Nutz observes and responds to life through ceramics. Her art practice begins with various objects we use every day, integrating the functional and artistic expression aspects of ceramics. By delving into life through reshaping these items, she connects the traces of life left behind in their historical and cultural contexts with her own experiences and those of the viewer, piecing together different interpretations of life across various contexts.

In this project, Nutz draws inspiration from the century-old building of vA!, which was formerly Cassels Block, married quarters for British military officers, using ceramics to transform a series of everyday objects representing the lifestyle of the last century. By bringing these reimagined objects back into this former living space, she invites viewers to explore their past and present, to read and reimagine them, and to envision different forms of life.

Venue address: 7 Kennedy Road, Central

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.

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.

The exhibition Through Time —Print Art in Aberdeen Street takes visitors on a journey starting at 22 Aberdeen Street, the site of the London Missionary Society’s Printing Office (the Anglo-Chinese College, now Ying Wa College) in nineteenth-century Hong Kong. It invites the audience to travel through time and wander the alleys of Central to uncover the fascinating history of Hong Kong’s Chinese type casting industry. Finally, we return to Print Art Contemporary at 35 Aberdeen Street, PMQ, to witness how a new generation of artists and writers draw inspiration from this intangible cultural heritage of Chinese movable types to create innovative contemporary visual art and literary works.

Venue address: SG03-07, G/F, Block A, PMQ, 35 Aberdeen Street, Central

M+ presents Lee Mingwei: Guernica in Sand, a large-scale installation and performance to be staged in The Studio. Taking Pablo Picasso’s iconic 1937 masterpiece Guernica, painted in response to the violence of the Spanish Civil War, as its departure point, Lee Mingwei recreates this painting in sand—a material that connotes impermanence and instability. This meticulously crafted work references the indigenous and religious traditions of sand paintings found around the world. Towards the end of the display, a live performance will take place in which visitors are invited to walk on the sand painting. Four performers will then gently sweep the sand in spontaneous movements that simultaneously destroy and recreate the image anew.

The performance is scheduled to take place in late June. Please check this webpage closer to the date for additional details.

AIRSIDE is excited to announce the launch of “WEIRD SENSATION FEELS GOOD: The World of ASMR” in Hong Kong, to be held at AIRSIDE’s GATE33 Gallery between 14 March and 13 July 2025 – launching during the city’s most anticipated art month.

First showcased in Stockholm as a pioneering exhibition organised by ArkDes, Sweden’s National Centre for Architecture and Design, and later presented in collaboration with the Design Museum in London as the UK’s first ever exhibition to explore ASMR, Hong Kong will be first city in Asia to host the exhibition.

Building on the acclaimed touring exhibition curated by James Taylor-Foster, this Hong Kong edition will feature newly commissioned works by Hong Kong-based artists that interpret the global phenomenon for today. This marks Hong Kong’s first immersive exhibition dedicated to the culture, creativity, and community of ASMR, as well as the first time that AIRSIDE, Nan Fung Group’s flagship commercial development at the city’s former Kai Tak airport, collaborates with an international museum since its opening in late 2023.

Venue address: GATE33 Gallery, L312, AIRSIDE, 2 Concorde Rd, Kai Tak

The dragon has taken countless forms through the centuries: in ancient China, it was reserved for religious or imperial use; today, it is a symbol of prosperity widely applied in everyday life and on special occasions. Through the dragon, this display of CHAT Collection objects questions and attempts to answer how traditional motifs are sustained and reinterpreted, how they gain character, and how the success of their contemporary interpretations is measured. The display also aims to create dialogue with the seasonal exhibition by expanding on understandings of traditional motifs often featured in folk craft.

Venue address: 45 Pak Tin Par Street, Tsuen Wan, N.T

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.

From beadwork to embroidery, straw weaving to paper craft, patchwork quilts of nomadic tribes to silkscreen prints of agrarian island communities, handicraft techniques and everyday objects inherited through time immemorial have often been sources of inspiration and materials for contemporary artists. Both folk craft and contemporary art originate from humanity’s innate desires for creation, expression, exchange and identity, and are vessels for conveying emotion and reason.

Lining Revealed examines the interactions between folk craft and contemporary art by juxtaposing artworks, handicrafts and archival documents. Through the critical lens and creative manifestations of contemporary art, it reveals the historical, social and cultural significance embodied in folk craft and the role craft plays in reinvigorating contemporary vision. The exhibition also speaks to the importance of contemporary art in the continuity of cultural heritage, such as challenging the over-celebration of the handmade and encouraging us to look beyond the value frameworks and ideologies of modern society to uncover the deeper content and meaning of folk crafts.

Venue address: 45 Pak Tin Par Street, Tsuen Wan, N.T

Embroidery, beading, drawnwork – these intricate tasks were once skilfully carried out by many of our older generations. Upon closer look, they also illustrate the defining qualities of commercial craft production and circulation in 20th-century Hong Kong, such as systematisation of skilled work, female labour and leadership, adaptation for export markets, and alienation between makers and consumers.

Busy Needles examines embroidery materials from Maryknoll Convent School Foundation, drawnwork from Swatow that circulated through Hong Kong, beadwork and its cottage industry, traditional kwan kwa marriage gowns and more, at the same time encouraging alternative and personal views of craft in Hong Kong.

Venue address: 45 Pak Tin Par Street, Tsuen Wan, N.T

九仞 Memory Smuggler is the opening exhibition of To Art House 嚮渡藝術空間. Invited by the founding team, four Hong Kong artists—Natalie CHU Lok Ting 朱樂庭, HO Siu Kee 何兆基, Jay LAU Ka Chun 劉家俊, LI Ning 李寧 —have collaborated since the art house’s construction phase to help define an experiment in art and articulate the vision for this new place.

Founded in the fringe of industrial Fo Tan 火炭 by the Tai Mo 大帽 mountain range, To Art’s unique vantage point inspires the four artists to delve into the area’s natural and anthropological past and future. In dialectics between handmade artifacts and natural elements, and often via digital objects, they find expressions of memory crisscrossing across time, even lapping recursively, but never lose their ground. In the counterpointing ensemble of their individual practices, a first quartet emerges.

Venue：location in Fo Tan will be provided upon confirmation of registration.

RSVP：you may complete the RSVP form at Visit us to secure your visit.

This is the first exhibition of ancient Chinese artifacts since Sun Museum relocated, and it is also a highlight of the museum's annual "Sun Delight" program.

The exhibition will showcase 120 pieces of jade and stone carvings from the Song to Qing dynasties, all from private collections at the Little Moon Pavillion and Songde Tang. The exhibition is divided into two parts: the first part features carved jade and stone pendants, while the second part focuses on decorative art objects made of rare colour stones, including agate, white jade, lapis lazuli, coral, etc.

Chinese ancient arts and crafts are outstanding, and the brilliant achievements in jade and stone carving can be attributed to the various natural gemstones, the extraordinary skills of artisans throughout Chinese history, and the remarkable creativity of ancient people in expressing auspicious meanings through visual forms. Visitors to the exhibition can admire the scholar’s objects and decorative items made from various jade and stone carvings, some of which even come with original stands crafted by artisans from the Qing Palace's workshops. Through the auspicious meanings of some of the works, one can also appreciate the ingenuity of the ancients.

Venue address: Sun Museum, 1 Sai Yuen Lane, Sai Ying Pun

'In Our Own Backyard' explores the creative impulses of two pioneering artists, Sheba Chhachhi and Lala Rukh, through their participation and engagement with women’s movements in South Asia from the 1980s to the 2000s. It showcases artworks and archival materials from the two artists, as well as contributions from other feminist practitioners and organisations in the region. The materials illuminate their involvement in documenting street actions, designing posters and publications, and participating in workshops and theatre productions. This project is part of AAA’s research initiative on gender in art history, highlighting narratives that emphasise communities and exchanges within the cultural field. 

“Oi! Spotlight” is Oi!’s annual flagship project held in Art March every year. It aims to showcase the creativity of both local and international artists, encourage cross-cultural dialogues, foster exchanges between regions and embrace innovative ideas. This year, “Oi! Spotlight” has invited renowned Japanese artist Toyofuku Ryo to organise his first solo exhibition in Hong Kong. Toyofuku has been invited to participate in various international art events. For this exhibition, he has drawn inspiration from Hong Kong's local culture, using large-scale installations to present a peculiar space that combines Japanese aesthetics and cultural elements of Hong Kong.

Venue address: 12 Oil Street, North Point

"The Garden of Resemblances" is an exhibition inspired by the ancient doctrine of signatures, a belief that the visible forms of natural objects reflect their hidden properties, particularly in medicine. While modern science has rejected this notion, its evocative associations provide a rich springboard for artistic imagination. Drawing on Michel Foucault’s concept of the episteme from The Order of Things, the work examines the shifts in knowledge structures from traditional to modern thought.

By transforming the exhibition space into a dreamlike, otherworldly environment, this exhibition features kinetic installations that blurs the boundaries between nature, technology and imagination. The garden serves as an experiential landscape, inviting visitors to wander in the liminal space between the real and the imagined. Integrating the organic with the mechanical and the natural with the artificial, the installation offers a meditative journey through the interplay of historical imagination and contemporary innovation.

Venue address: 12 Oil Street, North Point

HOO Mojong (1924-2012), a trailblazer in modern art, stands as a key figure in bridging Eastern and Western artistic languages. As one of the most prominent Chinese female artists following Pan Yu-Lin, she has become a significant representative of Asian modernism in the 20th century.

This Retrospective exhibition takes place during a significant moment: the centenary of Hoo Mojong’s birth. Hoo was born in Shanghai and left her hometown in her early 20s. Her extensive travels and residencies around the world not only enriched her personal experiences but also infused her artistic creations with multicultural inspiration. From Shanghai to Taipei, then to Brazil and Spain, and finally settling in Paris where she created art for 37 years as a painter and printmaker. She returned to China in 1996, museums and institutions throughout China have since celebrated her distinct explorations of bodies and mundane, yet playful, objects. “Objects of Play ” will comprehensively trace her artistic creation features nearly 100 artworks including paintings, prints, drawings, and archival materials from various periods of Hoo’s career, recapping her integration of Chinese and Western art styles and investigations of the spirituality and power of ordinary life.

