M+ Sigg Collection: Another Story  takes a visual approach to examine the styles and practices of contemporary Chinese art from the 1990s to the present. Distinct from the socio-political interpretative framework or the chronological narrative of the inaugural exhibition of the M+ Sigg Collection—From Revolution to Globalisation, Another Story  surveys how artists reconsider their cultural identities and express their uncertain state of being during China's rapid modernisation in the 1990s. The exhibition brings together a multitude of works that exhibit qualities of overflowing visuals, ambiguous meanings, obsessions with transiency, and traditional interpretation. Another Story is the second of three planned exhibitions of the M+ Sigg Collection. It offers a different perspective on understanding contemporary Chinese art and foregrounds its unique visual language through the lens of artists who strive for self-presence.

Location: Sigg Galleries, M+

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

Venue address: South Gallery, M+

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

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

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

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

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

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

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

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

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

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

The first major retrospective of Ieoh Ming Pei (1917–2019), I. M. Pei: Life is Architecture properly appraises for the first time the work of one of the greatest architects of the twentieth and twenty-first centuries. Pei’s high-profile projects were realised over seven decades with an exceptionally wide geographic reach, including the National Gallery of Art East Building in Washington, D.C., modernisation of the Grand Louvre in Paris, Bank of China Tower in Hong Kong, and Museum of Islamic Art in Doha. These iconic landmarks solidified Pei’s position in architectural history and popular culture. His life and work weave together a tapestry of power dynamics, geopolitical complexities, cultural traditions, and the character of cities around the world, and his transcultural vision laid a foundation for the contemporary world.

The exhibition takes an expanded and closer look at Pei’s practice through six themes representing areas of focus and approaches throughout his career: ‘Transcultural Foundations’, ‘Real Estate and Urban Redevelopment’, ‘Art and Civic Form’, ‘Material and Structural Innovation’, ‘Power, Politics, and Patronage’, and ‘Regenerating Cultural and Historical Archetypes’. The themes place Pei’s practice in close dialogue with social, cultural, and biographical trajectories that show architecture and life to be inseparable.  The exhibition features a rich selection of drawings, sketches, videos, models, photographs, and other archival documentation, many of which will be on view for the first time.

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

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

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

Ticket Information

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

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

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

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

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

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

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

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

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

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

Curator: Jill Angel Chun

Venue address: 3/F, JC Contemporary

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

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

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

Opening reception: 5-7pm

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

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

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

Venue address: CCG Library, Asia Art Archive

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

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

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

This exhibition brings together 19 artists from Asia and South Pacific. It challenges colonial geopolitical divisions and highlights the interconnected nature of cultural subjectivities by linking the two regions.

Patrick Flores says, “The exhibition speaks to the evolving scenarios in the world in the present, such as the wars in Europe and the tension in the seas around the region. By redrawing the map and remapping the world through the vector of the southeast, the project seeks to offer imaginations of belonging that stems from multiple wellsprings of origin, emergence, and assembly.”

Reuben Keehan says, “Stemflow constructs a space of correspondence, where artists draw on historical encounters, linguistic and cultural affinities, shared experiences of colonisation and exploitation, and entanglements of migration and labour to suggest emergent solidarities and possible modes of being together.”

Curated by Patrick Flores and Reuben Keehan

Gallery address: 4/F, 20 Hing Yip St, Kwun Tong

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

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

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

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

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

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

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

In the afternoon, she had her hair permed at Jane & Joan Hair Salon before spending hours dancing and sweating at a disco with a couple of her best friends. Under the starry night, she returned to her room, took off her lace short-sleeved blouse and hip-wrapped skirt, showing her silk briefs and the bra that she had requested someone to order from Shenzhen (or possibly Hong Kong), stretched her back in front of the mirror, and then stood in a sensual S-shape.

This is the girl next door created by Zhu Xinjian. She could have been in Nanjing, Hangzhou, or Suzhou in the 1980s and 1990s. Zhu, who was strictly schooled in fine arts, abandoned the squareness of painting picture-story books and turned his concentration to the girls on the streets, using his ink unconstrained but exquisite, decadent but dedicated, and looking but caring.

