Tai Kwun Contemporary's latest public art commission, Waiting Pavilions, investigates the passage of time in the setting of a former prison, the Victoria Goal. Created by the acclaimed Polish artist Alicja Kwade—known for using everyday materials to ask questions about existing realities and social structures—Waiting Pavilions are the artist's first site-specific installation in Hong Kong, bridging the past and present on Tai Kwun's Prison Yard.

With glass, metal, and stone, Kwade reimagines the waiting experience in a contemporary context. Six prison-like structures, built with glass bricks, dot the Prison Yard. The transparency of the bricks alludes to the unseen confines of modern life. The numerous white chairs nearby, each holding up a sizable stone, may also allow viewers to think of how the external environment is connected to our inner worlds. In a way, Waiting Pavilions points to how reality often transcends initial appearances.

The Qing dynasty (1644–1911) is a regime ruled by the Manchu ethnic group, established its military foundation upon a rigorous martial organisation, superior military technology, and a distinctive martial ethos. The Forbidden City in Beijing was the nexus of Qing political and military power, embodying over two centuries of military history from the Qing dynasty. It vividly illustrates the Manchus’ adherence to ancestral martial traditions, their absorption of, and innovative adaptation of, military technologies, and their ceremonial protocols, making it a treasure trove of traditional military culture. The exhibition features nearly 190 military artefacts from the Qing court in The Palace Museum’s collection, featuring a wide range of objects such as helmets, archery sets, sabres and swords, equestrian equipment, paintings, textiles, books, albums, and scientific instruments.

This exhibition is organised in six thematic sections: “The Rise of the Eight Banners and Qing Rule”, “Swords and Sabres across the State”, “Equestrian Archery and Firearms”, “Military Drills, Inspections, and Rites”, “Images as Histories”, and “Coastal Defence”. With a diverse array of exceptional objects, the exhibition presents the development of Qing military organisation, technology, and artistry, enriching the understanding of Qing military culture.

The Stallery is proud to present Artifice, a groundbreaking new exhibition by CHANG, opening on 24 May 2025. Coinciding with The Stallery’s 10th Anniversary in 2025, the series delves deep into the inherent conflicts within our modern existence, the passage of time, and the intersections between the natural and the artificial.

At its core, Artifice explores the concept of duality—how every aspect of life is made up of contradictions. This body of work, which began with an exploration of Chinese scholars’ rocks, evolved into an examination of nature, existence, and technology. Just as rocks tell the story of millions of years, through their shapes and textures, Artifice juxtaposes the purity of the natural form with the heresy of symbols from contemporary society.

The artist’s fascination with duality is reflected not only in the subject matter but also in the process itself. Months of painstaking work are distilled into an instant through the medium of screen printing, embodying the tension between the long and the short, the deliberate and the immediate. Sculptures that resemble Lingbi stones are cast in bronze and hollow within. The series is the artist’s most conceptual work to date, stripping away color, line, and excess to focus on form and concept. These minimalist pieces draw inspiration from ancient Chinese rock appreciation, which venerates the interplay of solid and void, of permanence and decay. Each piece holds a mirror to reality, revealing both authenticity and deception within it.

The University Museum and Art Gallery, The University of Hong Kong, is honoured to present Bamboo Baskets: Chinese Origins, Japanese Innovations, a major exhibition offering an overview of the finest achievements of bamboo art in East Asia. The expansive yet meticulously curated selection prompts a reassessment of the central role played by continental prototypes, or Karamono (唐物, literally ‘Tang things’ or ‘Chinese things’), in the remarkable development of Japanese basketry over the past 150 years. Supported by two visionary collectors, this exhibition marks the first time that Chinese and Japanese baskets are being presented side by side in Hong Kong. 

The display of bamboo baskets encompasses more than 200 objects that illustrate a wide range of weaving techniques, tracing the evolution of early Ming and Qing dynasty vessels to their influence on Edo period artefacts and the innovative development of contemporary kogei. Focused on the transfer of knowledge and the preservation of long-practiced bamboo weaving techniques, the exhibition also explores the cultural context of the traditional tea ceremony and the related art of ikebana flower arrangement. Together, the exhibition documents the handcrafted creation of some of East Asia’s finest decorative arts and celebrates a significant form of intangible cultural heritage, still perfected by family workshops that have passed down their skills through generations. 

This exhibition relies on exemplary loans from both the Naej Collection in Germany and the Muwen Tang Collection in Hong Kong, and is supported by the HKU Museum Society.  

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

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

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

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

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

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

Whether ocean, strait or stream, water is not merely a connector of lands, but a living presence that moves with memory and labour, carrying traces of migrations, trade, rituals and kinship. Similarly, textile is not only a cultural artefact, but also a mobile, tactile archive threaded with the everyday, the sacred and the collective.

Tidal Weavers unfolds as a process and generative space of shared memory and interwoven knowledge. Central to it is an artist exchange between grassroots organisations across South China Sea to cultivate mutual learning and long-term collaboration. Artists, weavers, researchers and community members dwell and work together in immersive settings. Through conversations, shared meals, daily routines and collaborative making, friendships grow and shape the artworks as much as the materials themselves.

Venue address: The Mills, 45 Pak Tin Par Street, Tsuen Wan

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

Gallery 8, Hong Kong Palace Museum

Alisan Atelier is pleased to present The Remains of Our Days, bringing together artists Amy Tang, Jeremy Ip, and Rivian Cheung. This exhibition marks our first collaboration with curator Joyce Hei-ting Wong, and it’s also the first time we are showcasing these three talented artists at the gallery.

The artists share a unique interest in the overlooked aspects of our daily lives, drawing inspiration from everything from floor stains to peeling walls and wild weeds. They explore the messages embedded in what we often discard or forget. Through their creative use of gesture, colour, and materials, they craft contemporary visual stories that touch on themes of consumption, waste, resistance, decay, and regeneration.

Opening reception: 27 Aug, 6:00 pm – 7:30 pm

Gallery address: 1904, Hing Wai Centre, 7 Tin Wan Praya Road, Tin Wan, Aberdeen

MAYAO is thrilled to present Water-Grid-Silence, a solo exhibition by Dirk Vander Eecken, featuring drawings by Joris Ghekiere.
In the early 1990s, Beilium artist Dirk Vander Eecken and Joris Ghekiere made a long trip together through Asia. That shared journey deepened their friendship and carved a space of mutual critique that lasted decades. This exhibition brings their works back into proximity—not by nostalgia, but by resonance. Ghekiere’s ink and watercolor drawings from that Asia trip are shown here alongside Vander Eecken’s recent paintings. One draws outward, the other inward. Ghekiere’s lines move with agility through the world; Vander Eecken’s grids invite stillness and reverie. Together, they frame a spectrum of seeing—roving eye and inward gaze, memory and method.

CURATOR: Tommy Simoens

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

Collaborating again with the Min Chiu Society, an internationally acclaimed and prestigious collectors' group in Hong Kong, the Hong Kong Museum of Art (HKMoA) is staging the "Engaging Past Wisdom: Min Chiu Society at Sixty-five" exhibition at the Special Gallery on the second floor of the museum from tomorrow (August 30) to January 14 next year. This year marks the society's 65th anniversary, and the exhibition features over 400 precious artefacts from more than 40 members' collections, the largest number of exhibits of the Min Chiu Society to date, providing a rare opportunity for the public to appreciate Chinese cultural treasures spanning 5 000 years.      

Venue address: 2/F, The Special Gallery, HKMoA

HART Haus is pleased to present “Möbius Loop”, Yvonne Feng’s debut solo exhibition in Hong Kong, following the Guangdong‑born, UK‑raised visual artist’s relocation to the city last year. The exhibition features works from Feng’s ongoing painting series Docile Bodies, a trilogy of exhibitions exploring the theme through barrier, gesture, and sight. This presentation focuses on gesture, examining the intricate entanglement between the body and the spaces it inhabits. The works are exhibited in the ground‑floor gallery, where the interplay of interior space and street‑facing windows blurs the boundaries between strangers and intimacy, between watching and being watched, echoing the staged realities in Feng’s paintings.

Opening Ceremony: 30.08.2025 (Sat 六), 16:00 -18:00
Venue address: HART Haus G/F, Cheung Hing Industrial Building, 12P Smithfield, Kennedy Town

Axel Vervoordt Gallery is pleased to present the group exhibition, Vessel of Emptiness, in Hong Kong. The symbolic power of the vessel serves as a gateway to understanding the profound concept of emptiness. Centred around five moon jars by Korean artist Kwon Dae-Sup, the exhibition features works by Shi Zhiying, Shen Chen, Otto Boll, Norio Imai, and Yuko Nasaka. These artists collectively explore the delicate interplay between presence and absence, form and void, as expressed through diverse artistic perspectives.

