Shanshui: Echoes and Signals is a thematic exhibition with works drawn from the M+ Collections to explore the complex connections between landscape and humanity in our post-industrial and increasingly virtual world. Shanshui, the Chinese literally meaning ‘mountain and water’ and commonly translated as ‘landscape’, is a cultural legacy integral to Chinese philosophical thinking and poetic imagination and has motivated a millennium-long tradition of ink painting across East Asia. Attuned to the interplay and resonance between stillness and motion, as well as space and time, shanshui offers a powerful framework for understanding humankind’s relationship to nature.

Venue address: South Gallery, M+

Ho Iu-kwong, the Master of Chih Lo Lou once lamented the destruction of ancient Chinese paintings and calligraphy due to wars, natural calamities, pest damage and the natural elements. The survival of these artworks owes much to the meticulous craftsmanship of traditional mounting techniques. In collaboration with the Conservation Office, the Hong Kong Museum of Art presents this exhibition that focuses on selected research studies of the Chih Lo Lou Collection of Chinese Painting and Calligraphy. It explores Chinese paintings and calligraphy from artistic and scientific perspectives, providing insight into the conservation work behind the scenes of the museum.

Echoing the theme of merging art and science, the exhibition features a series of multimedia displays created by the local art group XR Experience. Through the use of augmented reality technology and projections, revealing the step-by-step processes in mounting and introducing a variety of commonly used mounting tools. The designed interactive animation also allows you to gain first-hand insights into their work. 

Venue address: 4/F. Chih Lo Lou Gallery of Chinese Painting and Calligraphy, HKMoA

Wu Guanzhong (1919 – 2010) practiced traditional Chinese ink painting in his early years and later ventured into the colourful realm of oil painting. After furthering his studies in France, he made the deliberate choice to return to China, dedicating his life to exploring the integration of Chinese and Western aesthetics. In his later years, he rediscovered the monochromatic appeal of ink painting uniquely and profoundly. Wu’s exceptional life experiences and artistic pursuits have transformed the seemingly cool and unexciting black, white, and grey into the most emotionally resonant and captivating tones, imbued with rich connotations encompassing Western design and traditional Chinese aesthetics. This exhibition showcases a fine selection of Wu’s ink and oil paintings in two phases. Accompanied by insightful excerpts from the artist’s own writings, we invite you to immerse yourself in the art master’s distinctive chromatic aesthetics and explore the boundless passion and imagination evoked within the interplay between black and white.

This exhibition is made possible by “Wu Guanzhong Art Sponsorship: Thematic Exhibition Series”. The Sponsorship is dedicated to promoting the art of Wu Guanzhong and related modern Chinese art. Through a diversity of programmes, the Museum endeavours to shed new light on Wu’s artistic theories.

Venue address: 4/F, Wu Guanzhong Art Gallery, HKMoA

Asia Society Hong Kong Center proudly presents Never End: The Art and Life of Gaylord Chan, the artist’s first retrospective since his passing in 2020. 

Gaylord Chan (1925-2020) was a prominent Hong Kong artist who only formally began his painting career in his 40s, developing a unique, youthful, and iconographic mode of abstract painting that he continued into digital art in his later years. Chan was also a beloved teacher, basing his pedagogy off his own experiences as a painter and shaping the next generation of Hong Kong artists. Never End includes a selection of paintings, rarely exhibited digital drawings, and newly organized archival materials that pay tribute to the artist’s art, life, and ongoing legacy.

The exhibition is guest curated by Joyce Hei-ting Wong with Josephine Chow as Exhibition Consultant and Hain Yoon as Assistant Curator. With support provided by Hong Kong Arts Development Council, Virginia and Wellington Yee, Ms. Yang Mun Tak Marjorie, Rita and KC Kung, and Mystic Island Winery.

Venue address: Chantal Miller Gallery, Asia Society Hong Kong Center, 9 Justice Drive, Admiralty

A.A.Murakami (est. 2011) is a Tokyo- and London-based artist duo formed by Alexander Groves (b. 1983) and Azusa Murakami (b. 1984). Their multidisciplinary practice straddles the spheres of sculpture, installation, cinema, and digital art, creating experiences that augment their science-based inquiries with moments of daring and spectacle.

The exhibition will feature two interlinked immersive installations which offer an otherworldly experience: one traces the journeys of physical fog rings travelling into the digital realm, and the other reveals an environment of floating bubble clouds. With transient materials and the innovative application of custom-built technology, these two large-scale installations inspire visitors to question philosophical ideas about the nature of reality, artifice, and the digital lives that we increasingly embody within today's contemporary landscape. The presentation at M+ further develops the duo’s pioneering concept of ‘Ephemeral Tech’, in which innovative technological research is used to reimagine primordial origins and to speculate possible future scenarios.

Guo Pei (b. 1967), China’s first couture artist, combines Chinese cultural heritage with international elements and artistic expression. Guo's astonishing runway collections have impressed fashion and art audiences alike for almost 30 years. Presenting the first major exhibition of Guo’s work produced in China, M+ will showcase Guo’s key collections and early designs, highlighting her unique career connecting China and the rest of the world and the cultural symbols created through her sophisticated and visually dazzling practice. Working with the couturier and her studio, the exhibition presents a selection of garments shown to audiences in the region for the first time, creating a layered dialogue with the M+ Collections around visual imagination and workmanship. The exhibition foregrounds Guo Pei's unique artistic style that resonates with imperial Chinese dress etiquette, European royal fashion, architecture, and the botanical world.

Ticket Information

Standard: HKD 160
Concessions*: HKD 80
M+ Members’ Additional Ticket: HKD 112
M+ Patrons’ Additional Guest Ticket: HKD 80

Chinese civilisation is ancient, profound, and enduring, standing as the the world's longest continuous civilisation. In 2002, the country launched the “Project to Trace the Origins of Chinese Civilisation” (the Project), which has yielded remarkable results over the past two decades, mapping out the historical trajectory of the origins of Chinese civilisation. The Project, through archaeological surveys and studies, has showcased the tangible continuity of the civilisation and the diversity of its origins. It reveals how different regions and cultures interacted with one another, and eventually merged into a cohesive whole, forming the “diversity in unity” developmental pattern of the Chinese people.

This exhibition features the excavates of the Project as well as important archaeological discoveries in the centennial modern Chinese archaeology. Over one hundred exhibits come from fourteen archaeological institutions and museums in the Mainland and Hong Kong, covering nine archaeological cultures and nine major archaeological sites. It is one of the most comprehensive exhibitions in recent years dedicated to exploring the origins and achievements of Chinese civilisation.

The exhibition is jointly organised by the HKPM and Art Exhibitions China, and sponsored by Bank of China (Hong Kong), the Museum’s strategic partner.

In 2022, Oi! launched the Archaic Curator Series, inviting Chinese art historians and curators to collaborate with us on exhibitions that engage with traditional Chinese art through innovative forms of expression, bridging the old and the new. This third exhibition of the series is guest curated by Dr Wang Guanyu, Associate Curator (Antiquities) of the Art Museum of The Chinese University of Hong Kong (CUHK Art Museum), with three accomplished artists from Jingdezhen and Hong Kong—Gu Yue, Fiona Wong and Caroline Cheng—participating.

The challenge of balancing tradition and modernity has always been an important topic to the creation of art. Each of the three artists featured in this exhibition approaches their works from a different angle: ceramic traditions, contemporary ceramics and the sustainable future of ceramic art. Focusing on the rich essence and endless possibilities of using colours in ceramics and taking inspiration from the CUHK Art Museum’s collection, the artists infuse their own technical artistry and aesthetics into their works, showcasing their personal understanding and interpretation of contemporary ceramic art.

Guest Curator: Wang Guanyu
Artists: Gu Yue, Fiona Wong and Caroline Cheng

Venue address: Oi! Glassie, 12 Oil Street, North Point

Realism and fiction blur in the otherworldly realm that is In the Land Beyond Living, opening up new angles from which to contemplate contemporary society in China and the human condition at large. With elements of painting, sculpture, video, sound, installation, and set design, this solo exhibition by the artist Tao Hui takes us from north to south, the inland to the coast, the urban to the rural, the industrial to the natural.

In the Land Beyond Living highlights how Tao Hui’s absurd yet realistic artistic practice explores individual struggles. These include the ethnic minorities guarding the Gansu Corridor; migrant workers striving for a better life in drastically developing cities; and the nouveau riche yearning for spiritual sustenance. In seeking new ways to present and comprehend the complex realities of today, the artist interweaves depictions of harsh environments, migration flows, geographical disparities, and the relentless drive for a better life—into surrealistic imagery that casts new light onto the complex flow of reality.

Curator: Jill Angel Chun

Venue address: 3/F, JC Contemporary

Hauser & Wirth Hong Kong presents 'Exotica,' a major solo exhibition by Mark Bradford that navigates the concept of 'otherness' through a formally innovative body of work.

Consisting of around 20 new paintings, the exhibition extends Bradford's study of figuration through the use of a signature staining technique, which uses caulk to create ghost-like imprints on the canvas. These forms inject the artist's layered compositions with a trace of fantasy, spectres and strangeness.

The exhibition is anchored by a group of paintings centred on the agave plant, a monocarpic variety that blooms only once at the end of its lifecycle. Drawing inspiration from a 1970s' encyclopedic text that catalogued 'exotic' plants from a western perspective, this new body of work considers how we imagine, internalise, and project a sense of 'otherness' onto which we may be able to name, but have not understood.

Opening reception: 5-7pm

Gallery address: Ground FLoor, 8 Queen's Road, Central

Our daily lives are structured by measurements of time. Calendar systems track the passage of weeks, months, and years, while clocks divide days into hours, minutes, and seconds. Yet, time, as we experience it, resists precise measurement—it can slow down, stretch, accelerate, or even spiral. As an art archive, we are interested in this tension between precision and elusiveness. We often ask ourselves if historical events and art histories have definitive beginnings and endings. And how might artists counter strict chronologies? 

Countering Time has grown out of discussions with four artists and writers over the course of six months. The exhibition presents new works by Merve Ünsal, Simon Leung, Gala Porras-Kim, and Lee Weng Choy, who speculate on the immeasurability of time. Merve Ünsal uses her body to record a centuries-old sinkhole where human and geological time collapse. Simon Leung bends and folds the afterlives of a moment captured in a 1967 photograph from Hong Kong. Gala Porras-Kim traces recollections of lost works and archives. Lee Weng Choy uses personal annotations to mark time. Together, they tune in, refract, exhume, and annotate artworks, archival records, and past events, demonstrating how archives are sites of imagination instead of final resting places of historical records. 

Venue address: CCG Library, Asia Art Archive

wamono art is pleased to announce the first solo exhibition in Hong Kong by Seiju Toda, one of Japan's leading art directors and a fine artist. The exhibition features a body of works from Toda’s signature HEIAN series.

The title "Heian"  corresponds to a name of the period in the middle age in Japan from the 8th to the 12th Century. However, with the title,   Toda has never intended to provoke any nostalgia for that period. Instead,   such elements as light, color, humidity, air, and tenderness that the word   Heian evokes in the artist's mind are the motivation of the project along with a hope the world today would reevaluate peace and well-being, which are just what the word Heian means. The concept of the creation is   "subtraction." Because the act of subtraction, as opposed to that of addition, can make things simple to stimulate people's imagination. In fact, this is the very virtue of the Japanese spirit of beauty. The materials are all "raw things" such as plain wood, living creatures and natural light. The shooting was done on a cloudy day at midday. The camera aperture is wide open and the distance from the subject is about 7-8 meters. The images are shot in a way that makes you feel as if you are watching with your own eyes open. Due to the difficult conditions to have, it took three years of shooting before he accomplished the project.

