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

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

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

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

ob’s world is one where tranquility pervades. Gentle hues, misty scenes, and wide-eyed, reticent girls create a sanctuary where one’s defenses quietly dissolve. Softened contours rendered in oil pastels form a blue haze, imbued with the spirit of gathered moisture. This atmosphere stirs emotions, allowing them to accumulate, ferment, and flow within. Everything in the painting morphs gradually, sometimes fading into nothingness, at other times reemerging with vivid clarity. Dreamlike yet grounded in tangible objects, these scenes navigate the delicate boundary between reality and dreamscape.

Water transcends being merely a subject in ob’s paintings; it becomes a medium. Be it a pond where water lilies bloom, a distant coastline glimpsed during a picnic, a lake traversed by boat, or a bathtub filled with water, water carries the artist’s intrinsic imaginings of matter. Delving into the essence of water, she consistently expands and draws on its fluidity, uncertainty, boundaries, and transparency. This reshapes reality with subjective distortions, all fluidly converged through water. Here, water acts as a catalyst, opening the passageway to another world.

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

Emi Kuraya’s artistic journey is a dialogue between the self and the world, an exploration that transcends physical boundaries to delve into the realms of inner landscapes and the nuanced interplay between fiction and reality. Her thematic array traverses various sceneries and moments, each piece resonating with a distinct message, yet collectively weaving a tapestry of sweet girlhood and sober contemplation.

A significant aspect of Kuraya’s art is her focus on female figures, particularly teenage girls, as the primary subjects of her paintings. This choice of subject is deeply personal, a reflection of her own identity and experiences, yet it transcends the individual to address broader questions of gender, perception, and the societal constructs that shape our understanding of girlhood. In her most recent works in this exhibition, there are various ‘snapshot’ moments in the everyday lives of girls.

Opening reception: 20 July, 4-7pm

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

In Tomoko Nagai’s artworks, various animals, children, colorful trees and mushrooms are depicted in a theatrical arrangement against the backdrop of forests and domestic rooms. Loaded with a multitude of motifs, each of Nagai’s paintings embraces a unique sense of spatiality, wherein a dynamism that encapsulates the worlds of fictional narratives intricately overlaps with layers of images. The colorful matière and brushstrokes form a fantastical rhythm as the artist exercises an expression akin to composing a musical piece. The viewer perceives this melody while standing face-to-face with each painting. This evokes a sense of being inside the painting, as the viewer’s own memories and experiences – nostalgic sensations, recollections and dreams from childhood – connect with the worldview represented in each artwork.

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

Children with disturbing faces, embryos with fully developed limbs, ancestor spirits locked up in bodies with imprecise forms—the creatures summoned by Izumi Kato are as fascinating as they are enigmatic. Their anonymous silhouettes and strange faces, largely absent of features, emphasize simple forms and strong colors; their elementary representation, an oval head with two big, fathomless eyes, depicts no more than a crudely figured nose and mouth. Bringing to mind primitive arts, their expressions evoke totems and the animist belief that a spiritual force runs through living and mineral worlds alike. Embodying a primal, universal form of humanity founded less on reason than on intuition, these magical beings invite viewers to recognize themselves.

Kato graduated from the Department of Oil Painting at Musashino University in 1992. Since the 2000s, he has garnered attention as an innovative artist through exhibitions held in Japan and across the world. In 2007, he was invited to take part in the 52nd Venice Biennale International Exhibition, curated by Robert Storr.

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

Make no mistake: despite the name, Otani Workshop does not refer to a collective of artists, but to a singular, an eminently singular sculptor who has become the leading representative of Japanese ceramics. Silent and literally bulging heads, figures with their arms raised like praying figures, monumental middle fingers extended upwards, anthropomorphic vases, children, animals, soils, bronzes: Otani Workshop’s bestiary is a world in itself, a world in which dreams and tales converge as well as fantasies and daydreams, a world in which the queenly imagination and the kingly gesture triumph, in which forces and forms meet.

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

The body and portraits have long been important motifs in XIE Qi’s painting, appearing throughout her various creative periods. Drawing on a sweeping imagination and rich perceptions, Xie Qi bestows on these shifting figures the warmth of emotion, the tension of desire, and tones of gloom. She sources her subjects of depiction from friends, everyday objects (portrait-bearing banknotes, plants resembling human organs), candid photographs and classic themes, capturing and depicting them in an approach akin to “psychological profiling”—the artist refines the components of the image through observation and perception, adding or removing details, destroying and reconstituting whole forms, restoring the figure to magnify parts and moments filled with dramatic tension. Xie Qi’s depiction takes place between recollection and creation. The concealed brushstrokes, blurred boundaries and phantom colors of the pictures often radiate with a mysterious air from a past time.