In a world preoccupied with the tangible and the absolute, Vessel of Emptiness offers a sanctuary for contemplation. Each artwork acts as a vessel, beckoning viewers to explore the intricate relationship between form and void. Through their creations, these artists unveil a paradox resonant with śūnyatā: these vessels, though seemingly empty, overflow with the fullness of existence. By embracing the beauty of the unseen and the interconnectedness of all things, visitors are invited to look beyond the physical and uncover the infinite possibilities within the void.

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

This exhibition brings together new and recent works by six artists shortlisted for the Sigg Prize 2025. Established in 2018 by M+, this prestigious prize is open to artists born or working in the Greater China region and its diasporas. It aims to recognise important artistic practices in the region and to promote the strength and diversity of Chinese artists on an international platform. For the third edition, M+ will showcase the works of six leading contemporary artists, including Bi Rongrong, Ho Rui An, Hsu Chia-Wei, Heidi Lau, Pan Daijing, and Wong Ping.

The six finalists were selected by an international jury chaired by Suhanya Raffel (Museum Director, M+, Hong Kong), with members Maria Balshaw (Director, Tate, United Kingdom), Mami Kataoka (Director, Mori Art Museum, Tokyo), Gong Yan (Director, Power Station of Art, Shanghai), Glenn D. Lowry (Director, Museum of Modern Art, New York), Uli Sigg (collector and member of the M+ Board, Switzerland), and Xu Bing (artist, Beijing).

THE SHOPHOUSE is pleased to present the second solo exhibition of London-based artist Sam Creasey in Hong Kong, Dark Waters, featuring a new body of work on canvas and mixed media works. Creasey's paintings occupy an uneasy territory between familiarity and estrangement, showcasing his profound concern for place and identity. It interrogate how the physical structures we inhabit—streets, offices, public utilities, and governmental buildings—both reveal and conceal the system of power that shape everyday life. The exhibition extends to consider not only the psychic weight of built environments but also reflecting on underlaying issues rooted in late-stage capitalism, rapid technological change, public services, or urban expansion, while highlighting how privatisation and profit routinely overshadow the public good.
Opening reception: 6 September 2025 (Saturday) 3 - 6 PM (Artist will be present)

Gallery address: 4 Second Lane, Tai Hang

WKM Gallery is pleased to announce In the meantime, Japanese painter Yukari Nishi’s first solo exhibition in Hong Kong. Renowned for her surreal and psychologically charged compositions, Nishi’s work invites viewers into a world where the boundaries between reality and fantasy dissolve. Featuring a series of all new paintings, this exhibition continues Nishi’s exploration of the surreal as a place that serves as both an escape from, and mirror of, reality. Describing her process as a form of “collage therapy”, Nishi’s somewhat psychological approach to painting — which begins with a playful indulgence of the subconscious, but ends with a very deliberate process of reflection — reveals to us the relationships and emotions of the artist’s day-to-day, particularly through the lens of her role as a mother. These strange scenes may seem slightly uncanny at first, but they are tied together by affectionate acts of giving and sharing. Nishi’s works open our eyes to the complicated nature of caretaking; its heavy burden as a never-ending task, but one that leads to the joys of love, connection, and family.

Opening: Saturday 6 September 2025, 5–8pm

Gallery address: 20/F, Coda Designer Centre, Wong Chuk Hang

‘CINEMA REIMAGINED: A JOURNEY THROUGH CELLULOID DREAMS’

Wong Wo Bik & Lau Ka Chun Jay Introducing Kenrick Ho

Karin Weber Gallery is thrilled to announce a groundbreaking exhibition centered on film and the history of cinema. Cinema and filmmaking are integral to Hong Kong's visual culture, embodying its rich history and diverse narratives while showcasing the city's vibrant creativity and artistic spirit. This exhibition marks the first collaboration with three exceptional local artists, each bringing a unique perspective. ‘Cinema Reimagined: A Journey Through Celluloid Dreams’ is distinguished by the artists' access to a rare collection of vintage cinema equipment in Hong Kong, which serves as a profound source of inspiration for their innovative artworks.

Opening reception: Saturday 6th September 3-7p.m.

Artist-led Tour 3-4pm

Gallery address: 20 Aberdeen Street, Central

Artist Angela Yuen has a profound emotional and artistic connection with Hong Kong's urban culture, shaped by her unique perspective. By collecting nostalgic plastic toys, stationery, and locally distinctive ready-made objects, she transforms them into evocative sculptural works. Through light projection techniques, Yuen reinterprets Hong Kong's iconic skyline in a lively and artistic manner.

In this exhibition, Yuen expands on her signature approach, presenting the art installations specially created for the Hong Kong Visual Arts Centre. Her inspiration draws from the musical fountain displays that were popular in shopping mall public spaces during the 1990s—a hallmark of that era which has gradually faded away. Through large-scale installations incorporating kinetic lighting effects and objects embodying collective memory, Yuen evokes recollections of communal mall spaces and invites viewers to reflect on the changing rhythms of urban life.

Opening and artist-led tour: 6:30pm

Venue address: Public area on the 5/F – 3/F, 7A Kennedy Road, Central

White Cube is pleased to announce the first solo exhibition in Hong Kong of works by Isamu Noguchi (1904–1988), one of the most influential artists of the 20th century.

The exhibition explores the profound impact that Chinese master painter Qi Bashi had on Noguchi’s artistic development, notably the creation of his fluid ‘Peking Brush Drawings’ under Qi’s guidance in the 1930s. Tracing the influence of these calligraphic forms on Noguchi's sculptural practice throughout his career, highlights of the presentation include innovative constructed bronze works from the late 1980s.

Preview: 11 September 2025, 5–8pm

Gallery address: 50 Connaught Road Central

Leo Gallery is honored to present Karl Horst Hödicke’s solo exhibition Under the Sun's Favor in Hong Kong on 11 September 2025. This event comes five years after his previous show, with the success of his solo exhibition in Hong Kong and group exhibition at our Shanghai space, both titled Eingedunkelt. The upcoming exhibition will focus on Hödicke’s artwork from the 1980s, exploring the unique lens of luminosity and vitality the artist developed from Berlin's vibrant and ever-changing urban fabric. In a city laden with post-war memory, Hödicke turned his gaze to resilient plants, sun-drenched beaches, and fragments of daily life, transforming them into a warm visual poetry.

Opening reception: Thursday 11 Sep 2025 | 6-8 pm

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

gdm Hong Kong is pleased to present “Gordon Cheung: New Territories”, the artist’s debut solo exhibition at the gallery, featuring a retrospective of Gordon Cheung’s work, spanning across painting and sculpture. New Territories circumnavigates the historical and geographical passage of global capitalism from the Dutch Golden Age to the rise of China as a 21st Century superpower, questioning its lasting impact on our perceptions of identity, territory, and sense of belonging. Painting an intimate picture of both his ancestral lineage as well as the history of Hong Kong at large, Cheung’s practice sits against the backdrop of this city emerging from its colonial past, charting new possibilities into an uncertain future.

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

MASSIMODECARLO is pleased to present a solo exhibition by Japanese artist Tomoo Gokita, featuring a recent body of work first shown in October 2024 at ICA Milano. Rooted in the visual language of the everyday, these paintings take familiar figures and gestures and subtly distort them.

In this new body of work, the artist took the everyday as a starting point: ordinary gestures, banal settings, and seemingly familiar roles. In works like Doctor and Patient or Ventriloquist, Gokita reimagines these mundane pairings with subtle absurdity, shifting them just enough to feel both recognisable and dreamlike. Even in larger canvases like Amnesia, the subject matter feels suspended, both personal and oddly generic, like a déjà vu with the edges smudged. It’s here, in this register of the ordinary made strange, that Gokita is perhaps most compelling: reminding us that the everyday, too, is filled with illusion.

Opening reception: Thursday, September 11, 6-8:00PM

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

Gagosian is pleased to announce Harbour Fragments, an exhibition of new paintings by Rick Lowe. These works abstract from aerial views of Hong Kong that feature sections of Victoria Harbour, Hong Kong Island, and Kowloon Peninsula, interpreting the dynamic metropolis. On view at the gallery’s location in Hong Kong’s Central district from September 11 through November 1, this is Lowe’s first solo exhibition in Asia.

Taking an exploratory approach to geography and abstraction, Lowe’s practice encompasses both studio work and community-based projects that address urban transformation. His vibrant canvases employ the visual languages of painting, collage, and cartography. These paintings emerge from an improvisational approach derived in part from games of dominoes that Lowe plays with residents worldwide, adapting their intricate patterns and juxtapositions to foreground aspects of urban structures and civic relationships.