Gallery address: Unit A, 10/F, Derrick Industrial Building, Wong Chuk Hang

The University Museum and Art Gallery, The University of Hong Kong, is honoured to present Japanese Printmakers of the Twentieth-Century Renaissance: Kurosaki Akira and Nakabayashi Tadayoshi. The exhibition highlights two of Japan’s most remarkable printmakers and their influence on a resurgence of printmaking in Japan. This cultural phenomenon grew as the artists underwent rigorous training while maintaining a robust interest in traditional printing methods, such as the world-renowned woodblock technique. Through their innovative experimentation, the two printers spearheaded a revival that further developed and expanded upon established printing techniques.

The unusual juxtaposition of two contemporary artists emphasises both Kurosaki and Nakabayashi’s masterpieces and their individual contributions to the ongoing development of Japanese printmaking. This pairing also highlights the distinctiveness, cultural relevance and novelty of their work. Both born in 1937 and similarly trained, Kurosaki and Nakabayashi pursued different topics and employed distinctive colour palettes. Despite these differences, they both excelled at abstract artmaking and are celebrated for their masterful storytelling.

Venue address: 1/F, T. T. Tsui Building, UMAG, HKU, 90 Bonham Road, Pokfulam

MAYAO is thrilled to present the group exhibition “Children Of The Dust”. This exhibition aims to create a contemplative space where art serves as a refuge from collective despair.

Featuring artworks that utilize natural materials, the exhibition reflects on geological transformations and juxtaposes them with the rapid, often tumultuous changes in our personal and societal lives. The echo from the deep time provides solace amidst the noise of day-to-day struggles.

The word “Dust” refers to the fundamental basis of all physical matter, which is also the shared visual element that connects the works in this group exhibition. The title “Children of The Dust” comes from the theory that nearly all the elements in the human body were forged in stars. We, like the clay, salt, metal, and stones used in the artworks, are fragments of a vast cosmic past. We are all children of dust, shaped by the same echoes of the deep time.
Curator: Dr. Penny Dan Xu
Artists: Alchemyverse, Dawn Ng, Ella Littwitz, Guo Hongwei, Hugo Deverchère, Nicolas Lamas, Ni Youyu, Shahpour Pouyan
Opening reception: 5pm-8pm, October 25

Gallery address: Shop E, 10/F, Derrick Industrial Building, 49 Wong Chuk Hang Road

The University Museum and Art Gallery, The University of Hong Kong is delighted to announce Perckhammer’s Peking: A Photographic Documentation of China’s Capital City in the 1920s, an exhibition of work by Heinz von Perckhammer (1895–1965). A prominent South-Tyrolean photographer and photojournalist, who grew up in the Austro-Hungarian Empire, Perckhammer travelled to various regions of China and documented daily life, rituals and architecture in images that display a Westerner’s curiosity for Chinese customs and culture. Today, the illustrations in Perckhammer’s publication are of great historical value since they document the beginnings of China’s modernisation and social change in Beijing during the early years of the Republic. For the aspiring photojournalist, the 1920s presented an era of transformation and the fifteen hundred photographs taken by Perckhammer constitute an archive of extraordinary scope and diverse subject matter. Although the publication includes only 200 images, Peking offers a compelling account of the artist’s fascination with various subjects, such as the Imperial Palace, religious architecture, city views, street scenes and glimpses of daily life. These subjects fascinated the artist and drove him to document his experiences.

Venue address: University Museum and Art Gallery, The University of Hong Kong, 90 Bonham Road, Pokfulam

Making it Matters is an exhibition exploring different approaches to the topic of making as a process of creative expression and the long-lasting impact this process has on our individual lives, global communities, and ecosystem. The experimental display will feature ideas that innovative makers have adopted to incorporate responsible design, material innovation, and creative reuse strategies into alternative modes of thinking and how these ideas are situated within wider historical, pragmatic, or sociopolitical contexts. The exhibition draws upon the diverse work of artists, designers, and architects currently in the M+ Collections—including John Cage, Raffaella della Olga, Anna Ridler, Julie & Jesse, Fujimori Terunobu, Vo Trong Nghia Architects, and Rural Urban Framework—to highlight the diverse stories that show us why the act of making continues to matter in society, now more than ever.

Para Site is pleased to present ‘The Embrace and the Passage’, an unfolding exhibition ofall-new commissions by Michele Chu, Florence Lam, Monique Yim, and Bunny Cadag,curated by Jessie Kwok.

The exhibition examines the complex relationship between host and guest as a frameworkto explore questions of intimacy and hospitality during times of transition anddisplacement. A host embraces, cares, and remains, while a guest arrives, adapts, anddeparts. In the physical or metaphorical sense—as a body, home or a place—the host-guestdynamic is marked by codependence, negotiation and sometimes conflict.

Opening Reception: Sat, Nov 2, 2–7pm

Gallery address: 10B, Wing Wah Industrial Bldg.
 677 King’s Road,
Quarry Bay


Artspace K proudly presents “Glitter ─ Wong Chau Tung Solo Exhibition” from 6 November 2024 – 27 January 2025. This time, we invited urban ink artist Wong Chau Tung to exhibit, showcasing 22 pieces of Hong Kong urban ink paintings of night scenes and festive atmosphere.

In this exhibition, Wong Chau Tung’s works focus on Victoria Harbour night views, city streets, neon signs, fireworks, and cultural celebrations, presenting the ever-changing Hong Kong through ink creations. We hope that through these works, everyone can experience Hong Kong’s artistic and romantic atmosphere.

Urban Ink Painting: Lecture & Demonstration (Cantonese)

Artist: Wong Chau Tung
7/12/2024 (Sat)  & 11/1/2025 (Sat)
Time:2:30 – 4:00 p.m.

The exhibition traces the landscape transformations and the dynamic interactions between people and the environment that have shaped the character of Happy Valley, portraying the layered life of this evolving valley as one of Hong Kong’s iconic cultural landscapes.

Multimedia presentations—including an interactive topographic model, documentary films of the 1930s, the 1970s, and the present day, as well as rarely seen historic photos and maps—reveal the interwoven experience and everyday relationships that people have with Happy Valley. Through Happy Valley, this exhibition advocates for a holistic vision for urban heritage conservation to build an inclusive, sustainable, and resilient future. 

The exhibition is part of the 140th anniversary activities for The Hong Kong Jockey Club.

Venue address: Duplex Studio, Block 01, Tai Kwun

Curated by Edward Stokes and presented by the Hong Kong Maritime Museum (HKMM)'s curatorial team, Voyage Through Time is a new exhibition of captivating photographs taken in Hong Kong between the 1940s and 1970s by celebrated photographers Hedda Morrison, Brian Brake and Edward Stokes. These photos portray Hong Kong’s harbour, its port, shipping, maritime life, and boat people. Generously supported by The Robert H. N. Ho Family Foundation HK with additional sponsorship from The Swire Group Charitable Trust, the exhibition is open to the public free of charge, from 13 November 2024 to March 2025.

Each Photograph Tells a Hong Kong Harbour Story 

From the post-war era to its rise as a modern metropolis, these photos vividly capture a slice of Hong Kong’s history. Each photograph tells a unique harbour story.

Hedda Morrison captured post-war maritime Hong Kong with her camera. In one photo, Wan Chai can be seen, still barren after the war, overlooking Victoria Harbour. Life for most people during this period was extremely hard. Many people were gaunt from hunger.

Brian Brake’s photos were mainly taken in the 1960s to mid-1970s. During this era, port facilities and city’s skyline saw significant development, and the lives of its people became less hard.

Edward Stokes’ photos were taken in 1979, a pivotal time when Hong Kong transitioned to its emergence as a modern metropolis. There is one photo that depicts two boys who look adequately fed, and almost certainly going to school – an unthinkable benefit for virtually all boat children in 1946.

Gagosian is pleased to announce |, an exhibition of new paintings by Sterling Ruby from the TURBINE series (2021–), opening at the gallery in Hong Kong on November 14, 2024. The title, |, is an ode to verticality. This exhibition marks not only ten years since the artist’s debut with Gagosian, but also a return to the site of that inaugural presentation.

In a practice that spans painting, sculpture, drawing, collage, video, ceramics, and textiles, Ruby alludes to key artistic tendencies and to the intersection of sociopolitical histories with the narrative of his own life. Through formal juxtaposition, he interweaves the disruption of aesthetic convention with the reexamination of civil structures. In Ruby’s 2014 exhibition VIVIDS, large-scale spray paintings seemed to gaze into the horizon in apparent anticipation of changes to come. Those works’ horizontal orientation stand in stark contrast to the precariously balanced compositions of the new TURBINE paintings on view in Hong Kong.

Ruby recalls the sensation of witnessing such monumental collapse as a child: “When I was young my father worked as an explosives technician. On a number of occasions, I went with him and watched, in real life, the collapse of large structures, the thinness of architecture, chimneys and smokestacks crumble in one sweep, one motion. Transforming solids to particulates. Watching these smokestacks, built on twentieth-century labor and progress, fall, I cannot help but think of societies’ and civilizations’ collapse.”

Opening reception: Thursday, November 14, 6–8pm

Gallery address: 7/F Pedder Building, 12 Pedder Street, Central

10 Chancery Lane Gallery is honoured to the debut solo exhibition in Hong Kong of Mongolian artist ANUnaran J. Solo Exhibition “Inner Nature – Return to Innocence” in Hong Kong from 15 November 2024 to 11 January 2025.

ANUnaran Jargalsaikhan, is a contemporary multidisciplinary artist. Living and working in Ulaanbaatar, Mongolia. Her diverse practice and use of materials and performance are deeply connected to nature. In this exhibition at 10 Chancery Lane Gallery we will see the diversity of her practice which includes a unique mix of techniques that are embroidered, sewed, appliquéd and as well as, photo-based work combining various materials such as fabric, pens, thread, acrylic, oil and printing.

In a poignant reflection on the intricate relationship between humanity and nature, ANUnaran J. delves deep into the essence of our inner nature. She shares, "We feel things both externally and internally. Our relationship with nature resides within us, as does Mother Nature herself." Her introspective musings underscore the crucial yet fading connections we share with the natural world.

Artist’s Talk and Opening Reception: Saturday, 16 November

Artist’s Talk: 3 pm, Reception: 4 - 6 pm

The University Museum and Art Gallery (UMAG), The University of Hong Kong is thrilled to present David Clarke: Colour in Space, an exhibition displaying giclée prints of the artist’s own watercolour paintings. By presenting one medium as another, Clarke develops an abstract art that plays with scale and explores different materialities. The images capture both the translucency and opacity of the carefully applied watercolours, while the digital printing technology helps to represent or transfer the design into a scalable print form.

Beyond the multifaceted visual qualities of these works, Clarke is interested in the relation and transfer of words into images and vice versa. Where abstract art is less confined to representing definable subject matter, the ability of visual compositions to represent verbal content offers a tangible or readable dimension. Clarke, who has previously collaborated with composers and writers in response to his photographs, now invites a composer and visual artist to draw inspiration from the paintings central to his current project.

