deTour 2024 will take place from 29 November to 15 December. Curated by Shin Wong and Adonian Chan, this year’s theme, “Having → Being: Designing Inner Worlds,” seeks to explore uncharted possibilities in design, emphasising how design can enrich our inner strength. It invites the public to reflect on two distinct ways of living—“having” and “being”—and to pursue a deeper understanding of “being.”

The curatorial team presents four themed exhibitions, each offering a unique perspective on “Having → Being: Designing Inner Worlds.” A place of Being invites audiences to engage with the delicate balance between “having” and “losing,”as well as “balance” and “imbalance,” encouraging them to find their own equilibrium in life. Air-Scape presents a bonsai crafted by the design team Future, using hydroponic sponges and 3D-printed breathable structures to create fresh geometric expressions that revitalise the traditional art of bonsai. Korean designer Yoojin Chung showcases Capturing Qi, a contemporary feng shui smart installation that captures and releases “Qi.” This work visualises how this invisible force influences the pursuit of success, offering a satirical take on the commodification of feng shui. Passage to the Lake, by Netherlands-based Korean designer Moon Seop Seo, draws inspiration from the calming presence of lakes. In this minimalist installation, droplets of water fall into a pool, constantly rejuvenating its surface. This piece brings a touch of nature indoors, offering a quiet moment of reflection amid the city’s bustle.

Muse Garden is pleased to announce the solo exhibition The Love by the legendary female artist Kong Ning, running from August 31 to October 12, 2024. This exhibition marks Kong Ning’s debut in Hong Kong, showcasing seven of her iconic oil paintings alongside video documentation of her performance art. Through these works, Kong Ning transforms her personal experiences and societal appeals into a diverse artistic language that resonates deeply with humanity, probing the essence of life.

Born in Manzhouli, a border city in China, Kong Ning has endured a life marked by hardship—experiencing war, life and death, psychological trauma, and the loss of family members. After weathering these profound trials, she found solace in art, creating works that simulate the senses and inspire contemplation beyond the surface, ultimately illuminating the grand and purest theme of life: love. Her artistic journey intertwines love with the Earth and nature, extending beyond visual aesthetics to become an ethical imperative.

Opening reception: 8.31 Time: 16:30-18:30

Venue address: H506-507, Block B, PMQ, 35 Aberdeen Street, Central

Organised by PMQ and the Japan Graphic Design Association (JAGDA), the exhibition “Graphic Design in Japan 2023 (Hong Kong Edition)” will take place from 10 April to 5 May at PMQ.

The JAGDA Awards have long commanded prestige within the Japanese graphic design profession. In collaboration with JAGDA, PMQ premiered the exhibition in Hong Kong in 2019. It returned glamorously last year, again displaying exceptional contemporary Japanese works to Hong Kong audiences. The past exhibitions’ successes buttressed this collaboration, enabling our third jointly curated showing.

PMQ is privileged to be the sole international venue for this exhibition which presents over 300 distinguished masterpieces spanning diverse applications, including but not limited to those by the 25th Yusaku Kamekura Design Awardees Tomohiro OKAZAKI and Haruka MISAWA, as well as JAGDA New Designer Awardees Kako FUJITA and Naonori YAGO. Furthermore, through participating in programmes such as design dialogues and designer-led tours, attendees may gain perspectives shared by practitioners from both Japan and Hong Kong, and engage in prospective discourse with such design professionals.

All events are offered free of charge and on a first-come, first-served basis. You may register via this link: https://pmq.hk/oUx3w

Venue address: SG03 – SG07, Staunton, PMQ

This exhibition is composed of three female painters. They have acquired world-class painting techniques. Woodblock printing originated in England in the 18th century, and today there are very few people who can use this technique.

Han Xiao is the only Ph.D. graduate in Wood engraving since the founding of Osaka University of Arts in Japan. Each piece of her work is made up of fine craftsmanship, detailed dots, and lines. The auspicious designs and elements correspond to the works, and the auspicious atmosphere pervades them.