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

In Christiane Pooley's works, waterfalls, ponds, wheat fields, and highways are recurring themes, their precise locations and temporalities unknown, and dark undercurrents hidden beneath the seemingly peaceful landscapes. The Araucanía region of Chile, where the artist was born and raised, has long been a breeding ground for complex tensions. Conflicts between indigenous people (predominantly Mapuche) and the Chilean government intensified at the end of the 19th century when the Chilean government took over their land and forcibly reclassified them as Chilean citizens. Before that, they had been fighting Spanish colonizers for over 300 years. The tension over land ownership and the hidden past of the Araucanía region she depicts gives her work a deceptively calm beauty. At what moment does a landscape represent nature, extraction and production, a repository of collective memories, or a homeland never to return to?

These questions are encoded in Pooley's paintings, which always start from and return to these archetypal images. One such archetype is the dreamlike hut floating alone on the water's surface. This is not an imagery of a dream but rather a nomadic dwelling style from southern Chile. Locals gather to help neighbors move their houses collectively in response to changes in environment and family life. This ritual of communal reciprocity from Andean cultural tradition is known as Minga, or Mink'a, and it contradicts the spirit of modernity on many levels. This kind of dislocation and paradox are at the core of the artist's images. The scenes are drawn from the artist's own photography, family albums, or Chile's national historical archives. They are specific yet ambiguous landscapes, rich with ineffable psychological undertones. The cascading waterfall cut off by a large color block, with a reclining male figure of uncertain fate at its bottom; a group of horseback riders crossing an abstract glacier-like zone, under an upside-down suspended volcano—all the figurative depictions occur in the crevice between two large intertwined color blocks.

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

Perrotin Hong Kong is pleased to present The Tombs Are Upset, a solo exhibition by Matthew Ronay on view from May 5 to June 10, 202 – the artist's first presentation in our Hong Kong gallery. Ronay presents six new sculptures in his signature medium of hand-carved, hand-dyed polychromed basswood. The exhibition's title is derived from a single artwork which is installed on a single pedestal in one gallery, spanning over three and a half meters (eleven and a half feet). The artwork is composed of a series of compositions, each placing one abstracted, biomorphic element in conversation with another. The resulting processional is a practice the artist has expanded in recent years through exhibitions at Perrotin Shanghai (2020) and the Nasher Sculpture Center in Dallas, Texas (2022), wherein the linear aspect of the artworks invite the viewers to encounter the pieces as a narrative that unfurls, temporally. Each work begins as a drawing, summoned from the artist's subconsciousness. As three-dimensional sculptures, Ronay reflects this process by installing works so viewers view them front to back, left to right, each vignette resolving into the next.

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

Evocative of Surrealism, Katherina Olschbaur’s captivating large-scale paintings characterized by an oddly muted neon tone depict colorful and chaotic scenes featuring humanesque figures and objects flowing into one another. Olschbaur’s subjects are often painted in fluid motions that blend seamlessly, making it difficult to perceive where one figure or shape ends and another begins. Bacchanal (2021), for example, shows a series of figures ebbing and flowing against a deep violet and magenta background. Two prominent pairs appear to be dancing or mid-stride, while another figure lays alone on the floor. Olschbaur’s works are held in the permanent collections of institutions including the Belvedere Museumand the University of Applied Arts Vienna. In 2021, she was selected for Kehinde Wiley’s Black Rock Senegal residency in Dakar. (Artsy)

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

Perrotin Hong Kong is pleased to present The World Is Wonderful, an exhibition of the latest series of paintings by French artist Bernard Frize, marking his second solo exhibition at Perrotin’s Hong Kong space.

There is a vast art-historical gulf between painting of destruction and destruction of painting. On one side we can count such harrowing representational works as Théodore Géricault’s Raft of the Medusa (1819); on the other, physically distressed canvases like Lucio Fontana’s “cuts” (1958–68). Offering an unexpected bridge between these two metaphorical shores, Bernard Frize’s latest paintings are mesmerizing evocations—both pictorially and physically speaking—of destruction. The paintings presented in The World Is Wonderful are neither narrative nor mutilated, but they owe their creation, in large part, to a kind of sanctioned degeneration. Unruly paint has been allowed to bleed over the artist’s own brushwork, complicating systematic strokes with smudges, swathes and stains whose amorphous hazy forms that suggest various celestial bodies. Managing to appear simultaneously vibrant and on the brink of ruin, the series of new paintings presented at Perrotin’s Hong Kong gallery reflect Frize’s complex and ever-evolving relationship to paint, the act of painting and what it means to be a painter.