Venue address: 2/F, Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam

I study nature, and a lot of these forms come from observing plants. I really look at nature and I just do it as I see it. I draw something on paper. And then I am able to take a wire line and go into the air and define the air without stealing it from anyone. —Ruth Asawa

David Zwirner is pleased to announce an exhibition of sculptures and works on paper by American artist Ruth Asawa (1926–2013) at the gallery’s Hong Kong location. Relentlessly experimental across a range of mediums, Asawa is known for her works built on simple, repeated gestures that accumulate into complex compositions. The artist moved effortlessly between abstract and figurative registers in both two and three dimensions, creating a vast and varied oeuvre that, despite its visual heterogeneity, reflects above all her belief in the total integration of artistic practice and family life. The first solo presentation of Asawa’s work in Greater China, the exhibition provides an overview of the artist’s wide-ranging practice, focusing in particular on her affinity for the natural world, which in turn provided a constant source of inspiration in her art.

Opening Reception Tuesday, November 19, 5–7 PM

Gallery address: 5–6/F, H Queen’s, 80 Queen’s Road Central

David Zwirner is pleased to present an exhibition by American artist Scott Kahn (b. 1946) at the gallery’s Hong Kong location. Once in a Blue Moon will feature a body of new paintings that focus on the full moon in various phases—with its myriad connotations—as their central compositional element. Also on view will be a selection of landscapes from throughout Kahn’s career, several of which include the moon, often glimpsed in the background, materializing as a sort of omen for the scene laid out beneath. Viewed together, these works exemplify the artist’s distinctive approach to the genre, showcasing his masterful use of formal elements to impart psychological resonances and heighten the theatricality of everyday experience. This will be Kahn’s first solo presentation in Asia and first with the gallery since his representation was announced in May 2024.

Opening Reception: Tuesday, November 19, 5–7 PM

Gallery address: 5–6/F, H Queen’s, 80 Queen’s Road Central

Ben Brown Fine Arts is delighted to present 多維空間 Quaquaversal, an exhibition of new works by Los Angeles-based conceptual artist Awol Erizku. This bold showcase, featuring paintings, neon installations, and a newly unveiled series of bronze sculptures, builds on the artist’s ongoing engagement with the city of Hong Kong, first initiated in his 2018 exhibition 慢慢燃燒 Slow Burn. 多維空間 Quaquaversal continues Erizku’s exploration of materiality, symbolism, and cultural intervention, expanding dialogues around cultural authorship and art history while electrifying African diasporic identity in a powerful act of revival.

Erizku reimagines the visual and linguistic landscapes of music, popular culture, and sports symbolism, deconstructing and reconstructing cultural motifs to create nuanced narratives that favor Afrocentric perspectives. In 多維空間 Quaquaversal, Erizku fuses disparate elements, producing a cultural flip that re-examines the established canons of art history, philosophy, and language. At the heart of his practice is a dissection of the persistent hegemony of Eurocentric ideals, unmasking their quiet colonization of global cultural narratives and intellectual frameworks. This critique examines how these ideals subtly yet powerfully continue to dictate standards of beauty, knowledge, and civilisation, often at the expense of diverse and marginalized worldviews, particularly in art. Erizku’s work defies these dominant frameworks, offering instead an Afrocentric vision he terms Afro-Esotericism.

Gallery address: 201 The Factory, 1 Yip Fat Street, Wong Chuk Hang

John McAllister, deeply drawn to the enigmatic play of light, immersed himself in its exploration through the medium of painting. His journey from California to New York proved pivotal, especially his encounter with Post-Impressionist masters at the Metropolitan Museum of Art. The works of Pierre Bonnard and Henri Matisse drew him into the tradition of twentieth-century artists who strive to capture the immemorial elements of light.

In his landscapes, instead of sketching specific scenes and points of view in the natural world, McAllister creates imagined vistas inspired by the sense of the sublime experienced in the beauty of nature. The artist engages in an ever-evolving dialogue with his environment; formed as close by as the flowers planted in his garden beyond his studio door, to riding his bike for miles through the wilderness in his surrounding Massachusetts. Back in the studio he creates scenes that possess the kind of harmonious beauty only possible with a considerate understanding of the delicate balance between the oppositional forces in nature and its constant state of flux: the fleetingness of a single ray of light against the ubiquitous being of the sun: the endless cycle of creative growth into hibernation and decay.

Gallery address: Shop 03-205A & 205B & 206, Second Floor, Barrack Block, Tai Kwun

"Since ancient times, humanity has gazed at the starry sky. Even now, when I look upon the vast canvas painted with countless stars, the cares of human society seem to fade away, and I am enveloped in an elegant atmosphere." Chiyu Uemae

Chiyu Uemae’s practice transcends conventional artistic production to embody a profound meditation on existence. Through his meticulous pointillist abstractions and later textile works, Uemae articulates a deeply personal cosmology at the intersection of humanity, labour, materiality, and temporal awareness.

In the landscape of post-war Japanese art, Uemae emerges as a singular presence. As one of the few artists who remained with the pioneering Gutai Art Association from its inception until its dissolution, Uemae's oeuvre represents a unique trajectory within the movement's radical experimentations. Cosmology presents sixteen pivotal works from the 1950s to the 2000s, offering a contemplative journey through the accumulated gestures of Uemae’s personal and creative life.

Gallery address: 21/F, Coda Designer Centre, Wong Chuk Hang

Whitestone Gallery is delighted to present Game of Thought, the first solo exhibition of Japanese artist Tenmyouya Hisashi in Hong Kong. The exhibition showcases a curated collection of works, including both new creations and selected pieces from 2020. This exhibition offers a captivating exploration through the fusion of traditional Japanese themes and contemporary artistic expression.

The opening reception will take place on 23 November 2024, from 6 to 8 PM, featuring a live Taiko drum performance with the artist present.

Gallery address: 7-8/F, H Queen’s, Central

Novalis Art Design is pleased to present Primitive, Studio Nucleo’s first solo show in Hong Kong showcasing the ‘Primitive’ series. The exhibition is kindly supported by the Italian Cultural Institute in Hong Kong and is part of BODW in the city. The artist will be present at the opening reception.

By synthesizing past influences with forward-thinking vision, Studio Nucleo creates objects that are both surprising and deeply grounded. Their Primitive series exemplifies this ethos, transcending conventional boundaries to merge functional design with sculptural art. In these pieces, shape, texture, and colour intertwine to form a dramatic juxtaposition of geometric forms, establishing a dialogue between past and present, tradition and innovation.
In recent years, Studio Nucleo’s work has taken on new urgency in the face of the climate crisis. While their practice has long embedded craftsmanship and local materials, there is now a deeper focus on sustainability, particularly using recycled and recyclable materials. The Primitive series reflects a growing commitment to ecological responsibility, integrating principles of the circular economy into their design process. By rethinking the life cycle of their materials, Nucleo offers a new, more environmentally conscious model for contemporary design and our lifestyle.

Opening 28 Nov 2024, 6 - 9 pm

Gallery address: G/F, 197 Hollywood Road

Asia is home to rich textile traditions. Its textile art is generally seen as an applied art, and textile artists are often equated with weavers, tailors or knitters. However, Asian artists increasingly turn to textiles to honour traditional craftsmanship while addressing historical narratives and current global urgencies, such as pollution and waste, pioneering a new dimension of textile art.

The ANTEPRIMA x CHAT Contemporary Textile Art Prize aims to encourage and promote artists with Asian connections who offer new insights into textile materials, techniques and history. In the inaugural edition, eight curators from different countries who have a deep understanding of Asian contemporary art nominated four artists each. An international jury of five esteemed members then selected eight finalists based on five criteria: potential, originality, skill, idea and methodology. The jury judged the finalists’ works on site and announced the winner on 29 November. During the exhibition, visitors are also invited to vote for their favourite artwork in the Audience Prize.

Presented in partnership with ANTEPRIMA, this exhibition showcases the works of the finalists and celebrates the expressive power and intrinsic significance of textiles. We hope the one-of-a-kind prize will stimulate artistic talents and create future possibilities of textiles.

Visitants to Lunar Factory summarises Guangzhou-based artist collective BOLOHO’s activity over their six-month residency at CHAT in 2024. As their first institutional solo exhibition in Hong Kong, it culminates their co-creative efforts in CHAT’s community programme Seed to Textile.

BOLOHO draws inspiration from their recent research on huaqiao nongchang (overseas Chinese farms) and the diverse plants that thrived there. In Guangzhou and Hong Kong over spring, BOLOHO collaborated with ‘Seeders’ formed by local students to nurture six plants commonly found in overseas Chinese farms. They made natural dyes with the harvests and invited the public to participate in dyeing and collaging fabrics in summer. Using the results of the workshops, BOLOHO produced the video work Visitants to Lunar Factory, which is presented with other collaborative artworks in this exhibition.

Venue address: CHAT/MILL6 Foundation, The Mills, 45 Pak Tin Par Street, Tsuen Wan

Galerie Koo is delighted to announce a group exhibition “Festive Palette: A Collective Celebration”

This festive season, immerse yourself in a vibrant group exhibition celebrating the creative voices of 14 talented artists. Spanning a rich array of mediums — Chinese ink, mineral pigments, acrylics, oils, sculptures, ceramics, stone art, prints, and delicate paper cuttings—each work offers a window into the artists' distinctive styles and visions. Complementing the artwork is a thoughtfully curated selection of merchandise, including candles, postcards, books, and charming trinkets, all reflecting the unique aesthetics of the featured artists.

Opening Reception: 30th November 2024 (Saturday), 2 - 6 pm
Artists in attendance

Gallery address: 7/F Vogue Bldg, 67 Wyndham St, Central

Gallery EXIT presents ‘Their Memories’ by Daphné MANDEL, featuring a new series of works by the Hong Kong-based French artist. Positioning herself as an observer, for many years MANDEL has been engaging with her adopted city’s past. Exploring villages in the New Territories and collecting stories from local villagers whose lifestyle is on the brink of disappearing, she explores the themes of pattern and repetition versus singularity and uniqueness through the narratives of rural life and industrial heritage.
 
Upon entering the gallery, the viewer is greeted by a long row of small paintings from the Their Memories series. Seen from a distance, these paintings drawn from formal family portraits, photographs of casual friends and family gatherings and occasions, weekend excursions and travels abroad form a repetitive pattern of shapes, shades of sepia, browns and greys, evoking a cycle of lives of a people who have left their rural village homes and their memories behind. Only when scrutinised up close do the individual stories become discernible. As the artist wanders around abandoned homes in rural villages, she often comes across photo albums that have survived several decades in a decaying and humid structure, the photographs within turned into a palette of browns, sepia, pinks and yellows. Time, material deterioration, the artist’s intervention and act of painting, transform the ephemeral images into the abstraction of memory.

Exhibition opening: 3-5pm, Saturday, 30 November

Gallery address: 3/F, 25 Hing Wo Street, Tin Wan, Aberdeen

Whether in the movies or in reality, the US has always fascinated visitors. The country has inspired generations of photographers, from Robert Frank in the 1950s to today's young street photographers. Boogie Woogie Photography & PhotogStory are pleased to present a group exhibition, MADE IN USA, which brings together the works of eight artists exploring this theme. The exhibition will be held at the Loft in Wong Chuk Hang from 30 November 2024 to 24 January 2025.