Venue address: Chantal Miller Gallery, 9 Justice Drive, Admiralty

Following Xu Bing’s appointment as Hong Kong’s Ambassador for Cultural Promotion in 2024, "Xu Bing in Hong Kong: Square Word Calligraphy" marks the renowned artist’s first large-scale art endeavour in the city. As part of this project, he has curated an exhibition centred around the Square Word Calligraphy Classroom at the Hong Kong Museum of Art, showcasing a unique fusion of Chinese and English languages intertwined with Hong Kong's linguistic culture. Through this exhibition, Xu enriches the meaning and interpretation of Square Word Calligraphy, opening new avenues for cross-cultural communication in a vibrant context.

Following centuries of political fragmentation and division during the Spring and Autumn period and the Warring States period, rulers of the Qin and Han dynasties forged the first unified China in history. Emperor Qin Shihuang (the 'First Emperor') established a centralised political system, standardised the systems of measurements and writing. The Han dynasty innovated on Qin’s unified approach and laid down Confucianism as the ideology of the nation, cultivating a prosperous and flourishing empire which deeply influencing the politics and culture of China for the next two thousand years.

The exhibition features over 100 pieces (sets) of treasured exhibits, including the terracotta army of Emperor Qin Shihuang, the warrior and animal figurines of the Emperor Jing of Han, components of chariot, as well as architectural components, showcasing the development of politics, economy, culture, technology and cross-border transportation during the Qin and Han dynasties. The exhibition also introduces the historical development of Hong Kong of the periods.

Venue address: Moonchu Historical Images and Culture Gallery and 1/F Main Lobby, Hong Kong Museum of History

A new season begins. Time to prepare the plot, sow the seeds, and make space for all that might take root.

In 1994, psychologist C.R. Snyder defined hope as a combination of goals—the sense of direction for human actions, agency—the will to move forward—and pathways—the ability to imagine routes to get there. In this spirit, WMA’s new programme series “The Sow Must Go On” approaches the cultivation of “hope” as a diverse set of social, cultural, and collective actions.

Inviting six visionary artists and photographers, the programme begins with each proposing a cause close to their hearts. These seed ideas then grow into three-month incubative projects at WMA. Through collaborative programming, workshops and conversations, this artist-led initiative asks: how might we sow on the soil of uncertainty, and who do we choose to act with?

The sow must go on.

Venue address: 8/F Chun Wo Commercial Centre, 23-29 Wing Wo Street

Beijing-born artist Lin Yan’s artistic practice centres on her innovative use of Xuan paper, transforming this traditional Chinese material into site-specific installations that respond to architectural spaces. Lin creates works that navigate between two and three dimensions, using layers of pleated paper, ink, and plaster moulds to capture both natural beauty and temporal traces. Her technique breaks free from traditional ink art while maintaining subtle references to Chinese landscape paintings through undulating paper formations that evoke water ripples. Lin’s artistic language is deeply influenced by her time in France, where she studied at L’École nationale supérieure des Beaux-Arts (1985-1986), following a family legacy of Franco-Chinese artistic exchange - her grandfather Pang Xunqin studied there in the 1920s, and her mother Pang Yao was among the first Central Academy of Fine Arts professors to study in France. After further studies in the US, Lin has dedicated herself to pioneering a unique artistic realm that harmoniously blends minimalism with Eastern aesthetics. In Alisan Fine Arts’ first collaboration with the artist, Lin will present never-before-shown works and create site-specific installations at Alisan Atelier in Aberdeen that strike a balance between material tranquillity and contemporary dynamism.

Opening Reception: 06.05.2025 (Tue)

Jointly curated by Mr Hing Chao, Mr Henry Lu and Ms Amanda Wang Youlin, the exhibition will showcase nearly 200 exhibits of Central Africa, spanning the 19th to the early 20th centuries, allowing visitors to appreciate the three treasures of Central African art––sculptures, masks, and weapons––and understand their fundamental roles in society. This groundbreaking exhibition will transform the gallery into an immersive theatre through new media technologies, allowing visitors to appreciate Central African art from all angles.

The exhibition is organised into three main sections—(1) Ritual Sculpture – Invocation; (2) Masks – Transfiguration; (3) Weapons – Social & Symbolic Action—as well as a section on Geographical Zones. Additionally, the exhibition (re)interprets the arts reflecting the beliefs, rituals and sociocultural memories of the people through five media art installations curated by Dr Yumeng Hou, spread across sections. This engaging journey invites visitors to perceive art through multi-sensory channels while encouraging them to interact within the boundaries of sacred, spiritual experience.

Venue address: 18/F, Lau Ming Wai Academic Building, City University of Hong Kong 

Para Site is pleased to present ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’, an exhibition that refocuses on Ha’s printmaking practice on the occasion of Ha’s 100th birth anniversary.

‘Motherboard’ is the term Hong Kong-based artist Ha Bik Chuen (1925–2009) coined for his collagraph plates. They are assembled from wood and other found material through a highly labour-intensive process. Throughout his life, Ha created over 100 motherboards and kept them away from public view. He used these motherboards to produce over 3,000 editioned collagraphs mostly in the 1970s and 1980s.

‘Reframing Strangeness’ stages a selection of Ha’s motherboards, collagraphs and gouache drawings. In the exhibition, the motherboards are placed next to their ‘offspring’ collagraphs and ‘parallel’ drawings to offer a re-reading of Ha’s interconnected art practice. It encourages viewers to examine Ha's motherboards as aesthetic objects. It invites them to contemplate the artist's distinctive relationship to materials circulating in the region then, which was a key part of Ha’s art-making process.

Opening reception: May 9, 2025, 6:30–8:30pm

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

Established in 1925, The Palace Museum is a large-scale national museum housed on the grounds of the palatial complex of the Ming and Qing dynasties known as the Forbidden City. The most expansive and best-preserved historical palatial complex in the world, it holds a vast collection of over 1.86 million cultural objects based on the Ming and Qing imperial collections.

Inside the Palace Museum, visitors are greeted by exquisite patterns that adorn the eaves, walls, and windows of the grand palace buildings, as well as the furniture, objects, and garments on display. Chinese people take pleasure in embellishing everyday life with rich and diverse symbolic patterns that reflect their love and respect for nature and the living. These patterns, celebrating traditional craftsmanship and an unwavering pursuit of beauty, embody the enduring legacy of Chinese aesthetic sensibilities and cultural values that continue to shape our life today.

Venue address: Gallery 7, Hong Kong Palace Museum

​​​​Tang Contemporary is proud to present Yoon Hyup’s solo exhibition “Montage”, featuring 15 new artworks curated by Yonni Park and Jeeun Hong. In contemporary art, rhythm and flow transcend mere formal elements, offering new ways of understanding the world. Yoon Hyup’s art visually embodies this philosophy, presenting a creative synthesis of Eastern and Western aesthetic traditions. His lines and dots go beyond simple visual expression, forming fluid structures that interweave time and space, drawing viewers into an immersive sensory flow. Viewing Yoon Hyup’s work is not a passive act but an active experience of following dynamic, rhythmic movements. Each artwork becomes an open field of exploration rather than a static object.

Yoon Hyup’s practice transforms the structures of the city and the rhythms of nature into a distinctive visual language. The order and chaos of New York—a vast metropolis—and the movements of people within it are abstracted and reconfigured in his work. This becomes a visual translation of urban experience, and a way of embodying the inherent rhythms of human life. In this process, Yoon Hyup’s lines remain uninterrupted and organically connected, echoing the flow of Qi (氣, energy) as described in Eastern philosophy. Much like Taoist thought, which emphasizes effortless and natural movement, his lines traverse space fluidly, without resistance.

Curators: Yonni Park, Jeeeun Hong

Opening reception: 15 May, 6-8pm

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

THE SHOPHOUSE is pleased to present Just Looking, the first solo exhibition in Asia by artist Sarah Fripon. It is an exhibition that invites viewers to linger on the overlooked fragments of daily life—cash bills, coffee cups, hygiene products—and reconsider their embedded meanings. Her paintings do not seek to narrate or moralize but instead create a space where the familiar becomes uncanny, where the mundane is defamiliarized just enough to provoke thought. By borrowing imagery from advertising, domestic kitsch, and obsolete media, Fripon constructs visual constellations that are at once recognizable and strangely dislocated. The exhibition is less a statement than an open question: What do these everyday systems reveal about us?    

Opening reception: 17 May 2025 (Saturday) 2 - 6 PM

Gallery address: 4 Second Lane, Tai Hang

THE SHOPHOUSE is pleased to present Hindsight, the first solo exhibition in Asia by artist Paul Robas. The exhibition interrogates the instability of memory through paintings that hover between figuration and abstraction. Unlike traditional narratives of recollection, Paul Robas’ work embraces fragmentation—distorted figures, cropped compositions, and optical flares—to mirror how perception is continually reshaped by time. The exhibition’s title alludes to the paradox of retroactive clarity: what we “know” in hindsight is often a reconstruction, not a revelation.

The human figure here is a vessel for collective psychological states rather than individual identity. Paul Robas’ subjects emerge from shadows or dissolve into light, their forms rendered transient through brushwork that oscillates between precision and dissolution. This ambiguity reflects memory’s additive and subtractive nature—how details are amplified or erased to fit evolving narratives. Lens flares, a recurring motif, further destabilize the image, reminding viewers that seeing is never neutral but conditioned by the observer’s position.

Gallery address: 4 Second Lane, Tai Hang

10 Chancery Lane Gallery is pleased to present Sea of Silver Sand, a solo exhibition by pioneering Chinese contemporary artist Huang Rui, on view from May 22 to July 5, 2025. This exhibition showcases Huang Rui’s latest works from his ongoing Sea of Silver Sandseries, a deeply meditative body of paintings inspired by his long-standing fascination with Zen gardens and the transient beauty of nature. The exhibition will coincide with The French May in Hong Kong, marking a significant moment as the artist will be present to attend the opening.

