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

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.

'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.

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

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

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.

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

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

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

The British Council Hong Kong is delighted to announce the launch of its newly transformed art space Bookshop Gallery, with the opening of its inaugural exhibition, “Moore’s Visions. More Revisions.”, curated by Hong Kong curator Jims Lam.

Moore’s Visions. More Revisions. aims at honouring Henry Moore's legacy as one of the most influential artists of the 20th century, the exhibition also stage a dynamic dialogue between historical influence and contemporary perspectives in our present moment. The works by four contemporary artists Zheng Bo, Chihoi , Wilson Shieh and Liao Wen foster intergenerational exchange and challenge historical hierarchies within the visual arts.

Venue: Bookshop Gallery, G/F, 3 Supreme Court Road, Admiralty 

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

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

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

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

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

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.

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

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

For a long time, NOVO has painted the things he holds dear - basketballs, paper airplanes, sneakers, Hello Kitty, and old stickers that have lost their shine. Some have been with him since childhood. Others have resurfaced only recently.

He collects objects, but not just to own them. His way of collecting is closer to remembering. Objects lead him back to emotions, and emotions guide his images. The scenes that emerge feel personal, yet familiar. Like something that could have belonged to anyone.

This exhibition, More Bounce, More Hope, traces the emotional rhythms he has returned to again and again. “Bounce” doesn’t just describe the motion of a ball. It’s the reflex of the body, the push against the ground, the kind of energy that makes you laugh before you think. NOVO believes hope begins somewhere in that bounce.

Opening Reception: 2025.07.02 (Wed) 17:30-19:30

Gallery address: Shop 103 & 202, 1-2/F, Block 3 Barrack Block, Tai Kwun

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

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

N+ MUSEUM reopens in the garage under Chungking Mansions.

We are pleased (or are we?) to once again throw open our doors and present a revamped Sick Collection featuring 50+ emerging artists from Hong Kong and beyond.
This is N+ 2.0 — a continuation of chaos, fun, and unseriousness. Forget the polished white cubes and sterile air of professionalism. Our new display offers a gloriously uncurated and not-so-in-depth glimpse into contemporary art, as a random bunch of artists dump their stuff on us in the name of expression.

We don’t believe in institutional validation or market value. We believe in vibes.
We believe in the here and now — in the messy, urgent, stubborn aliveness of artists who are still alive.
N+ is a museum run by artists, for artists. No gatekeeping, no pretension. Just an open platform for renegades, nobodies, and not-yet-somebodies to make some noise.

Opening Party: JULY 4 (FRI), 5 pm - 11 pm
Location: The Garage @heath_hk , B/F, Chungking Mansions, 36-44 Nathan Rd, Tsim Sha Tsui

M+, Asia’s global museum of contemporary visual culture in the West Kowloon Cultural District (WestK) in Hong Kong, is delighted to unveil the new M+ Facade commission HK:PM (2025) by internationally acclaimed photographer Greg Girard. This thrilling work is a visual journey through Hong Kong’s cityscape. HK:PM will be shown on the M+ Facade every night from Friday, 4 July to Sunday, 28 September 2025.

HK:PM animates analogue photographs from Girard’s personal collection, shot between the 1970s and 1990s. They portray the bustling streets of Central, featuring students, fashionistas, and workers going about their daily lives. Girard also weaves in rare photographs of the now-demolished Kowloon Walled City. In other scenes, neon-lit streets, lively nightclubs, and magical celebrity moments come to life. There is a sense of perpetual motion, from airplanes soaring between dense skyscrapers near old Kai Tak Airport to the constant activity along Victoria Harbour.

 Girard is renowned for capturing cities in transformation, and HK:PM returns his photographs to the site of their creation. In this new format, incidental situations become lasting images, and their sequence unfolds like a film. As a keen-eyed urban explorer, Girard considers how intimate moments and personal memories together shape a collective history, connecting the past with the present.