It is a journey that embraces the diverse voices that have defined America and envision stories still waiting to be told: New York is the City; everyone sees and feels it from their perspective. Japanese photographer Takeshi Shikama's platinum print of Central Park is meditative and elegant; New York in the 1950s under the lens of Swiss-French photographer Sabine Weiss is dynamic. Meanwhile, US photographer Louis Stettner, who spent 70 years photographing Manhattan, captured the full spectrum of color within its urban scenery. Hong Kong artist Reo Ma's motorbike installation echoes Harold de Puymorin's road trip images. Vehicles symbolise speed and freedom but have also historically driven consumer culture forward, both in the US and elsewhere. Accompanying the motorbike are selected works from Reo, each representing his perceptions of our culture during his "road trip" of exploring the outer and inner worlds.

Opening: 30 November, Saturday, 2-6 pm.

Gallery address: The Loft, 8/F, E. Wah Factory Building

DE SARTHE is pleased to present Here Today, Gone Tomorrow, a solo exhibition by Chongqing-based artist Hou Jianan, featuring a new body of works on canvas that allude to the illusion of fulfilment that manifests in the cross-breeze of consumerist society and digital gratification. Sweet and plump yet empty and fragile, Hou’s imagery reflects upon the changes in perception induced by the falsehoods of artificiality and elucidates the ephemeral environments in which we currently exist. Here Today, Gone Tomorrow opens November 30th and runs through January 25th.

Central to Hou Jianan’s practice is the idea that hedonistic tendencies are amplified in and by the age of accelerationist technology. The desire for material and consumption is exponentially expanded as perceivable reality is made brighter, fuller, and more colorful through digital means. Hou’s manipulation of imagery reflects upon this phenomenon; combining digitally saturated compositions with the dimensionality of layered acrylics, the artist inflates certain objects while flattening others, crafting overtones of artificiality evocative of contemporary visual experiences. 

Gallery address: 26/F, M Place, 54 Wong Chuk Hang Road

A text, an image, and a memory, collaged with fragments of life. From the characters in a narrative to the scenery along the road, pigeons tapping on a window, a desk in the house, a corner of a masterpiece, and a chubby cat at home—interpretation, replication, deconstruction, reconstruction, and transformation occur between memories, images, and text. Throughout this process, things may change, grow, or diminish. “Klara and the Orange Cat” exists as an entanglement between text and everyday life.

Co-organised by alumni Kong Chun Nga, Kitty and Heung Kin Fung (Alex), the exhibition is inspired by Kazuo Ishiguro's book “Klara and the Sun.” Kitty has always imagined herself to be a robot, or "Artificial Friend" (AF) as described in the book, who operates without solar power in an office in Central. While writing the exhibition proposal during lunch, she began drawing self-portraits, the idyllic scenery outside the window, and birds napping on the grass

Out of boredom, she once initiated a discussion with her colleagues about whether the colour of sunlight falling on an orange cat's body would appear orange, white, or yellow. Despite finding her question absurd, the colleagues engaged in the conversation, as they were all reluctant to work. Their exchange was like a cat stretching, so unexpectedly pleasant that you couldn’t help but smile

Opening Reception: 6 Dec 2024 6-8pm

Venue: The Gallery of Hong Kong Art School (10/F, Hong Kong Art Centre, Wan Chai

Arthur De Villepin is thrilled to present "DAY ZER0," the groundbreaking first solo exhibition at Villepin Gallery and the inaugural event in Hong Kong.

"DAY ZER0" challenges us to embrace change while navigating an ever-evolving future and urges us to rethink our interconnectedness across Time and Space. In this fast-paced world, Yukimasa Ida’s transformative work serves as a catalyst and provides new perspectives that help us navigate the complexities of tomorrow. Igniting hope and purpose, this exhibition compels us to become active participants in shaping our collective destiny, encouraging us to embrace a vision of harmony that transcends time.

Gallery address: 53-55 Hollywood Road, Central

Imagine living with a debilitating disease for the rest of your life because you were unaware you had it for so long. Imagine losing your quality of life because you were not diagnosed with a life-threatening disease in time. This is the reality for some of us in the HIV/AIDS community who did not discover their status until later in life.

AIDS Concern, which was founded in 1990, has been a strong advocate for HIV prevention and sexual health education. Over the last decade, we have helped over 200k people of all genders with HIV/AIDS testing, education and holistic support. We continue to encourage everyone in our community, regardless of orientation, age or gender, to get tested. HIV/ AIDS is a chronic, non-curable disease. Our vision for Hong Kong is Triple Zeros: zero stigma, zero new infections, and zero AIDS deaths. We aim to end AIDS by 2030.

Sin Sin Fine Arts has been a pioneer in giving back to the local community for decades. Sin Sin recognized the importance of continuing to raise awareness about HIV prevention and the associated issues, such as mental health. Sin Sin and AIDS Concern are collaborating with 17 artists for this event, and we invite you to DIVE-IN and support this exhibition. Your support will help with our continued promotion, education, and advocacy of comprehensive sexuality education as well as helping PLHIV medically and mentally, with all of our holistic services.

Opening reception: 6-9pm (artists will be presentnt)

Gallery address: 4/F, Kin Teck Industrial Building, 26 Wong Chuk Hang Road

According to the Oxford English Dictionary, the word ‘set’ has some 430 definitions – until relatively recently, more than any other word in the book – and they have constantly evolved depending on the context. Hong Kong artist Nicole Wong (b. 1990) delves into the potential for such transformations in Once It Sets, her fourth solo exhibition opening at Rossi & Rossi Hong Kong on 7 December. Fixating on natural and artificial crystalline solids, the artist amplifies or repeats processes of material transformation, thus delineating structural changes during these critical states and illuminating the energy that erupts from them.

Amongst the seven works on view in the presentation, The Definition of Rain (2024) translates the dictionary entry of ‘rain’ into binary code. Opal and glass beads, representing 1s and 0s of the coding language, are strung together into a suncatcher curtain that bisects the gallery space. When visitors pass through it, the code represented by the mineral stones becomes distorted as the swaying movement of the curtain disrupts its sequence and the meaning it embodies. Wong thus draws a parallel between the phenomenon of rain and the construction of meaning. Just as rain is made up of water droplets condensed from atmospheric water vapour, language and its meanings are crystallised through a specific sequence of symbols.

Gallery address: 11F, M Place, 54 Wong Chuk Hang Road

The “Hong Kong International Poster Triennial” jointly presented by the Leisure and Cultural Services Department and the Hong Kong Designers Association, and organised by the Hong Kong Heritage Museum, is now in its eighth edition since its debut in 2001. The theme of this Triennial is “Multiverse”, exploring how the function of posters as a medium for conveying messages can be extended in an era where digital, technological, and multimedia techniques are widely used. We invite designers worldwide to unleash their creativity to pioneer new fields that are diverse and interdisciplinary. The call of entry of this Triennial is divided into four categories, namely “Thematic: Multiverse”, “Promotion of Cultural Programmes”, “Commercial and Advertising” and “Animated Poster”. A total of 3,189 entries from 55 countries/ regions were received.

This year, two independent specialist judging panels are formed by prominent international designers and team. Members of the printed poster judging panel are Eric Chan (Hong Kong, China), Huang Hai (China), Felix Pfäffli (Switzerland), Shinnoske Sugisaki (Japan) and Eva Wendel (Germany). Members of the animated poster judging panel are Henry Chu (Hong Kong, China), Thomas Widdershoven (the Netherlands), and team Tin Nguyen and Edward Cutting (Australia/the United States). The judges have gone through online judging, video conferencing, as well as onsite judging for printed posters to assess the entries based on originality, creativity and technical competence. Ultimately, 155 entries including 18 award-winning entries and 137 selected entries, as well as works contributed by the international judges are featured in the exhibition. Through graphic design, we traverse the infinite boundaries of creative imagery with the audience.

Venue address: Thematic Galleries 3, 4 & 5, 1/F, Hong Kong Heritage Museum 

PODIUM is delighted to present ‘History will say we were best friends’, a group presentation featuring works by artists with roots in East Asia, South Asia, and Latin America, including Srijon Chowdhury, Weera-it Ittiteerarak, Dae Uk Kim, Young-jun Tak, and Luis Xertu. Drawn from philosopher and historian Michel Foucault's interview for the French magazine Gai Pied in April 1981, the exhibition explores the nuanced and experimental potential of male intimacies, proposing novel forms of friendship that foreground the collaborative and continual creation of new subjectivities and relationships. 

The exhibition opens on 07 December 2024 (Sat) from 2 to 7 PM and is on view till 01 February 2025 (Sat). Artist Weera-it Ittiteerarak and Dae Uk Kim will be present at the opening, while at 4 PM there will be an artist talk conducted in English.

Gallery address: Unit 9D, E Tat Factory Building, 4 Heung Yip Road, Wong Chuk Hang

Empty Gallery is pleased to present Respirare, Tokyo-based painter Reina Sugihara's first solo exhibition with the gallery. Sugi-hara's enigmatic canvases emerge from a gradual and ritualistic process of tracing, layering, and effacement often enacted over a period of months or years. Her paintings first coalesce around the intuitive selection of a found object, whose essential mystery and perceptual ambiguity become a site of sustained phenomenological investigation. Mediated first through the sieve of embodied consciousness and then through the hand of the artist, these objects are transmuted into luminous deposits of gesso and oil, pigment and binder-emergent and quivering contours whose contingent organicism suggests a self-sustaining reality. Striking in their anachronistic approach to a medium often fraught with its own history, Sugihara's paintings share affinities with the automatism of the Surrealists, the corporeal tendencies of post-war Japanese and European painting, and the contemplative traditions of religious art, but are, quietly, all their own.

Opening reception: 6-8pm

Following the opening reception there will be performances by Shizuo Uchida, Ritsuko Sakata (DJ), and the band RQRQ.

Gallery address: 19/F, Grand Marine Center, 3 Yue Fung St, Aberdeen

L’ÉCOLE, School of Jewelry Arts located at K11 MUSEA, Hong Kong, is proud to present an upcoming exhibition titled “Shakudō: from Samurai Ornaments to Jewelry” from December 11th 2024 to April 13th 2025. For one of the first exhibitions devoted to shakudō, L'ÉCOLE highlights the technique, uses and fascinating history of this black metal traditionally used in Japan for the decorative elements of samurai swords (tsuba, menuki, kozuka, etc). For this occasion, L'ÉCOLE is showcasing 36 pieces of jewelry with European mounts adorned with shakudō elements inlaid with gold, silver and copper, depicting Japanese scenes from the Edo period. All the pieces come from a single private collection, shown to the general public for the first time.

Book Your Visit

Venue address: 510A, 5/F, K11 MUSEA, Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

Alisan Fine Arts is proud to announce the opening of Walasse Ting: Joy, Temptation and Magic, a survey exhibition of the artist’s evolution over five decades. While widely recognised for his exuberant and colourful paintings of Dionysiac nudes, luscious flowers and menagerie of animals. Walasse Ting (1928-2010) was a groundbreaking figure who bridged diverse Western movements – including CoBrA, Abstract Expressionism, and Pop art – with Chinese artistic traditions. This exhibition features representative works from each decade, spanning the 1950s to the 1990s, in mediums such as drawing, acrylic on canvas, and ink on paper, paying homage to his liberal meandering across Western and Eastern artistic influences, and unadulterated celebration of life’s abundance and temptations.