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

Perrotin Hong Kong is pleased to present A Scenery of Time, a solo exhibition of Korean artist Shim Moon-Seup, whose essential themes encompassing his oeuvre are ‘nature’ and ‘temporality’. Shim continuously strives to pursue the quest for how to perceive and express them with the infinite possibilities of arts beyond the standardized genres and media.

A Scenery of Time, the artist’s first exhibition with the gallery, features paintings in which the artist has been engaged over the recent fifteen years in examining the theme of reverence for nature and its circulation. The artist, who spent more than forty years exploring the inherent properties of the materials as a sculptor, has borrowed landscapes (借景) from his hometown Tongyeong and expanded the spirit of ‘anti-sculpture’, an expression granted to his unique practice by art critics, through paintings.

In the late 1960s of Korea when the limited knowledge of arts overseas was available, Shim, with an urge to the new art, founded the Third Formative Association with his colleagues and participated in the AG (Avant-Garde) movement in the 70s.

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

Perrotin Hong Kong is pleased to present the second solo exhibition by Jens Fänge in Hong Kong since 2017, featuring a body new paintings as part of greater mise-en-scene that will transform the gallery itself into a human-scale composition.
Often exploring the relations between people and architecture, Jens Fänge’s surreal compositions hint at profuse art historical influences, from the darkened archways of Giorgio de Chirico and the steely portraits of Tamara de Lempicka to Georges Braque’s faceted forms and Wassily Kandinsky’s colourful intersecting shapes. Yet Fänge seldom incorporates overt references, deferring instead to the vague and generic. What we see are impressions of art historical tropes—snatches of geometric abstraction in the pattern on a figure’s jumper, a picture of a Renaissance-style infant Christ on the wall of a domestic interior. Disparate styles and genres collide and converge through these clever painted elements and frames within frames, locating the work at once everywhere and nowhere. The parlour game of spot-the-reference leads to dead ends in the reality of our cultural canon but draws us deeper into the diegesis, prompting us to dispense with the certainty that anyone we think we recognise even exists in the universe of Fänge’s characters.

Gallery is open from 11am to 7pm, Tuesday to Saturday (except public holidays)

Gallery address: 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui, Kowloon

Koak creates emotionally charged portraits of female figures. The artist imbues her figures with a sense of agency and inner life to challenge patriarchal views of the feminine. Engaging hierarchies of gender as well as form, Koak interrogates commonly held cultural assumptions defining women as passive objects of desire. Drawing on the visual vocabulary of comics, the exquisite technique Koak is known for allows her mark-making to appear beautifully effortless, but is in fact the result of a rare type of generous and hand-made master craftsmanship.

Gallery address: 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

Perrotin Hong Kong is pleased to present a solo exhibition by Jean- Michel Othoniel, marking his second gallery presentation in Hong Kong.

Oscillating between fragility and strength, the infinite and the tangible, rationality and sensuality, Othoniel’s artworks embrace and transcend opposites in order to expand our conception of reality, reconciling contradictions and opening up realms of wonders. Since 1993, the French artist has been working in collaboration with some of the finest glassblowers in the world on the formal and chemical properties of glass, exploring its manifold possible metamorphoses and substantial variability. A product derived from the transfiguration of matter and melted sand, glass, in essence, is rooted within nature and reflects the exuberance of its potentials and beauty. Similarly, and like an alche- mist, Othoniel sublimates natural elements, recomposing and transforming them according to his emotions and to the cultural context he is working in

Gallery address: Suite 807, 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

Gregor Hildebrandt’s signature media are cassette tape and vinyl, which he collages and assembles into apparently minimalist yet latently romantic paintings, sculptures, and installations. Resting in silence behind the glossy surface of his analog aesthetics, which verges on black and white monochrome, music and cinema haunt his practice. Whether pictorial or sculptural, all of his works contain prerecorded materials, which he references in the titles. These pop-cultural sources, usually a single song, are meant to trigger both collective and personal memories. Like analog storage media, his distinctive rip-off technique is a metaphor for the mnestic process itself: it consists in rubbing magnetic coating against double-sided adhesive tape stuck on canvas to trace intricate and elusive powdery patterns. Further relating to architectural Gesamtkunstwerk, Hildebrandt’s monumental sonic barriers made of stacked, bowl-shaped records and his sensual wall curtains made of unreeled tapes create paths for the visitors of his shows.