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

To celebrate the grand opening of Alisan Atelier, Alisan Fine Arts proudly presents Remaining the Mountain, Becoming the Ocean - A Joint Exhibition of Mok Yat-san and Man Fung-yi as the inaugural exhibition of Alisan Atelier, featuring the first joint showcase of artist duo Mok Yat-san and Man Fung-yi. Although the gallery has worked with the artists respectively since 2007, this exhibition is the first joint presentation, both in curatorial coherence and exhibition design. It exemplifies Alisan Atelier's mission of fostering collaborative artistic dialogue, highlighting the two Hong Kong natives’ interdisciplinary exploration of Chinese aesthetics. Featuring 22 recent works by Mok and Man across a wide range of materials and media, this exhibition is a meditation on the concept of duality and companionship, offering insights into the duo’s creative process and the philosophical underpinnings of their art. Both graduates of the Fine Arts Department at the Chinese University of Hong Kong, Mok and Man have developed distinct yet complementary artistic styles that blend traditional Chinese aesthetics with contemporary forms of expression.

Opening Reception: Saturday, 26 October 2024, 3pm-6pm

Gallery address: 2305 Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen

Flowers Gallery Hong Kong is pleased to present Transhumance, the debut solo exhibition in Hong Kong by renowned British artist Ishbel Myerscough. Known for her highly detailed and meticulously observed portraits, Myerscough delves into the transient nature of life through a series of paintings and drawings created between 2018 and 2024. These works explore the vibrancy of youth, the subtleties of middle age, and life’s impermanence.

Private View: 30 October (Wednesday), 6-8pm

Gallery address: 49 Tung Street, Sheung Wan

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

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

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

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

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

Opening Reception: Sat, Nov 2, 2–7pm

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


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

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

Urban Ink Painting: Lecture & Demonstration (Cantonese)

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

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

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

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

Venue address: Duplex Studio, Block 01, Tai Kwun

Karin Weber Gallery is excited to announce its upcoming exhibition, ‘Palatable Parables’, a focal point for our 25th anniversary celebrations. This milestone not only marks a quarter-century of showcasing innovative art but also highlights our commitment to fostering meaningful dialogue within the local and international community.

‘Palatable Parables’ invites visitors to explore how culinary traditions, rituals, and symbolism are influenced by mythological beliefs and storytelling. From the ritualistic and celebratory use of specific ingredients to the superstitions and tales that have been passed down through generations, food constitutes a vital thread woven through the fabric of our collective imagination.

With a diverse array of artworks, the exhibition highlights the deep-rooted connections between food and the mystical, revealing how these associations influence our lived experiences. Visitors will gain insights into how food not only nourishes, but also reflects cultural identities and shared narratives. Hong Lam Lau’s cake-themed collection of mezzotint prints showcases his ability to imbue still life compositions with a captivating sense of drama and atmosphere, drawing from the tradition of cake offerings for the Gods in Greek mythology.

Opening Reception: Saturday, 9th November, 6-9pm

Gallery address: 20 Aberdeen Street, Central

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

Each Photograph Tells a Hong Kong Harbour Story 

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

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

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

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

Kwai Fung Hin Art Gallery is pleased to represent emerging Italian painter Paola Angelini in Asia. The gallery will present her first solo exhibition in the region Image Outside of Time in November. Angelini is known for her symbolically loaded canvases filled with anachronistic atmosphere. Her aesthetics exudes a kind of quiet dissonance that at once encapsulates and destabilizes the viewer.

Angelini’s work peels back the layers of our mass media culture through the use of age-old symbols and metaphors in her oneiric images. This exhibition calls for a way of seeing and imagining that breaks away from our time-bound mind through Angelini's psychologically charged works.

Gallery address: 01-G04-G05, G/F, Headquarters Block, Tai Kwun, Central

The intricate web of human interactions and their impacts is the essence of ‘Ripple Effects’, a group exhibition showcasing 23 artists shortlisted for the Colours of Humanity Arts Prize 2024, co-organised by Goethe-Institut Hongkong and the European Union Office to Hong Kong and Macao.