This comprehensive exhibition offers a vital exploration of the artist’s legacy, revealing facets of his oeuvre that have often been overshadowed by his well-recognised vibrant paintings of nudes and flowers. By showcasing early and lesser-known works—particularly in gestural abstraction and black-and-white painting—the exhibition reveals the depth and complexity of Ting’s creative spirit throughout his illustrious career. Ting’s long-standing relationship with Alisan Fine Arts dates back to his first solo exhibition in Hong Kong in 1986, organised by Alice King, the gallery’s co-founder, just five years into AFA’s operation. Since then, the gallery has mounted 12 solo exhibitions for the artist and has been instrumental in introducing Ting’s signature style to Asian audiences, helping to establish him as a significant figure in the Chinese art diaspora.

Opening Reception: 5PM-7PM, 11 December, Tuesday

Gallery address: 21/F, Lyndhurst Tower, 1 Lyndhurst Terrace, Central

As a heteronormative woman with a disability who has also been diagnosed with a mental illness, Kathleen Lo embarked on a photography project within the transgender community. She established connections with the transgender community through photography, learning about their knowledge and culture. She documented the life journeys of transgender individuals through both photography and interviews. Using photography as her methodology, Kathleen delved deeply into the challenges trans-gender individuals face with binary gendered restrooms, their personal bodily choices and gender expressions, their participation in identity politics, and the increasing issue of suicide among young people in marginalized communities under social stigma. 

Transgender gender dysphoria cannot be equal to mental illness, but the mental stress that transgender people has been shouldering definitely needs the society’s understanding and attention. 

This series of photographs not only captures the cultural expressions of the trans-gender community and the rigid binary social system, but also intertwines with Kathleen’s personal spiritual experiences that contributed to her own mental illness diagnosis stigma. The foreign spaces she experienced alone may never be validated in this world; yet, who can definitively deny the countless possibilities among millions of living beings? 

In this world, life is inherently diverse and varied. Inside and outside the lens, who can truly be deemed “normal”? 

Artist Guided Tour: 18th January, 2025 (Saturday) 16:00

Venue address: Jockey Club Creative Arts Centre, L2-02, 30 Pak Tin St, Shek Kip Mei

Para Site is delighted to present ‘How to be Happy Together?’, curated by Zairong Xiang.Departing loosely from Wong Kar Wai’s Happy Together (1997), the exhibition enacts a critique of dualism and the questions raised by the dual and its split—between intimate and antagonistic partners, between political entities, between ‘us’ and ‘them’, and even between ‘I’ and ‘me’, transcending the logic of ‘either/or’ central to racial capitalism and colonial modernity. 

The primary setting for Wong Kar Wai’s queer Hong Kong cinema classic is Buenos Aires—the literal opposite side of the world from Hong Kong. Featuring over twenty artists from Hong Kong, its neighbouring localities, and Latin America, the exhibition alludes to Hong’s clichéd status as a para-site ‘between east and west’, and ‘between tradition and modernity’, in order to interrogate encounters both imagined and real between two seemingly distant ends of the world. It engages with a wide range of artistic practices that stay formally within the pas de deux yet promiscuously open up to an unexpected array of couplings and decouplings, spotlighting overlooked historical, social, and cultural connections between Greater China and the world to rethink possibilities of a queer happy-togetherness.  

OPENING RECEPTION: Thu, Dec 12, 6–8pm

Gallery address: 22/F, Wing Wah Industrial Building, 677 King’s Road
, Quarry Bay

The definition of a place coincides with architecture; transliterating market into mar-git, two meeting and bonding together—an intimate relationship. A special bird call at 5 AM accompanied her over there in Phnom Penh. Gobble, gobble, om, om. Taking nine steps to the south on the balcony, sitting by an unknown corner table, observing a long line of ants on their sugar hunt; collecting fruit-skins that curled up in distinctive gestures; a disoriented mosquito, sucking blood, landing on a familiar skin—this act of pausing achieved a balance between movement and stillness. The experience of living together in Phnom Penh allowed them to re-examine the ways in which one may participate in creation. To be caught in an unfamiliar environment can indeed, at first, sharpen one’s perception, but cultural differences, language barriers, and the discomfort and anxiety that comes with the climate interfered on a daily basis; one had to also be mindful of the etiquette and emotional restraint that come with living with others. In an environment of unending heat, an environment of production and material scarcity, the will to create was held back by mundane tasks, and every participant was dealing with a unique emotional challenge. The place where they have lived together, its length, its humidity, its light and shadow change from one hour to the next; its animals, its winds, its some places may refer to a mood, a sound, or a smell, rather than a physical space.

Participating artists: Yu Ji, Casey Robbins, Ho King Man, Boat Zhang, Kojiro Kobayashi

Opening: Fri, 13 December, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

In a world first, M+ presents a two-person exhibition of the photographic works of Yasumasa Morimura (Japanese, born 1951) and Cindy Sherman (American, born 1954). Both artists are renowned for their visual and conceptual strategies of masquerade, transforming their appearances to portray multiple identities that offer incisive commentary on contemporary culture and history.

Featuring works from major early series by Morimura and Sherman, the exhibition traces the genesis of their practices that reimagine iconic imagery from art history, cinema, and media culture. These creative acts of masquerade not only emulate the source material, but also embody the artists’ unique perspectives and contexts. Their representations deviate from the original images, triggering a sense of familiarity as well as ambiguity. By establishing a fluid relationship with their subjects, Morimura and Sherman explore identity as a malleable construct.

In the 17th and 18th centuries, the Forbidden City in China and the Palace of Versailles in France each stood as the centre of their respective countries’ political, cultural, and artistic life. Despite the vast geographic distance between them, the courts in Beijing and Versailles were keenly curious about one another. Led by a number of enlightened rulers and facilitated by travelling French missionaries, China and France embarked on extensive and impactful exchanges.

This special exhibition presents nearly 150 spectacular treasures from the Palace Museum and the Palace of Versailles, illuminating the fascinating encounters and exchanges between China and France in science, artisanship, arts, culture, and philosophy during the 17th and 18th centuries. The objects on display tell stories of the special bonds forged between China and France through mutual admiration and respect, which provided new incentives to expand skills and knowledge and create new art forms. Together, people in China and France created a splendid chapter in the history of world cultural exchange.

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Venue address: Gallery 9, West Kowloon Cultural District, 8 Museum Drive, Kowloon

Tai Kwun Contemporary's latest public art commission, Waiting Pavilions, investigates the passage of time in the setting of a former prison, the Victoria Goal. Created by the acclaimed Polish artist Alicja Kwade—known for using everyday materials to ask questions about existing realities and social structures—Waiting Pavilions are the artist's first site-specific installation in Hong Kong, bridging the past and present on Tai Kwun's Prison Yard.

With glass, metal, and stone, Kwade reimagines the waiting experience in a contemporary context. Six prison-like structures, built with glass bricks, dot the Prison Yard. The transparency of the bricks alludes to the unseen confines of modern life. The numerous white chairs nearby, each holding up a sizable stone, may also allow viewers to think of how the external environment is connected to our inner worlds. In a way, Waiting Pavilions points to how reality often transcends initial appearances.

In Buddhism, the concept of "Inner Landscapes" , refers to the complex emotional, mental, and spiritual realms within each individual. Cultivating inner landscapes emphasizes the journey back to the essence or true nature of oneself, liberating from superficial appearances and attachments, while encouraging a return to the quiet and pure nature of the self. Nowadays amidst external chaos and busy lives, the urge to seek inner tranquility becomes increasingly vital.

The exhibition "Inner Landscapes" aims to guide the audience towards self-reflection, exploring the path of personal practice and delving into the recognition of one’s true essence. The artworks draw inspiration from the philosophical underpinnings of inner exploration, capturing moments of fragility and loneliness through vibrant colors and shapes, depicting the struggles and elevations experienced during this introspective journey. Each piece symbolizes a voyage into the inner self, highlighting transformative moments of inspiration.

Opening Reception: 2025.01.09 (Thursday) 5:30 - 7:30 pm
Gallery address: Shop 202, 2/F, Block 3 Barrack Block, Tai Kwun, Central

Imaginations are illusions.  
A certain scene in nature is a reflection of us. A certain illusion.

Once thought, nature was the most optimistic entity.

Imagine a person standing on a vast meadow, surrounded by endless green grass, with a bright blue sky above. She said, our relationship with nature may be merely an interpretation and comprehension.

Leung Pui Yi graduated with the BA of Fine Arts at The Chinese University of Hong Kong. She works with Chinese fine brush and mineral pigment painting, exploring the subtle relationships between living beings and her daily lives.

Opening: 3/1 (Fri) 4-7pm
Every Friday to Sunday 1-7pm
Venue: 10/F, Foo Tak Building, 365-367 Hennessy Road, Wan

Chinese ink art has undergone thousands of years of cultural accumulation and boasts a brilliant historical legacy. It is neither appropriate nor feasible to simply integrate it into contemporary Western culture. Traditional landscape painting primarily relies on the techniques of contouring and texture, where contouring depicts outlines and texture expresses volume. As times have changed, established painting techniques have gradually evolved. The emergence of the Mi family’s landscape painting in the Song Dynasty marked the end of the dominance of contouring and texture, while splashed ink gradually became an important method in Chinese painting. In modern times, various unprecedented mechanical, physical, chemical, and digital technological methods have entered the realm of artistic creation.

Opening reception: 2025.01.10 (Fri) 5:30 - 7:30 pm

Sharing session with Wong Hau Kwei: 2025.01.18 (Saturday), 3:00 - 5:30 PM

Gallery address: Shop 103, 1/F, Block 3 Barrack Block, Tai Kwun

Contemporary by Angela Li is proud to present “House of Labyrinth,” solo exhibition by artist Cami Hui, featuring her latest body of works that delve into the relationship between her spatial imagination and psychological landscapes. The artist invites viewers to walk through the Labyrinth of mental states, encouraging a deeper reflection on ways that the environment interacts with our inner worlds.

Opening reception: 9 Jan Thur 5-8pm

Gallery address: G/F, 248 Hollywood Road, Sheung Wan

gdm Hong Kong is delighted to present Crossing, a group exhibition curated by independent curator Chris Wan, opening on January 9 2025. Featuring new works by nine artists—Au Wah Yan, Sushan Chan, Lilin, Law Yuk Mui, Sharon Lee, Joseph Leung, Andrew Luk, Ivy Ma, and Michelle Tam—the exhibition explores the emotional intersections of Hong Kong’s history through diverse perspectives, highlighting the deep connections between individuals and their times.

Building on the curator’s research into Chinese diasporic experiences, Crossing captures a moment in Hong Kong’s present. History’s ripples unfold within everyday life, as people’s displacement, connections, and separations mirror the uncertainty of crossing uncharted waters. This challenging journey also holds immense potential for self-creation and renewal.

 The participating artists, from Hong Kong and beyond, respond to pivotal moments in their personal lives through their work, reflecting on the pressing question: “How do we navigate this turbulent time?” The artworks blend imaginative and conceptual ideas with sincere and direct expressions, delineating a heartfelt letter to the city of Hong Kong.