Tai Kwun Contemporary is excited to present the second edition of Open the Box. Returning to Tai Kwun for the summer, Open the Box 2025: Bloom of Light continues a project that opens up gallery and white cube spaces, typically reserved for curators and artists. Running from 5 July to 3 August 2025, this special event reverses roles, inviting audience aged five or above to become the artist and craft with fellow visitors and participants.

Exploring innovative approaches to community engagement, Open the Box offers up an alternative to conventional programming that has the potential to shape the future of museums. Led by Japanese artist Shinji Ohmaki, Bloom of Light is part of the artist’s ongoing Echoes Infinity series. This vibrant and engaging interactive installation invites participants to create floral motifs and patterns throughout an ever-growing gallery space, exploring themes of memory, time, and the creation of light in collaboration with the audience.

Co-creation Period: 5 - 27 July Ticketed Admission: $180 || $240 

Public Viewing Period: 29 July – 3 August

Closing Ceremony: 3 August 4pm –7pm

Venue address: 3/F, JC Contemporary, Tai Kwun

“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

From natural to urban spaces, every stone and particle of dust exists beyond its physical genre. They accumulate in flows, revealing their spatial condition on the axis of time. Situating ourselves within both its material presence and its spatial tension, we seek clues from these on-site found objects. In the unattainable and unreachable past and future, we reconstruct and fumble the wave of people and their stories.  

In this exhibition, Ho Hou Wun Andy continues his focus on three-dimensional practice, with installation and sculpture in various materials. His practice explores the essence and interactions between time-space and human beings through a logical and conceptually oriented approach. Believing that a place shapes a person, his works investigate the influence of spatial context, socioeconomic phenomena, geography,  and cultures on our condition of existence and way of thinking,  ultimately proposing reflection on our perception and sense of identity.

Gallery address: 13A Prince’s Terrace, Central

The two artists use different materials to explore the ideas of “boundaries,” “fusion,” and “process.” Through experimenting and changing their mediums, one artist combines painting into sculpture, and the other from images to objects. Both are showing a space between merging and separation.

Genie Hui turns the “monsters” in her paintings into sculptures, and by mounting xuan paper on ceramic boards, she blurs the line between painting and object, two-dimensional and three-dimensional, fantasy and reality.

Jinki Lau uses clays for prints. She layers overlapping and distorted images on a single surface, and through repeating the process of printing, familiar images slowly lose their shape. This creates new ways of seeing and new senses of time.

Opening: 5/7 (sat) 4-7pm
Venue: Artspace 1999 10/F, Foo Tak Building, 365-367 Hennessy Road, Wan Chai

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

PhillipsX, a selling exhibition platform operated by the global Private Sales team at Phillips, is pleased to present Thierry Noir: Rush Hour, an expansive dual-city showcase of works by renowned French artist Thierry Noir, opening this July in Tokyo and Hong Kong. Marking the artist’s most significant project in Asia to date, this selling exhibition draws a bold arc from the rawurgency of his early 1980s works to the vibrant, large-scale pieces of his contemporary practice. Encompassing over 40 years of artistic evolution, Thierry Noir: Rush Hour juxtaposes rarely seen early 1980s works—many never before exhibited or shown outside Europe—with a series of new paintings and site-specific murals created exclusively for this project.

Fireside Chat & Live Painting by Thierry Noir: Friday, 18 July, 5-7pm

Venue address: G/F, WKCDA Tower, West Kowloon Cultural District

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’s paintings–textural, kaleidoscopic, and tenderly surreal–dwell in the watery space between two shores, as if plumbing the depths of the psyche. Vacillating between modes of figuration and abstraction, the crisply rendered compositions in Vignettes depict figures and scenes culled from personal dreams and recollections, positioning the paintings as portals to extrasensory realities where colors, sensations, and symbolic archetypes bleed and intertwine.