Sayaka Imai specializes in modern paper-cutting, which has been attracting attention in Japan in recent years and uses concepts and motifs that are different from the traditional style of paper-cutting. The lines drawn with a single knife on a piece of paper are complex and diverse. The motifs in the work are vibrant and dynamic, creating a phantasmagoric visual experience that moves back and forth between two-dimensional and three-dimensional objects.

Akiko Mabuchi paintings have a similar feel to Japanese paintings. However, it is actually gentler than Japanese paintings. She skillfully combined traditional Japanese paper and oil paint. The perfect fusion of paper fibers and pigments can fully convey a natural and comfortable breath. In other words, it can be summarized as a healing work that is just emerging in modern times. It entertains viewers both physically and mentally.

Venue address: H401, Hollywood, PMQ

“Craft”, ”Design” and ”Technology” will finally meet at PMQ this early winter. When all three elements come together, what spark will they ignite?

Isn’t this exciting? The theme of deTour 2023 is “New Know How”. Let’s rethink craft, from its origin to skills and techniques, use of resources and human touch. Co-creators from Hong Kong and all around the world will make this encounter even more exciting. Come to experience the magic performed by our co-creators to our everyday skill-set, materials and production processes. How does the interplay of design, craft, and technology shape the future path of design? The answer is right here!

Venue address: PMQ, Central

Trăm Năm Hạnh Phúc (Vietnamese title name)

Vân-Nhi Nguyễn takes interest in documentary photography and seeks to bring fresh approaches to the field. Through overlooked places and individuals, she reconstructs collective memories, both personal and societal. Examining the role of memory as a bridge between society's desire to reshape geographies and its rigid history, she questions its nature: is it fact, and when can we believe memory?

Conversations about Vietnam often disregard the country’s complex history and reality and are typically reduced to two war-torn decades or its current manufacturing hub status. To challenge existing perceptions of Vietnamese people, we must be able to see and understand the unruliness of it: there is an excess of memories bestowed physically across the country, some given prominence through statues or architecture, others left to obliteration, and all becoming vessels for memories.

12.10 - 13.11.2023

Venue address: PMQ H506-H507, 35 Aberdeen Street, Central

'When the sun reaches the river,
sometimes it heats it up,
drying out the same river
which floods the villages.
We cannot make the sun shine less,
but we can make it hurt us less.
Why do we not help ourselves?
I met a man, and he said
“We can benefit for a day, but we lose a lifetime to live.”
When the sacred sun reaches the sacred river,
we will know we are not in control.'

This verse urged me to explore the issues surrounding a minority group in Cambodia affected by the Lower Se San Dam II. When their village of Kbal Romeas was flooded and destroyed, some people relocated while others stayed on, residing in the forest and boycotting the dam's electricity. We cannot control the effect of climate change but we can minimise its harm.

Venue address: PMQ H508, 35 Aberdeen Street, Central

We are pleased to present you with the first of a series of mini-shows to continue exploring talented HK artists and potential local exhibition venues. This exhibition will be sharing recent works by Sam Cheng, King Lau, and Fung Chim.

Space = Sense of Presence?

From some aspects, painting is meant to imitate real space. It can also be imagined and created by fantasy, but it must be based on referencing our familiar physical world. As a hot topic of today, Metaverse is just another reinterpretation of this real world in a virtual form. Although space is not an ordinary subject matter for artists, it plays an indispensable role. Whether it is a two-dimensional painting, photography, or a three-dimensional sculpture or installation, it is inseparable from attention to space coordination.

Venue address: S503, 35 Aberdeen Street, Central

The Korean Cultural Center in Hong Kong presents Dreamy, the annual Korean Young Artists Series exhibition from 25 May until 22 July. The exhibition highlights the works of three artists, PARK Gwangsoo, SONG Sumin and RYU Yaerim, on the theme of dreams and implicit possibilities. These artists leading Korean contemporary painting establish their art world on the canvas through different methodologies. Although the techniques, methods of expression and the themes they would reveal through their works are different, there is a common keyword in the works of the artists, which is 'the possibility arising from ambiguity'.