Opening reception: 9 January (Thu) 5-7pm

Gallery address: 108 Ruttonjee Centre, 11 Duddell Street, Central

Gillian Ayres (1930 - 2018) was an influential English painter renowned for her large, vividly colored abstract works and prints, characterized by thick layers of pigment that draw from diverse styles and movements. 

Ayres viewed abstract painting as a vital language reflecting the energy of the 20th century and its evolving relationship with nature and society. Rather than depicting figures or landscapes, she explored the materiality of painting, often placing the canvas on the ground to engage with the physicality of her work. This approach allowed her to experiment with shapes, colors, and textures that convey a spectrum of emotions. Her early works featured thin vinyl paint in simple shapes, while her later oil paintings became more exuberant and colorful, created with thick layers of paint. Titles were often assigned post-creation, resonating more with the work's mood than its content. Ayres also produced ambitious prints using various techniques, including etching and woodcut, culminating in a significant body of graphic work in her later years.

Central to her art was a desire to touch on something beyond control, seeking to express what she termed “the end of the line,” which mutates visually in expansive colors and shapes. While influenced by American Abstract Expressionism and Colour Field Painting, her work also reflected her admiration for artists like Henri Matisse.

Opening reception: 9 January, 6-8pm

Gallery address: 10/F, H Queen's, Central

AISHO Hong Kong is honored to kick off 2025 with the first dual exhibition by Hong Kong artists Giraffe Leung Lok Hei and Jay Lau Ka Chun. Titled "Reality but Virtual," the exhibition features the artists using coins and prints as their canvases, employing real fragments of Hong Kong's history as a medium to collaboratively create virtual scenes constructed from reality, showcasing a frame of “Hong Kong” in a parallel time and space.

Giraffe Leung has long exploring his practice on issues of local culture, architecture, and urban development in Hong Kong. His most significant series, "Coins — Memories of Hong Kong," prominently features Hong Kong coins. By employing various chemical techniques to alter the coins' surfaces, Leung creates evocative representations of both currently existing and lost scenes from Hong Kong.

Jay Lau’s artistic practice focuses on exploring mechanical reproduction techniques such as printmaking, photography, and mold making, and how they are used to create and recreate images. He utilizes the techniques involved in image production to combine various materials, images, and media, emphasizing the physical characteristics and cultural content of the materials.

Opening reception: 10 January, 5-7pm

Gallery address: Shop B, Po Hing Mansion, 2-8 Po Hing Fong, Tai Ping Shan, Sheung Wan

Alicja Kwade: Pretopia is the artist's first solo institutional exhibition in Hong Kong. Showcasing works that span different periods of the Polish-born artist's career, the exhibition reflects on our perception of time. It also proposes new perspectives for viewing and understanding reality.

Pretopia shows nine works from her career, together with newly commissioned installations tailored to the history and architecture Tai Kwun's F Hall. Within the symmetrical space of the exhibition, the artist has laid out a sculptural environment where each work relies on the presence of others. In a way, the exhibition can be seen as a multiverse.

Adept at drawing from abstract scientific and philosophical concepts, Alicja Kwade transforms them through a consummate use of materials, both natural and artificial. Her artworks frequently incorporate objects such as clocks, fluorescent tubes, clock hands, chairs, mirrors, metal gates, bricks, and rocks. Together, her works orbit around the examination and questioning of reality and social structures.

Venue address: JC Contemporary, Tai Kwun

Perrotin Hong Kong is pleased to present Minority Flags, the first solo exhibition in Hong Kong by the Japanese artist Yayoi Deki. Known for her mesmerizingly intricate finger-stamped paintings, Deki continues her exploration of the Flags series, transforming the geometry of various LGBTQ+ pride flags into subtly textured fields of miniature faces. The resulting works present a unique juxtaposition of cheerful aesthetics while gesturing toward deeper, more complex themes.

Deki's work is renowned for its exquisitely detailed paintings, vibrant color palette, and distinctive finger-stamping technique, conveying a sense of utter purity and eternal adolescence. In the meticulously painted "Flags" series, her singular focus manifests in a collection of miniature faces, representing an element of transcendence within the pictorial plane.

Gallery address: 807, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

“Antifragility is beyond resilience or robustness. The resilient resists shocks and stays the same; the antifragile gets better.” -

Nassim Nicholas Taleb

Yrellag Gallery is proud to present the first exhibition of the year, 《Antifragile - Quiet Resistance 韌性-無聲不屈》, featuring artworks by photographer Denton Yan Chen 陳丹騰.

In the unforgiving geometry of our cities, there exists a quiet rebellion. Through cracks in sidewalks, between forgotten bricks, and along weathered walls, plant life emerges—not merely surviving but flourishing in these seemingly hostile environments. This photographic exhibition documents the remarkable antifragility of urban flora, celebrating the resilience of life.

The exhibition opening will be held on Friday, January 10, 2025, from 5 p.m. to 8 p.m. It will be on view from January 7 until January 30, 2025. The artist will be present during the opening.

Gallery address: 13A Prince’s Terrace, Central

WOAW Gallery is pleased to present Muggsy, a solo exhibition by New York artist Giles Pates. This vibrant and heartfelt collection of works celebrates the unifying power of local basketball courts around the world, inviting viewers to reconnect with the communal spirit that often defines these shared spaces. "Muggsy" is a celebration of the communal power found in local basketball courts around the world. The title draws inspiration from Muggsy Bogues, one of the smallest players to ever grace the NBA, known for his heart, tenacity, and unshakable spirit - qualities that resonate deeply with the energy of a local court. The exhibition will be on view from 10 January to 8 February 2025 , which also celebrates his first solo exhibition in Hong Kong.

Opening Reception:  6-8 PM | 10 January 2025
Gallery address: 3 Sun Street, Wan Chai

”間“ (gaan1/ gaan4) signifies finity.
Finite life shapes the human experience.
Finite light and darkness shape time.
Finite nearness and distance shape space.
Disability exists within these boundaries—as the limits of the body.
Precisely through these limits shall meaning emerge within finity. 

Artists-in-Residence
─ Jade Hui
─ Daphanie Wong
─ Sandra Wong

23 January, 7:30pm: Closing & Live Performance By Daphanie Wong ”The Healing Thread“

Venue address: 4/F Eaton HK, 380 Nathan Road, Jordan

”間“ (gaan1/ gaan4) signifies finity.
Finite life shapes the human experience.
Finite light and darkness shape time.
Finite nearness and distance shape space.
Disability exists within these boundaries—as the limits of the body.
Precisely through these limits shall meaning emerge within finity.

Opening reception: 7:30pm
Venue address: Tomorrow Maybe, 4/F Eaton Hotel

Opening this Saturday, January 11, is “Sarah & Samuel,” a show featuring artist-couple Sarah Lai and Samuel Swope. Revealing for the first time the differences and parallels in their individual practices, the exhibition is, markedly, not a duo show, but a show about being a duo. Two new collaborative pieces will be presented alongside older works, representing the unseen partnership sprung from a 19-year relationship and shared studio space.

To celebrate CHU Hing Wah’s 90th birthday, Hanart TZ Gallery will present Master CHU’s retrospective exhibition, featuring over 60 works spanning the 1960s to 2024, including both recent paintings and works held privately over the years. The exhibition presents a pictorial review of the artist’s long career marked by empathy and compassion, and his dedication to both the care of his fellows and of his own soul.

Although deeply interested in painting in his youth, CHU Hing Wah chose to train as a psychiatric nurse. From this time on, his professional career and his art-making developed side by side. CHU’s style and technique are moulded by the innocent directness of a naked soul, long exposed to the care of fragile mental patients. At its core, his art is a celebration of human sympathy. Over his long painting career CHU has mainly cast his eyes on the daily life of urban Hong Kong, but the emotional tenor of his works is free of any sense of crass urbanity. With his keen sensitivity to the vulnerability of the human psyche, CHUunderstands that the true pleasure of ordinary life is still found in the bonds of community and family. These are the strengths that enable us to withstand the corrosive quality of this commercialised age. They are the starting points from which we form a bond with our world.

Opening reception on 11 January. Speech by Dr. FAN Tak Wing 2:30pm, Cantonese Opera by CHU Hing Wah 3pm.
Gallery address: 2/F Mai On Ind. Bldg., 17-21 Kung Yip Street, Kwai Chung

We are delighted to invite you to visit the upcoming showcase《山言水道》by Chan Ho, 陳昊, at WURE AREA, venue partner.

About three years of traveling around Hong Kong Country Park for the holiday, visiting mountains, streams, and woods. There are some discrete stories between nature and the visitor. Listening to the natural environment is like poems to reveal feelings and thinking.
A series of works including photography, sketches, and Chinese poems, exploring the relationship between the natural environment and identity. Meanwhile, showing the art form of the book.

Opening reception: 11/1/2025 (Sat) 15:00-18:00

Gallery address: Block B, Po Lung Centre, Unit 707, 7/F, 11 Wang Chiu Road, Kowloon Bay

Ora-Ora is pleased to present Digital Rhythm, a group exhibition featuring the dynamic works of Henry Chu, Nick Teeple, Sasha Stiles, Genesis Kai, and Shavonne Wong. This exhibition dives into the human aspect of digital art, showcasing its profound capacity to illuminate the complexities of the human experience through the innovative intersection of art and technology.

Henry Chu, known for his immersive installations, invites viewers to connect emotionally through technology, while Nick Teeple merges AI-generated imagery with personal narratives, exploring the shared spaces of our human experience. Sasha Stiles captivates with her multimedia storytelling, reflecting on themes of identity and memory. Adding a unique dimension, Genesis Kai, a virtual artist, challenges our understanding of creativity and cultural heritage through her AI-driven narratives. Finally, Shavonne Wong integrates traditional artistry with digital processes, pushing the boundaries of cultural expression.

Together, these artists harness the unique lens of digital art, inviting audiences to engage with their innovative visions and explore personal relationships, experiences, and vulnerabilities in a space anchored in interactive technologies.

Opening reception: 11 January, 3-6pm

Gallery address: 1/F, 105-107, Barrack Block, Tai Kwun

"Master Chui’s Golden Snake brings Auspiciousness” is another exhibition draws inspiration from Chinese traditional culture, following the success of "Master Chui's Study" last year. The Chinese have a deep belief in feng shui not only to create a harmonious natural environment but also to attract good fortune. Drawing on Feng Shui principles, Master Chui divided SC Gallery, an excellent geomantic omen, into four key directions, adorned with artworks that enhance prosperity and provide guidance.

In the Year of Yi Si Snake, the South East direction is designated as the "Direction for Romantic Encounters," paintings of peach blossoms and peonies would be the best enhancement. The East is the "Direction for Festive Celebration" where artworks featuring Mount Tai (for hyping up the indoor atmosphere), Boshan censers, gourds and "Bai Shou Tu" for health and blessings. The West is the Direction for Academic Achievements," ideal for displaying Wen Chang Pagodas and couplets. The South is the "Direction for Wealth and Fortune” which cannot be complete without calligraphy or paintings that attract prosperity.

Opening cocktail: 11/1/2025 (Saturday) from 5:00 p.m. to 7:30 p.m

Gallery address: 1902, Sungib Industrial Centre, Wong Chuk Hang

Tang Contemporary Art is honored to announce the solo exhibition of Japanese contemporary artist Ryunosuke Okazaki, which will be opening on January 11, 2025, at Wong Chuk Hang space in Hong Kong. Ryunosuke Okazaki's works are not merely a re-encoding of traditional culture; they represent a dialogue between the past and the present, cultural memory and material innovation. The surface texture of his practice reflects the complex, spiral patterns of Jomon ceramics, while beneath this texture lies a shared cultural gene imprinted in the hearts of all who exist under the influence of East Asian societies and civilizations.