Schnapf’s painted bodies often serve as somatic vessels for his uncanny abstractions: their forms contort, fold, refract, and disappear–gestures of material dissolution that tug at the veil between the real and surreal. Water, a primordial element and a symbol of the abyssal fluidities of the subconscious, features prominently in these paintings

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

Joan Cornellà is celebrated for his distinctive style that combines vibrant colors with black humor. His illustrations often serve as a mirror to society, reflecting contemporary issues and human behavior through a satirical lens. Each piece is crafted to provoke thought and conversation, encouraging viewers to explore their interpretations of the absurdities of modern life. 

This exhibition will showcase a diverse array of Cornellà's works. Each piece invites interpretation and reflection, encouraging dialogue among art enthusiasts and newcomers alike. Highlights include new limited edition figures, new limited edition prints, and the collection of over 100 original artworks on paper. A range of merchandise will also be available, including a new book and new T-shirts.

 $50 (Tickets are exclusively available for purchase online)

Venue address: Anita Chan Lai-ling Gallery, The Fringe Club, Central

"THE HONG KONG ICONICS: Hong Kong Art Basel Review" exhibition opened on July 11 at Lucie Chang Fine Arts. This exhibition focuses on three iconic Hong Kong artists—King of Kowloon(Tsang Tsao Choi), Zhao Haitien, and Anothermountainman (Stanley Wong)—revisiting Hong Kong's cultural context and artistic spirit through works spanning half a century.

Centered around the theme of "Hong Kong Classics," the exhibition highlights these artists' profound reflections on urban memory, identity, and spiritual awakening. King of Kowloon's graffiti calligraphy challenges tradition, becoming a legendary mark of Hong Kong culture; Chao Haitien's works blend abstraction with emotion, reflecting the intertwining of the individual and the times; Anothermountainman (Stanley Wong) utilizes local visual symbols to explore urban memory and social phenomena.

Gallery address: Unit C, 12/F, Gee Chang Hong Centre, 65 Wong Chuk Hang Road, Wong Chuk Hang

The MA Graduation Show celebrates the artistic accomplishments of 23 graduates across various disciplines, including fine art, design, installation, and mixed media. Through diverse approaches and expressions, these artists reflect on identity, collectivity, cohabitation, memory, perception, urban experience, and creative experimentation.

Symbiosis draws inspiration from the Greek term symbíōsis, signifying companionship and coexistence. Echoing the cultural metaphor of “learning from the same master yet blossoming differently” in Flowers in the Mirror, this exhibition highlights how emerging artists take root in shared soil yet grow freely in divergent directions. The show invites audiences to witness the vitality of coexistence—how artistic branches flourish through mutual resonance, creative friction, and generative difference.

Opening Ceremony (By invitation only): 11 July 2025 (FRI), 19:00

Venue: HKBU Kai Tak Campus, 51 Kwun Tong Road, Kowloon

Ben Brown Fine Arts is pleased to present Wish You Were Here, an exhibition curated by New York-based curator, art advisor, and independent scholar Jie Xia. On view at Ben Brown Fine Arts Hong Kong, the exhibition evokes the intoxicating pull of summer: the heat, the haze, and the promise of escape. Featuring works by leading postwar and contemporary artists — drawn from the gallery’s programme and beyond — the exhibition explores the iconography of travel, the sea, and the rituals of seasonal escape, approached with varying degrees of meditation, longing, and nostalgia.

This seminal exhibition features the work of Lucas Arruda, Milton Avery, Miquel Barceló, Alejandro Cardenas, Tseng Kwong Chi, Loie Hollowell, Hon Chi-Fun, Vik Muniz, Nabil Nahas, José Parlá, Hilary Pecis, Enoc Perez, Gerhard Richter, Ena Swansea and Christine Ay Tjoe.

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

Galerie Koo is delighted to showcase From Mundane, Multitudes, a photography exhibition by Yung Tak Cheung and Danny Chau, presented by Galerie Koo and Up & Up Art.

This exhibition explores how we see and make sense of the world through time, memory, and the quiet moments in between. From small, everyday objects to raw natural forms, the artists reflect on the shifting nature of perception and how even the most ordinary things can hold deep personal and collective meaning.

Yung Tak Cheung’s works turn overlooked moments into gentle meditations, drawing attention to the beauty and symbolism in our daily lives. In contrast, Danny Chau’s large-scale images—printed through metal dye sublimation—offer bold, almost dreamlike visions of nature and human structures, blurring the lines between reality and imagination. Together, their works invite us to slow down, reflect, and rediscover wonder in the seemingly mundane.

Opening Reception: 12th July (Saturday), 2-6 pm
Artists in attendance

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

This summer, Art Intelligence Global is pleased to continue its initiative of partnering with emerging galleries and curators through the group exhibition Elsewhen, Elsewhere, presented in collaboration with Tokyo-based gallery KAYOKOYUKI. The exhibition highlights eleven contemporary artists from the gallery’s program — Kenji Ide, Yohei Imamura, Kazuki Matsushita, Kate Newby, Yutaka Nozawa, Ayako Ohno, Emi Otaguro, Michi Suwa, Daichi Takagi, Masanori Tomita, and Evelyn Taocheng Wang. Through their practices, each artist interrogates their personal experiences and the enigmatic questions they raise. Drawing on imagery from their everyday surroundings, their works offer subtle insights into how we might coexist in a society increasingly defined by divergent values and social fragmentation.

Opening: Saturday, July 12, 2025, 3 – 6 PM
Gallery address: 1/F, TS Tower, 43 Heung Yip Road, Wong Chuk Hang

THE SHOPHOUSE is pleased to present this year’s edition of its annual artist residency program, TÜR, featuring Sebastian Burger. Continuing his exploration of the delicate interplay between industrial, utilitarian, and organic elements, Burger’s work interrogates our futile yet persistent desire to repair, fix, and pin down the intangible.  

In his new series, Burger incorporates found metal fragments and studio detritus—cut-offs of aluminum extrusions, hinges, screws, latches—leaving them raw and unrefined as he assembles them into improvised support structures for his paintings. This method questions the human impulse to mend what is deteriorating, while laying bare the ephemerality of control and perfection. His work challenges viewers to confront the fragile, psychologically fraught systems we’ve built—structures that appear permanent yet alienating, failing to reconcile our physical vulnerability with the illusion of permanence.

Gallery address: 4 Second Lane, Tai Hang 

Artistic Horizons of Ng Kwun-lun, Tam Wai-ping,  Zhou Jin, and Yau Wing-fung 
Attain the spirit through mastery of expression, create imagery in artistic realm 
Curatorial Consultant: Tang Hoi-chiu 

Opening reception (artists will be present): 12 July, 5-7pm

Gallery address: 2/F, East 17, No. 17 Main Street East, Shau Kei Wan

Blair Lam Hiu Suet’s first solo showcase features her practice throughout the past two years. The series revolves around themes of detachment, ungroundedness, and the quest for belonging. Attempting to capture the eerie yet familiar sense of emptiness found in abandoned objects and overlooked residue of daily life, the paintings take shape like distant memories. As imagery dissolves into tainted layers of paint, the work drifts between figuration and abstraction.

Welcome to join our opening reception on 12/7/2025 (Sat) 4-8pm

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

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.

Preview: 17 July 2025, 5–8pm

Gallery address: 50 Connaught Road Central

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

To celebrate its tenth anniversary, Sun Museum announces a series of exciting events to be launched in 2025. Following the successful opening of the exhibition, "Colours of the Universe: Jade and Colour Stone Carvings from the Little Moon Pavilion and Songde Tang Collections" in March 2025, the museum’s anniversary programme “Sun Delight” will present "Variegated Memories: The Art of Leung Shek Yuen" in July 2025. This exhibition and activities will focus on the outstanding Chinese ink artist Mr. Leung Shek Yuen and continue to promote local artists in Hong Kong.

Mr. Leung Shek Yuen was born in 1946 and grew up in mainland China before moving to Hong Kong in 1978. He has dedicated his life to art, demonstrating extraordinary talent since his school years, and has engaged in painting and teaching after graduation. In the 1980s and 1990s, his works were exhibited multiple times not only in various cities across mainland China, but also in Hong Kong, Macau, Japan, and South Korea. As a veteran artist, his works have been widely collected by museums, art galleries, academies, and private collectors.

Venue address: G/F & 1/F, Artisan House, 1 Sai Yuen Lane, Sai Ying Pun

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

Gallery EXIT presents Lulu NGIE's solo exhibition 'Lines of Breath', featuring recent works alongside selected pieces from across her career. Working in Chinese ink and oil painting, NGIE explores minimalist line-making, using single brush strokes that capture her breathing rhythm and emotional state. These gestures bring life and movement to her painted figures.

Opening: Saturday, 19 July 2025, 2 – 5pm

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

Gallery EXIT presents 'The Fifth Season’, a duo exhibition showcasing the artistic practices and collaborative dialogue between CHOW Chun Fai and Ivy MA King Chu across different creative states. This collaboration began in 2023 when Chow encountered Ma's 'Bird of Shape' series created during her travels, leading to his deep reflection on the concepts of 'lightness and weight' in her collage works.

Opening: Saturday, 19 July 2025, 2 – 5pm

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

Double Q Gallery is delighted to announce ‘Reflections on Being’, a group exhibition bringing together eight artists, including Zsófia Antalka, Ewa Czwartos, David Farcaș, Shuang Jiang, Elena Rivera-Montanes, Rita Süveges, Ivana Vozelj, and Karolina Żądło.

The exhibition reflects on a person’s identity that is a blurred construction of the internal and the external world. Since ancient civilizations, humans have explored this tension, which became a blueprint in our understanding of a person’s existence. This duality is present everywhere: from the separation of body and soul, mind and body, as well as reason and emotion. In Greek philosophy, Plato was among the first to explore this, according to whom the soul was free from the body being immortal. In Chinese philosophy, this duality is referred to as yin and yang, where opposite forces are seen as dependent on each other, and it is a dynamic balance that humans aim to achieve. 

Opening reception: Saturday, 19 July from 3-6 PM

Gallery address: 68 Lok Ku Road, Sheung Wan

This two-day assembly departs from Ha Bik Chuen’s ‘motherboards’ and the citizen-initiated conservation work ‘Sesudah banjir itu (When the flood is over)’ to reflect on how we engage with histories we didn’t live through, practices we didn’t invent, and stories we may never fully resolve. Moving between physical objects and conceptual infrastructures, the assembly explores how intimacy can be shaped—and even deepened—by distance: through glass, across generations, within structures of care.

Participants: Nasikin Ahmad, Hidayatul Azmi, Merve Bedir, Mark Chung, Özge Ersoy, Ruhaeni Intan, Marianus Nuwa, Grace Samboh, Vivian Ting, Sidhi Vhisatya, Michelle Wong
26–27 Jul 2025, 2–7pm

Venue address: Para Site, 22/F, Wing Wah Ind. Building, 677 King's Road, Quarry Bay

In 2005, Rossi & Rossi London unveiled one of the first commercial Tibetan contemporary painting exhibitions in the Western world at its former space on Old Bond Street. Titled Visions from Tibet: A Brief Survey of Contemporary Painting, the presentation featured more than a dozen Tibetan artists, marking the beginning of the gallery’s foray into contemporary art.

Twenty years later, we are inviting eight Tibetan artists, all of whom are based in Lhasa, from the same group to commemorate the twentieth anniversary of our contemporary programme. Many of them are founding members of the famed Gedun Choephel Artists’ Guild, an artist initiative formed in 2003 to showcase, discuss and express the multifaceted Tibet in creative originality through art.

Curated by Tibetan artist Gade, a founding member of the guild, and gallery owner Fabio Rossi, the exhibition will include works by Benchung, Dedron, Gade, Nortse, Penpa, Tashi Norbu, Tsering Nyandak and Tsewang Tashi. Each artist brings their works from twenty years ago into dialogue with their most recent creations, reflecting the changes that have been taking place on their sacred land in the Himalayas. Of special note, five of the artists (indicated below with an asterisk) will travel to Hong Kong for the opening.

Opening reception: Jul 26, 3-7pm

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

Karin Weber Gallery is excited to announce ‘Fragments in Flux; Abstractions by Tina Buchholtz’, celebrating this internationally renowned artist’s return to Hong Kong and first solo exhibition since 2015.

‘Fragments in Flux’ introduces recent works to capture highlights from Tina Buchholtz’ oeuvre and its evolution – from softer, pigmented, intimately scaled pieces in her 2019 ‘Bowl’ series to her recent, confidently vibrant canvases from 2024. The artist remains consistent in her strongly physical technique, layering and scraping a range of materials from finest colour pigments to metals, glass and even gold leaf in their purest form.

While Buchholtz’s canvases strongly suggest ‘painting’, her works rarely encounter an actual paint brush. Her tool of choice is a spatula, which is harnessed for a variety of mark-making in her signature style: layered, spread, or finely outlined. Inspiration for her works is consistently found in the world around her, with a clearly visible connection to nature, and the occasional commentary on socio-political events, but also found further afield from encounters with different cultures and visualities.

Artist reception on August 9th, 4pm - 7pm

Gallery address: 20 Aberdeen Street, Central

SC Gallery will present "Between Gaze and Mist",  the duo exhibition of Cho Wing Ki and Lau Yin Yeung featuring their latest body of works. The two artists share distinctive lifestyles and artistic expression. For this exhibition, they interpret everyday lives through their own unique lenses, exploring the relationship between them and the external environment.

Opening reception: 2 August, 4-7pm

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

The Hong Kong Palace Museum (HKPM) presents a new special exhibition “The Hong Kong Jockey Club Series: Treasures of the Mughal Court from the Victoria and Albert Museum” (“Treasures of the Mughal Court”), which will be open to the public from 6 August 2025 to 23 February 2026. “Treasures of the Mughal Court” will be Hong Kong’s first comprehensive exhibition dedicated to Mughal art, celebrating the diverse artistic traditions and unparalleled craftsmanship from the “golden age” of the Mughal dynasty (1526–1857) through a display of over 100 precious artefacts. Jointly organised by the Victoria and Albert Museum (V&A) and the HKPM, and solely sponsored by The Hong Kong Jockey Club Charities Trust, this exhibition also marks the first major collaboration between a Hong Kong museum and the V&A, the world’s largest museum of decorative arts and design. Tickets for the exhibition are now available on the West Kowloon Cultural District’s online ticketing platforms and ticketing partners.

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

David Zwirner is pleased to present a group exhibition opening this September at the gallery’s Hong Kong location. Border(line) will bring together artists from the gallery program alongside thought-provoking young voices from Asia and its diaspora.

Borders are inescapable thresholds that demarcate contemporary life, separating nations, public and private spaces, and conceptual and psychological states of being. A seminal video work by the Belgian-born, Mexico-based artist Francis Alÿs, serves as a thematic anchor to the exhibition. In Painting/Retoque (2008), the artist repaints the fading median strips of a road that crosses the Panama Canal, a gesture that underscores the mutable and arbitrary nature of such boundaries.

Additional works by David Zwirner artists will include those by Josef Albers, Raoul De Keyser, and Felix Gonzalez-Torres, all of whom explore the idea of frames, horizons, and boundaries from cross-generational and transcultural perspectives.

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