In the works of PARK Gwangsoo, the potential of painting derived from dots and lines exists. PARK describes his painting as “lines expand the world as continuously changing their roles.” To him, dots and lines mean infinite possibility. While dots and lines are means of assistance for shaping in traditional paintings, in PARK Gwangsoo's paintings, they stand out as the main factor on canvas. In the case of the works of 2015, even the colors are absent and the artworks are just the collection of the shapes and backgrounds constructed of dots and lines. These vibrant lines connote the possibility of being transformed into any figure or background. His recent works of 2022, slim lines changed into brushstrokes, and these brushstrokes formed color-fields and shapes.

The paintings of SONG Sumin can be approached with the possibility of the diverse interpretations images have. The beautiful nature scenes on the canvas are intimate and alien at the same time. The glorious flowers, fireworks and clouds in the landscape paintings are ‘picturesque’ when viewed from a distance, but when examined closely, the overlapping of ambiguous images leaves the chance of interpretation from multiple angles. The coexistence of flowers in bloom and a burnt mountain, a sky background in a landscape painting that can be explained by any among clouds, smoke, petals, or abstract shapes, and the juxtaposition of the image of flowers in bloom and flames make the audience feel uncanny. These images leave room for interpretation and enable people’s imagination to unfold.  The round canvas that the artist attempted also assists to dream new possibilities and infinite imagination of painting by breaking away from the square format.

The paintings of RYU Yaerim show the boundless possibilities narrative the art can have. RYU stated the reason of painting exotic characters and backgrounds in her paintings is because “those unfamiliar characters and places enable infinite time that cannot be limited as they cannot be defined and calculated.” In addition, the artist leads an active yet unkind narrative structure through two communication methods- painting itself and its title. Both the painting and the title contain a very clear message without abstraction, however, it is full of mysterious factors for the audience to think about. The room for interpretation is open to the viewers with the different angle from the abstract paintings.

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

Presented by PMQ and Japan Graphic Design Association (JAGDA), Graphic Design in Japan 2022 (Hong Kong Edition) will take place at PMQ from 25 May to 11 June 2023.

“Graphic Design in Japan” is an annual published by JAGDA which compiles the year’s best graphic design works, as selected by a group of Japanese design professionals. To commemorate the publication, an exhibition will be held to showcase part of the works. For the 2022 edition, the exhibition includes works by Takuya Onuki, Noriaki Hayashi, Hiroaki Nagai, Kazunari Hattori, Atsuki Kikuchi, Yoko Inoue, Haruka Misawa, Yui Takada and Tomohiro Okazaki, etc.

PMQ is proud to bring back the exhibition to Hong Kong after around 4 years of time, showcasing over 300 pieces from 2022’s annual. During the exhibition, there will be a series of public programmes: the representative of JAGDA, Ryuhei NAKADAI, is going to visit Hong Kong and give a talk, which will be moderated by Keith TAM, Head of Department in Communication Design of HKDI. Various local designers will guide the participants to appreciate the works on display and understand Japanese graphic design in the designer-led tours. For the Hong Kong Edition, there will also be a Graphic Design Mini Workshop and Interactive Zone for visitors to experience graphic design throughout the exhibition period. All events are offered free of charge and on a first-come, first-served basis.

Register now: https://pmq.hk/RBq0g

Venue address: SG09 – SG14, Staunton, PMQ, Central

Hong Kong-based artist Elizabeth Briel has created a series of monoprint screenprints, formed of bilingual text woven around and through family photos taken during her childhood in France, which explore the restlessness of living between languages and continents, family tensions, and loss.

To create these works she collaborated with two studios:

Ruscombe Paper Arts is run by Frédéric Gironde, a French papermaker who creates ‘chiffon paper’ from vintage and antique fabrics with innovative and unique character. For this project he has tinted handmade papers with residual grape must from the vineyards that surround his studio in Margaux. The papers’ violet tint will fade naturally over time, defying the logic in art conservation that art must remain in the identical state in which it was created.

To print these artworks at the highest quality, she worked with master printmaker David Jasper Wong, co-founder of Marble Print Clay studio in Hong Kong.