The theme of this exhibition, "Oracle," is derived from ancient religions and myths, where deities convey revelations to humanity in various forms. In Japanese culture, oracles have deep roots. The "Nihon Shoki" and "Kojiki" document numerous stories of deities delivering oracles to humans, revealing divine intentions that directly influenced political, social, and cultural developments. In Okazaki's works, "oracle" ceases to symbolize absolute truth; instead, it becomes an unsolved puzzle filled with potentiality. He reflects on the philosophical propositions behind oracles through artistic language, exploring how humanity understands and responds to these revelations in the modern world.

Opening reception: 11 January, 5-7pm

Gallery address: 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

3812 Gallery is thrilled to present “Abstraction in Dialogue,” a captivating group exhibition that transcends borders and eras to explore the profound beauty of abstraction in art. Featuring a vibrant ensemble of 12 artists ranging from post-war masters to promising emerging talents, the exhibition showcases each artists’ unique perspective to the rich tapestry of abstract art. “Abstraction in Dialogue”will be on view at the gallery’s Hong Kong location from 13 January to 28 February 2025.

"Abstraction in Dialogue" aims to ignite a profound conversation between post-war Western abstraction and modern and contemporary interpretations of abstract art in the East. Through a carefully curated selection of artworks, this exhibition bridges artistic traditions across cultures and generations, encouraging viewers to explore the universal language of abstraction.

Gallery address: 26/F, Wyndham Place, 44 Wyndham Street, Central

Pace is pleased to present Algorithms of Longing, a group exhibition at its Hong Kong gallery charting complex ideas, desires, and resonances in the Asian diaspora, situated in conversation with works that speak to post-Socialist and post-human longings. On view from January 14 to February 27, 2025, this focused presentation, organized by Pace’s Curatorial Director Xin Wang with support from the gallery’s President of Greater China Evelyn Lin, will bring together works by Amanda Ba, Ching Ho Cheng, Oscar yi Hou, Yifan Jiang, Lawrence Lek, Jarod Lew, Paulina Olowska, and Stipan Tadić.

Featuring seven artists outside Pace’s program, this exhibition reflects the gallery’s collaborative ethos, as well as its ongoing efforts to highlight new voices in its exhibitions around the world.

Opening reception: January 14 from 6—8pm

Gallery address: 12/F, H Queen's, Central

White Cube presents an exhibition of paintings by London-based Canadian artist Michele Fletcher. Informed by the natural world and guided by visual memory, Fletcher’s process-driven works are marked by her distinctive use of colour and haptic brushwork, which confer an organic dynamism to her abstract forms.

Over the past 20 years, Fletcher has developed a process-led practice, one that involves the direct channelling of imagined imagery onto the canvas. Painted ‘wet on wet’ in a single sitting, sometimes extending up to a 12-hour stretch, Fletcher’s method engages the body in an act of physical endurance. This physical relationship between the artist and her canvas can be charted through the paint, which is scraped, dragged and dripped across the surface. Loose, gestural passages of paint wind around each other, creating a complex network of forms suggestive of sinuous stems, foliage, petals. The product of an intuitive approach, her works combine a freedom of expression with a chromatic vibrancy, one that speaks to the inherent dynamism and variegation of vegetal life. Many, if not all, of the paintings make use of layered colour and coiled marks, both of which serve to crowd out the foreground, all but eclipsing a pale-coloured ground.

Exhibition Preview: 14 January 2025, 5–8pm
Artist Tour: 5pm

Gallery address: 50 Connaught Road Central

Soluna Fine Art proudly presents 𝑹𝒆:𝑪𝒐𝒏𝒏𝒆𝒄𝒕, a group exhibition that serves as a capsule review of the gallery’s diverse programs over the last seven years. Showcasing a selection of artworks by both emerging and established contemporary artists, this exhibition not only reflects on our gallery’s past endeavors but also introduces brand new, unseen works from our newly collaborating artists. As we enter a new year, 𝑹𝒆:𝑪𝒐𝒏𝒏𝒆𝒄𝒕 emphasizes the significance of connection — between artists, their works, and audiences. We invite you to join us in celebrating creativity and community, as we express our gratitude for the unwavering support that has allowed Soluna Fine Art to thrive in Hong Kong. Together, we look forward to a vibrant future ahead.

Opening: 16 January (Thursday) 6 - 8 pm

Gallery address: G/F, 52 Sai Street, Sheung Wan

Flowers Gallery Hong Kong is pleased to present an exhibition of works by renowned Scottish painter Peter Howson. Considered one of his generation’s leading figurative painters, Peter Howson was a focal member of a group of young artists to emerge from the Glasgow School of Art in the 1980s, known as the ‘New Glasgow Boys.’ Howson is renowned for his penetrating insight into the human condition, and his heroic portrayals of the mighty and meek. His art is described by Robert Heller as "founded in humanity, especially the human face."

Following Howson's critically-acclaimed 2023 retrospective When the Apple Ripens: Peter Howson at 65 at Edinburgh City Art Centre, Flowers Gallery Hong Kong will exhibit two major paintings, Luxuria (2018) and The Banner of Saint George(2015), on which the theme of the show is based, alongside a series of drawings on paper from 2023 - 2024

Private View: 16 January, 6-8pm

Gallery address: 49 Tung Street, Sheung Wan

Leo Gallery is honoured to present Olga Bläsi’s first solo exhibition in Hong Kong on 16 January 2025, following her successful debut group exhibition, "Polyphonic Resonance", held at the unique premise of Chun Art Museum in collaboration with Leo Gallery Shanghai last year. The show will showcase Bläsi’s latest series of delicate installations and paperwork, seeking to establish a dialogue between the two mediums and aiming for a harmonious balance.

Bläsi’s artistic journey delves into the intricate interplay of materials, textures, and forms, examining how their interactions evoke sensations akin to skin and touch. Each piece she creates emerges as a response to its surroundings, reflecting a dynamic dialogue between various elements. During her stay in Hong Kong last year, Bläsi immersed herself in the local culture by visiting local fabric markets to draw inspiration and select materials that would play a key role in her new works. Her latest pieces reflect not only her artistic pursuits but also her engagement with themes of femininity, craftsmanship, and the human experience. 

Opening reception: 16 January, 6-8pm

Gallery address: G/F, 46 Sai Street, Sheung Wan

Paul Cézanne (1839 – 1906) and Pierre-Auguste Renoir (1841 – 1919) asserted themselves as two of the greatest masters of French painting during the last quarter of the 19th century and the very beginning of the 20th century. As icons of the Impressionist art movement in France, the two artists sought to reinvent the art of their time with their innovative depiction of the rapidly changing modern world. Along their artistic journey, they forged a lasting friendship and became influential figures for the new generations of painters, including Spanish master Pablo Picasso (1881 – 1973).

This is the first large-scale exhibition of the two Impressionist masters Cézanne and Renoir in Hong Kong, showcasing 52 masterpieces from the Musée de l’Orangerie and the Musée d’Orsay in France.

Solely sponsored by The Hong Kong Jockey Club Charities Trust
Presented by the Leisure and Cultural Services Department
Jointly organised by the Hong Kong Museum of Art, the Musée de l’Orangerie and the Musée d’Orsay
Exhibition Coordinator: Manifesto Expo

Venue address: The Special Gallery, 2/F

Blue Lotus Gallery is excited to announce “Shooting Hoops,” an exhibition and accompanying photo book launch showcasing Austin Bell’s photographic documentation of all 2,549 outdoor basketball courts in Hong Kong. The exhibition will kick off with an opening event; a book launch and signing on January 15 6-9pm and will run through February 23, offering viewers a glimpse into Bell’s exhaustive cataloging of the city’s vibrant sports surfaces.

Upon his first visit to Hong Kong in 2017, photographer Austin Bell was struck by the color and design of the city’s basketball courts—starkly contrasting the bland asphalt surfaces in his native USA. 

Despite living in one of the highest-density cities in the world, most Hong Kong residents can find sports and recreational facilities within walking distance. Surveys have consistently found basketball to be the most popular sport among young people, contributing to small-scale ‘pocket parks’ being the most frequently visited types of open spaces in Hong Kong. 

Intrigued, Bell returned in 2019 with the goal of capturing ALL of Hong Kong courts. 

Opening reception and book signing: January 17, 6-9pm

Gallery address: 28 Pound Lane, Tai Ping Shan

Kateřina Ondrušková's first solo exhibition for Double Q, Blue-Green Eyes, presents the latest series of paintings created during 2024. The title of the exhibition itself evokes the duality of perception - blue as the colour of inner melancholy and restless reflection, green as a symbol of life, all-encompassing nature and organically controlled cycle. These two positions are the way through which the painter has long viewed the world. This duality then resonates not only in the colour palette and techniques she uses, but also in the emotional and conceptual layers of her work, which links nature and her personal feel of the world. Contemplative exploration of nature, memories and human emotions has long been inherent in her work. 

Opening reception: 3-6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

Karin Weber Gallery is pleased to announce its first exhibition for the New Year. ‘Defying Boundaries: Female Vision’ highlights and celebrates a selection of female gallery artists, at different career stages and from a wide range of geographies.

Around the globe, women artists are achieving increasing – and long overdue – visibility and recognition for their talent and creative practice. There are far more gallery and museum exhibitions dedicated to female creators than ever before. More work by women is entering museum collections, and their auction prices are rising.

The start of 2025 provides a great opportunity to showcase a small selection of the fantastic female talent at Karin Weber Gallery, all of whom are ‘Defying Boundaries’ through their creations and dedication to their artistic career, often in the face of significant adversity.

Opening Reception: Saturday 18th January 2025, 3-6pm

Gallery address: 20 Aberdeen Street, Central

"If you're a baker, making bread, you're a baker. If you make the best bread in the world, you're not an artist, but if you bake the bread in the gallery, you're an artist. So the context makes the difference."

—Marina Abramovic

Visual artist Afa Annfa and food stylist Gloria Chung will present their first duo solo exhibition at JPS Gallery Hong Kong. Inspired by an iconic quote from conceptual and performance artist Marina Abramovic, this unique showcase explores the complex relationship between authentic and artificial food, examining their artistic significance and symbolic meanings. The exhibition, titled A&G Boulangerie, focuses specifically on bread and butter—staple foods that hold profound cultural significance in our lives. 

The exhibition space will be divided into two distinct zones: a meaningful kitchen island in the main room and an altar area that adds a sacred dimension to the everyday act of breaking bread. This dual arrangement fosters an engaging dialogue between the mundane and the divine.

Opening Reception: Tuesday, January 21, 2025, 5 - 8 pm

Gallery address: G/F, 88 - 90 Staunton Street, Central

The Qing dynasty (1644–1911) is a regime ruled by the Manchu ethnic group, established its military foundation upon a rigorous martial organisation, superior military technology, and a distinctive martial ethos. The Forbidden City in Beijing was the nexus of Qing political and military power, embodying over two centuries of military history from the Qing dynasty. It vividly illustrates the Manchus’ adherence to ancestral martial traditions, their absorption of, and innovative adaptation of, military technologies, and their ceremonial protocols, making it a treasure trove of traditional military culture. The exhibition features nearly 190 military artefacts from the Qing court in The Palace Museum’s collection, featuring a wide range of objects such as helmets, archery sets, sabres and swords, equestrian equipment, paintings, textiles, books, albums, and scientific instruments.