The Sea of Silver Sand series, conceived over the past five years, finds its origins in an initiatory journey Huang Rui undertook in 2000, when he visited Kyoto’s Ginkaku-ji (Silver Pavilion) and its famed Zen rock garden. This experience left an indelible mark on the artist’s spiritual and artistic practice, shaping his continued exploration of nature’s fleeting yet eternal presence.

Gallery address: G/F, 10 Chancery Lane, Central

Flowers Gallery Hong Kong is pleased to announce Edward Burtynsky: China in Africa, opening 23 May 2025. The exhibition explores China’s evolving role in global manufacturing, from the transformation of its domestic production systems to the expansion of its industrial footprint across the African continent. Captured between 2018 and late 2024, the works in this show continue Burtynsky’s decades-long engagement with the infrastructures of extraction, energy, and logistics, offering a visual record of China’s pivotal influence on the contemporary industrial landscape.

With a deep historical understanding of twentieth-century industrial processes, Burtynsky uses his aerial and wide-angle lens perspective to create sweeping images that reveal the scale of industrial development and its impacton the environment. Inside China, a new generation of robotics and vast battery assembly lines stretch across the frame, as seen in Burtynsky’s 2023 photographs of the BYD manufacturing facility in Jiangsu Province – a major producer of lithium batteries for electric vehicles. In works such as BYD Manufacturing Facility #2, Changzhou, Jiangsu Province, China, 2023, rows of yellow components and minimal human presence signal a shift toward automation and the industrial scale of the energy transition.

Private View: Thursday, 22 May, 6–8 pm

Artist Talk & Film Screening: Friday, 23 May at M+ Museum

Gallery address: 49 Tung Street, Sheung Wan

Chou Yu-Cheng's upcoming exhibition at Kiang Malingue's Sik On space features a new series of gradient paintings titled Imaginary Body. By incorporating meticulous surfacing techniques, bodily shapes, and a specific, disorienting gravity, Chou has further developed an abstract painting practice that depicts complicated states of suspension as well as celebration of life. 

Opening Reception: 22.05.2025 (Thu) 6 – 8 pm

Gallery address: 10 Sik On Street, Wanchai

Gagosian is pleased to announce an exhibition of new paintings by Cy Gavin in Hong Kong. Opening on May 22, 2025, it is his debut exhibition in Asia.

Gavin interprets natural spaces and phenomena with varied mark making that echoes the complexity of the forces that shape the landscape. Depictions of biological, geological, and cosmic structures made with at-times vivid hues, this group of paintings foregrounds themes of growth and transfiguration. Many use unprimed wooden panels as supports, with the visible wood grain itself playing an important compositional role where it is left unpainted. The square format of many of the paintings lends itself to an open-ended range of visual exploration.

Opening Reception: 6:00–8:00pm

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

Long before social media, On Kawara used the advanced communication tools of his time—postcards, telegrams, and calendars and CD to mark his presence and connect with others, bridging the personal and universal. In the early 1960s, he emigrated from Japan to Mexico, then to the US. His relentless voyages across continents are inscribed in uniquely distinguished forms, highlighted by his singularly schematic Date painting. These works redefine our perceptions of time and existence. His work transcends the fleeting nature of modern communication, reminding us of the value of authenticity and intentionality in how we record and share our lives.  

Kawara stands as a pivotal figure in conceptual art. His practice centered on the constant negotiation between self-imposed rules of creative practices and real-life experiences—particularly the tension between rules and freedom. He was a pioneer who transformed the mundane into profound meditations on time, presence, and existence. His work transcended cultural and geographical boundaries, offering a quiet yet universal reflection on the human condition.

Rule of Freedom, Freedom of Rules is the first institutional solo presentation of On Kawara’s work in Asia and the first since his passing in 2014. This landmark exhibition presents his most iconic series spanning five decades, with a special section focusing on his trip to Hong Kong. The exhibition reflects on Kawara as both a global citizen and an artist-philosopher who bridged divides between the everyday and the metaphysical, simplicity and complexity, the present and the eternal, and ultimately, life and death. His work, minimal in appearance yet rich in meaning, captures the paradox of stability within the flux of his nomadic lifestyle, widely shared by artists in a globalized world today. 

Venue: 1F JC Contemporary & 1F F Hall, Tai Kwun

The Stallery is proud to present Artifice, a groundbreaking new exhibition by CHANG, opening on 24 May 2025. Coinciding with The Stallery’s 10th Anniversary in 2025, the series delves deep into the inherent conflicts within our modern existence, the passage of time, and the intersections between the natural and the artificial.

At its core, Artifice explores the concept of duality—how every aspect of life is made up of contradictions. This body of work, which began with an exploration of Chinese scholars’ rocks, evolved into an examination of nature, existence, and technology. Just as rocks tell the story of millions of years, through their shapes and textures, Artifice juxtaposes the purity of the natural form with the heresy of symbols from contemporary society.

The artist’s fascination with duality is reflected not only in the subject matter but also in the process itself. Months of painstaking work are distilled into an instant through the medium of screen printing, embodying the tension between the long and the short, the deliberate and the immediate. Sculptures that resemble Lingbi stones are cast in bronze and hollow within. The series is the artist’s most conceptual work to date, stripping away color, line, and excess to focus on form and concept. These minimalist pieces draw inspiration from ancient Chinese rock appreciation, which venerates the interplay of solid and void, of permanence and decay. Each piece holds a mirror to reality, revealing both authenticity and deception within it.

Axel Vervoordt Gallery is delighted to introduce the artist Zoran Music (1909-2005) at our Hong Kong location. This exhibition features works from the 1960s to the 1980s, showcasing a curated anthology of several series that Music explored throughout his career. This gallery presentation coincides with a major retrospective of Zoran Music in his hometown of Gorizia, held at Palazzo Attems-Petzenstein, marking the 20th anniversary of his passing.

Opening reception: Saturday, May 24, 2 p.m. - 6 p.m.

Rossi & Rossi is pleased to present Pressed Matter, the second solo exhibition of Thai artist Mit Jai Inn (b. 1960) with the gallery. Opening on 24 May, the presentation derives inspiration from the rich ambiguity of the word ‘press’ – in this case, the physical act of pushing pigment onto a surface as well as the psychological tension of constrained time and space. The works on view capture compressed states: moments pressed between action and stillness, urgency and resistance, where layered meanings emerge like textures beneath the artist’s hand.

Gallery address: 11/F, M Place, Wong Chuk Hang

DE SARTHE is pleased to present 1, its first solo exhibition for Hong Kong-based artist Ailsa Wong, featuring a mechanical sound installation, a body of moving sculptures, an interactive 3D video game, a 2D visual novel game, and mixed media works all situated within an immersive cave-like environment. A dimly lit chamber constructed to recall the interior of an ant nest, the exhibition explores the notion of existence within a unified body and considers techno-animism under the context of contemporary pantheism. Utilizing the archetypal ant colony as basis, the artist proposes a paradigm wherein all sentient beings – living, mechanical, or otherwise – are constituents to a single, all-encompassing entity. 1 opens on May 24th and runs through July 26th.

Ants operate as a superorganism, where the colony functions by instinct as a singular, self-organizing system. Each ant plays a specific role, such as foraging, defending, or caring for the young, all working in concert such that the colony may adapt, survive, and thrive as if it were one living organism. Across varied philosophies, similar ideas have been raised vis-à-vis the universe and all that it contains – seeing all living things as part of a unified whole, be that of a divinity, cosmic harmony, or simply the natural order. It is under this framework that Ailsa Wong asks: what if all objects, including those of technology, had souls? If we were to subscribe to techno-animism, how will we co-operate within an interconnected system?

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

Aryo Toh Djojo studied at Pasadena’s Art Center College of Design. Toh Djojo employs an airbrushing technique as a central facet of his artistic process, skillfully incorporating principles of design, such as visual perspective, color theory, and an examination of the formal elements of art, to experiment and shape his paintings. Notably, he draws inspiration from the likes of Gerhard Richter, Vija Celmins, Ed Ruscha, John Baldessari, and Richard Prince. Much of his oeuvre is situated within the urban fabric of Los Angeles, thus resonating with the city's distinct subcultures.

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

White Cube Hong Kong is pleased to present an exhibition of paintings by Salvatore Emblema (1929–2006), marking the first solo presentation in Asia of works by the Italian artist. Born in 1929 in Terzigno, Naples, Emblema, with his singular focus on the qualities of light, space and transparency, diverged from his contemporaries in Italy’s post-war avant-garde. Inspired by the landscape of his upbringing – a volcanic red-zone on the slopes of Mount Vesuvius – Emblema worked predominantly with natural materials, extracting his pigments from soils, stones and agricultural materials.

Preview: 27 May, 5–8pm

Gallery address: 50 Connaught Road, Central

David Zwirner is pleased to announce an exhibition of works by Robert Ryman (1930–2019) at the gallery's Hong Kong location. Marking Ryman's first solo presentation in Greater China, this exhibition will feature a range of works from the early 1960s through the 2000s, offering a concise survey of the materials, supports, painterly treatments, and ways of engaging with the wall that Ryman utilised over the course of his six-decade-long career.

Ryman is widely celebrated for his tactile works using white paint in all its many permutations, which he executed using a range of painterly mediums on various supports including paper, canvas, linen, aluminium, vinyl, and newsprint. Emerging in the 1960s, Ryman eschewed self-contained representational and abstract imagery, instead giving precedence to the physical gesture of applying paint to a support.

Opening Reception: Wednesday, May 28, 5–7 PM

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

Paloma Varga Weisz (b. 1966, Mannheim, Germany) lives and works in Düsseldorf, Germany.Varga Weisz's artistic journey is influenced by familial ties, formal woodcarving training, and a nuanced exploration of various artistic expressions. She employs sculpture, watercolour, and drawing to delve into profound themes such as memory, mortality, and psychology. Her creations, whether on paper or three-dimensional, serve as extensions of her body and mind. 

Steeped in a legacy of artistic inspiration, her father, Feri Varga, a Hungarian artist, played a pivotal role in shaping her early artistic inclination. Her father's stories of an unconventional life alongside luminaries like Jean Cocteau, Henri Matisse, and Pablo Picasso fuelled her innate artistic inclination from a tender age. 