Through a citywide open call, local artists with diverse backgrounds explore themes of inclusion, diversity, and equity, offering a vibrant exploration of what it means to be human in an interconnected world. Through a multitude of perspectives and experiences, each artwork starts with a small gesture that reverberates into something larger. From restful and social gestures like sewing, cooking, dancing, to flat-hunting and house renovation, these artworks set to challenge norms, spark conversations, and raise questions about societal complexities.

Artists: 
Kingson Chan | Holok Chen | Wing Tung Chu | Abhishek Desai | Rhenea Diclas | Dholeeh Ann Hidalgo | Hou Wun Ho | Weera it Ittiteerarak | Siu Fung Hugh Leung | Jinghui Li | Lai Lai Natalie Lo | Paulina Alonso Meza | Doris Ng and Kong Wan Ki | Ho Long Ng | Sai Pradhan | Raúl Hernández Romero | Angelique Santos | Rajat Sharma | Amrita Tandon | Hou Lam Tsui | Chris Wong | Siu Kuen Yau | Kai Chun Yip

Curatorial Team:
Eunice Tsang | Candice Yiu | Amandine Vabre Chau

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

gdm Hong Kong is thrilled to present pioneering Chinese artist Wang Gongyi’s solo exhibition from 14 November to 31 December 2024, the artist’s fourth exhibition with the gallery. Presenting 11 important works by Wang Gongyi created in 2020-2024, the exhibition features the artist’s wild cursive calligraphy and her iconic Winsor Blue series and Leaves of Grass series.

Wang Gongyi’s works are imbued with vitality. Through bold brushstrokes, Wang captures the unfiltered essence of her subject. Her lines are unrestrained, devoid of traditional conventions that often mark ink painters. Born in Tianjin in 1946, she has always discovered, evolved, and embodied an attitude unexpected of her age.

Opening reception: 14 November, 5-7pm

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

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

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

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

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

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

Cadenza, the Korean Young Artists Series this year, features works by three prominent Korean artists, SON Donghyun (1980-), WOO Jeongsu (1986-), and KEY Min Jung (1986-).

From SON Donghyun, who deconstructs and reconstructs classical Asian painting, WOO Jeongsu, who weaves narratives about contemporary issues based on medieval European publications and visual images, to KEY Min Jung, who explores the relationship between medium and material through continuous experimentation with traditional ink painting, the oeuvre of these three artists stimulates discourse with various contexts such as East and West, form and content, material and technique.

Cadenza, a classical term referring to a musical passage in a concerto or solo performance, usually denotes a free, unnotated section where the performer showcases their skill and creativity, displaying their unique style. The artistic worlds and working methods of the artists can be compared to a cadenza, where the artists fully demonstrate their skills within the existing media.

The participating artists Mr. WOO Jeongsu and Ms. KEY Min Jung will be present and sharing about the artworks at the opening reception at 6pm

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

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

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

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

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

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

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

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

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

In Susumu Kamijo’s latest exhibition, Table for Us at Perrotin Hong Kong, the artist steps sideways into the realm of still life, only to transform the genre with a sleight of hand that feels at once candid and elusive. Known for his playful, abstract paintings of poodles and other sentient forms, Kamijo here shifts gears into a more intimate space, where florals and creatures coalesce in arrangements that hover between fantasy and familiarity. What appears to be a traditional still life at first blush—Morandi-esque vases, plates of food, large goldfish with petal-like fins bulging in their bowls—quickly dissolves into into riddles of texture and composition, pulsating with a strange vitality, even a glint of poison in Summer Blossoms (2024).