This exhibition is organised in six thematic sections: “The Rise of the Eight Banners and Qing Rule”, “Swords and Sabres across the State”, “Equestrian Archery and Firearms”, “Military Drills, Inspections, and Rites”, “Images as Histories”, and “Coastal Defence”. With a diverse array of exceptional objects, the exhibition presents the development of Qing military organisation, technology, and artistry, enriching the understanding of Qing military culture.

Is breaking from our predetermined paths the only way to true awakening? In Veering, the artist Hu Xiaoyuan presents seven newly commissioned works, weaving together installation, sound, painting, and video to reveal the complex relationship between human destiny and natural evolution, addressing ultimate questions of individual survival and the meaning of life. Hu incorporates everyday materials like Aerospace grade aluminum, sea shells, organza silk, and corn fibre in her works. Through translucent drapes and lighting design, she creates unique pathways that blur the line between day and night, creating an ambiguous spatial experience. This setting guides visitors to reflect on enduring themes such as time, materiality, existence, and consciousness.

Veering is part of Tai Kwun Contemporary's new Breakthrough series, which underlines emerging artistic positions through solo presentations, commissions, and innovative formats. For Spring 2025, _Hu Xiaoyuan: Veering _is presented alongside Alicja Kwade: Pretopia and Maeve Brennan: Records. These solo exhibitions by three female artists explore materials and storytelling through diverse approaches.

Curators: Pi Li with Shuman Wang

Alisan Fine Arts is pleased to present Xie Xiaoze: The Archaeology of Knowledge, the artist’s debut exhibition with the gallery and his first solo exhibition in Hong Kong. As the opening act of Alisan Atelier in 2025, the exhibition presents a thought-provoking selection of oil paintings, ink on paper and resin and porcelain sculptures- primarily drawing from Xie’s acclaimed Chinese Library series and Amber of History series. These works excavate the ancient poetics and contemporary relevance of books and knowledge.

Born in rural Guangdong province in 1966, Xie was profoundly influenced by early memories of his father, a school principal, being forced to collect books for destruction during the Cultural Revolution. After moving to the United States in 1993, where he now serves as a professor of art at Stanford University, Xie developed a deep fascination with books. This led him to explore major museums and libraries worldwide, including return visits to China,investigating repositories of past knowledge. For over three decades, his practice has focused on unravelling the complex relationships between knowledge, history and power through paintings, installations, photographs and videos.

Gallery address: 1904 Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen

InnerGlow is Tai Kwun’s signature programme launched in 2022 which brings the world’s leading creative and technical exponents of 3D architectural projection mapping technology to Hong Kong to illuminate, animate and transform the facades of Tai Kwun’s historic buildings and produce a large-scale public entertainment to attract families and audiences of all ages during a three-week season around Chinese New Year.

Each year, Tai Kwun’s highly successful partnership with The Electric Canvas (TEC) opens up opportunities for Hong Kong creative artists participate in the development of InnerGlow’s artistic and technical content, enhancing Hong Kong’s capability in this specialized field and expanding their practice to take up more creative leadership each year. For InnerGlow 2025 Tai Kwun and TEC have invited internationally acclaimed local new media artist Hung Keung to collaborate, with his distinctive sensibility and his profound interest in and knowledge of Chinese culture and literature, and to devise a vibrant visual journey at Garden of Reflection which unfolds across time and space in the Parade Ground.

Parade Ground 6:30pm-9pm (Every half hour)
Prison Yard 6:45pm-9:30pm

Chen Wei constructs personal narratives using found objects, fabricated props and staged scenes, all of which are meticulously constructed and assembled inside his studio. Evoking recurring motifs, memories and dreams, every image is a fiction and a story in itself. In the fictional scenes of objects, interiors and nocturnal cityscapes, Chen exposes the psychological and socio-political characters of contemporary China: collective yearning for betterment, disillusionment of consumerist desires, and a nostalgia for a haphazardly erased past.  Besides photography, Chen also creates multi-media installations that act as an extension of his studio practice; his LED sculptures are particularly reminiscent of urban living experiences.

Gallery address: 15/F, Po Chai Industrial Building, Wong Chuk Hang

M+, Asia’s first global museum of contemporary visual culture in the West Kowloon Cultural District in Hong Kong, proudly announces Picasso for Asia: A Conversation, a groundbreaking Special Exhibition featuring more than sixty masterpieces from the late 1890s to the early 1970s by Spanish artist Pablo Picasso (1881–1973) alongside works by Asian and Asian-diasporic artists selected from the M+ Collections.

Co-curated by M+ and Musée national Picasso-Paris (MnPP), the exhibition will be co-presented with the French May Arts Festival. Picasso for Asia: A Conversation will be held at M+ from 15 March to 13 July 2025. This exhibition is a significant milestone, as it marks the first instance in which masterpieces from the Musée national Picasso-Paris are being shown together with works from a museum collection in Asia. It will showcase Picasso’s enduring influence and relevance by putting the master artist’s works in dialogue with Asian contemporary artworks.

Picasso for Asia: A Conversation is co-curated by Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, and François Dareau, Research Fellow, Musée national Picasso-Paris, supported by Hester Chan, Curator, Collections, M+. The exhibition adopts a new, unique perspective to interpret Picasso’s legacy, exploring complex relationships between origin and reception, invention and adaptation, and West and non-West. More than sixty masterpieces by Picasso will be on loan from MnPP, which holds the largest and most significant repository of Picasso’s works in the world. These will be in dialogue with around eighty works from the M+ Collections by more than twenty Asian and Asian-diasporic artists from the early twentieth century to the present.

The UK-based artist and filmmaker Maeve Brennan explores the legacy of human impact on the environment and unearths hidden narratives within society’s dominant narratives. Led by an investigative approach, her works span moving image, installation, sculpture, and printed media.

Central to Brennan’s practice is research focusing particularly on ecological issues, obscured material past, and underground economies. Despite grappling with complex structures and systems, Brennan engages with her subjects intimately, drawing from chance encounters, personal experiences, and long-term relationships.

Presenting her works for the first time in Asia, this exhibition brings together works from The Goods, an ongoing project that delves into the international traffic in looted antiquities. Also debuting in the exhibition is a new film that traces stolen objects back to Southern Italy, weaving together local stories and anecdotes to understand the impact of archeological excavation on the region’s landscape and communities.

Solely organised and presented by the Hong Kong Arts Centre (HKAC), Collect Hong Kong 2025 will be held from 22 March to 4 April 2025 at the Pao Galleries and Jockey Club Atrium in the Hong Kong Arts Centre. This flagship event is supported by the Hong Kong Art School (HKAS), the new team of the HKAS Alumni Networks Committee, and other invited art institutions and art galleries.

Building upon the success of the Collectible Art Fair in 2023, Collect Hong Kong has been created to support the burgeoning wave of artistic talent and heighten mass appreciation for the work of local artists. This biennial event showcases innovative art in diverse media to highlight the creative breadth of students and alumni from invited art institutions and provide a platform for artists, galleries, and art enthusiasts to connect and collaborate. Overseeing the artwork selection process will be an independent curator and a jury panel.

With Collect Hong Kong’s unprecedented championing of homegrown virtuosity, visitors will enjoy an enriching and truly unparalleled art experience. The event will feature works from emerging talents to established artists, catering to the diverse interests of art collectors and enthusiasts.

Venue address: Pao Galleries and Jockey Club Atrium, Hong Kong Arts Centre 

Pace is pleased to present an exhibition of work by Robert Indiana, on view at the gallery’s H Queen's location from March 24 to April 30, 2025, following the artist’s major survey Robert Indiana: The Sweet Mystery at the Procuratie Vecchie, an official collateral event of the 2024 Venice Biennale.

The show, coinciding with next year's edition of Art Basel Hong Kong, will include sculptures and paintings from throughout Indiana’s career, showcasing his uniquely graphic visual vocabulary that made him one of the most inventive and enduring figures in the history of American art.

Gallery address: 12/F, H Queen’s, Central

Art Basel is pleased to announce the participating exhibitors and key details of its 2025 edition in Hong Kong, taking place from March 28–30, 2025, at the Hong Kong Convention and Exhibition Centre (HKCEC). This edition will feature 242 galleries from 42 countries and territories, showcasing a diverse range of artistic practices that reflect the fair’s commitment to global diversity and regional representation. More than half of the participating galleries are from the Asia-Pacific, highlighting Art Basel’s vital role as a platform for the region’s dynamic art scene.

The fair’s core sectors include Galleries, the main sector for established and blue-chip galleries; Discoveries, which spotlights solo projects by emerging artists; and Insights, offering curated projects from artists across Asia and the Asia-Pacific region.

Tickets for Art Basel Hong Kong 2025 are exclusively available for purchase online. The advance prices are available through March 16, 2025. Standard prices will apply from March 17, 2025 onwards. 

Art Central, a cornerstone event of Hong Kong Art Week, showcases the next generation of talent from Asia’s most innovative galleries alongside distinguished artists from around the world. Presented in partnership with United Overseas Bank (UOB), Art Central will return to its home on Hong Kong’s iconic Central Harbourfront in 26 – 30 March 2025. The upcoming edition will be staged in an architect-designed, purpose- built structure overlooking Victoria Harbour, conveniently situated in the heart of the city’s business district within walking distance of Art Basel at the Hong Kong Convention and Exhibition Centre and a short ferry ride to M+ and Palace Museum Hong Kong.

White Cube is pleased to present the first exhibition in Asia of painting by American artist Lynne Drexler (1928–99). 

Coinciding with Art Basel Hong Kong, ‘Lynne Drexler: The Seventies’ will debut never-before-seen works created during a pivotal decade in the artist’s practice.

Affiliated with the second-generation Abstract Expressionist movement, the artist’s vivid chromatic compositions reflect a breadth of stylistic influences, drawing from Impressionism, Fauvism and Pointillism, as well as classical music and the natural landscape. Executed through tessellated rectangles of paint, Drexler’s colour fields emanate an organic, kinetic dynamism.

Gallery address: 50 Connaught Road Central

Step into the future where art and music converge at Digital Art Fair 2025 – Asia Edition, returning to Hong Kong during the vibrant Art Month from 26 to 30 March 2025.

In 2025, we open our doors once again to the world, not only bringing you the artists and experiences at the forefront of the digital art revolution but also showcasing immersive exhibitions, from AR and VR creations to digital masterpieces fused with music, redefining how we engage with contemporary art and sound in the heart of Asia’s art scene.

West Kowloon Cultural District, Tsim Sha Tsui

Tickets are available

The Museum Summit 2025, presented by the Leisure and Cultural Services Department (LCSD) of the Hong Kong Special Administrative Region Government, in association with the Musée national des arts asiatiques - Guimet in France, will take place in Hong Kong on 28 and 29 March this year.

Under the theme "Going Beyond", it will bring together renowned speakers and moderators from around the world to explore four pivotal topics: "Museum + Tourism", "Museum + Technology", "Museum + Sustainability", and "Museum + Wellness". Other than the two-day summit discussion, there will also be a number of fringe activities and post-summit visits.

Registration is open