White Cube presents an exhibition of paintings by London-based Canadian artist Michele Fletcher. Informed by the natural world and guided by visual memory, Fletcher’s process-driven works are marked by her distinctive use of colour and haptic brushwork, which confer an organic dynamism to her abstract forms.

Over the past 20 years, Fletcher has developed a process-led practice, one that involves the direct channelling of imagined imagery onto the canvas. Painted ‘wet on wet’ in a single sitting, sometimes extending up to a 12-hour stretch, Fletcher’s method engages the body in an act of physical endurance. This physical relationship between the artist and her canvas can be charted through the paint, which is scraped, dragged and dripped across the surface. Loose, gestural passages of paint wind around each other, creating a complex network of forms suggestive of sinuous stems, foliage, petals. The product of an intuitive approach, her works combine a freedom of expression with a chromatic vibrancy, one that speaks to the inherent dynamism and variegation of vegetal life. Many, if not all, of the paintings make use of layered colour and coiled marks, both of which serve to crowd out the foreground, all but eclipsing a pale-coloured ground.

Exhibition Preview: 14 January 2025, 5–8pm
Artist Tour: 5pm

Gallery address: 50 Connaught 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

Working with gestural painting and embroidery, Rankin’s practice fuses personal experiences and memories with broader references to politics, history, literature and poetry.
 
The artist’s latest exhibition takes its title from her major painting, Sky Sound (2024), which references the poem ‘Earth web’, written by the artist’s mother, the renowned Australian poet and playwright Jennifer Rankin. The new canvases and double-sided works on paper featured in the show combine paint with delicate embroidered passages drawn from a variety of poems, including those by her mother.
 
Combining geometric and organic forms, the compositions feature vibrant interactions between paint splashes, trails, gestures, and the sewn line – elements which coalesce to create topographical and constellatory patterns, evocative of vast landscapes and cosmic realms.

Artist Tour: 19 September 2024, 5-5:30pm
Exhibition Preview: 5.30-8pm

Gallery address: 50 Connaught Road Central

White Cube is pleased to present ‘Inside the White Cube: Lee Jin Woo’. Born in Korea in 1959, this Paris-based artist creates work in which the method of its making is integral to its comprehension. The process commences with the burning of wood to create charcoal and ash, which is then overlaid with hanji – a handmade Korean paper from mulberry tree bark. The surface is then pounded and scraped repeatedly with wire brushes to create abstract compositions of undulating light and shadow. 

Referencing the legacy of Korean Dansaekhwa painting, Lee’s paintings share with the movement the emphasis on materiality and ‘repeatability’, whilst also defining a new visual language. His deep respect for traditional Korean materials, as well as the space this opens up for a new wave of Korean art, unites him with the leading father Dansaekhwa painting, Park Seo-Bo.

Gallery address: 50 Connaught Road Central

White Cube is pleased to present British artist Louise Giovanelli’s first solo exhibition in Hong Kong. Exploring the tension between representation and materiality, figuration and abstraction, Giovanelli’s works consider the significance and history of painting as a system of representation.

Gallery address: 50 Connaught Road Central

Marking the artist’s inaugural show in Asia, White Cube is pleased to present a solo exhibition of paintings and works on paper by Léon Wuidar. Chronicling the artist’s remarkable six-decade career, the selection of paintings spans from the early 1960s to the present day, uniting Wuidar’s exuberant simplicities of form with his distinctive, exacting technical precision. Further illustrating the artist’s enduring experimentations with colour, line and composition, accompanying the paintings is a series of previously unseen works on paper, created by the artist in the 1990s.

Gallery address: 50 Connaught Road, Central

Opening in November, White Cube will present the first solo exhibition in Asia of paintings by Bram Bogart (1921–2012).

In the expressive paintings of Dutch-born, Belgian artist Bram Bogart (1921–2012), paint is treated foremostly as physical matter, the medium’s material affordances extended to bring it to the limits of its sculptural properties. Primarily an abstract artist, Bogart explored how the ‘script’ of a painting, or the ‘non-repetitive element of rhythmical brush strokes’, could ignite abstraction with meaning. During his long career, Bogart immersed himself in the formal concerns of painting, working through numerous stylistic shifts including an early period of figuration; followed by cubist geometric abstraction; gestural abstraction; and finally, the sensual paintings heavily ladened with paint, for which he is acclaimed. Through a process of building-up, and making manifest the fusion of artistic gesture with painterly substance, Bogart’s interrogations yielded emphatically sculptural works freighted with a physical presence.

Gallery address: 50 Connaught Road Central

White Cube is pleased to present Julie Curtiss’ first exhibition in Greater China, opening in September. The presentation will feature painting, sculpture and works on paper, as well as Curtiss’ first film work, a Surrealist narrative incorporating sculptural props made by the artist. The new works feature birds, insects and lush, tropical plants influenced by Curtiss’ new studio location in Florida. Sparking parallels with art-historical depictions of Eden and Paradise, the motifs serve as fertile ground for the artist’s slyly humorous take on temptation, gender and sexuality. A new edition, made by traditional Japanese woodblock printing, has been created on the occasion of this show.