During the exhibition, visitors have the opportunity to explore these studios and the works virtually through events and discussions.

Venue address: H207, Block B, PMQ, Central

“Kids” is a new series of gongbi ink painting of Jess Leung. She studied a genre of Chinese classical painting called “yingxi” (嬰戲) which literally means children playing. Jess created a group of modern yingxi painting reflecting the inspiration from the classical genre.

Jess Leung graduated from the Academy of Visual Art, Hong Kong Baptist University in 2015. Since her university study, she showed interest in Chinese painting and focused in gongbi ink technique. Jess had participated in several ink painting group exhibitions including the “Ink Global” (2017 and 2021 respectively) and “Transcending the Gongbi Tradition” at Exchange Square, Central (2022). Her works are in the collections of the Hong Kong Baptist University and China City Bank (International).

Curated by Wilson Shieh Studio

All works in the exhibition “Dogs and Kids” are available for sale. Please contact Wilson Shieh or the artists for details.

11am - 7pm (Open daily)

Venue address: S503 & S504, 5/F, Block A, PMQ, Central

Chaos brings uneasiness, but it also brings opportunities for creativity. Predicaments encourage us to grow while obstacles inspire us to exlpore. Looking back we have worked our way through a 3-year long chaotic period and have survived terbulances. Choices we made were like seeds planted underneath the soil. It is time to watch them sprout and bud.

Joe Li is a jewellery design and production artist who experiments with mixed media,
incorporating jewellery and sculpture after studying in Hong Kong Visual Arts Centre. Currently, he is the vice chairman of We ScuIptors and board member of Hong Kong Sculpture. From 2012 to 2020, he held the position of Welding Process Instructor in Sculpture Art Specialist Course of Hong Kong Visual Arts Centre. Now, he specialises in art creation and education.

Venue address: H207, 2/F Hollywood Block, PMQ

100°C Gallery is proud to present “ハレケ 와 마른 꽃 - Cycle of Bloom with Hare Ke - Dialogue between Ayumi Adachi and Zongson Zang” in PMQ Central on Dec 28, 2022.

The title of this exhibition is written in Japanese and Korean to mark the identity of the artists. Japanese artist Ayumi Adachi and Korean artist Zongson Zang met in Hong Kong in 2009 and they continue to focus on art expression in our city. This show is composed of the 3D sculpture installation “Hare Ke” along with 2D paintings giving a comfortable and peaceful circulation to the exhibition venue. It is the wish of the artists that the audience would begin to create the next stage of the cycle.

Gallery address: S606, Block A, PMQ, Central

From a spark of awareness to a series of action, behaviour is gradually formed and becoming a custom.

Our response to environmental issues often begins with a blink of idea. To recycle and reuse is like a centre origin point, connecting different actions under the radius of similar concept, forming a continual round. This seemingly endless circular momentum, if we look at it from a slightly tilted angle, we see a dynamic movement going forward, picking up strength from each looping and extend into an ever going path. Through this dynamic line, design connects people, objects and communities. From here, we can trace the origin to find out where design ideas come from, how it is closely related to our living and environment, affecting different aspects of daily life. Keep going, always by design.

A total of 21 posters spanning from 1970s to 2010s from 12 renowned Hong Kong designers – including Arthur Hacker, Henry Steiner, Alan Chan, among others – were exhibited at Central Market to convey their unique insights on social issues. For the second phase of the exhibition at PMQ, 8 young designers have joined the show with their own posters, through which visitors can feel how the ideas of the past are passed down from generation to generation.

A series of concurrent events such as guided tours, workshops and designer sharing sessions will also be organized around the exhibition for the public.

Venue address: HG10-HG12 & HG19, PMQ, Central

Wing Tung So is a contemporary artist whose playful articulations are often marked by the visual obscurity of vernacular and iconic façades. Working with painting and video, it is a translation of planes of multidimensionality: when surface moulds into space, painting reacts with video, when one medium consumes the other. Scenes of our contemporary city in flux take centre stage in Wing's practice, from an active engagement with landscapes that defy singular planes to ambiguous expanses conjured by mirrored reflections and transparencies in glass architecture. From optical plausibility to perspectival impossibility, she mediates the fluid relations between material and virtual spaces. 