Opening reception at 4pm

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

Featuring artists based in Hong Kong, Taipei, Manila, and New York, Weather-world re-imagines the atmosphere as a blend of poetic and political landscape. Showcasing recent and new works, including videos, paintings, collages, installations, and sculptures, the exhibition explores how art can allude to the atmosphere as a formative and contingent way of being in the world and revealing the broader non-human world through aesthetic categories such as landscape, naturalism, romanticism, and idioms. Within these categories, the concept of atmosphere, whether as weather or whim, shapes how we understand and represent the natural and non-human world and how we imagine our relation to them. The exhibition’s title “Weather-world” is inspired by the anthropologist Tim Ingold, who examines how the concept of the atmosphere is molded by the fusion of the meteorological perspective— viewing the atmosphere as a measurable and observable external phenomenon— and the affective viewpoint, which sees atmosphere as an extension or projection of inner psychic moods.

Curated by Jims Lam and Carlos Quijon, Jr.    

Opening: 16 November 2024, Saturday

Curators in conversation with Artists: 16 November 2024, Saturday; 4:00 – 5:00 pm (conducted in English)

Gallery address: 15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road

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

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

Opening Reception Tuesday, November 19, 5–7 PM

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

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

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

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

White Cube is pleased to present a solo exhibition of new paintings by American artist Howardena Pindell. With a career spanning over five decades, Pindell lends a dynamic materiality to the canons of painting.

Drawing from a profound childhood memory, the circular motif has become one of the most enduring elements in Pindell’s body of work, manifesting in diverse forms such as ellipses, perforations and hole-punched dots. In the late 1960s, the artist pioneered her iconic spray-painting technique, in which the motif is atomised and accrued, resulting in generative stipples of light and colour.

This exhibition marks the inaugural presentation of Pindell’s work since the gallery announced representation of the artist in May 2024.

Preview: 19 November 2024, 5–8pm

Gallery address: 50 Connaught Road Central

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

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

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

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

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

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

Ora-Ora is pleased to announce Yi Yi Jeong-eun’s second solo exhibition Being Zen.

Yi Yi’s artistic journey follows a fascinating evolution from representational forms to abstract paintings, embracing new tools and techniques along the way. As she explores the interplay of different brush styles, Yi Yi Jeong-eun transcends traditional boundaries, creating an immersive experience for her audience.

Opening on 21st November, from 5-8pm, join us to discover Yi Yi’s new works and deep affection for the outdoors in a philosophical direction, interpreting landscapes through the prism of Zen thought and principles.

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

Studio Lenca’s artistic universe is a harmonious intertwining of his experiences as a professional dancer, his identity as a migrant, and a profound exploration of artistic freedom. In this exhibition, Lenca invites the audience into a world where his deep artistic vision unfolds into ever more intricate and layered narratives, expressed through painting and installation. His work boldly challenges conventional and traditional forms, offering a fresh approach to themes of migration, identity, and self-exploration.

Lenca’s background as a professional dancer profoundly shapes his artistic sensibility. Dance, as a liberating force, transcends the confines of specific places and times, and when this experience is channeled into the creative process, it expands the boundaries of artistic expression. Through dance, Lenca explores the dissolution of bodily boundaries, embracing the freedom of movement while confronting and overcoming the social and cultural borders that once confined him. Dance, an ephemeral art form, embodies intense expression through fleeting moments of movement, and this notion of ‘temporality’ resonates deeply within his painting practice, reflecting the expanded possibilities of existence discovered through the body, space, and movement.

Opening Reception on 22 November (Fri) from 6 to 8 pm

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

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

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

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

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

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

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

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

Tang Contemporary Art is thrilled to present Autumn Leaves, an exploration of nostalgia and fragility through the lens of New York-based artist Nick Farhi's vibrant imagination.

A falling piano chord, an accordion of decommissioned pre-war sinks, still-lifes hung across the walls, a girl dancing in the rain while a Pacino-looking man adopts a puppy. This metamorphosis of subjects, contrasting weights of tropes and dim recollections of vintage New York cinema, center political fragility. The viewers are pulled through the offerings of individual stances; army green glasses versus a rainbow of stemware, a twitter-colored bird juxtaposes with its prey a lonely green fish.