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to present ‘New Moroism’, a group exhibition which brings together four artists who seek to expand the parameters and ideation of figuration in painting.

Part of a generation of artists emerging from Asia in recent years, Chris Huen Sin-Kan, Timothy Lai, Su Yu-Xin and Michael Ho reflect a new approach and sensibility, responsive to the trans-regional and ethnic shifts on the continent. Embracing the concept of ambiguity within their paintings, the artists each explore Moroism, an aesthetic paradigm which is derived from the ‘mōrōtai’ style (mōrō literally translated as ‘vague’ or ‘indistinct’) that emerged in Japan of the late Meiji era (1868–1912), also found as a pictorial intention originating in traditional Chinese painting theory.

Determined by the artists’ shared East Asian heritage, the works in this exhibition are grounded in personal narrative. Chris Huen Sin Kan’s large-scale oil paintings feature a recurring cast of characters including his wife, son, daughter and dogs. Painted directly from memory, the artist places life’s fleeting moments at the core of his work. Incorporating a palette of gradated skin tones and elongated, distorted brushstrokes, Timothy Lai examines the ambiguity and tension of his pan-Asian identity and considers the increasingly complex interplay between nationality and race within today’s global society. Su Yu-Xin’s dynamic landscape paintings are a testament to her meticulous practice. Inspired by the traditional ‘boneless’ method of Chinese brush painting, the artist creates her own hand-made pigments from collected natural materials, which she applies to the surface in layered washes to construct nebulous, multi-perspective horizons. Employing a similarly rigorous process, Michael Ho adopts a unique painting technique which involves pushing paint from the back of the canvas and superimposing images on the front. A second-generation Chinese immigrant, this method serves as a parallel to Ho's quest for duality.

Curated by Tingting Zhao and Evonne Jiawei Yuan

White Cube Hong Kong will host an exhibition of new and recent work by Tunji Adeniyi-Jones this spring, the artist’s first solo presentation in Asia. A series of characters and interlocking forms invokes a universal ritual and ceremonial process, as well as various vivid narratives, art histories and symbols specific to West Africa. Drawing on previous bodies of work, Adeniyi-Jones describes his process as one of ‘cultural addition, combination and collaboration’.

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to announce a forthcoming exhibition pairing two painting series in bright cadmium red by Imi Knoebel, the recent 'Konstellationen' ('Constellations') and the all-new 'Green Flags'. Arranged on the wall like celestial bodies, the multi-part 'Konstellationen' series consists of monochrome shapes based on the artist's 1975 light projections onto exteriors and interiors of buildings. Perhaps named for the afterimages they produce in the eye, the 'Green Flags' series are reminiscent of flying flags. Additionally, the exhibition features examples of Knoebel's 'Kinderstern' ('Children's Star'), an unlimited edition begun in 1988, the proceeds from which go to a charity established by the artist and his wife Carmen that supports the rights of children around the world.

Gallery address: 50 Connaught Road, Central

White Cube Hong Kong is pleased to announce an exhibition of new paintings by Canadian artist Margaux Williamson, the artist’s first solo presentation in Asia. Produced in the last year, the works are devoid of protagonists and depict domestic interior scenes, still lifes and patches of landscape close to the artist’s home in Toronto. Executed in a predominantly earthy, sombre palette, Williamson’s compositions alternate between acute detail and abstract gesture, and are characterized by their gradations of darkness and strong artificial or directional light. ‘For this series I felt a slight repulsion to daylight,’ the artist explains, ‘and a strong pull to the ground or to the dark and to the glow of reflected light.’

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to announce a new presentation of work by Haim Steinbach, the artistʼs first solo exhibition in Greater China.

Since the late 1970s, Steinbach has been creating installations, collecting and arranging objects in ʽDisplaysʼ, which take the form of shelves and other architectural apparatus. The artist treats objects as ciphers, each with their own particular identity, story or history, whose meanings and associations rely on the ʽcontingency of their placementʼ, always subject to change. Steinbachʼs shelf works bring about a tension between the role of art and the kind of displays people might assemble at home. Inviting a second look, he asks the viewer to question their perceived understanding of things and to address the act of looking, shifting the parameters to make us see what he presents in many different ways.

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to announce ‘Sofabilder / Sofa Pictures’, an exhibition of recent paintings and drawings by German artist Georg Baselitz that give new and haunting form to his lifelong quest to unite abstraction and figuration in an inextricable dance. A nude female form based loosely on Baselitz’s wife Elke, whom he’s depicted throughout his career and now conjures from memory, is a central motif in each work.

Pablo Picasso’s 1942 painting L’Aubade (The Serenade) is among the inspirations for Baselitz’s images. Based on Titian’s 1538 Venus of Urbino, Picasso’s odalisque is a highly abstracted female figure reclining on a couch while being serenaded by a lute player. References to the Spanish artist appear in the playful titles of paintings, such as Woman and the Congo Mask (2021), and in the guitars that appear in a number of the untitled drawings. Additionally, Picasso was an unsparing observer of the aging process, which is an overarching theme in these and many of Baselitz’s recent works.