The artist's exploration of postmodern architecture introduces a fantastical peculiarity to her colour palette. The modulation of colour originates from the façades of her homeland Hong Kong, yet there is a striking resonance to the 80s’ aesthetic and movement of pixelated screens. Capturing the rhapsody of colours, in fluorescent neon hues, raw primary tones, to soft pastels, the psychedelic ethereality lends to the deliberate disorientation and warped geometry.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

Scentory will present “Dreams, unanswered” that explores the themes dreams, emotions and death through a new series of sculptural work by artist Yu-Ting Cheng (Taiwan) for the first time in Hong Kong. This show is the artist’s tribute to her late brother and a reflection of their intimate conversations and an unrealised future.
In this exhibition, Yu-Ting captures the fragility of life in a series of ceramic sculptures that inject playfulness in an otherwise solemn and dark matter. With her ceramic art book, she not only reinvents the concept of books but revisits little conversations with her brother that brings solace to the chaos in everyday life. A light altar is set up at the centre of the room for the audience to lay down their unspoken burdens and commemorate what has been lost to the world. As the viewer looks up, a felted installationhangs from the ceiling as part of the artist’s cathartic expression by stabbing wool repeated to alleviate our collective ‘growing pain’ through her actions. This piece is a graceful response to the scattered emotions in her dreams, and the balancing of life and pain, which is learnt in the hardest of ways.
As part of the immersive experience, Scentory has created a scent, fusing carrot seed and black pepper oil, in response to Yu-Ting’s artwork. Special merchandise will also be available, including a limited edition candle sculpted by the artist and blended by Scentory, ceramic collectibles of the artist’s work and an exclusive pin.

Venue address: H211, PMQ, Central

Unearth（挖土） comprises of two series of works, BARREN ROCKS (2021) and TRACING MOUTH OF THE STREAM (In progress). Both works are inspired by the imageries of the iconic panoramic mountain ranges of the Hong Kong Island. Through alteration and reinterpretation of found imageries, the works excavate narratives lying within the place and to contemplate how ideas and meanings are communicated between people, objects, and sites.
The works demonstrate the diverse processes including printing, drawing, casting, collecting, and altering. BARREN ROCKS (2021) would be presented as an archive, to be framed and displayed on a table with new paintings to be mounted on walls. TRACING MOUTH OF THE STREAM (In progress) would be presented in a cartographer’s work setting with drawings and sculptural models

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

Build a peaceful pure land in the depths of the soul, and enshrine the original intention behind the thought.

Tsz Man Cheung Kuby obtained her Bachelor of Fine Arts with a minor degree in Chinese Language and literature in The Chinese University of Hong Kong.  Cheung underwent an artist residency in Kaohsiung Autumn Pottery Wood Burning Kiln in 2019 and  I-Kiln studio(Fo Tan) from 2019 to 2021, and subsequently founded SoulTou studio at JCCAC. Creating is the product of accumulating all the past and combining it with concrete and abstract thinking skills. My creations are devoted to spiritual tranquillity.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

Have you ever wondered what the food would say when we are eyeing, taking pictures, or munching over them if they could talk? In the exhibition Mutual Gaze: A Feast of Pareidolia in the Metaverse, Hong Kong-based food photographer David Leung attempts to visualise the scenario by employing a photo manipulation technique he called ‘symmetrical pareidolism’ to turn appetising food pictures into portraits of beast-like creatures.

On view will be a set of 12 limited edition prints from the ‘Beasts from Feasts’ (BFF) crypto ‘food-art’ series. From typical quick bites like Siu Mai to classic gourmet dishes such as “First Cut” Char Siu, the 12 ‘beasts’ are reimagined from some iconic flavours of Hong Kong to dedicate the artist’s love towards the local food scene. Their phantasmagorical appearance prompts us to see the dish we are familiar with beyond the standard of deliciousness or delicateness.