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

Pace is pleased to present Tongues of Flare, an exhibition of new paintings and sculpture by Li Hei Di, at its Hong Kong gallery. On view from May 29 to August 29, this presentation marks Li’s first solo show with Pace since they joined the gallery’s program in 2024. Following its run at Pace in Hong Kong, Tongues of Flare will travel to the Pond Society during Shanghai Art Week in the fall.

Opening Reception: May 29, 2025, 6 – 8 pm

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

Kevin Fung, born in 1964 in Hong Kong, has switched from his trained profession of engineering to devoting fully to art. He obtained the Diploma of Contemporary Sculpture from University of Hong Kong in 1993, followed by his studies with the renowned sculptor Tong King Sum.

His art represents the daily routines of Hong Kong’s middle class, as well as the challenges and pressures they face. Fung considers the interaction of different walks of life and the daily routine of labour as the fabric of society. Through his works, he also depicts the impact these activities have on the people. 

Opening Reception: 6 - 8 pm, Thurs, 29 May

Gallery address: 46 Sai Street, Sheung Wan

Square Street Gallery is pleased to present “Skin in Limbo” by Emily Kueis, marking the artist’s debut solo exhibition with the gallery. At its centre are three new large-scale oil paintings. Shown alongside recent works on canvas and paper, they form a kind of metaphysical landscape shaped by a pictorial language that unfolds like a diary, reflecting Kueis’ shifting sense of self, place, and identity as a painter in Hong Kong.

Kueis’ practice fluidly combines abstraction and figuration. Her distorted, floating figures appear suspended in indeterminate, cosmic-like spaces. These partial bodies, often depicted in precarious or contorted poses, explore the tension between physical and psychological boundaries. Here, flesh becomes not just a vessel but a repository of lived experience.

Her recent works incorporate recurring motifs drawn from the mundane. Mannequins, scarecrows, and raven silhouettes are subtly transformed into psychological markers, prompting viewers to re-engage with what is often overlooked. This perspective finds affinity with Martin Heidegger’s notion that everyday existence is frequently forgotten until it is disrupted, much like a stone unnoticed in one’s shoe until it shifts underfoot. Kueis reimagines allegory as disruptions, gently unsettling the familiar to reveal what is typically unseen.

Curated by Jims Lam.

Opening reception: 29th May, 6 - 8 pm

Gallery address: 21 Square St, Sheung Wan

gdm Hong Kong is pleased to present “Kongkee: Future Jātaka”, the artist’s debut exhibition at the gallery, featuring Kongkee’s new bodies of work, including LED animations, lenticular lightbox, neon installation, mixed-media paintings, and a collaborative work with artist Law Man Lok. Through a rich tapestry of mediums, Kongkee opens up a dialogue set in an imagined future where artificial intelligence, spirituality, and humanity collide, inviting the audience to contemplate how enlightenment and humanity manifest amidst the ever-changing digital era.

Inspired by the Jātaka Tales of the Buddha’s past lives, Kongkee envisions a future where religious and spiritual figures are reincarnated in a technologically advanced future filled with flickering screens and winding cables. In this world, spiritual figures take on new incarnations—a buddha observes the world through the lens of a video recorder, a binge-watching buddha is engrossed in consuming digital content, a mechanized Virgin Mary carries a robotic child in her womb.

Opening Reception: 30 May 2025 (Friday) 5—7 Pm

Gallery address: 1/F, 11 Duddell St, Central

What is inherited; what is our own? Three years after their debut solo show “Village Porn,” Hong Kong-based artist duo Virtue Village presents “Vibe Buster,” an experiential exploration of hauntology, queer theory, and the personal archive. Engaging not with literal ghosts but the intimate, spectral lingering of taught narratives, Virtue Village parse their new body of work across three central themes: the death of identity, the death of the father, and the death of magic.
At the crux of the show is the theory of queer hauntology, an identity movement that challenges the inclusivity of the “born this way” narrative. Institutionalized through popular culture and political agenda, the slogan has been instrumental in the advancement of queer rights—yet its message contains a paradox, one that suggests queerness and identity is a fixed, and perhaps even inherited, state.

By appointment

In 2015, a group of history enthusiasts accidentally stumbled upon a diary in a soon-to-be demolished residential building in Hong Kong. The diary belonged to Lam Ping-yu, who was part of a select group of 24 Chinese naval officers sent to Britain for training during World War II. As their first mission in Europe, many took part in the D-Day Landings and Operation Dragoon in the liberation of Southern France.

Lam Ping-yu’s diary appears to be the only known primary source on Chinese participation in D-Day. It reveals numerous first-hand stories about the realities of war, countless depictions of excitement, frustration, envy, and even romance! Moreover, Hong Kong features in Lam’s voyage. In 1945, he took part in Operation Armour, an operation devised by the British government to alleviate Hong Kong’s dire situation following Japanese occupation. His writings provide us with a glimpse into the city’s post-war recovery.

The exhibition debuted in 2024, receiving international attention and support. Following that, the curatorial team has achieved further research breakthroughs, gathering more first-hand information and exhibits. Set for a relaunch this year, the exhibition will present this little-known episode of history in greater depth.

02.06 - 31.07.2025 Venue address: HKMU Ho Sik Yee Library

06.08 - 06.11.2025 venue address: HKUST Library

Korean Cultural Center invites you to the Opening Reception of the exhibition "Artistic Companions in Life", featuring diverse works by LEE Ungno from the 1960s to the 1980s, including his famous Abstract Letters series and the People series, accompanied by PARK In-kyung's recent ink-wash abstractions derived from her daily observation of nature. The exhibition, co-presented with Galerie Vazieux (Paris, France), presents this couple's shared artistic journey and the commonalities of their artistic world.

Opening Reception: Thursday, 5 June 2025, 6:00 – 8:00 PM (Curator tour at 7 PM)

Gallery address: 6-7/F, Block B, PMQ, 35 Aberdeen Street, Central

In a time once again marked by rupture—by war, displacement, ecological collapse, and disinformation—Villepin presents Worlds Within: Art as Refuge, an exhibition that brings together four visionaries whose work offers a sanctuary, not of escape, but of presence. Through journeys across continents and histories, Zao Wou-Ki, Fernando Zóbel, Lê Phổ, and Kang Myonghi found in art and abstraction a way to endure uncertainty and preserve what is essential. Marking the first time Fernando Zóbel’s works will be exhibited in Hong Kong, alongside a comprehensive showcase of Lê Phổ’s artwork from each major era of his career, this exhibition is a significant moment for both artists. It underscores Villepin’s ongoing dedication to shaping the cultural landscape and serving as a messenger for the most significant artists of Asia and Southeast Asia from the 20th and 21st centuries.

Their practices, shaped by exile, migration, and reinvention, gave rise to visual languages that are both deeply rooted and radically modern. These artists do not impose; they invite. Their works transform turbulence into rhythm, displacement into meaning, and silence into resonance, offering a profound response to the complexities of identity and belonging. Rooted in traditions of contemplation and balance, yet forged through personal and historical upheaval, their art embodies values urgently needed today: harmony, resilience, spiritual reflection, and unity in diversity. In a world increasingly fractured, their vision reminds us that tradition and modernity can coexist, and that transformation can emerge not from rupture, but from reintegration.

Gallery address: 53-55 Hollywood Road, Central

In the abandoned streets of Chernobyl, nature did not wait for permission to reclaim what humans left behind. Flowers erupted through cracked pavements, vines strangled street signs, and roots invaded the remnants of human lives. This silent revolution of the natural world inspired “Echoes of the Earth”, a riveting new exhibition by Hong Kong artist duo VASEBYSU, opening at JPS Gallery Hong Kong on June 6th.

This exhibition reframes the 1986 Chernobyl disaster into a powerful meditation on renewal by revealing the paradoxical beauty that emerges when nature reclaims spaces abandoned after history’s worst nuclear catastrophe. Through three distinct yet interconnected installations, the artists pay tribute to those who sacrificed their lives while challenging viewers to reconsider their fundamental relationship with the natural world.

Opening Reception: Friday, June 6, 5 - 8 pm

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

Michael Kenna’s photography transcends the boundaries of traditional landscape art. His work is a pilgrimage in every sense of the word: a journey to sacred places, an exploration of life’s deeper meaning, and an act of devotion to beauty and simplicity. The exhibition presents his meditative images of Japan’s landscapes, from ancient pilgrimage routes to solitary shrines, and reflects on the artist’s own spiritual quest as he connects with the land, its culture, and its essence.

A Pilgrimage Through Japan’s Sacred Landscapes

For over 40 years, Michael Kenna has returned to Japan, drawn to its spiritual and aesthetic traditions. His photographs, often captured in the quiet hours of dawn or night, transform the natural world into places of contemplation and reverence. Many of his images document Japan’s literal pilgrimage routes, including pathways leading to ancient Shinto shrines, Buddhist temples, and sacred mountains. These routes, walked for centuries by seekers of enlightenment, are rendered timeless and universal in Kenna’s serene compositions.

Gallery address: 28 Pound LaneTai Ping Shan

The University Museum and Art Gallery of the University of Hong Kong and L’ÉCOLE, School of Jewelry Arts, are honoured to welcome for the first time an exhibition devoted to jewellery designs, jewellery masterpieces, and the process of creating art from precious metals and stones. Little studied and published, even more rarely exhibited, jewellery drawings remain relatively unknown to the public.

Benefitting from Van Cleef & Arpels Patrimony Collection combined with the Van Cleef & Arpels Jewelry Culture Fund, set up for research, presentation and educational purposes in 2019, loans from Lalique Museum France, and private jewellery Collections from Hong Kong, the exhibition features a remarkable collection of about 100 drawings alongside 13 exquisite jewellery pieces. 

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

For French artist and agronomist engineer Haude Bernabé, understanding life at the base is vital in her approach to life. In her studio near Paris, through various media, sculptures, drawings, and installations, she navigates between conception and intuition, exploring territories of the intimates, relation to the Other, spiritual links, and the movements of our societies.  

Natural components such as plant pigments and leaf prints are prominent in her recent works, addressing both environmental concerns and the desire to move away from an anthropocentric worldview. Her artworks have been exhibited in Europe and Hong Kong, and widely collected including by the Cérès Franco Museum in France. 