Gallery address: 50 Connaught Road Central

White Cube is pleased to present ‘Half of a Yellow Sun’ by Ibrahim Mahama, his first exhibition in Hong Kong and Greater China. Featuring a selection of new fabric paintings, in these works Mahama explores the history of materials, commerce, and cultural identity.

The exhibition title is drawn from the novel of the same name by the Nigerian writer Chimamanda Ngozi Adichie, which focuses on the Nigerian-Biafran War in the late 1960s, while the individual works are inspired by the 1970s songs of Fela Kuti, the Pan-Africanist musician and political activist. For Mahama, this period of independence from colonial British rule across Africa has long been a source of inspiration. As the artist states: ‘this is an African story, with ideas of freedom beyond the chaos.’  

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to present an exhibition by Cerith Wyn Evans. Furthering the artist’s exploration of perception through the transposition of form, it features new installation, sculpture, painting and sound work.

For this exhibition, Evans has conceived the gallery as a form of ‘vernacular temple’, a space for reflection where possibilities can ensue from interstitial spaces: from the shadows, vibrations, after-images and echoes that occur between and around the artworks. Drawing on several key moments of Modernism, themes of doubt and ambiguity combine with artistic strategies of reversal, disruption and deviation, to open up new realms of experience within the imaginary.

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to present a solo exhibition by Damien Hirst, featuring sculptures from his acclaimed Venice installation, ‘Treasures from the Wreck of the Unbelievable’ (2017), as well as a new series of paintings, ‘Revelations’, made in his London studio.

Showing in Asia for the first time, ‘Treasures from the Wreck of the Unbelievable’ was developed over ten years and from the idea of an archaeological discovery of an ancient shipwreck. Figures in bronze, marble and crystal combine the multifaceted illusionism of Hellenistic sculpture with the whimsical extravagance of Disney. Highlights from the Hong Kong exhibition include the black bronze The Severed Head of Medusa (2008), the large-scale, marble Dead Woman (2016), as well as the never-before-seen black granite Mickey (2018).

Gallery address: 50 Connaught Road Central

White Cube is pleased to present ‘UNBUILT’, an exhibition of paintings and drawings by Japanese artist Minoru Nomata, his first in Greater China.

Drawn from several series, the presentation includes works from 1987 to 2020 and highlights the artist’s continued focus on imaginary architecture and ambient landscapes devoid of human presence. The paintings feature forms and structures of indeterminate periods, which emerge from Nomata’s hybrid architectural language — a blend of the industrial, the fantastical, the archaic and the futuristic — and develop from the artist’s iterative process. Often beginning with sketches from a found image, these are then transformed over a period of months, years or even decades. Reflecting upon a condition of monoculture, technological pursuit and overarching human endeavour, Nomata conjures an oneiric world imbued with suspense and uncertainty.

Gallery address: 50 Connaught Road Central

White Cube is pleased to present Christine Ay Tjoe’s (b. 1973 Bandung, Indonesia) first solo exhibition in Hong Kong, coinciding with Art Basel Hong Kong 2021.

One of Indonesia’s most prominent female contemporary artists, Ay Tjoe’s work focuses on the human condition and addresses themes of philosophy and spirituality. Beginning her career as a graphic artist focusing on the intaglio dry point technique, the artist’s oeuvre has evolved into painting, sculpture and installation.

Ay Tjoe’s third exhibition with the gallery features a new series of paintings made in response to the pandemic and its impact on the artist’s everyday life and activities. For Ay Tjoe, painting became a way of processing and intuitively responding to the elementary needs that make us human, demonstrating that growth is possible in the most challenging times.

Gallery address: 50 Connaught Road Central, Central

White Cube is pleased to present the first solo exhibition in Greater China of works by Bruce Nauman. With a career spanning over 50 years, Nauman is widely recognized as a key figure in American art and one of the most influential of his generation.

Featuring five video installations spanning from 1999 to 2013  Presence/Absence centres on Nauman’s experimental performances both in front of and behind the camera, either inside his studio or in the New Mexico landscape, on his ranch. 

Gallery address: 50 Connaught Road Central

White Cube Hong Kong is pleased to present an exhibition of works by the late Greek artist Takis (1925–2019). Featuring sculptures drawn from a thirty-year period – from the end of the 1960s to the 1990s – it showcases the artist’s committed exploration of art and science. Takis carved out a new aesthetic territory, incorporating invisible forms of energy such as magnetic, acoustic or light waves as the fourth dimension of his work.

Gallery address: 50 Connaught Road Central

infused with an ethos of economy, Overton's practice favours elemental materials, frequently recycled objects that are found on site or things discovered in the environs of the exhibition space. Making use of objects she encounters in a range of environments, from agricultural to industrial, Overton’s practice is driven by what she has described as the ‘natural push and pull inherent in materials’.

Made specifically for this show she will present a series of red and black lacquered aluminium sculptures made out of salvaged lettering plates from buildings in New York alongside neon works. The exhibition also includes new works on paper, in which Overton uses adhesive vinyl to create graphic compositions evoking three-dimensional forms.

Gallery address: 50 Connaught Road Central