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

In contemporary art, texts are often reduced to a state of transition or bardo, hidden behind the artwork. Writing as a Method originated from confusion about this current situation. Ten artists from the region across various creative disciplines came together to form an artist collective, hoping to open up the realm of writing in artistic creation. Members regularly hold writing-based creative activities, following Oulipo's experimental tradition to develop their own Response Game: members exchange private notes, sketches, and thoughts reflecting on individual practices and works-in-progress. After drawing lots, they respond to each with diverse mediums including doodles, sounds, moving images, actions, and more. Artworks diverge from the original concept and grow into something new.

The collective exhibition presents a series of artworks in response to each other, revealing ten artists’ chaotic yet intertwined experimental processes. By juxtaposing archives of notes and drafts with newly developed artworks, the exhibition attempts to evoke the infinite possibilities of writing as a method, loosen the imagination of artworks from scratch, share experimental collaborative practices with the public, and stimulate more moments of communication and resonance.

Writing as Method Artist Collective Members 藝術小組「書寫作為方法」成員
Aaron Lam Kwok Yam 林國鑫, Brian Chu 朱彥龢 (龢wo4) , Hou Lam Tsui 徐皓霖, Jiaming Liao 廖家明, Melody Qingmei Li 李清美, S. Yi Yao Chao 周亦瑤, Sin Wong 汪倩, Tsz Wai Pun 潘子懷, Yan Yi Cheung 張欣怡, Yasmine Anlan Huang 黃安瀾

Venue address: G/F and 3/F, Cheung Hing Industrial Building, Kennedy Town

Leo Gallery is pleased to present Cécile Lempert’s first solo exhibition in Hong Kong on 28 November 2024, following her successful debut exhibition, “Der Albtraum der Bienenkönigin”, at our Shanghai space in May this year. The show will showcase the artist's latest series of paintings.

Lempert's work is deeply intertwined with her immediate surroundings, focusing on specific psychological states and nuanced interpersonal relationships. Drawing inspiration from her family photo archives, she weaves together different segments of pictorial histories. Rather than merely highlighting the pleasant aspects, Lempert is more intrigued by contradictions and ambiguities, aiming to capture the emotional integrity of the scenes. “By combining different visual narratives and isolating individual pictorial elements, new narratives unfold that shift or even dissolve temporal and geographical references.” Yet, these works retain a nostalgic ambiance.

Opening reception: Thursday, 28 November, 6-8pm

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

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

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

Opening 28 Nov 2024, 6 - 9 pm

Gallery address: G/F, 197 Hollywood Road

Emerging Hong Kong artist Peep invites introspective souls alike to step inside a familiar yet often overlooked terrain of home in her debut solo exhibition, Tears and Cheers. This profoundly personal showcase is a visual diary that captures the essence of Peep's creative evolution from childhood reveries to adult reflections. Through a collection of evocative works in various mediums, Peep encourages viewers to embrace the full spectrum of human emotions and find beauty in the mundane moments that shape our existence. Standing true to the artist's belief that life, in all its complexity, unfolds at its own pace and holds its own answers.

Opening Reception: Friday, November 29, 2024, 5 - 8 pm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Opening Reception: 6 Dec 2024 6-8pm

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

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

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

Gallery address: 53-55 Hollywood Road, Central

3812 Gallery is pleased to present “Love Language: Joanne Chan Solo Exhibition", the artist’s inaugural solo exhibition with 3812, endeavors to capture Chan’s delicate sensibilities and profound regard for individual and communal sentiments through her predominantly vibrant and expressive brushstrokes.

Art is a universal medium that articulates emotions and transcends the constraints of spoken words, enabling audiences to immerse themselves in love and expression. For Chan, each work is a heartfelt disclosure of her personal story and intense feelings – a love language that narrates the intricacies of human experience, encompassing both suffering and joy.

Opening Reception: Thursday, 5 December, 6 - 8pm

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

It’s totally normal to be feeling everything and nothing at once when you realise we are closer to 2030 than we are to 2017. But fear not, as Young Soy Gallery and WAKA are here to save your day!

We're teaming up with WAKA to present the Cove Winter Market from December 5th through December 31st. At the winter market, you will find a range of artworks from our radical artists, including Humchuk’s “擁抱 Jung2Pou5” collection, Louie Jaubere’s “collective dreaming of ruling class elegance” collection and Kitty’s “Hong Kong” prints, not to mention a vast selection of ceramics from WAKA artists.

This is not your ordinary art show. Find yourself a covey of fun treasures at the Cove Winter Market with our best deals exclusively running over the first weekend, from December 5th to 8th!

Artists:
Riya Chandiramani, Francesco Lietti, Plastered 8, Jake Scharbach, Louie Jaubere, Jerome Leung, Ross Turpin, Benson Koo, Kitty Wong, Humchuk, Guy Gee & Friends.

Opening: December 5, from 6 till late.

Gallery address: G/F, 40A Upper Lascar Row, Sheung Wan

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

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

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

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

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

Nowadays, Big Data Analytics plays a pivotal role in our daily lives, but some of their capabilities and limitations are astounding. The observed correlation and representativeness of the data are also biased. In preparation for her solo exhibition, Wong Wai Yin embraced "Contemporary Art" calculated by big data and used the trilogy Healing Watercolour Art, Pastel Nagomi Art, and Beaded Crafts as the starting point and as a medium to reflect on what "Contemporary Art" is in big data and the market and for her. In the first part of the series, Wong appropriates the Watercolour teaching materials and settles the landscape theme in this show. While replicability challenges the artist's uniqueness, the depiction of bright colour tones urges the artist and the viewers to think about the predetermined perceptions of various landscapes. When the work is no longer unique but simultaneously authentic, the artist rediscovered her identity and the meaning of her practice. This show invites the visitors to gaze at the world in fragments within the landscape of landscape paintings.

Opening: 7/12 (sat) 4-7pm

Gallery address: 10/F, Foo Tak Building, 365-367 Hennessy Road, Wan Chai

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

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

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

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

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

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

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

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

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

This December, SC Gallery is delighted to present “Melancholy” featuring three artists, Oscar Chan Yik Long, Joshua Hon and Rico Lau, each of them represents part of the shared framework of Heaven, Earth, and Humanity. Heaven embraces all creations, earth is a symbolism of natural law, and humanity bridges the two through action and emotion. The artists came together as a perfect balance while exploring the repression and melancholy emerging from the changing world.

Through their distinct yet interwoven perspectives, these artists invite viewers to confront the melancholic beauty of our world in flux. Each artist brings a unique perspective to the shared theme, allowing viewers to confront the shifting dynamics of repression, melancholy, and struggle in an ever-evolving world, and to reflect on the interconnected fate of nature, society, and the self.

Opening cocktail: 7/12/2024 (Saturday) from 4:00 p.m. to 7:00 p.m.

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

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

Opening reception: 6-8pm

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

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

In the slightly cooler weather, a passionate spirit prevails. December consistently evokes vivid scenes beneath the chill of the air. Within the vibrant city, different colors and forms are hidden, like flames in the cold wind, burning energetically. Everyone is concluding a complete chapter while preparing to sprint towards new vistas.

The exhibition showcases the sincere creativity of 18 artists, who, while enjoying the creative process, also imprinted their profound emotions into their works. The artistic perspectives encompass philosophical reflections, myriad landscapes, and various interpretations of urban life.  What we see is not just the finished artworks, but also the thoughts, strength, and life experiences of the artists behind them. Whether you are the creator or the observer, as long as you embrace and value the moment, every moment is the "Best of Times."

Collaborative project with Shirky Chan

Opening reception: 13.12 (Friday), 5-7:30

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

Yrellag Gallery is pleased to present “One Place After”, a solo exhibition by Polly Lo. Places being depicted are extracted from representations of the real world, infused with style, reminiscence, and thoughts, reflecting from its colours, brushstrokes, and composition. Through artist reinterpretation of her innermost images, ideas, emotions and memories of these places, paintings are imbued with vividness and new meaning.

Lo found her inspiration from the stairs she always walks by on the way to her studio. In art and photography, the staircase can evoke a sense of intrigue, leading the viewer to question what lies beyond or above. As an element embedded in her paintings, she regards it as a symbol of movement, transformation, and mystery, which echoes with the location of the gallery, resting by the side of the continual staircase spreading around the midlevels.

Opening reception: Saturday, 14 December 2024 from 5 p.m. to 7 p.m

Gallery address: 13A Prince’s Terrace, Central

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

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

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

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

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

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

Square Street Gallery is pleased to present Anabelle Lau’s first solo exhibition, ‘Readymades’ from 12 December 2024 to 18 January 2025. In her Hotmilk series, Anabelle Lau appropriates the monthly Japanese erotic periodical Comic Hotmilk with three specific interventions: painting an exacting reproduction of the work in oil; painting directly on the pages of said magazine; or by simply framing the publication, as is.

Join us on the evening of 11 December, 2024 for the opening reception of the exhibition

Gallery address: 21 Square Street

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

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

OPENING RECEPTION: Thu, Dec 12, 6–8pm

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

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

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

Opening: Fri, 13 December, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

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

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

THE SHOPHOUSE is pleased to present 39 Days in the Sun, the first solo exhibition in Asia by the London-based artist Marc Prats-Quintana. This new body of works on canvas by the Catalan artist, explores the interlacing concepts of memory and place through the production, reproduction and circulation of personal images. He likens his process to an archeological practice, a journey of observing, categorizing, storing, and retrieving.

Prats-Quintana’s practice reconciles romantic gestures with rational structures. His compositions often piece together fragmented visual clues drawn from both childhood and recent memories. These provide glimpses into intimate moments or views over the Mediterranean landscape that raised him. Grids, crosswords and heat maps provide a schema through which to navigate the images, and offer an insight into how we make sense of the world around us. Prats-Quintana’s work combines and compresses varied times and spaces into singular compositions which examine the formation, destruction, and recomposition of the self through one’s place of belonging.

Opening reception: 3-6pm, 14 December

Gallery address: 4 Second Lane, Tai Hang

THE SHOPHOUSE is pleased to present WINDOW, a solo exhibition by American artist Andrew Gordon featuring a new body of works on canvas that dance on the line between introspection and extrospection. Central to the artist’s practice is an inverted theory of the “view from nowhere”, wherein he removes the objective world rather than the subjective self. Manifesting in a series of windows that peer out into ambivalent places, his practice imagines the landscapes of one’s mind, feeling, and consciousness.

The classic interpretation of the “view from nowhere” refers to the notion of achieving an objective view of the world via the distancing of oneself from personal starting points, namely the ‘here’. Yet under the brush of Andrew Gordon, the idea is reinterpreted to remove the ‘there’, leaving only an inward view of the self. His paintings each comprise a grid of partially open frosted windows that reveal vaguely familiar landscapes, providing only a setting of domesticity and a visceral portrayal of atmosphere. As if a picture seen from the mind’s eye, all views from an intimate interior space become a representation of the one’s inner state of mind – as the artist puts it, “eventually the details slip away, and what remains is the feeling.”

Opening reception: 3-6pm, 14 December

Gallery address: 4 Second Lane, Tai Hang

The pictorial world slowly forms line by line; as a drawer, drawing is a process that allows me to comprehend my existence in the form-forming world.

She sees drawing with graphite as an analogy to such fragility embodied in the materiality of graphite itself. The materiality of graphite allows the drawing surface to be in constant flux, and each mark is erasable. By imagining the drawing surface as ground and each trace of a drawing as a stratigraphic layer, one can see that a drawing is an accumulation of marks, erasures, and fragmented temporalities. This process echoes the formation of rocks, where each grain results from thousands or even millions of years of erosion and sedimentation. Rocks form and transform into various states—seabeds, mountains, sand, and soil. Learning from rocks, She observes the cyclical relationships between the external environment and the inner geology of our bodies. Microchips, graphite ore, gypsum panels in architecture, bones resting on the seabed, flesh, and ash are not so disparate. Akin to rocks, they are all transformations and sedimentations of matter.

Opening reception: 14/12/2024 (Sat) 4-6pm

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

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

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

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