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

Perrotin Hong Kong is pleased to present Paradigm of Charcoal, a solo exhibition from Korean artist Lee Bae, based in Paris, France, and Cheongdo, South Korea. It is Lee Bae's fourth solo exhibition with the gallery to visualise his decades-long affinity for employing charcoal as the artistic material and celebrate his experimental and contemporary approach to monochrome.

Lee has been employing charcoal rather than paint in his artistic practice since his move to Paris at the end of 1989, and this ubiquitous material that is deep-rooted in Korean culture allows him to reconnect with his heritage. In Korean folk culture, charcoal is believed to possess the power to keep out evil forces and is sometimes offered as a deity gift in household rituals; in a practical perspective, charcoal is used during house construction as an effective dehumidifier. It is in this vein that Lee rediscovered peace and continued to create works of art using a material that symbolised his early days living in Paris and his motherland.

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

Perrotin Hong Kong is pleased to present a solo exhibition by Japanese artist Aya Takano, marking the artist’s second presentation at the Hong Kong space, since her debut in 2012. In these series of ten paintings and twenty-four drawings, Aya Takano has created an ode to Hong Kong like no other, capturing its landscapes, its culture and its quirks, in a happy and colourful tribute that puts on display the artist’s intimate affection for the city.

Gallery address: Suite 807, 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

Perrotin Hong Kong is pleased to announce Spectrum, a solo exhibition by New York - based artist, Josh Sperling. This marks the artist’s first show in Hong Kong. Donald Judd must have been thinking about his fellow artist and friend Frank Stella when he famously wrote: “The main thing wrong with painting is that it is a rectangular plane placed flat against the wall” (“Specific Objects”, 1965). Five years earlier, in 1960, Stella had started making shaped paintings, often in a L, U, N, or a T shape, using aluminum and copper paint, and initiating a whole new possibility in art.

It is this and other formal breakthroughs that Josh Sperling builds upon as well as extends in his conceptualization of two signature forms, “squiggles” and “double bubbles.” Defying conventional definitions, the “squiggles” and “double bubbles” are painted sculptural forms. In order to make these hybrid forms, the artist has developed a meticulous process that culminates in canvas stretched over a precisely stepped plywood support in the shape of a curving or wavy line (squiggle) or two circles that seem to be stretching apart (double bubble).

Gallery address: Suite 807, 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road,Tsim Sha Tsui

Located at the intersection of heterogeneous temporalities, geographies, and realities, Laurent Grasso’s films, sculptures, paintings, and photographs immerse the viewer in an uncanny world of uncertainty. The artist creates mysterious atmospheres that challenge the boundaries of what we perceive and know. Anachronism and hybridity play an active role in his strategy, which entails diffracting reality in order to recompose it according to his own rules. Fascinated by the way in which various powers can affect human conscience, Grasso seeks to grasp, reveal, and materialize the invisible, from collective fears to politics to electromagnetic or paranormal phenomena. His work reveals what lies behind common perception and offers us a new perspective on history and reality.

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

Floating World seeks to capture the sensations of gliding on time through our world of fleeting impressions in which nothing is fixed. Floating through the days as one passes into the next, losing definition in memory, we teeter between enchantment and detachment as we take on the fickle temperaments of perception and remembrance through individual consciousness.

The selection of artworks presented — paintings, sculptures, drawings and prints — variously depict the personal reality of the individual artist as he or she oscillates between deliberation and spontaneity. They portray the search for a nebulous intermediary place between the melancholy, transitory nature of existence, and the headiness of living for the moment.

Through enigmatic, minimalist forms, and impassioned, sometimes playful, bursts of sensuousness, the artists express distinctly individual views on the ephemeral, subjective nature of reality, and the impermanence of things.  

Gallery address: Suite 807, 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road,Tsim Sha Tsui

Perrotin Hong Kong is pleased to present a solo exhibition by Chiho Aoshima featuring a selection of digital animation, sculptures, and hand-painted works. This marks the artist’s premiere presentation in Hong Kong and her first solo show with Perrotin in Asia.

In the fantastical images Chiho Aoshima has created—whether in her early digitally created work or her most recent experimentation with hand-painted ceramics—buildings turn into fairy-like creatures; trees walk and talk; nymphs wander the graveyard; and even in apocalyptic images, such as of tsunamis, one sees a new world thriving after the end of the world. Her work kindles our imagination for an otherworld that is invisible to us yet is all around us.

Gallery address: Suite 807, 8/F, K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui