size=”large”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8114″ img_size=”large”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8116″ img_size=”large”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8118″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]\r\n

From Formlessness to Transformation<\/strong><\/p>\r\n

For artist Ph\u1ea1m Ki\u1ec1u Ph\u00fac, the collection does not aim to reconstruct a physical form, but to evoke a different state of existence:<\/p>\r\n

\u201cOver time, the Giao Ch\u1ec9 toe has come to be seen as a lost marker. Yet what is lost does not disappear\u2014it transforms. Things come into being when conditions align, and when those conditions fade, they take on another form, another state, or remain unseen. To me, the Giao Ch\u1ec9 toe is both a sign that has receded into the past and a presence that endures within the consciousness of contemporary Vietnamese.\u201d<\/p>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”8108″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_column_text]\r\n

After years of stepping away from the pace of urban life to seek stillness in H\u1ed9i An, early memories of origin resurfaced through her encounter with the material and cultural lineage of BTMA\u2014becoming the starting point for a contemplative artistic practice.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8124″ img_size=”full”][vc_empty_space height=”2rem”][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8126″ img_size=”full”][vc_empty_space height=”2rem”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”4rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]\r\n

Primitive Art and Ceramic Expression<\/strong><\/p>\r\n

The Giao Ch\u1ec9 Collection comprises four ceramic foot sculptures, each defined by the distinctive outward-turning big toe\u2014an expressive sculptural form that is both primal and evocative.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”8128″ img_size=”full”][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8130″ img_size=”large”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8134″ img_size=”large”][\/vc_column][\/vc_row][vc_row content_placement=”bottom”][vc_column width=”5\/12″ offset=”vc_col-sm-offset-1″][vc_single_image image=”8136″ img_size=”large”][\/vc_column][vc_column width=”5\/12″][vc_single_image image=”8138″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_empty_space height=”4rem”][vc_column_text]\r\n

The collection is shaped by three key elements:<\/p>\r\n

Sculptural Form<\/strong> Solid volumes and restrained geometry evoke a distinctly Eastern sensibility\u2014quiet, yet deeply grounded.<\/p>\r\n

Primitive Art Motifs<\/strong> Inspired by early visual languages and geometric markings, the surface patterns recall a primordial act of \u201cspelling out\u201d human expression, resulting in a visual language that feels both distant and contemporary.<\/p>\r\n

Layered Glaze Technique<\/strong> Executed by BTMA artisans, layered glazes create nuanced, unrepeatable variations in color and surface. Each piece emerges as a singular entity, reflecting how every individual carries a distinct trace of origin.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”4rem”][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8140″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n

Giao Ch\u1ec9 Incense Holder<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8142″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Giao Ch\u1ec9 Plate \u2013 Large<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8144″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Giao Ch\u1ec9 Plate \u2013 Small<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″ offset=”vc_col-xs-6″][vc_single_image image=”8146″ img_size=”full”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Giao Ch\u1ec9 Vase \u2013 Left \/ Right Form<\/h5>\r\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”4rem”][vc_column_text]\r\n

The Giao Ch\u1ec9 Collection suggests that we are always part of a cultural continuum. Even when a marker fades from physical form, it endures\u2014quietly yet persistently\u2014within the flow of memory.<\/p>\r\n[\/vc_column_text][vc_empty_space height=”2rem”][vc_empty_space height=”2rem”][vc_single_image image=”8152″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/3″ offset=”vc_col-sm-offset-2″][vc_column_text]\r\n

Giao Ch\u1ec9 also continues BTMA\u2019s collaborations with contemporary artists: from <\/span>R\u1ed3ng Ph\u1ed1<\/span><\/i> (2023) and <\/span>An Nam<\/span><\/i> (2024) with designer Di\u1ec7u Anh, to <\/span>Con V\u1ecbt Collection<\/span><\/i> (2025), with architect Nguy\u1ec5n H\u00e0, M\u00e3 Ni\u00ean<\/em> (2005) with Artist Phan Linh. BTMA\u2019s signature techniques\u2014from sculpting and carving to layered glazes\u2014combined with each artist\u2019s design perspective, create dynamic conversations between heritage and contemporary practice. This spirit positions ceramics as a source of inspiration for new artistic explorations shaped by the materials and sensibilities of our time.<\/span><\/p>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][vc_single_image image=”8120″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][vc_row equal_height=”yes” content_placement=”middle”][vc_column width=”2\/3″ offset=”vc_col-md-4 vc_col-sm-offset-2″][vc_column_text]\r\n

*<\/strong><\/h1>\r\n
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B\u00e1t Tr\u00e0ng Museum Atelier:<\/strong><\/h5>\r\n
is a ceramic workshop of nearly fifty years, operating under <\/span>B\u00e1t Tr\u00e0ng Museum and run by members of the founding family to continue the legacy of <\/span>People\u2019s Artisan V\u0169 \u0110\u1ee9c Th\u1eafng<\/strong>. <\/span>BTMA focuses on researching and developing the aesthetic language of Vietnamese ceramics \u2014 from form and glaze to decorative motifs \u2014 translating these traditions into contemporary design. Alongside preserving works associated with the artisan\u2019s legacy, BTMA collaborates with artists across disciplines to explore new creative directions.<\/span><\/h5>\r\n
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Ngh\u1ec7 s\u0129 Ph\u1ea1m Ki\u1ec1u Ph\u00fac<\/strong>: With over two decades of practice in product design, Ph\u1ea1m Ki\u1ec1u Ph\u00fac is the founder of Module 7. Building on her design background, she has expanded into independent artistic practice, notably through her collage series Into The Unknown (T\u00e0ng \u1ea8n)<\/i>, where reflections on memory and identity are explored through a contemporary visual language.<\/h5>\r\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″ offset=”vc_col-md-offset-1 vc_col-md-3 vc_col-sm-offset-2 vc_col-xs-offset-1 vc_col-xs-10″][vc_single_image image=”6822″ img_size=”large”][vc_empty_space height=”8px” css=”.vc_custom_1764583449501{background-image: url(http:\/\/battrang.museum\/wp-content\/uploads\/2025\/06\/BTA_Logo_Small.png?id=6821) !important;}”][vc_single_image image=”8051″ img_size=”large”][vc_empty_space height=”1rem”][vc_column_text]\r\n
Artist Ph\u1ea1m Ki\u1ec1u Ph\u00fac<\/h5>\r\n[\/vc_column_text][vc_empty_space height=”8rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”2rem”][\/vc_column][\/vc_row][\/vc_section][vc_row][vc_column][vc_empty_space height=”16rem” el_class=”hide-mobile”][vc_single_image image=”8150″ img_size=”medium” alignment=”center”][vc_empty_space height=”6rem”][vc_empty_space height=”6rem”][vc_single_image image=”8122″ img_size=”medium” alignment=”center”][vc_empty_space height=”6rem”][vc_empty_space height=”6rem” el_class=”hide-mobile”][vc_single_image image=”8080″ img_size=”medium” alignment=”center”][vc_empty_space height=”16rem”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]
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Four Women Designers in Dialogue with Ceramic Heritage<\/h4>\n \n\t
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