Venue address: H504, Hollywood Block, PMQ, 35 Aberdeen Street, Central

This exhibition's ideas come from the experiences of allergy treatments. Symptoms come and go over time. Emotion, relationship, and environment could be the allergens. "7 days of medicine," doctors said. Those are the words I heard many times. After taking the pills, the body will start losing part of the sensation for reducing the allergy reaction. During this period of time, we start to rethink what we did and what the allergens are. We will also try to search for a hint from our skin. The exhibition attempts to describe and record these experiences and feelings.

Multimedia, movement, sound effect and interaction of objects -- these terms are recently representing the recent directions of Tam Kai Fung's works. These are the roots for him to sculpture the beauty of sentiments and relationships of biologicals, and pursue the status between ambiguity and concrete. Growing in a digitalized metropolis, he likes to observe the sophisticated but instant emotion from strangers in daily lives. He experienced how the diversified ways of communication recently changed the direct approaches towards emotional expressions. The depression of the city leads to a lack of true opinions exchange between human beings. For him, the interaction of objects creates new dialogues and connection with audiences. Not to critique but tries to seek out new ways for people to express and re-value that ephemeral information from his work.

Venue address: S507, Block A, PMQ, 35 Aberdeen Street, Central

What the hell am I looking at? originated from the realisation that I had been spending more than three hours daily on the mobile phone and internet, yet was unable to remember what I have actually seen. With this in mind, I placed a plastic sheet on top of the TV / computer screen while the programmes were running, and used marker pens to draw all the colours appearing on the screen onto the sheet, thus forming an abstract painting.

I later sought out to freeze frame on images of trending topics and popular personalities, such as the lead singer Keung To of the popular Hong Kong boy band Mirror, celebrated swimmer Siobhán Haughey, ViuTV programme be ON game, YouTube channel Trial & Error, Marvel movie Doctor Strange in the Multiverse of Madness, Netflix series Squid Game, Japanese manga Demon Slayer, and Hong Kong Chief Executive-elect John Lee’s press meetings. I changed to oil markers for making collage-like layered images, and leave them for the viewers’ own interpretation.

I also experimented with painting directly onto the screen of TV, computer and smartphone purchased from second-hand stalls. During the exhibition, I plan to conduct live drawing demonstrations to allow more viewers’ insight into my creative process and everyday life. The exhibition aims to raise awareness of modern people’s over-reliance on electronic products and new media – about our relinquishing control of information dissemination to them, and our mindless reliance on them for escapist entertainment.

The artist will perform in the exhibition from 2:00 to 5:00 every day.

S507, Block A, PMQ, 35 Aberdeen Street, Central

Environmental issues are becoming increasingly alarming in the current climate. The exhibition documents the experimental endeavours of Year 3 students from the BASc (Design+) Studio at the University of Hong Kong in Fall 2021. The studio emphasizes the use of novel materials that have not been widely used in the construction and manufacturing industries, striving to provide new opportunities to the field.
The exploration begins with researching materials and techniques to identify a potential arena that may yield tangible outcomes. Next, students engage in a deeper understanding of the chosen materials to demonstrate their full potential, including organic, plant-based, recycled, recyclable, waste generated, composite, biodegradable, circular, and low footprint.

Venue address: S314, 3/F, Block A (Staunton), PMQ, 35 Aberdeen Street, Central

Organized by PMQ and sponsored by Create Hong Kong of the Government of the Hong Kong Special Administrative Region, deTour is an annual design festival in Hong Kong celebrating the works and ideas of local and overseas designers and creative talent. An event borne to connect the local and international design communities, deTour boosts a curated line-up of exhibitions, workshops, dialogues, debates, and networking events, invites both the public and design professionals to engage and experience design in various perspectives.