Opening reception: Thursday, September 11, 6–8pm

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

Please join us for the opening of Melody Qingmei Li’s solo exhibition ‘my gaze is as clear as your breath’ at Square Street Gallery, curated by Tong Hu. The exhibition presents a series of new works Melody created this year, in a wide range of media, based on her repeated practices of ‘drawing skin’, a meditative methodology she developed in the past five years.

At its core, my gaze is as clear as your breath invites viewers to reflect on the boundaries of the self and our connection to the world. Qingmei’s methodology of drawing skin begins with a simple act of gazing at a patch of skin. Through sustained observation, the familiar is transformed. Patterns, textures, and imperfections emerge, dissolving preconceived notions tied to race, gender, health, or class. The boundary of skin begins to dissolve through the gaze.

Opening reception: 11 Sep 6 - 8 pm

Gallery address: G/F, 21 Square Street, Sheung Wan

Step into “Echoes of Nature”, an enchanting solo exhibition by the acclaimed master of Eastern Expressionism Pang Jiun. This showcase of 12 masterpieces invites you on a reflective journey through the delicate concept of “Echoes of Nature”, encouraging an escape from the busy noise of our lives to discover a more serene inner world.

Pang Jiun, born in 1936, stands as a pioneer of Eastern oil painting with a unique flair. His artistry marries the brilliant colors reminiscent of Western Impressionism and Fauvism with the deep philosophical essence of traditional Eastern ink painting. His landscapes are not just visually stunning; they pulse with energy while radiating a profound clarity and calmness. Through his work, he encapsulates the Eastern ideal of “the harmony between heaven and earth”, illuminating a path toward artistic resonance.

The curator of this exhibition, William Fong, invites you to indulge yourself into the essence of silence, encouraging a contemplation of the spiritual quest that flows from chaos to simplicity, from sound to tranquility, as you absorb the poetic echoes of nature.

Venue address: 22 Pottinger Street, Central

From the early 1950s, Zao Wou-Ki distinguished himself as one of the foremost international artists in the field of printmaking, renowned for the exceptional quality of his works and the innovative nature of his technique. In parallel, his unique works on paper—particularly his watercolors and ink drawings—constituted the solid foundation of his extraordinary and enduring career.

Over the years, ART PERSPECTIVE has been one of the leading galleries in Asia in promoting Zao Wou-Ki’s works on paper

Gallery address: Unit 1201, 12F, M Place, Wong Chuk Hang

Twenty-two years ago, in 2003, renowned free-spirited artist and designer Sin Sin Man founded Sin Sin Fine Art, inspired by a transformative encounter with contemporary Indonesian art during one of her many travels. While exploring the historic city of Yogyakarta, she connected with a group of emerging
Indonesian artists whose raw talent, authenticity, and unfiltered expressions left a profound impression on her. Struck by the emotional depth and sincerity of their work — as well as their genuine, down-to-earth personalities — Sin Sin felt an immediate and deep resonance. This pivotal experience ignited a
new artistic mission: to bring these bold, expressive works to Hong Kong and introduce them to the international art world. Many of these artists have grown and achieved international recognitions and accalodes since then. Looking back, it was such a precious, life-changing period for Sin Sin and for the artists themselves.

The artworks featured in this exhibition serve as Life Records — visual diaries that trace each artist’s personal and creative evolution. Every piece carries the unique imprint of its maker, capturing key moments in their artistic journey and reflecting the growth that has shaped who they are today.

Life Records I presents a compelling selection of early works by Abdi Setiawan, Bob Yudhita Agung, Dwi Setianto, EddiE haRA, Eddi Prabandono, FauZie As’ad, Kokok P. Sancoko, S. Teddy Darmawan, Pande Ketut Taman, Putu Sutawijaya, and Tisna Sanjaya

Opening reception: 12 Sep, 6:00 pm – 9:00 pm

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

Para Site is thrilled to present ‘Empty Set’, a solo exhibition by Pratchaya Phinthong.

Phinthong’s first institutional solo exhibition in Hong Kong, ‘Empty Set’ serves as both an intervention and a stage—bringing together cultural workers, scientists and cross-disciplinary collaborators to pose questions, share critical reflections and explore futures shaped by the climate emergency. The exhibition acts as a catalyst for a larger project that will unfold throughout fall 2025 in and around Para Site’s space through site interventions, a symposium, a film programme and performances.

The exhibition uses the ‘empty set’ (∅) as a guiding concept and a conceptual placeholder for ideas and discussions outside of rigid knowledge structures. ‘Empty Set’ creates a place for new possibilities, a literal opening of the exhibition space to the outside world. Walls, windows and other thresholds become elements of an experiential montage, edited into interventions that dissolve the fourth wall of the gallery and expose it to realities beyond.

‘Empty Set’ is curated by Billy Tang.

Opening reception: 12 Sep 2025, 6–8pm

Conversation between the artist and curator Billy Tang (6:30–7pm).

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

Blindspot Gallery is pleased to present Isaac Chong Wai’s second solo exhibition, “carefully”, from 13 September to 1 November 2025. Chong explores the human condition through the lens of movement, time, and the traces they bear. He delves into the performative qualities of materials, showing their relationship with the body and their potential for world-making.

“carefully” acknowledges precarity while embodying a gesture of care. It proposes solidarity as a way to heal and to move forward from traumas. The new works featured in the exhibition continue themes Chong explored in his video installation and performance, Falling Reversely (2021/2024), presented at the 60th Venice Biennale, reflecting upon the fragility and resistance of the body in the face of systemic violence. In “carefully”, Chong probes our attentiveness to the past by drawing from his upbringing in colonial Hong Kong, contemplating what we choose to remember and its influence on identity and the present. Through neon lights, glass sculptures, drawings, prints and video, the exhibition invites us to reflect upon our shared humanity converging temporalities, and to imagine an alternative microcosm of human relationality through mutual support and understanding.

Opening Reception: 13 September 2025, Saturday; 3:00 – 6:00pm

Artist Talk–Isaac Chong Wai in conversation with Tobias Berger: 13 September 2025; 4pm (conducted in English)

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

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

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

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

Opening Reception Saturday, September 13, 3–7 PM

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

Pace is pleased to present an exhibition of new work by Alejandro Piñeiro Bello at its Hong Kong gallery from September 18 to October 18. Titled Solo Quiero Soñar (I Just Want to Dream), this presentation—the artist’s first ever solo exhibition in Hong Kong—will bring together ten nightscape paintings created this year.

Lush and fantastical, Piñeiro Bello’s new paintings are odes to the magic and wonder of the night, and they reflect his deep and enduring interest in the beauty, chaos, and uncanniness of the natural world.

Born in Havana, Cuba in 1990, Piñeiro Bello, who is now based in Miami, Florida, often examines the sociocultural dimensions of the Caribbean and its diaspora in his practice. Using traditional materials such as oil on raw linen or burlap, he forges striking layers of color in his paintings, evoking the natural landscapes and folkloric traditions of the Caribbean. The artist’s abstract and semi-abstract compositions take on otherworldly qualities, revealing unexplored places in his own subconscious—he considers his artworks journeys through time.

Gallery address: 12/F, H Queen's, Central

Double Q is thrilled to announce 'Conceptual Feminism,' Ewa Partum's first solo exhibition in Asia and with the gallery, opening on 18 September 2025. The artist will be present.

Ewa Partum (born 1945 in Grodzisk Mazowiecki, Poland) is one of Poland’s most prominent conceptual artists from the turn of the 1960s and 70s, and was a forerunner of feminist art in Poland. She has created performances, activities in public spaces, experimental films, and visual poetry. 

Since 1969, Partum has been engaged in linguistic activities in an effort to discover a new artistic language. In the early 1970s, Partum conducted several performances in which she scattered letters from well-known works of literature in public spaces. Her most famous piece, ‘Active Poetry’ (1971), was described at the time by the literary critic Marek Ławrynowicz as revealing ‘that a poet’s activity does not have to be reduced only to the verbal sphere, but can have a situational character as well’. The concept marked a turning point in Partum’s career and is one with which she has continued to play in order to critique the means and modes of textual production. 

Exhibition opening: 18 September, 6-8 PM

Gallery address: 68 Lok Ku Road, Sheung Wan

Ora-Ora is pleased to announce “Concrete Colour”, a new solo show by Hong Kong artist Sophie Cheung. Known for her appearances at Art Basel Hong Kong (2022–2024) and exhibitions in Hong Kong and London, Sophie now debuts her brand-new CMYK Series alongside the evolution of her acclaimed Erasing News Series.

For the first time, Sophie also brings her tactile surfaces into 3D with a striking new sculpture, A Closed Energy Loop (2025). In “Concrete Colour”, Sophie draws on the gradual erosion of familiar cityscapes to explore memory, nostalgia, and belonging. Glass reflections and shifting skylines become powerful metaphors for rapid and irretrievable change.

Opening reception: September 18, 2025 (Thursday) 5:00 pm - 8:00 pm

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

The place to which we return by instinct is where we call home. It sets the foundation from which we grow; a sanctuary where we reconcile with our inner peace and a kaleidoscope through which our memories and experiences unfold, offering reflection and new possibilities. Contemporary by Angela Li is proud to present group exhibition “Wander from Home”, featuring three Hong Kong artists, Oychir Cheung, Gordon Chi and Fatina Kong, who develop their philosophies of time, change and memories through the ever-shifting lens of home.

Opening:     5 – 8 pm, Thur 18 September

Gallery address: G/F, 248 Hollywood Road, Sheung Wan

As city skylines obscure and angularise the contours of the sky, starlights become harder to see. Since ancient times, stars have guided humanity, serving as both navigational markers and symbols of our hope and aspiration. Today, these celestial motifs remain woven into the fabric of everyday life—be it in striving for academic accolades, savouring Michelin-starred cuisine, or seeking esoteric guidance in astrological signs. All of these reflect a shared human focus on hope.

Curated by Frank Lam, “The Orbit of Hope” is the debut exhibition for WMA’s biennial theme, “Hope”. Showcasing works by four Hong Kong artists—Jess Lau Ching-wa, Rocco Sung, Simon Wan, and Jil Wong—the exhibition explores the symbolic significance of stars and the distance between individuals and their hopes. Drawing on Newton’s law of universal gravitation, the show likens the dynamic between humanity and hope to invisible forces that pull us forward, guiding us along the trajectory of aspiration.

The exhibition opens at 6pm on Thursday, 18 September. Please RSVP!

Gallery address: 16/F, Chun Wo Commercial Centre, 23-29 Wing Wo Street, Central

We are pleased to present Polyphony, a solo exhibition by Wu Sibo. Marking his second presentation with the gallery, Wu continues to explore themes of place and belonging, focusing on his hometown, near Maoming, Guangdong Province. From an estranged lens, he reveals the multiple voices, conflicting perspectives, and layered stories present within his subjects. 

 Private View Thursday 19 September, 6-8pm

Gallery address: 49 Tung Street, Sheung Wan

Environments are artworks in which viewers play an active role, stimulated by objects, light, moving image, and sound as they move through and around the work. They have been a major feature in international art since the mid-twentieth century, laying the groundwork for the immersive experiences that dazzle museum audiences today. However, the important history of this art form is only partially understood, as so many of these groundbreaking works were destroyed after display, and the focus to date has been almost exclusively on male artists.

Dream Rooms: Environments by Women Artists 1950s–Now presents the works of trailblazing women artists whose environments made a lasting impact on the history of visual art, illuminating artworks of the present and offering glimpses into the future. It spans several generations of artists from Asia, Europe, and North and South America, presenting full-scale reproductions of each work. These reconstructions are as close to the originals as possible, developed through research and collaboration with experts and the artists themselves.

PODIUM is proud to present ‘World of Interiors’, Urumqi-born, Berlin-based artist Min-Jia’s first solo exhibition in their career and with the gallery. Built upon their apprenticeship in Shaanxi Huaxian shadow puppetry under master Wang Tianwen in Xi’an, China, this body of work samples and remixes traditional techniques, materials, and ornamental forms across cultures, creating an enigmatic site from which to investigate the interior life of the migrant. Drawing from the analysis of how economic and migratory cycles construct subjectivities in Chinese-Australian writer Aurelia Guo’s eponymous book, as well as the artist’s experience in the transnational Asian diaspora, the exhibition fractures and recycles narratives of transformation to destabilise myths of origin and identity. 

The exhibition opens on 20 September (Saturday) from 2 to 7 pm and is on view until 15 November (Saturday).

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

DE SARTHE is pleased to unveil its new and expanded space in the Southside art district, officially opening on September 20th, 2025. Encompassing over 10,000sqft, the gallery’s new home is composed of different exhibition spaces, which will be inaugurated by a solo exhibition by contemporary artist Lazarus Chan, as well as an exhibition of Post-war and Modern works.

The vision for the new space is to showcase the emerging movement of art and technology alongside historically significant artworks to remind of the importance of context in understanding art, whether classic or contemporary. In the same way that master artworks are considered in relation to their era, the gallery maintains that the essence of contemporary art is its relevance to today’s world.

Opening Reception: September 20th, 2025, 3-7pm

Gallery address: 2/F, Block A, Vita Tower, Wong Chuk Hang

Inaugurating its new contemporary space, DE SARTHE is pleased to present Poetics Policy, its first solo exhibition for Hong Kong-based artist Lazarus Chan. Featuring an interconnected body of multimedia and interactive artworks, the immersive exhibition explores the nature of policy-making and the intricate ways in which it manifests in art, machine intelligence, and reality. An imagined simulation of the future, the exhibition is host to a living system built by AI but governed by the artist. Within this space, the essence of art lies not in the generated texts or imagery, but the policies that shape their creation.

In AI development, the term “policy” refers to a function through which a trained AI agent uses to decide its next action based on the current state of its environment. In human terms, it is analogous to the neural pathways we form when learning to react through experience – we create policies that our minds retain for future occurrences, collectively building a framework that determines our behavior. Policy-making, then, is not restricted to governments or institutions, but is embedded in technology, life, even art as a response to its surrounding environment.

Opening reception: September 20th, 2025, 3-7pm

Gallery address: 2/F, Block A, Vita Tower, 29 Wong Chuk Hang

Rossi & Rossi Hong Kong is pleased to present Hello Darkness…My Old Friend, the fifth solo exhibition of Tsherin Sherpa (b. 1968, Kathmandu, Nepal) with the gallery, opening on 20 September through 22 November 2025. On view is a new body of works depicting souls in unfamiliar terrains as they navigate the ever-changing realities of the contemporary world. These works embody the psyche of the present-day Himalayan diaspora, as well as that of other diasporas in the broader world – those who find themselves mediating between traditional cultures and beliefs with fast-changing, modern-day systems.

To create this series, Sherpa repurposed black thangka painting, a tantric art form within the Himalayan tradition that symbolises the transformation of negative energies through its depictions of wrathful protective deities. Moulding these deities into his spirits, Sherpa channels their fierce energies over the negative chaos of the surrounding world that threatens to engulf them.

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

SC Gallery is excited to present “On the Edge of Passage”, the solo exhibition of IV Chan, featuring her latest series of textile relief sculptures. In this exhibition, Chan presents a meditation on modern fertility. Stepping through the threshold of myths, materiality and abstraction, she traces the enigmatic yet complementary ties between life and desire.

“On the Edge of Passage” boldly explores the relationship between DESIRE and SURVIVAL, will open on September 20

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

Marked by traces of what once was, Turn to Salt is a powerful new exhibition of works by Marie de Villepin. Through layered compositions and shifting textures, her paintings give form to memory - sometimes sharp, sometimes fading. Salt, with its dual power to preserve and erode, becomes a symbol of transformation. The title, drawn from a lyric of one of the artist’s songs that she composed, carries a quiet ambiguity that threads through the show.

Each painting captures a moment in which memory takes form. Tones of pink, green, red, and blue feel trapped - as if caught in quicksand or solidified in salt - evoking a tension between movement and stillness. Gesture becomes feeling, with each canvas unfolding like an emotional landscape. Forms erode and dissolve, or harden like salt crystals, echoing how we choose to hold on to, or release, our memories.

Gallery address: 53-55 Hollywood Road, Central

"Explosante-Fixe," a term originating from French writer and poet André Breton, signifies a momentary fusion of opposites that sparks profound emotions. This concept, embraced by Boulez in his musical endeavors, serves as the foundation for Liu's dialogue between bold brushstrokes and meticulously crafted compositions in this showcase, delving into the delicate balance between chaos and order.

Liu's exhibited works delve into his recurring themes of florals, portraits, and landscapes, featuring more fluid compositions and brushwork that echo Boulez's exploration of controlled chaos in music. This exhibition, running from 23 September to 31 October 2025, sets the stage for a captivating interplay between visual art and music.

"I might subconsciously create a sense of order—there is structure. And yet, as we discussed earlier, the surface is explosive, bursting outward, radial, and quite sharp. But the inner core—the internal energy, the underlying structure—is fundamentally stable." Liu Yangwen stated.

Opening reception: 25 September 2025, 5 – 8 pm. The artist will be present.

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

Alisan Fine Arts is proud to present Lui Shou-kwan: Artist Teacher Scholar, commemorating the 50th anniversary of Lui’s passing. This exhibition gathers around two dozen exemplary works across the key decades of the artist’s career from 1951 to 1972. A selection of archive materials on his teachings and writings will also be on display. Together with the publication of a book of the same title, this landmark exhibition aims to re-examine the discursive and wide-ranging influences of Lui through his three distinct, yet interconnected, identities: bold innovator, tireless educator and fierce scholar. Fifty years later, Lui remains one of the most influential artists in Hong Kong’s history, whose groundbreaking approach to art and education continues to inspire generations of artists in the city and beyond.

Opening Reception: 25 September 2025, Thursday, 5pm-7pm

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

The contemporary surrealist group exhibition Territories of the Imaginal will open this September 26 at Tang Contemporary Art in Hong Kong. Curated by José Ignacio R.Caparrós, Spanish contemporary art curator, and Sam Yang, it brings together four contemporary artists from Spain and Latin America - Jordi Díaz Alamà, Marcos Lozano Merchán, Juan de la Rica , and Alejandro Pasquale.

In an age of escalating informational density, the image has long surpassed language as a primary mechanism for organising reality. Through painting as a spiritual practice, the four artists move between reality and fiction, body and dream, image and consciousness - constructing an open field that examines both the mechanics of vision and the dimensions of the psyche.

Curated by José Ignacio R.Caparrós, Sam Yang

Opening reception: 26 September, 4-7pm

Gallery address: 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

Tai Kwun Contemporary will launch the two-part exhibition Stay Connected: Art and China Since 2008 on 26 September 2025. Stay Connected represents the most comprehensive panoramic presentation of contemporary art addressing the social realities of 21st-century Greater China organised outside of the mainland. Across two interconnected chapters, Stay Connected: Navigating the Cloud and Stay Connected: Supplying the Globe, the exhibition seeks to deepen audiences’ understanding of China through contemporary art and to foreground innovative art practices since the 2008 Beijing Olympics.

The first chapter, Stay Connected: Navigating the Cloud, focuses on the profound impacts of the internet and technology on Chinese society and artistic creation, exploring how digital platforms have reshaped ways of living, cultural expressions, and values. The second chapter, Stay Connected: Supplying the Globe, reexamines China’s role as the world’s manufacturing centre through contemporary perspectives on the environment, labour, social status, and community relationships.

The exhibition features more than 70 artists from Greater China and their international peers who approach China as their subject. From the dual perspectives of contemporary art and global art history, Stay Connected explores urgent issues around globalisation such as rapid technological and environmental changes, shifting patterns of migration, and new forms of personal and collective identity.

The oeuvre of the seminal painter Maria Lassnig covers an incredible lifespan of more than 70 years of intense work between the end of the Second World War and her death in 2014. At the center of her profound research into painting we find a unique interest in the relation between awareness and the human body – the artist's body –, which Lassnig calls Body Awareness. It is research that is fuelled by an occupation with philosophical and scientific theories on perception. Examples include texts by the Austrian scientist and philosopher Ernst Mach and those of her peer and close friend, the Austrian writer Oswald Wiener, with whom she undertook perceptual experiments in the 1970s.

Lassnig questions the perception beyond the visual, how our body senses as a whole. She also explores the ways in which language becomes part of such perceptions, leading to her lifelong interest in literature and friendships with such eminent poets as Paul Celan and Friederike Mayröcker. Within this research, the human body is subject to change, it is morphing constantly, sometimes even into the mythological. Titled 'Self with Dragon', this is Maria Lassnig's first solo exhibition in Hong Kong. With this selection of paintings, the show attempts to provide an insight into Lassnig's approach to such reflections and their manifestation on the canvas.

Opening Reception: 26 September 2025, 6 – 8 pm

Gallery address: G/F, 8 Queen's Road Central

Art of Nature Contemporary is pleased to present Yu Runde's solo exhibition, Ephemeral Spectrum, on view from September 26 to October 25. Center around the Ephemeral Spectrum series, the exhibition showcases the artist's inquiry into the deconstruction of what we commonly perceive as the real tangible world and its inherent illusory nature.
Opening Reception: 26 Sep, 2025, 5:00 – 8:00 PM

Gallery address: 2/F, New World Tower II, 18 Queen's Road Central, Central

Empty Gallery is pleased to present Gama, our third solo exhibition with Jacqueline Kiyomi Gork. Often aiming to reconfigure received hierarchies between audience, performer, and exhibition architecture, Gork's practice exists in the slippery disciplinary interstice between sculpture and sound installation. Acutely sensitive to the ways in which the sonic world regulates and molds our sense of subjective interiority, she simultaneously subverts and draws on the legacy of cybernetics—creating systems of embodied feedback which seek to mobilize the emancipatory potential latent within everyday materials and infrastructures, as well as the simple act of listening.

For her third solo exhibition at the gallery, Gork directs her practice towards the entanglement of the individual within a matrix of collective memories and traumas; formations which determine her on a somatic level, but which can only be known through the abstraction of history. Drawing on her own family history, research into historical records, and geographical explorations, Gama seeks to transmute her reflections on the specters of both American and Japanese imperialism (and the charged silence surrounding the Battle of Okinawa) into a psychoacoustic landscape within the gallery. Scattered across the upper and lower floors are a sequence of haunting ceramic reliefs—formed using a type of red clay unique to Okinawa— whose forms mirror at once the complex internal topographies of the island's various limestone caverns as well as their resultant echoes. Conceived less as static architectures than as permeable membranes, their organic contours are animated by the sound of water and metal emanating from a series of new sculptures assembled from aviation scrap. Referencing the form of so-called "zen fountains" often found in new age or therapeutic settings, Gork's devices instead confound our desires for relaxation and closure, forcing us, with their unapologetic intensity, towards an embodied awareness of our own agency.

Opening reception: 27 September, 5-7 pm

Gallery address: 18 & 19/F Grand Marine Center, 3 Yue Fung Street, Tin Wan

Whitestone Gallery Hong Kong proudly announces the grand opening of its new space in Wong Chuk Hang with the exhibition 50/50, celebrating the 50th anniversary of renowned French artist Fabien Verschaere (1975—). This landmark exhibition showcases a comprehensive selection of works that span his illustrious career, from childhood creations to pivotal pieces displayed in major international exhibitions. The event marks a significant milestone for the artist's achievements, highlighting a vibrant new start for the gallery.

Verschaere's philosophy revolves around pushing the boundaries of his artistic practice, creating a dreamlike world that balances humor and depth. His works challenge traditional artistic genres, weaving together complex narratives that invite interpretation.

Opening reception: 4 – 7pm, 27 September (Saturday)

Gallery address: 7/F, M Place, Wong Chuk Hang

For more than five thousand years, silk was an integral part of life in China, composing an illustrious chapter in the history of Chinese civilisation and global cultural interaction. Strong yet soft, silk is woven from the fibre produced by silkworms. Its natural lustre adds to its appeal. China, the birthplace of silk, was known as Serica (State of Silk) by ancient Greeks and Romans, and China remains the world’s largest silk producer today. Sericulture, which includes mulberry cultivation, silkworm breeding, silk reeling, and silk weaving, was a remarkable creation of the ancestors and served as an important step in the origin and development of Chinese civilisation. Silk production has played a key role in the livelihood of the Chinese people, as well as in socioeconomic developments and technological innovation in China.

Silk not only helped connect diverse ethnic groups and vast regions across China but also bridged China and the rest of the world. Silk was a highly sought-after luxury good, as precious as gold, and was also a form of currency that facilitated vibrant exchanges between China and many parts of the world along the trade routes known as the Silk Roads. Silk has made unique contributions to world art: it has been widely used as a support for Chinese paintings and calligraphic works, as a canvas for artistic experiments in colour and decoration, and as a fabric for clothing.

“NO BORDER LINE in Hong Kong” showcases the work of artist Shintaro Inoue, who uses lines as a modern, visual language to transcend the boundaries of traditional calligraphy. He liberates lines from the constraints of written characters, transforming them into a medium from which he interprets the world. From a young age, Inoue was deeply influenced by his mother, Makiko Inoue, a calligraphy master. Though he did not inherit her technical discipline, she nurtured his spirit, channeling calligraphy through colourful lines, to reflect a profound dialogue bridging Eastern and Western artistic traditions. 

Lines are the most essential brushstrokes in Shintaro Inoue’s works. They evoke the flow of air, the passage of time, and the pulse of life itself, transforming into vibrant, rhythmic visual poetry. Through a unique user of neon layering and dynamic linear movement, he constructs contemporary portraits of women embodying the spirit of Eastern calligraphy. They emerge gracefully between strokes and colors, charismatic and vividly present on the paper.

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

Korean Cultural Center in Hong Kong invites you to the opening reception of KITSCH & POP: Korean Pop Art Now, co-organized by the Seoul Museum of Art and the Korean Cultural Center in Hong Kong.

The exhibition revisits Korean Pop Art—an important yet often under-recognized current in the history of Korean contemporary art—within the broader context of global contemporary art shaped by the worldwide rise of K-pop and K-culture. Following its presentation in Shanghai and traveling to Hong Kong, the exhibition brings together works by two generations of artists. Featured prominently are younger artists active in the post-internet era since the 2010s, including Sunpil Don, Mirim Chu, Sangho Noh, Raejung Sim, Sungsil Ryu, and Jeongsu Woo, alongside Kyoung Tack Hong, Donghyun Son, MeeNa Park, and Shinhye Kim, who began exploring Korean Pop Art in the early 2000s. This intergenerational dialogue highlights how the visual language of Pop has been reinterpreted and expanded in a Korean context.

Opening Reception: 2 Oct, 6-8 pm

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

For over a century, Lee Gardens Area has stood as a living cross-section of Hong Kong life — anchored in the heart of Causeway Bay, yet constantly growing and evolving. More than just a commercial district, it is a space of possibility, where people from all walks of life come to gather, to build, to dream.

This exhibition, “Rooted”, is created in collaboration with thirteen members of the Lee Gardens Association— a tapestry of old and new. From century-old herbal halls and neighbourhood barbers to contemporary wine shops, bubble tea cafés, bakeries, and vintage clothing stores, they represent the many layers of daily life in one community. Each has taken root here, weaving a story of Hong Kong that is at once shared and deeply personal.

Opening Party: 3 October, 2025 ; 5:00 - 10:00 PM

Venue address: 1/F, 23 Lan Fong Road, Causeway Bay, Hong Kong

Born into a family of shamans, Kim Sangdon roots his practice in contemporary spiritual constellations, proposing that radical systems of plurality supersedes historical violences of dispossession and disconnection. For his first solo show in Hong Kong, “The Eggs,” Kim looks to the humble, common egg as a metaphor for collective growth in a time of fractured global adversity.

Kim’s works have been shown at the 16th Sharjah Biennial, the 13th Gwangju Biennial, New Museum New York, Ilmin Museum of Art, MMCA, and Art Sonje Center. He is the recipient of the 12th Hermès Foundation Missulsang prize. His work is in the collections of MMCA, Seoul Museum of Art, and other private collections.

Opening reception: October 4: 1-7pm

Gallery EXIT presents 'Beautiful Corals', an exhibition by CHENG Ting Ting, featuring new works alongside a group of paintings created between 2018 and today. Spanning eight years, the exhibition revisits the artist’s evolving journey while reflecting her ongoing exploration of painting as a language of form, image, and space. Through shifts in subject matter and technique, Cheng responds to personal experiences and changing surroundings, shaping a visual language that is both distinctive and personal.

Opening reception: 2-5pm

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

What we see reflected in twentieth-century Chinese shanshui (ink landscape) painting is the destruction and chaos wrought upon the natural landscape by the century’s civilizational conflicts, and the resulting pandemonium of symbols and images. Xu Longsen seeks to restore some kind of order to shanshui from within this chaotic and broken state. In his monumental compositions, his gaze looks far into the past, to the dense mists and the boundless primeval darkness at the beginning of time, when Heaven and Earth came into being Within this monumentality of scale, the forms, patterns and connotations of brush painting all undergo a fundamental change.

Xu Longsen has revived the cardinal virtues of Chinese painting—the qualities of being forceful and unrestrained, open-hearted and expansive. Over a period of five centuries, the presence of these qualities in Chinese painting was gradually diminished under the dual impact of the literati ‘studio culture’ of the Ming and Qing periods, and the modern art academy. In Xu Longsen’s creative process, these qualities have been recaptured and revitalized.

Opening reception: Saturday, 4 October 2-4pm

Gallery address: 2/F, Mai On Industrial Building, 19 Kung Yip Street, Kwai Chung

Gallery EXIT is pleased to present 'Ephemera' by Ticko LIU, featuring his latest paintings. Liu treats painting as a collage-like practice—an intuitive weaving together of ideas, inspirations, images, and observations of the world around him. Drawing from daily life, he reimagines the ordinary through vivid colour and wave-like lines, creating spaces that remain grounded in the familiar yet shaded with a dreamlike quality.

Opening reception: 2-5pm

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

Artist MA Yujiang brings together his recent artistic creations at WURE AREA, sharing significant memories from his years living in this city with the audience. I Remember I Fear I May Not (I Remember) is an art project that showcases both new and past works by MA Yujiang. The collection includes pivotal pieces from his earlier career as well as the latest iterations of ongoing series. Each work represents a unique “growth,” displayed together in

WURE AREA’s art space, revealing the core of MA Yujiang’s artistic practice—capturing the past through action, preserving memories through art, and allowing those memories to evolve without fading.

Opening reception on 04/10/2025 (Sat) 4-7pm

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

Tang Contemporary Art is pleased to announce the solo exhibition “Narration: Action Poem” by artist Zhang Hui, opening on October 4, 2025, at Tang Contemporary Art Hong Kong, Central space.

Several years ago, while teaching, Zhang Hui painted from a model. At first, it was merely an exercise in studying form, proportion, structure, and musculature. The model was simply an object. Yet over time, Zhang realized the models were more than that: they had a social identity, they were a living human being. Still, in practice, when drawing a model, the subject is not portrayed as a person but used as a medium for training. Thus, the model’s identity becomes strange—both “a person” and, at the same time, like a plaster cast, a kind of “for-example person.” From this realization, Zhang began broader reflections on shifts in subjects and perspectives throughout art history: from depictions of gods and popes in religious painting, to monarchs, to the emergence of democracy and freedom after the French Revolution of 1789; from looking up at divinity, to gazing upon kings, to the leveled gaze of the Impressionists. Over time, humans shifted from being accessories to gods into objects that could be regarded directly. This historical trajectory inspired Zhang’s understanding of the “for-example person”—at once an object, and a node within a larger sequence.

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

Time to Pretend is @3rdwaveart’s latest experimental/educational excursion to examine relations between pop hits, visual arts, pseudo-scientific-sociological research and trending technology to engage the viewers to question our serial-produced realities, to challenge the poetics of failure where confrontation with and digression from social norm occurs.

If imitation is the sincerest form of flattery, then pretending to be something we’re not could simply be the utmost resentment that smiles.

Opening: Oct 4, 6PM

Venue address: 218 Hollywood Road

With HART HAUS as venue and program partner, curated by Shirky Chan, “Time in Perspective” presents a Duo exhibition of two contemporary artists, Boon Lee and Wenda Yiu, who delve into these vanishing narratives, transforming the textures of time into art. As In Western District of Hong Kong Island, where the rhythms of old and new Hong Kong intersect, traditional shops endure as quiet acts of resistance—guardians of memory, labor, and community. Through the engagements with local shopkeepers, the exhibition becomes a conversation between preservation and impermanence, where fleeting moments are given lasting form.

Boon Lee draws inspiration from the paradox of memory—how the distant past often feels more vivid than the present. His artworks from varied materials, including discarded cardboard, a medium embodying both resilience and transience. His pieces reflect the fragile survival of these spaces in a city racing toward erasure.

Wenda Yiu guides viewers through streets alive with memory, where every small shop or tea shop holds stories of community and identity. Her contemporary ink and mixed-media works capture these spaces not as relics but as dynamic entities, pulsating with life.

Curated by Shirky Chan

Opening Reception: 11 October, 2025 (Saturday) 2-6pm

Venue address: 3/F, Cheung Hing Industrial Building, 12P Smithfield Road, Kennedy Town

Soluna Fine Art proudly presents Korean metal craft artist Cheon Woo-Sun’s inaugural solo exhibition in Hong Kong, 𝐹𝑢𝑙𝑙𝑛𝑒𝑠𝑠 𝑜𝑓 𝐸𝑚𝑝𝑡𝑖𝑛𝑒𝑠𝑠. Drawing inspiration from the rich tradition of Korean ceramics, Cheon reimagines the forms of bowls and vessels through the medium of metal and Ottchil (Korean lacquer). In his practice, each wire is meticulously welded, with the creation process approached as a three-dimensional sketch. By deconstructing forms into points and lines, each metal wire converges to form hollow planes, gradually shaping the overall piece. Embodying the philosophy that to fill, one must first empty, Cheon’s Open Vase series invites viewers to contemplate the fundamental relationship between presence and absence.

Opening reception: 9 October (Thursday) 6 - 8pm

Gallery address: G/F, 52 Sai Street, Sheung Wan

Astrea is the second chapter of Sansiao Gallery HK’s 2025 programme, which reflects on individuality, the release from roles unconsciously shaped by society, and the freedom of choice.

Taking its title from the pen name of 17th-century writer Aphra Behn, this exhibition turns to themes of voice, storytelling, and the courage to speak desire. Behn, often recognised as Britain’s first professional female author, is remembered for her novel Oroonoko, which criticised slavery, as well as for her poetry that addressed personal freedom with unusual candour.

The exhibition presents works by Atsushi Nemoto and Fuyuki Kanai, two contemporary Japanese artists who approach language and narrative in distinct ways. Their works give form to emotion and lived experience: some speaking directly, others suggesting what remains unspoken—the ambiguous, the half-felt, the silent.
Opening reception 9 October 6-8pm

Gallery address: 1/F, Wilson House, 19-27 Wyndham Street

This collection of illustrations reflects my ongoing journey with several skin conditions that have been part of my life for as long as I can remember. Through my artwork, I explore the insecurities and societal perceptions surrounding visible skin differences, while also celebrating the resilience and acceptance I’ve cultivated over the years.

My work is a personal narrative, capturing the emotional landscape of living with a condition that often feels like an uninvited companion. It’s a story of learning to coexist with what makes me different—transforming vulnerability into strength, and insecurity into self-love. I illustrate not only the external surface but also the internal process of embracing oneself, imperfections and all.

Opening reception: 17/10/2025 (Fri) 17:30 - 19:30pm

Gallery address: Shop 103, 1/F, Block 3, Tai Kwun, 10 Hollywood Rd, Central

Kei Meguro’s solo exhibition The Weight of Light explores the quiet tension between light and shadow — moments of fragility and strength, sorrow and beauty. Her photorealistic graphite drawings capture fleeting emotions, childhood innocence, and the delicate presence of nature.

This exhibition invites you to pause in the in-between space, where chaos meets calm and resilience blooms.

Opening Reception: Friday, October 10, 2025｜17:30–20:30
Gallery address: 17/F, Chinachem Hollywood Centre, 1 Hollywood Road, Central

AISHO Hong Kong is honored to present "Connected Roots," a duo exhibition featuring Japanese artist Mizuki Nakazawa and American artist Ryan Schneider, on view from October 10 to November 7, 2025.

In this exhibition, the two artists transcend geographical and cultural boundaries, engaging in a dialogue through wood - the most primal of natural materials. Though rooted in different cultural soils, both artists are deeply connected to the tradition of wood sculpture, creating distinctive contemporary interpretations through their intimate dialogue with the material.

"Connected Roots" not only refers to both artists' shared devotion to wood as an eternal medium but also suggests how art can transcend geographical and cultural boundaries, converging different origins into new possibilities. In our Hong Kong space, viewers will witness two distinct yet resonating sculptural vocabularies, observing how the artists develop unique creative visions within their respective cultural contexts, meeting here in unexpected artistic dialogue.

By appointment only.

Gallery address: Shop B, Po Hing Mansion, 2-8 Po Hing Fong, Tai Ping Shan, Sheung Wan

Para Site is delighted to present “In drawing, in remembrance” (open 11 October 2025 – 1 February 2026), a solo exhibition by Pakistani artist Shahana Rajani. As the artist’s first institutional presentation in Hong Kong, the exhibition centres on two video works that follow communities in the Indus River Delta displaced by infrastructural violence and climate collapse. 

Four Acts of Recovery (2024) is a meditative documentary that examines different drawing practices used by a family from the Delta region as the titular ‘acts of recovery’. Making maps from memory, painting lost landscapes, crafting Islamic talismans—these all become poignant ways for the family to maintain a connection to their homeland, which is on the brink of submersion due to urban development, environmental crisis, or environmental crisis caused by urban development.

Opening reception: 2–6pm

Venue address: 0B, Wing Wah Industrial Building., 677 King’s Road, Quarry Bay

10 Chancery Lane Gallery presents “WHISPER” a group exhibition that brings together ten artists, Chung Sanghwa, Ho Fan, Huang Rui, Lewis Lee, Eilly Li, Laurent Martin “Lo”, Christine Nguyen, Pan Jian, Wang Keping and John Young. “WHISPER” aims to create an immersive space that invites viewers to experience a sense of calm and introspection through the artworks of ten diverse artists. Each artist interprets the theme of serenity in unique ways, using various mediums to evoke feelings of tranquillity, stillness, and connection to the inner self and the surrounding world.

WHISPER is more than just an exhibition; it seeks to create a sanctuary of calm, prompting reflection and connection in a bustling world. Through the diverse perspectives of these ten artists, visitors will leave with a renewed sense of peace and inspiration.

Opening: 16 October, Thursday, 5 – 8 pm

Gallery address: G/F, 10 Chancery Lane, Central

lluminati Fine Art is pleased to announce "Porcelain·Language" — Lin Yuechuang’s first solo exhibition in Hong Kong — curated by Dr. Qiu Min, opening reception on October 17, 2025. Featuring more than twenty pieces of white-porcelain artworks, the exhibition highlights Lin’s recent conceptual shift and material experimentation. Exhibition runs from October 17 to November 3, 2025.

Opening reception: October 17, 17:00-19:00

Gallery address: 31-33 Hollywood Road, Central

In turbulent times, we borrow Donna Haraway's concept of ODDKIN to ask: In the face of global ecological and social crises, how might we learn to form alliances? How can we explore the possibility of "odd kinship" in conditions that demand co-existence and co-survival? Such kinship is not grounded in bloodlines but in connections with the eerie - those unfamiliar, unruly forms of life. We take a practice of confrontation as our method, allowing differences to rub against one another, convening a temporary yet necessary creative coalition.

The exhibition is initiated by YIM Sui Fong, with participating artists CHAN Hau Chun, CHUI Chi Yin, and LAM Wing Sze. Working primarily with moving image, the four artists begin with observations of urban everyday life, transforming reading, discussion, and field encounters into sound and video installations. The process of this exhibition grew out of a series of reading groups: from Haraway's Staying with the Trouble to Zanette & Clinchy's Ecology of Fear, further extending to Fisher's The Weird and the Eerie and Waite's On the Politics of Boredom. The sites of these gatherings were deliberately varied - rooftops, Lion Rock, canteens, airports - each becoming a scene where theory, body, and site intertwined, and where practices of mutual reflection and critique could unfold.

Exhibition opens on 17.10.2025 (Fri) at 6:30 PM in the presence of all participating artists.

Gallery address: 14/F Hong Kong Arts Centre, 2 Harbour Road, Wanchai

“The Faceless Behind the Mask” is an exhibition that explores the liminal space of a world increasingly void of definable humanity. It peers into the fragile performance of the self, questioning every entity that wears a mask to imitate the human—including  the adopted persona, the virtual avatar, the artificial intelligence, and the human who is demonized or dehumanized due to social norms.

Rooted in the ancient ritual of Halloween—where costumes were worn not only to become monsters but to trick unseen spirits by camouflaging among them—the exhibition examines the dual nature of the mask as both disguise and shield. This primordial urge to transform, to evade, or to deceive now permeates our digital and psychological landscapes: the uncanny artifice of deepfakes, the alien sprawl of AI slop, and the pervasive unease of mental fracture. Here, the mask is no longer worn for a single night—it has become a perpetual condition.

Artists: Oscar Chan Yik Long 陳翊朗, Lau Wai 劉衛, Daniel Felstead & Jenn Leung 梁琬琪, Angela Su 徐世琪, Ailsa Wong 黃雅珊, Ricky Yeung Sau Churk

Gallery address: 4/F Eaton Hk, 380 Nathan Road, Jordan

Soluna Fine Art proudly presents Between Matter and Soul, the inaugural solo exhibition in Hong Kong by Korean contemporary artist Woo Jong-Taek. Renowned for his contemporary approach to traditional Korean ink painting, Woo explores the interplay between materiality and spirituality, visibility and transcendence. Capturing the traces of life beyond sight and perception, his work fosters an environment conducive to openness and contemplative reflection. This exhibition serves as a meditation on the essence of nature and the universe, engaging viewers in a dialogue about the origins of mankind and the world, and inviting them to reflect on the harmony between nature and human existence.
Opening Reception: 23 October (Thursday) 6 - 8pm

Gallery address: 52 Sai Street, Sheung Wan

White Cube Hong Kong is pleased to present 'Thresholds', a group exhibition featuring the work of 9 contemporary artists whose practices are rooted in or connected to Indonesia.