Opening Reception  : 06.06.2025 (Fri) 6 – 9 pm

Gallery address: Unit A, 4/F, Kin Teck Industrial Building, Wong Chuk Hang

PODIUM is delighted to present ‘Ballet with the Devil’, a group exhibition that employs the metaphor of a treacherous yet seductive dance with the diabolical to probe humanity’s entanglement and complex interplay with desire. Through the lens of Lacanian psychoanalysis, the artists, including João Gabriel, Shimon Kamada, Dew Kim, Jaewon Kim, Joy Li, and Tao Siqi, dissect and unveil the intrinsic unattainability of human yearnings, and explore the potential transcendence of its ensnarement. Navigating the precarious terrain where fantasy and materiality converge, the works compel the viewer to reevaluate the agency of one’s subjectivity when confronted by manifestations of trauma and anxiety rooted in the psyche.

Opening reception: 07 June 2025 (Sat) from 2 to 7 PM

Gallery address: Unit 9D, E Tat Factory Building, Wong Chuk Hang

Karin Weber is pleased to announce its upcoming exhibition, ‘Echoes of Nature,’ featuring new works by Tang Ying Chi, Kensa Hung and Chonticha Kaiaroonsuth.

‘Echoes of Nature’ explores the profound connection between humanity and the natural world, presenting viewers with evocative interpretations of landscapes, flora, and fauna. The exhibition features a diverse range of styles and techniques, united by a common thread of reverence for the beauty and fragility of the environment. This exhibition promises to inspire reflection and dialogue, inviting viewers to reconnect with the natural world through the unique visions of Tang Ying Chi, Kensa Hung, and Chonticha Kaiaroonsuth.

Opening reception: Saturday, 28th June 2025, 3-6pm

Gallery address: 20 Aberdeen Street, Central

Empty Gallery is pleased to present our first exhibition with Hong Kong-based filmmaker Chan Hau Chun. Chan’s quietly radical moving image practice is defined by a sense of diaristic intimacy and empathetic distance grounded in a deep regard for her city and its inhabitants––both past and future. Depicting the affective landscape of contemporary Hong Kong through a direct engagement with figures who rarely (if ever) enter into the matrix of official representation, Chan’s films bear witness to the movement of a precarious and yet defiant autonomy which is nothing more than the continued practice of simply living.

Chan Hau Chun is a filmmaker living and working in Hong Kong. She received her BA from City University of Hong Kong in 2015. Her work was the subject of a solo exhibition, Silent Sojourns, at WMA Space, Hong Kong in 2024. She has also participated in group exhibitions including Tsaiyun (Rosy-Cloud) Bridge / Forget Each Other in the Rivers and Lakes at Hordaland Kunstsenter, Norway (2023); An Individual as Society in Guangzhou, China (2019); and Drifting Borders at Cattle Depot Artist Village, Hong Kong (2018)

Opening reception: Saturday, June 7, 5–7PM



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

This coming June, SC Gallery presents the new show “We Float, As We Slowly Fall Asleep,” the first solo exhibition of Chui Suet Wai, Doris. Using her own experiences as a starting point, Doris employs a contrasting neon colour palette and the dislocation between scenes and figures to create a new series of works reflecting the contradictory mindset of urban dwellers—feeling mentally fatigued yet constantly chasing speed under the kaleidoscopic modern life.

Doris's creative process revolves around her observation on her mental state—high productivity is held together by external simulations, though underneath it lies a sensory perception worn out by the dazzling city lights. As technology progresses, modern society prioritizes efficiency, people are trapped in a cycle of work. Pace accelerates and becomes the core pursuit of many. People habitually follow established metrics, relying on external stimuli to enhance their efficiency, racing towards the goals. However, when the driving force gradually becomes passive and these stimulations slowly fade away, all that remains is an overwhelming sense of fatigue.

Opening reception: 7 June | 4 - 7pm

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

In 1962, Frank Horvat was commissioned by the German magazine Revue to team up with writer Dieter Lattmann to create a number of features on major cities around the world. The duo arrived late that year for a stay in Hong Kong, which had been seeing a massive influx of new immigrants from China over a decade.

Horvat was fascinated to discover a dense city laid out vertically, packed with people, dwellings, objects, and symbols, where empty space was unimaginable. It perfectly suited the photographer’s style because he liked to compose his images in black and white, filling the frame with his subjects. As a large part of the commissioned work was not included in the published article, most of the images appearing in this exhibition have never been seen before. This is also the first time the Hong Kong Dream exhibition of Frank Horvat is shown in Asia. 

3812 Gallery is thrilled to present “Dreamscape", our summer show that collectively lifts the veil on a dreamlike realm of floral and natural landscapes rendered in abstract forms. Promising a tranquil, mesmerising experience that invites quiet contemplation, the exhibition features four young artists, each with a distinctive abstract visual language, weaving a liminal space between reality and mirage, consciousness and the subconscious, past, present, and future. 

“Dreamscape”, as it is collectively crafted by a host of new blood, seeks to invite viewers on a visually dynamic, lively, and trippy sojourn—one grounded in each individual’s inner space and unfolding into the conscious sphere for introspection, retrospection, nostalgia, as well as a pure appreciation of nature’s simple beauty. Viewers may well find themselves pleasantly lost in contemplation within the kaleidoscopic dream oases affectionately rendered by the five emerging artists.

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

Wyndham Social gladly presents Verses in Chisel: Poems Etched in Time, solo exhibition by Carlos Koo, reviving the timeless art of traditional copperplate engraving through the spirit of masterful craftsmanship.

In the past centuries, metal artisans have used hand-hammering techniques to create embossed, chased, and inlaid designs, elevating ordinary metal objects into intricate and exquisite works of art. 

For nearly a decade, Hong Kong artist Carlos Koo has been dedicated to reviving traditional metalworking techniques. In this exhibition, he presents a series of rare hand-engraved copperplate works and unique prints created using these engraved plates as matrices. Carlos’ copperplate engravings primarily feature retro-style line illustrations, using engraving tools and hammers to produce lines of varying thickness and density. By layering parallel and crosshatched lines, he creates intricate textures and shadows, bringing his copperplate narratives to life.

Venue address: G/F, 33 Wyndham Street, Central

Inspired by David T. Mitchell and Sharon L. Snyder’s concept “Disability as a Narrative Device”, the duo's representation explores how disability is often misrepresented within cultural narratives and discourse as an inspiration porn, an objectification of disabled people as inspirations to non-disabled people on the basis of their life circumstances. The performances and exhibition offer a critical point of view with performance art to queer and crip the existing biased cultural narratives and represent a fully fleshed-out human experience of people with disabilities, LGBTQ+ and women. 

The presentation explores distinct body experiences of two queer and crip artists in both Mainland China and Hong Kong, challenging heteronormative and ableist societal norms and expanding the boundaries of performance with the concerns regarding gender fluidity, queerness, cripdom as an authentic narrative device for the marginalized.

Venue address: 4/F Tomorrow Maybe, Eaton HK

AISHO Hong Kong is delighted to present “Sculptural Dialogue”, a group show that brings together three contemporary artists — Katrina Sanchez, Masaki Sato, and Rasmus Nossbring — in a compelling conversation through form and material. Each artist, while distinct in their approach, shares a profound understanding of sculpture as their artistic expression and transformation.

Through their masterful manipulation of material, these artists challenge traditional boundaries of the medium. Sanchez explores the delicate balance between strength and fragility in her sculptural works, while Nossbring's monumental designs incorporate everyday elements transformed through multiple layering techniques on glass. Sato's pieces demonstrate an exceptional understanding of light and transparency, creating works that seem to capture movement in stillness.

Gallery address: Shop B, Po Hing Mansion, Tai Ping Shan, Sheung Wan

Soft Crash is a quiet collision—a meeting point between beauty and resistance, between the polished surface of fashion and the raw truths of queer and transgender identity. Set within the drop-off and carpark area of Eaton HK, a hotel that champions diversity and social activism, this exhibition turns a space of transition into a space of transformation.

Traditionally, both fashion and photography have been shaped by binary frameworks—filtered through the dominant lens of a heteronormative, male gaze. Bodies are often captured to please, to sell, or to conform. Fashion photography, in particular, has been dismissed as commercial ephemera, rarely acknowledged as serious art. Soft Crash resists these limitations. Through the eyes of queer, trans, and non-binary photographers and subjects, fashion becomes a tool of disruption—a site where identities are assembled, unstitched, and reimagined.

The carpark setting is more than aesthetic; it is metaphor. A place of pause, of waiting, of movement and margins. It reflects the lived experience of many queer individuals—forever navigating thresholds, existing between arrival and departure, visibility and erasure. Soft Crash honors that liminality. It asks: what does it mean to be seen, but not recognized? To be styled, but not understood? This exhibition embraces contradiction. It is elegant but defiant, composed but emotionally charged. Every frame is a negotiation of selfhood—bold, fragile, fluid. Fashion here is not decoration, but declaration.

Opening: 5-7pm

Venue address: G/F Car Park, Eaton HK

The ARTS‧TECH Exhibition 3.0 explores the intersection of Hong Kong’s past and future, reinterpreting ideas of time and space. It encourages reflection on the preservation and reinvention of urban memory and cultural identity, inspiring imagination and engagement with arts tech and provoking deeper thoughts on the integration of technology and culture.

The opening exhibition, The Lighthouse, uses neon lights, sound and interactive installations to reimagine the lighthouse as a metaphor for navigation and return, connecting the city’s collective memories of the harbour and the sense of coming home.

Venue address: Ocean Terminal Deck, Harbour City, Tsim Sha Tsui

Boogie Woogie Photography and PhotogStory are delighted to present MUSE and TOTEM by Jean Feldman, an exhibition featured as part of the French May Festival.

This summer, visitors are invited to explore a striking selection of Jean Feldman’s works inspired by the female form—an eclectic mix of pieces on paper and canvas, alongside some of his striking Totem sculptures.

Through this collection, Feldman mixes influences, symbols, and figures that have inspired his artistic vision. Each work offers a dialogue between imagination and form, where muses spark discovery and totems evoke a sense of wonder.