Tam Man Ho (1998) born in Hong Kong, he graduated from the Academy of Visual Arts at Baptist University in 2020. His works includes photography, new media and mixed media, and Tam often takes the existence of himself and the world as the starting point to explore different issues in the life.
Covid-19 has been sustaining for two years. no one knows when the circle will end. Following the government, they have been releasing a lot of policies for controlling the virus outbreak. After a long time, some unspoken rules were developed between the citizens under this pandemic. Also, 1.5 meters has become a social distance that people are taking for granted, the second half of the exhibition’s name is 1.6meters which is questioning the rigidity of anti-epidemic regulations. Under the new normal of the pandemic, what kind of myth was produced? In “Inside the room 1.6M”, Tam through the images and objects to rearrange the symbol and myth that let the audience gazing the rule in the pandemic again.

In this day, people are used to check the temperature before enter indoor. People who do not meet the normal temperature are not allowed to enter. The artist tried to transform that into a game that was inspired by the childhood game – Statues. Through this performance the artist lets audience re-gazing at the power relations between person and society in the pandemic.

Venue address: H211, Hollywood Block, PMQ, Central

Do you still remember how to speak out “I am unhappy” this simple sentence fluently? I bet you didn’t say it for a long while.

In recent years, we can see thousands of advertisement which are emphasizing the positive energy and thinking ways in our daily life. Also, we can easily find the “happy life guideline” issued by government or mental health associations. But do they really help you to stay positive permanently? Or they are just forcing you to pretend you are on the right track and feel guilty once you are suffering from negative emotion?

Even though we are trying to escape from those negative emotion, they will not be disappeared just that easy for sure.
What we need to do is to face those “bad emotion” which are part of ourselves, then find the proper way in solving those sadness or releasing those negative emotion.

Venue address: S210, Staunton Block, PMQ, Central

A duo show by Wilson Shieh x Tse Yim On isn’t something you can miss! In celebration of 20th anniversary of MFA graduation two renowned artists joined forces for one of a kind exhibition.

Artists will stay at the exhibition all day through 5-7 Nov, Friday-Sunday.
Venue address: S503/S504 5/F, Staunton Block PMQ, 35 Aberdeen Street, Central

Human memory begins from “nothing”, and “supplements” help us build a broader space for us to remember “important” matters. Yet with time, our memories slowly dwindle into “nothing”.

We search through our memories using faint impressions, and among these scattered moments, we pick up a pen and force ourselves to remember, however fleeting each moment is. We find out that they are distorted and blurry. 

The pen scribbles repeatedly on the piece of paper, starting, then stopping, then starting again. It tries to pick up the broken fragments. It flickers and spins, twisting around above our heads.

Venue address: H211, Hollywood Block, PMQ, Central

“Burn After Reading” reflects the tension derived from the consumption process right after the reception of message(s). Sometimes, it might appear that there is a necessity, even urgency, for us to destroy the host and/or the evidence on our communication tools. The phrase also reminds us of the fact that all tangible and intangible matters are momentary: be they thoughts, words, books, or arts, they could vanish before we knew it.

 This exhibition brings together images and artists’ books, to explore how these objects fade from, while lingering in, both individual and collective memories. The artist duo draws inspiration from their own observations on historical and social events; for some years now, they have also been paying a great deal of attention on exploring the use of books and printed matters as forms of artistic approach.

Participating artists: Hsu Wai Lun and So Lai Ping.

Venue address: S510, Block A, PMQ, 35 Aberdeen Street, Central, Hong Kong 

Welcoming the Moon - Korean Hands, the Next Generation presents the artworks of KIM Insig, KWON Jungmo, LEE Jungwon and CHO Byunghee, four conspicuous figures in Korean contemporary crafts industry. About 20 pieces of artwork inspired by the full moon will be shown in Hong Kong for the first time. KIM Insig’s moon jars remind us of the full moon, while LEE Jungwon’s glass artworks beautifully reflect the colors of the moon. KWON Jungmo made light objects and glass artworks that resemble the moonlight and the color of the moon respectively. Finally, CHO Byunghee's media art brings a story about moon with sensual images with trendy and atmospheric music. The well-known Korean white porcelain moon jar first made during the Joseon dynasty has influenced the craft industry until today. Through this exhibition, the audience can appreciate not only the moon jar, but also other Korean crafts derived from the characteristics of the moon.

Gallery address: 6-7/F, Korean Cultural Center, PMQ