Through a diverse range of mediums, the exhibition explores the interwoven cycles of life, death and transformation, with a focus on themes of ritual, spirituality, and reincarnation.

Featured artists: Christine Ay Tjoe, Nadiah Bamadhaj, Galuh Anindita, Kei Imazu, I Gusti Ayu Kadek Murniasih, Arahmaiani, Jennifer Tee, Ines Katamso and Citra Sasmita.

Curated by Galuh Sukardi

Gallery address: 50 Connaught Road Central

Asia Art Archive (AAA) announces the return of its Annual Fundraiser this October and November, celebrating the organisation’s 25th anniversary. This year’s fundraiser features an auction of over sixty-five works generously donated by artists, galleries, and individuals. The auction presents major pieces by prominent and emerging artists from Asia and beyond, showcasing AAA’s intergenerational and cross-regional reach. Proceeds from the auction will support AAA to continue its mission of preserving contemporary art histories in Asia and providing free public access to resources and education. In partnership with Christie’s Hong Kong, a preview of the artworks opens to the public from 7 to 11 November. The works are available for bidding online at aaa2025auction.com from 27 October, 12nn, to 14 November, 10:30pm.

Opening reception: 7 November, 6–8pm 

Venue address: Christie’s Hong Kong, 7/F, The Henderson, 2 Murray Road, Central 

Join us from November for this exciting show of 8 artists from Southeast Asia and Hong Kong, connected by their engagement with the Ocean. Highly topical in a world addressing climate change, but also highly personal in each artist's relationship with the vast sea that connects us all. Curated by Dr. Caroline HA THUC.

Participating artists: Ari Bayuaji, Charles Lim Yi Yong, Faris Ridzwan, Lim Sokchanlina, Joar Songcuya, Louis To Wun, Juria Toramae, Tsang Chui Mei.

Opening: Saturday 8th November

Gallery address: 20 Aberdeen Street, Central

Para Site is proud to announce its 2025 Benefit Auction, its marquee annual fundraising event dedicated to sustaining and expanding its critical work within the local and international art ecosystems! Over seventy works by leading artists have been generously donated by local and international contemporary artists and galleries. Stay tuned for more details on the launch of our Benefit Auction website, going live on 6 November. 

Featuring over seventy donated works by leading international artists, all proceeds will fund Para Site’s mission of delivering benchmark exhibitions, transformative commissions, and vital education programmes. 

Auction Preview Exhibition
13–16 Nov, 2025
12:00 - 8:00 pm

Opening Reception: 12 Nov, 6.00-8.00 pm

Venue address: 9F, H Queen’s, Hong Kong

Blue Lotus Gallery presents Torii, a new photobook and exhibition by Ulana Switucha. Hong Kong–based Canadian photographer Switucha spent ten years journeying through Japan’s quiet, lesser-travelled landscapes, photographing its most iconic and sacred gateways.

First appearing in Japan around the 10th century, torii evolved from simple wooden structures into the iconic forms seen across the country today. They mark the transition from the secular to the sacred, serving as enduring symbols of reverence for the Kami: deities believed to dwell within the natural world. Architectural and symbolic, these gates embody reflection, balance, and the harmony between humanity and nature, and today stand as enduring symbols of Japan’s cultural and spiritual heritage.

Like many Hong Kong residents, Ulana Switucha is captivated by Japan. Yet her decade-long journey is uniquely devoted to photographing its torii. Over the years, Switucha has developed a deep familiarity with these gates, portraying them as quiet sentinels amid seas, coastal shores, and snow-covered terrain.

Gallery address: 28 Pound Lane, Tai Ping Shan

David Zwirner is pleased to announce Somewhere better than this place / Nowhere better than this place, Felix Gonzalez-Torres’s (1957–1996) first solo exhibition in Hong Kong. Featuring examples from key bodies of work by the artist, this presentation will also extend beyond the gallery into the city, and will seek to draw out the deep resonances between Gonzalez-Torres’s practice and the city’s complex urban fabric, historical trajectory, and evolving national identity. Hong Kong—a place shaped by histories of passage and transformation—mirrors many of the dualities the artist explored throughout his life, such as belonging and estrangement, the particular and the universal, the individual and the collective, and the fixed and the fleeting. 
 
Beyond the gallery, simultaneous manifestations of candy and stack works in the show will be displayed at significant public sites around the city. These installations will explore the complex relationships and negotiations between private and public space, and intimacy and anonymity, that inform Gonzalez-Torres’s practice. By embedding the artist’s work within the broader contexts and daily rhythms of Hong Kong’s urban environment, this project brings into question notions of access, who constitutes the public, and what defines public versus private space. 

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

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

The largest and most comprehensive exhibition of ancient Egyptian treasures in Hong Kong in recent decades features nearly 250 exquisite objects from seven important institutions in Egypt, including the Egyptian Museum and Luxor Museum. It also highlights significant new archaeological discoveries from the large tombs at Saqqara near Cairo. The exhibition illustrates the legendary life of the Egyptian pharaoh Tutankhamun (r. ca.1332 BCE–1323 BCE) while exploring statues, coffins and animal mummies found in Saqqara since 2018.

Gallery 9, Hong Kong Palace Museum

This exhibition brings together a selection of major works produced by Rauschenberg during and in response to his time in Asia. It traces the conceptual, formal and material influences on his practice, such as sourcing textiles and collaborating with paper makers and ceramicists in China, India, and Japan. The exhibition also considers the history and legacy of his Asian Rauschenberg Overseas Culture Interchange (ROCI) projects, which included exhibitions in Beijing (1985), Lhasa (1985), Tokyo (1986), and Kuala Lumpur (1990), and their lasting impact on local artists. The display will feature works by Rauschenberg and by Asian artists in dialogue with his practice, and marks the centenary of the artist’s birth.

Flowers Gallery Hong Kong is delighted to announce Roadkill, the first solo exhibition in Asia by acclaimed British painter Stuart Pearson Wright. The exhibition presents a new series of portraits created over the last five years, offering a deeply personal and darkly humorous reflection on one of the most challenging chapters in the artist's life.

Best known for his psychologically-charged portraiture, Wright uses the language of painting to explore the tension between vulnerability, absurdity, and resilience, featuring the artist's renowned embodiment of rich surfaces and fine detail. In this body of work, anthropomorphism becomes a central device: human figures merge with animal traits, everyday objects, and theatrical exaggerations. These hybrid presences serve as both unsettling and comical stand-ins for the human condition.

Private View: Thursday, 27 November, 6-8pm

Stuart Pearson Wright and Konstantin Bessmertny in Conversation: Friday, November 28th, 6-7pm (RSVP)

Gallery address: 9 Tung Street, Sheung Wan

Double Q is delighted to announce Maria Kulikovska's first solo exhibition in Asia and at the gallery, scheduled to open in December 2025.

Maria Kulikovska was born in 1988 in Kerch, Autonomous Republic of Crimea, Ukraine. Following her studies in Kyiv and Stockholm, Kulikovska designed several architectural projects and gave lectures and workshops on contemporary art in Ukraine and abroad. She is known as a multimedia artist, performance artist, and master of political performance. Kulikovska has been forced to flee her home twice – first from Crimea in 2014 during the Russian annexation, and then once again from Kyiv in 2022 when the war erupted. Focused on creating sculptures using original ballistic soap and natural materials, her work explores themes of the body and its borders, gender and queerness, war and migration, women in a patriarchal society, and fragility of life. 

As a multimedia artist, activist, researcher and lecturer, Kulikovska creates art that generates visceral responses in viewers. The nucleus of Kulikovska’s work is her own body, its perpetuation, its transformation and its decay. Throughout her oeuvre, the idea of her body is transformed into architectural structures made from natural materials, such as salt, milk or sugar, in order to deal with ideas of production, construction and de-construction. Her self-casted body sculptures invite us to ponder on social and political issues of feminism, queer representation, war, and human rights. The artist considers her watercolour and ceramic works as performative paintings, in which her oft-macabre, oft-nude subjects visualise her psychological distress over her sense of abandonment and loneliness that arose from her loss of agency in life. 

Gallery address: 68 Lok Ku Road, Sheung Wan

Zao Wou-Ki: Graphic Works (working title) explores the Chinese-French artist’s life, his prints, and his mastery of abstraction. It sheds new light on Zao’s printmaking practice, introducing the unique aesthetics, techniques, and styles of this medium while investigating the connections between oil painting and printmaking as equally significant aspects of his oeuvre. The exhibition explores how Zao’s printmaking catalysed his experiments in abstraction and considers the role of prints as a visual and conceptual vehicle that facilitated the circulation of his works, positioning him as an eminent cross-cultural figure in the post-war art landscapes of Europe, Asia, and the United States.