Representing Hong Kong in a Collateral Event at the 60th International Art Exhibition – La Biennale di Venezia, Trevor Yeung returns to M+ with a new configuration of his commissioned solo exhibition, Trevor Yeung: Courtyard of Attachments, Hong Kong in Venice. Yeung’s installations explore the relationships between human and aquatic ecosystems and comment on the emotional disconnections and power dynamics of contemporary society. Restaged in a museum setting, the exhibition shifts focus to discuss larger environmental and systemic issues. This response exhibition is part of the sixth collaboration between M+ and Hong Kong Arts Development Council on Hong Kong’s presentation during the Biennale.

Dai Guangyu’s  And Thus Is This Land  is a work of participatory performance art to be held and exhibited in the Focus Gallery in conjunction with the special exhibition Canton Modern: Art and Visual Culture, 1900s–1970s. Invited artists and art students will collaboratively recreate This Land So Rich in Beauty (1959), a monumental landscape by Fu Baoshi (1904–1965) and Guan Shanyue (1912–2000). An icon of modern Chinese art history, This Land So Rich in Beauty hung in Beijing’s Great Hall of the People from the time of its creation until 1990, when it was replaced with a replica. Guangdong-born Guan Shanyue is considered one of the four contemporary masters of the Lingnan School of Painting, and his works are featured in Canton Modern.

Gallery EXIT is pleased to present paintings by JEONG Yun Kyung ‘Floating Paradox’, featuring works selected from a decade-long collaboration that traces the artist's remarkable evolution as she synthesises Eastern and Western artistic traditions through architectural precision and ethereal abstraction. This exhibition showcases works spanning ten years of partnership between the artist and Gallery EXIT, revealing how Jeong has developed her distinctive practice around axonometric projection—a technical drafting method she recontextualises through Eastern philosophy to create spatial paradoxes that interrogate cultural hybridity and reimagine the boundaries between reality and utopia.

Gallery address: 13/F, 25 Hing Wo Street, Tin Wan, Aberdeen

Blindspot Gallery is pleased to debut Wing Po So’s solo exhibition “Polyglot”, on view from 17 June to 9 August 2025, featuring her recent body of work. So’s intuitive approach towards art-making draws nourishment from her formative encounters with Chinese medicine, characterized by a meticulous observation of nature and its interconnectivity. She wields the materia medica derived from our living environment as vocabularies in her conceptual works, seeking to excavate the inner logic and systems latent in our surroundings. So shows a distinct sensitivity, curiosity, and fantasy towards nature and the cosmos, all through a pharmacological lens.

“Polyglot” refers to an individual of multilingual proficiency, and here, So draws a parallel between materials and language. “Polyglot” encapsulates how materials embody the multiple “languages” of nature’s patterns. Akin to how languages carry their own logic, codes, and structures, materials embody their own rules and systems. So’s works accentuate the patterns, forces and interconnectivities hidden in our everyday.

Opening reception: 14 June 2025, Saturday; 3:00 – 6:00pm

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

Gallery EXIT presents Elah WONG Tsoi Wai’s solo exhibition Unknown unknowns, featuring the artist’s latest series of works. The exhibition focuses on Wong’s creative approach centred on bodily movement, exploring it as a medium for self-expression.
Unknown (Nameless) points to an existence that requires no reference; unknowns (avidya) signifies an exploration that confronts the unknown. This new series embodies that very spirit. Except for‘To xxx’, all other works were created without predetermined themes, sketches, or reference materials. Guided entirely by instinct and bodily response in the moment, each stroke is an immediate reaction to the blank canvas—like an untitled dream whose form only emerges at the instant of its making.
This state of ‘no preconception’ inspires bold experimentation: Wong at times scrapes away large areas of the surface, overlays new colours, then randomly tears off parts of the layers. This repeated cycle of destruction and reconstruction creates rich and varied visual textures. The artist firmly believes that bodily movement during creation is the most honest form of self-expression—take ‘scraping’ as an example: what appears to be an impulsive gesture is, in fact, precisely controlled. The mottled layers revealed beneath the scrapes are raw truths of the moment that cannot be rehearsed in advance.

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

Gallery EXIT presents 'a_likeness_of_everything_and_nothing', an ongoing project by CPY, an online artist collective. The members of CPY prefer to remain anonymous, as their personal identity adds to the misreading of pictures. Below is an essay submitted for us to publish.

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

Ora-Ora is thrilled to present In Free Flight, a solo exhibition celebrating Xu Hongfei’s remarkable career and his iconic "Chubby Ladies" sculptures that radiate joy, freedom, and universal connection. 

Playful, vivacious, and defying gravity, his bronze works transcend cultural and linguistic boundaries, embodying his belief that art is for everyone. From Flying Piano (2015) to Kiss (2010), Xu’s creations inspire love and camaraderie. Join us at Tai Kwun and experience the inclusive spirit of his works.

Opening reception: 19 June, 5-8pm

Gallery address: 105-107, Barrack Block, Tai Kwun, Central

As the first major Islamic art exhibition held in Hong Kong, “Wonders of Imperial Carpets: Masterpieces from the Museum of Islamic Art, Doha” features carpets from Iran, Türkiye, and India, along with ceramics, metalwork, manuscripts, and jades from the 10th to 19th centuries. These exquisite works illustrate the vital artistic exchange, facilitated by trade, migration, and diplomacy, among the three major pre-modern Islamic empires, namely the Safavid dynasty (1501–1736), Mughal dynasty (1526–1857), and Ottoman dynasty (1299–1923). This exhibition also evinces the inspiration Chinese art has given artists in the Islamic world, and vice versa.

The exhibition is divided into four sections: the first section introduces the cultural exchanges and mutual learning between the Islamic world and China since the Tang dynasty; the following three sections focus on, respectively, the Safavid, Mughal, and Ottoman dynasties. The design and creation of carpets and other works of art are explored in each section, offering insights into the cultural significance of imperial and finely knotted carpets, the transfer of interregional knowledge, and local characteristics.

Book your tickets in advance.

Venue address: Gallery 9, Hong Kong Palace Museum

Alisan Fine Arts is excited to present Cherie Cheuk’s long awaited first solo exhibition in Hong Kong. Featuring more than twenty works from four distinct series—Gathering of Ten Fragrances, Transcending Boundaries, Ballad of the Seasons, and Mutual Reflections—the exhibition reimagines ink art through contemporary perspectives. Steeped in Song Dynasty painting traditions yet fluent in digital-age visual culture, Cheuk bridges antiquity and modernity with lyrical wit, transforming classical techniques into vibrant dialogues with our times.

A graduate of Hong Kong’s rigorous ink painting programmes, Cheuk represents a generation that honours tradition while embracing conceptual freedom. Her works retain Song Dynasty technical mastery—evident in exquisite renderings of birds and branches—yet pulse with comic book energy and digital-age hybridity. The artist’s earlier triptych Eternal Current visualizes this duality: seabirds and waves form an infinity symbol, capturing what Cheuk calls “life’s unbroken rhythm within fragmented time.”

Opening Reception: 18 June 2025, Wednesday, 5pm-7pm

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

Soluna Fine Art proudly presents Urban Reveries, featuring the works of four Korean artists: Choi Young-Bin, Lee Ja-Young, Park Jong-Ho, and Yoon Dong-Chun. In collaboration with SYHY PROJECT, a Korean curatorial group dedicated to introducing talented emerging Korean artists, this exhibition aims to explore the intimate sensibilities and perspectives of individual artists rooted in Seoul, layered with the temporal and existential dimensions of urban experience.

Through each work, viewers are invited to wander the city’s emotional landscape, tracing the faint echoes of presence that linger in its corners. Four artists from four different generations, all currently based in Seoul and working across various media, present works that evoke specific memories or emotions, creating distinct sensory layers that together form a synesthetic harmony. As these works are displayed in the new context of Hong Kong, we hope the urban fragments and artistic expressions conveyed by Seoul will reach local audiences with a quiet yet profound resonance.

Opening reception: 19 June (Thur), 6-8 pm

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

Hanart TZ Gallery is pleased to announce the opening of the new exhibition “MONUMENTS” on Saturday, June 28, 2025, from 2pm to 6pm. This special group show features monumental works by artists from different generations and with conceptually diverse practices: YEH Shih-Chiang 葉世強 (1926-2012), LEUNG Kui Ting 梁巨廷 (b. 1945), HU Xiancheng 胡 項 城 (b. 1950), YANG Jiechang 楊 詰 蒼 (b.1956), LU Dadong 魯大東 (b. 1973), Howie TSUI 徐浩恩 (b. 1978), CHOW Chun Fai 周俊輝 (b. 1980) and the art collective BOLOHO 菠蘿 核 (est. 2019).

The three years of COVID-19 redefined the cycle of an era, separated nation-states, and divided regions. The global carnival of neoliberalism and the acceleration of IT technology have caused a pivotal turn towards an unknown historical destiny. The new art that emerged since the 1990s is now defined as belonging to a past era. However, the shape of the present is constantly being defined, just as its mission and memories are constantly being reshaped. The monument is a marker of space and time. This exhibition includes both new works and selections from the past. “MONUMENTS” is not predicated on volume, but rather on the idea that the macroscopic view is achieved by critical icons that define the times and open up the present.

Opening Reception: 28 June 2025 (Saturday), 2pm to 6 pm

Gallery address: 2/F Mai On Ind. Bldg., 17-21 Kung Yip St., Kwai Chung

The University Museum and Art Gallery, The University of Hong Kong, is honoured to present Bamboo Baskets: Chinese Origins, Japanese Innovations, a major exhibition offering an overview of the finest achievements of bamboo art in East Asia. The expansive yet meticulously curated selection prompts a reassessment of the central role played by continental prototypes, or Karamono (唐物, literally ‘Tang things’ or ‘Chinese things’), in the remarkable development of Japanese basketry over the past 150 years. Supported by two visionary collectors, this exhibition marks the first time that Chinese and Japanese baskets are being presented side by side in Hong Kong. 

The display of bamboo baskets encompasses more than 200 objects that illustrate a wide range of weaving techniques, tracing the evolution of early Ming and Qing dynasty vessels to their influence on Edo period artefacts and the innovative development of contemporary kogei. Focused on the transfer of knowledge and the preservation of long-practiced bamboo weaving techniques, the exhibition also explores the cultural context of the traditional tea ceremony and the related art of ikebana flower arrangement. Together, the exhibition documents the handcrafted creation of some of East Asia’s finest decorative arts and celebrates a significant form of intangible cultural heritage, still perfected by family workshops that have passed down their skills through generations. 

This exhibition relies on exemplary loans from both the Naej Collection in Germany and the Muwen Tang Collection in Hong Kong, and is supported by the HKU Museum Society.  

HART Haus and r é n are excited to present an exhibition “Art Actions | Our Youth Our Future”, featuring debut presence of six emerging artists in Hong Kong –– Daniel Roibal (Spanish, based in the UK), Keisuke Azuma (Japanese, based in Lithuania), Sin U Lam (Macanese, based in the UK), and the 2024 HART Awardees: Elsa Ngai, Kwok Wah San, and Kelly Kwok –– graduates from The Chinese University of Hong Kong and Hong Kong Baptist University.

This exhibition offers a collective perspective on how transnational training shapes the roles of artists, emphasizing the interplay of locality, time, memory, and emotional attachment within contemporary society as they transition towards professional artistic careers. Drawing from diverse diasporic experiences, origins, and narratives, these artists illustrate the collapse of time, memory and epitome within the works of painting and installation.

This exhibition is realized as part of “Linking Our Youth With Art and Design Through Humanity” campaign in collaboration between HART Haus and r é n, a collaborative initiative opening gateways for underprivileged youths to thrive in the art industry.

Opening Night: 26 June, 6 - 8 PM (artists in attendance)

Gallery address: 3/F, Cheung Hing Industrial Building, 12P Smithfield, Kennedy Town

Canton Modern presents twentieth-century Cantonese art and visual culture in its full complexity as an important chapter in global modernism. United in a shared linguistic and cultural identity, the southern port cities of Guangzhou (also known as Canton) and Hong Kong were historically marginal in China. The birthplace of revolution, the two cities gave rise to a distinctive visual and artistic modernism, one shaped by cross-cultural interactions and tensions between conservative and progressive artworlds. Cantonese artists broke away from the elegant poetics of classical ink painting to forge a socially oriented realism, depicting subjects ranging from leisure and labour to war and disaster. Working as journalists and publishers, they exploited the immediacy and circulation of print, photography, and cartoons to intervene in and even reform society.

Furniture experiments by Batten and Kamp and friends.

As the culmination of two months living, making, and overthinking at Hong Kong alternative art space Current Plans, we are exhibiting a full universe of new and existing functional sculptures. These works include collaborations with some of our close friends @henryc.hu, @henry__dath, @trance.films, @lousylousy, and @orangeterry.

Opening June 28. 1-7pm

Thursday - Sat 1-7pm (other days by appointment)

Gallery address: 3/F, Remex Centre, Wong Chuk Hang

Carl Kostyál is delighted to present ‘Waiting’, the debut solo exhibition of Hiroya Kurata with the gallery, opening July 2 and on view through August 2, 2025.

Drawing on memories of domestic life and suburban observation, Hiroya Kurata’s paintings isolate the quiet intensities of the everyday. His figures—often depicted alone, unguarded, in moments of drift or stillness—occupy gently distorted environments rendered with atmospheric depth and a careful play of light.

The works in ‘Waiting’ sit between landscape and vignette, animation and atmosphere. Kurata’s visual language fuses the stylised contours of manga with the compositional calm of landscape painting. Faces are rounded, features reduced to minimal marks—eyes, a mouth, a slight gesture—but the surrounding space is handled with painterly sensitivity. Light takes on an active role: filtered through trees, cast sharply across pavement, or caught in the softness of a carpet at dusk.

Preview: Wednesday, 2 JULY, 5:30 – 7:30 PM

Gallery address: 20/F, Landmark South, Wong Chuk Hang

Drawing on the symbolic resonance of animals such as dogs, horses, and mules in Cantonese labor metaphors, this exhibition explores the exhaustion, repetition, and invisibility underpinning Hong Kong’s gig economy. Figures like the kangaroo and panda—appropriated in food delivery branding and state-endorsed “panda economy” strategies—are recontextualized to reveal deeper entanglements between platform capitalism and public policy. Through the lens of animality, the project critiques how bodies become algorithmically managed and exploited in ever-moving cycles of service and consumption. Viewers are invited to reflect on how labor has become increasingly mobile, precarious, and dehumanized within digitally governed infrastructures.

Through a constellation of installations, videos, participatory game and documentary practices, the exhibition critically engages the aesthetics and temporalities of endurance under algorithmic governance. Together, these works expose unseen narratives behind food delivery platforms and capitalism economic system, transforming familiar urban rhythms into spaces of critical reflection on endurance, value, and survival.

Curator: Wong Ka Ying
Artists: Ailsa Wong | Grace Liu | Tsz Ying | Holok Chen | Kong Yiu Wing | Cheung Sin Yi, Selina

Exhibition opens on July 2, 2025 (Wed) from 6:30 PM - 8:30 PM with a guided tour by the curator and the artists.

Gallery address: 14/F Hong Kong Arts Centre, 2 Harbour Road, Wanchai

Yan Jingzhou’s works in this exhibition present an overall tension structure interwoven with absurdist drama and modern literature. Between image and narrative, they touch upon subtle layers of human relationships to some extent, calling for ideals of equality and freedom, and delicately exploring the depths of emotion. Some pieces reveal themes of love and identity, others observe geopolitical relations, pay homage to the classics, or reinterpret the cultural genes of his hometown. His paintings resemble mirrors illuminated by many beams of reflected light, in which countless faces—those masked by social norms—shed their disguises one by one, silently telling their own monologues.

Curator: Sherry Wang

Opening: 3 July, 4-7pm

Gallery address: Unit 2003-08, 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

Leo Gallery is honoured to present the continuation of Fung, Lik-yan Kevin Retrospective Exhibition, now featuring Part II, which will open on July 3, 2025, and remain on view until July 26, 2025. This extension provides an invaluable opportunity for visitors to delve into the life and artistry of the beloved sculptor, who passed away earlier this year. 

Part II of the retrospective exhibition will showcase Fung’s more updated series, including the captivating "Switch Series - Who is the Plaything," featuring teddy bear-shaped sculptures crafted from stainless steel in both silver and gold finishing. This shift in focus highlights Fung's innovative approach and his ability to blend whimsy with contemporary themes, inviting viewers to ponder the nature of play and companionship.

Opening reception: 3 July, 6-8pm

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

Familiar strangeness is the frayed edge of the memory, before it is trimmed and made neat. In our era of digital overload, our minds often stumble upon moments when the familiar suddenly turns strange—a common character loses its meaning after we gaze at it too long, a well-known melody sounds oddly out of place in a new setting. This is the sensation of jamais vu: when the known becomes alien, and the reality slips into uncertainty.

Xu Chenyang captures this delicate, in-between state in his visual art, inviting viewers into a threshold between the memory and the imagination, the reality and the surreal. Through subtle transformations of classic motifs—castles, scholar’s rocks, ladders, horses—he distills this cognitive experience into visual fables. His canvases become Rorschach tests for our sense of reality, where the almost-recognizable forms reflect the workings and limits of our perception.

Opening Reception: 4 July, 2025, 5:00 – 8:00 PM

Gallery address: 2/F, New World Tower II, 18 Queen's Road Central

The Bachelor of Arts (Fine Art) Graduate Exhibition 2025, titled “Calling”, will be held from 5 to 21 July at Pao Galleries, Hong Kong Arts Centre, showcasing the works of graduating students specialising in ceramics, painting, photography, and sculpture.

Calling presents the unique journeys shaped by each graduate’s inner voice and experiences. It reflects fragments of growth, adaptation, and individuality, transformed into a revolving echo that leaves a lasting mark on one’s life. No two echoes are the same, yet they resonate with universal connections. Through their tangible forms, all are invited to engage with the voice that calls out to you and delve into moments of introspection and intimate exchanges.

Opening Ceremony: 4 July 2025 (Fri), 6:30pm (Reception at 6pm)

Venue: 4-5/F, Pao Galleries, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai

“Constructing Void” showcases a bewildering perceptual experience from the “friction between sculptural and painterly perception”. Cai Lei secretly rewrites the assured interrelation between perspective and images. For hundreds of years, this has been a system of exchange between gaze and psychological space, promising spatial stability and certainty through a powerful structure. Currently, this visual language serves as the foundation for Cai Lei’s work.

Opening reception: 5th July (Sat) 6-8pm

Academic Director: Shen Qilan

Curator: Fiona Lu

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

WKM Gallery is delighted to present Return to Nothing, Freddy Carrasco’s inaugural exhibition in Hong Kong. A Canadian artist of Dominican heritage, Carrasco has cultivated a diverse multidisciplinary practice over the past decade spanning painting, sculpture, animation, illustration, music, and spatial design. This exhibition, developed in Hong Kong over 4 months during his residency at SIDE SPACE, unveils a new body of work that marks a new chapter in the artist’s personal narrative. Having spent the past 6 years in Tokyo, Carrasco’s time in Hong Kong has served as an extension of a physical and spiritual journey into rediscovering what connects humanity across cities, cultures, religions, and eras. Spurred by the existential tension that such overwhelming (and often brutally indifferent) megalopolises bring about, the exhibition returns back to the home: through deeply vulnerable works reflecting on family and intimate relationships, Carrasco finds an entry point towards the universal human desire for connection, meaning, and transcendence.

Opening reception: 5 July 2025 | 4 - 8 pm

Gallery address: 20/F, Coda Designer Centre, 62 Wong Chuk Hang Road

Kiang Malingue is pleased to present at its Hong Kong headquarters “Summer”, an exhibition of recent paintings and works on paper by Liu Yin. The exhibition continues the artist’s exploration of nature that began with her 2023 exhibition “Spring”, revealing gentle and surging emotions in flowers, trees, fruits, seas and rocks.

More than a dozen paintings on view at Kiang Malingue’s Sik On Street space are organized into three chapters. In the first series of paintings, one sees a number of fruit-figures floating and frolicking in the waters: works such as River #1 (2025) reflect the artist’s interest in small bodies of water, such as rivers and streams, where traces of life remain and constantly redefine the environment in which they are left—the natural elements found in the waters interact with one another, adding another lively layer to the complex ecosystem of the flowing waters. In these paintings, Liu continues to paint adorable shōjo manga faces over flowers, leaves, and fruits, turning them into sentient, sensitive beings. They are unapologetically emotional in the network of affect they form with the environments, guiding the viewer’s gaze through compositions that deal with bodily concerns and expressiveness. Another work in this chapter, Summer (2025), actively draws the viewer’s body into a verdant landscape where joyful flowers emerge from a deep labyrinth of branches and leaves.

Opening reception: Thur, 10 July, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

This summer, Hauser & Wirth Hong Kong presents a group show, ‘Aura Within,’ bringing together a dynamic ensemble of six artists beyond the gallery’s roster—Luis Chan, Haneyl Choi, Nicole Coson, Shota Nakamura, Peng Ke and Yeh Shih-Chiang— and Hauser & Wirth artists Bharti Kher, Tetsumi Kudo and Zhang Enli. Organized by Hong Kong-based curator and scholar Anqi Li, the show invites the audience to return to the body as ground zero in the turbulent currents of our time, and to explore urgent contemporary topics of existence and perception, identity and memory, nature/urban landscape and spiritual dwelling with the nine intergenerational artists. 

The exhibition celebrates artists deeply intertwined with the cultural tapestry of Asia and its diasporic narratives, and stands as a testament to the gallery’s broader initiatives and enduring commitment to fostering dialogue and collaboration within the art communities it calls home, such as Hauser & Wirth Invite(s) in Paris and Zurich, ‘An Uncommon Thread’ and ‘Present Tense’ at Hauser & Wirth Somerset, and ‘Nonmemory’ at Hauser & Wirth Downtown Los Angeles, each reflecting a shared ethos of collaborative arts ecosystem. 

Opening reception: 10 July, 6 – 8 pm

Gallery address: G/F, 8 Queen's Road Central

Marty Schnapf earned a Bachelor of Fine Arts from Wittenburg University in 1999, specializing in Painting, Printmaking, and Sculpture. His artistic realm conjures a fluctuating space marked by sensuality and psychological depth, where dreams, desires, and memories intertwine. Figures often overlap or are depicted in various choreographed positions, encapsulated within structurally fragmented environments that both envelop and intersect them. Through the dissolution and dislocation of these elements, Schnapf captures the dual aspects of a moment: its direct representation and its imagined or potential state.

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

In the interplay between dreaming and seeing, presence and absence, permanence and transience, the works of Chen Zhe, Bianca Raffaella, and Aida Tomescu trace the delicate thresholds where endings dissolve into beginnings. Drawing from poetry, memory and personal visions, the artists play upon the evanescent nature of our existence, revealing how the fleeting and the eternal are inextricably entwined. 

Private View on Thursday 17 July from 6-8pm

Gallery address: 49 Tung Street, Sheung Wan

Darren Almond returns to White Cube Hong Kong for the first time since 2016, with a new series of paintings exploring the instability of time, memory and place.

Made with delicate materials including gold leaf, silver, copper and palladium, the works on view examine how our relationship to the natural world undergoes inexorable change.

Gallery address: 50 Connaught Road Central

Safari is a journey to observe wild animals, embodying metamorphosis and enlightenment while inviting the audience to explore the diverse nature of our united souls. The origin of its Chinese title (化) depicts two figures — one upright and one inverted, symbolising the evolution of human customs and the creation of all creatures in ancient China, representing change.

The graduates’ minds and perspectives shifted throughout the two-year journey. Decisive changes encouraged graduates to face conflicts and strive for growth. May we witness the collective belief in this wild, fresh ‘Safari’ and delve into the creative individuals who embrace great change.

Opening: 18 July, 5pm

Venue: The Showcase & Room 1501, 15/F, Hong Kong Arts Centre, 2 Harbour Road, Wanchai

The first comprehensive exhibition in Hong Kong dedicated to the pinnacle of Mughal art, featuring approximately 110 iconic artworks from the collection of the Victoria and Albert Museum in the UK. The exhibition celebrates the extraordinary artistic achievements of the Golden Age of the Mughal Empire (ca. 1560–1660) on the Indian subcontinent during the reigns of its most famous emperors: Akbar (r. 1556–1605), Jahangir (r. 1605–1627) and Shah Jahan (r. 1628–1658).

Gallery 8, Hong Kong Palace Museum

This exhibition brings together new and recent works by six artists shortlisted for the Sigg Prize 2025. Established in 2018 by M+, this prestigious prize is open to artists born or working in the Greater China region and its diasporas. It aims to recognise important artistic practices in the region and to promote the strength and diversity of Chinese artists on an international platform. For the third edition, M+ will showcase the works of six leading contemporary artists, including Bi Rongrong, Ho Rui An, Hsu Chia-Wei, Heidi Lau, Pan Daijing, and Wong Ping.

The six finalists were selected by an international jury chaired by Suhanya Raffel (Museum Director, M+, Hong Kong), with members Maria Balshaw (Director, Tate, United Kingdom), Mami Kataoka (Director, Mori Art Museum, Tokyo), Gong Yan (Director, Power Station of Art, Shanghai), Glenn D. Lowry (Director, Museum of Modern Art, New York), Uli Sigg (collector and member of the M+ Board, Switzerland), and Xu Bing (artist, Beijing).

White Cube is pleased to announce the first solo exhibition in Hong Kong of works by Isamu Noguchi (1904–1988), one of the most influential artists of the 20th century.

The exhibition explores the profound impact that Chinese master painter Qi Bashi had on Noguchi’s artistic development, notably the creation of his fluid ‘Peking Brush Drawings’ under Qi’s guidance in the 1930s. Tracing the influence of these calligraphic forms on Noguchi's sculptural practice throughout his career, highlights of the presentation include innovative constructed bronze works from the late 1980s.

Gallery address: 50 Connaught Road Central

Environments are artworks in which viewers play an active role, stimulated by objects, light, moving image, and sound as they move through and around the work. They have been a major feature in international art since the mid-twentieth century, laying the groundwork for the immersive experiences that dazzle museum audiences today. However, the important history of this art form is only partially understood, as so many of these groundbreaking works were destroyed after display, and the focus to date has been almost exclusively on male artists.

Dream Rooms: Environments by Women Artists 1950s–Now presents the works of trailblazing women artists whose environments made a lasting impact on the history of visual art, illuminating artworks of the present and offering glimpses into the future. It spans several generations of artists from Asia, Europe, and North and South America, presenting full-scale reproductions of each work. These reconstructions are as close to the originals as possible, developed through research and collaboration with experts and the artists themselves.

The oeuvre of the seminal painter Maria Lassnig covers an incredible lifespan of more than 70 years of intense work between the end of the Second World War and her death in 2014. At the center of her profound research into painting we find a unique interest in the relation between awareness and the human body – the artist's body –, which Lassnig calls Body Awareness. It is research that is fuelled by an occupation with philosophical and scientific theories on perception. Examples include texts by the Austrian scientist and philosopher Ernst Mach and those of her peer and close friend, the Austrian writer Oswald Wiener, with whom she undertook perceptual experiments in the 1970s.

Lassnig questions the perception beyond the visual, how our body senses as a whole. She also explores the ways in which language becomes part of such perceptions, leading to her lifelong interest in literature and friendships with such eminent poets as Paul Celan and Friederike Mayröcker. Within this research, the human body is subject to change, it is morphing constantly, sometimes even into the mythological. Titled 'Self with Dragon', this is Maria Lassnig's first solo exhibition in Hong Kong. With this selection of paintings, the show attempts to provide an insight into Lassnig's approach to such reflections and their manifestation on the canvas.

Gallery address: G/F, 8 Queen's Road Central

White Cube Hong Kong is pleased to present 'Thresholds', a group exhibition featuring the work of 9 contemporary artists whose practices are rooted in or connected to Indonesia.

Through a diverse range of mediums, the exhibition explores the interwoven cycles of life, death and transformation, with a focus on themes of ritual, spirituality, and reincarnation.

Featured artists: Christine Ay Tjoe, Nadiah Bamadhaj, Galuh Anindita, Kei Imazu, I Gusti Ayu Kadek Murniasih, Arahmaiani, Jennifer Tee, Ines Katamso and Citra Sasmita.

Curated by Galuh Sukardi

Gallery address: 50 Connaught Road Central

The largest and most comprehensive exhibition of ancient Egyptian treasures in Hong Kong in recent decades features nearly 250 exquisite objects from seven important institutions in Egypt, including the Egyptian Museum and Luxor Museum. It also highlights significant new archaeological discoveries from the large tombs at Saqqara near Cairo. The exhibition illustrates the legendary life of the Egyptian pharaoh Tutankhamun (r. ca.1332 BCE–1323 BCE) while exploring statues, coffins and animal mummies found in Saqqara since 2018.

Gallery 9, Hong Kong Palace Museum

This exhibition brings together a selection of major works produced by Rauschenberg during and in response to his time in Asia. It traces the conceptual, formal and material influences on his practice, such as sourcing textiles and collaborating with paper makers and ceramicists in China, India, and Japan. The exhibition also considers the history and legacy of his Asian Rauschenberg Overseas Culture Interchange (ROCI) projects, which included exhibitions in Beijing (1985), Lhasa (1985), Tokyo (1986), and Kuala Lumpur (1990), and their lasting impact on local artists. The display will feature works by Rauschenberg and by Asian artists in dialogue with his practice, and marks the centenary of the artist’s birth.

Zao Wou-Ki: Graphic Works (working title) explores the Chinese-French artist’s life, his prints, and his mastery of abstraction. It sheds new light on Zao’s printmaking practice, introducing the unique aesthetics, techniques, and styles of this medium while investigating the connections between oil painting and printmaking as equally significant aspects of his oeuvre. The exhibition explores how Zao’s printmaking catalysed his experiments in abstraction and considers the role of prints as a visual and conceptual vehicle that facilitated the circulation of his works, positioning him as an eminent cross-cultural figure in the post-war art landscapes of Europe, Asia, and the United States.