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 exhibition Through Time —Print Art in Aberdeen Street takes visitors on a journey starting at 22 Aberdeen Street, the site of the London Missionary Society’s Printing Office (the Anglo-Chinese College, now Ying Wa College) in nineteenth-century Hong Kong. It invites the audience to travel through time and wander the alleys of Central to uncover the fascinating history of Hong Kong’s Chinese type casting industry. Finally, we return to Print Art Contemporary at 35 Aberdeen Street, PMQ, to witness how a new generation of artists and writers draw inspiration from this intangible cultural heritage of Chinese movable types to create innovative contemporary visual art and literary works.

Venue address: SG03-07, G/F, Block A, PMQ, 35 Aberdeen Street, Central

'In Our Own Backyard' explores the creative impulses of two pioneering artists, Sheba Chhachhi and Lala Rukh, through their participation and engagement with women’s movements in South Asia from the 1980s to the 2000s. It showcases artworks and archival materials from the two artists, as well as contributions from other feminist practitioners and organisations in the region. The materials illuminate their involvement in documenting street actions, designing posters and publications, and participating in workshops and theatre productions. This project is part of AAA’s research initiative on gender in art history, highlighting narratives that emphasise communities and exchanges within the cultural field. 

"The Garden of Resemblances" is an exhibition inspired by the ancient doctrine of signatures, a belief that the visible forms of natural objects reflect their hidden properties, particularly in medicine. While modern science has rejected this notion, its evocative associations provide a rich springboard for artistic imagination. Drawing on Michel Foucault’s concept of the episteme from The Order of Things, the work examines the shifts in knowledge structures from traditional to modern thought.

By transforming the exhibition space into a dreamlike, otherworldly environment, this exhibition features kinetic installations that blurs the boundaries between nature, technology and imagination. The garden serves as an experiential landscape, inviting visitors to wander in the liminal space between the real and the imagined. Integrating the organic with the mechanical and the natural with the artificial, the installation offers a meditative journey through the interplay of historical imagination and contemporary innovation.

Venue address: 12 Oil Street, North Point

Jointly curated by Mr Hing Chao, Mr Henry Lu and Ms Amanda Wang Youlin, the exhibition will showcase nearly 200 exhibits of Central Africa, spanning the 19th to the early 20th centuries, allowing visitors to appreciate the three treasures of Central African art––sculptures, masks, and weapons––and understand their fundamental roles in society. This groundbreaking exhibition will transform the gallery into an immersive theatre through new media technologies, allowing visitors to appreciate Central African art from all angles.

The exhibition is organised into three main sections—(1) Ritual Sculpture – Invocation; (2) Masks – Transfiguration; (3) Weapons – Social & Symbolic Action—as well as a section on Geographical Zones. Additionally, the exhibition (re)interprets the arts reflecting the beliefs, rituals and sociocultural memories of the people through five media art installations curated by Dr Yumeng Hou, spread across sections. This engaging journey invites visitors to perceive art through multi-sensory channels while encouraging them to interact within the boundaries of sacred, spiritual experience.

Venue address: 18/F, Lau Ming Wai Academic Building, City University of Hong Kong 

Established in 1925, The Palace Museum is a large-scale national museum housed on the grounds of the palatial complex of the Ming and Qing dynasties known as the Forbidden City. The most expansive and best-preserved historical palatial complex in the world, it holds a vast collection of over 1.86 million cultural objects based on the Ming and Qing imperial collections.

Inside the Palace Museum, visitors are greeted by exquisite patterns that adorn the eaves, walls, and windows of the grand palace buildings, as well as the furniture, objects, and garments on display. Chinese people take pleasure in embellishing everyday life with rich and diverse symbolic patterns that reflect their love and respect for nature and the living. These patterns, celebrating traditional craftsmanship and an unwavering pursuit of beauty, embody the enduring legacy of Chinese aesthetic sensibilities and cultural values that continue to shape our life today.

Venue address: Gallery 7, Hong Kong Palace Museum

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.

Paloma Varga Weisz (b. 1966, Mannheim, Germany) lives and works in Düsseldorf, Germany.Varga Weisz's artistic journey is influenced by familial ties, formal woodcarving training, and a nuanced exploration of various artistic expressions. She employs sculpture, watercolour, and drawing to delve into profound themes such as memory, mortality, and psychology. Her creations, whether on paper or three-dimensional, serve as extensions of her body and mind. 

Steeped in a legacy of artistic inspiration, her father, Feri Varga, a Hungarian artist, played a pivotal role in shaping her early artistic inclination. Her father's stories of an unconventional life alongside luminaries like Jean Cocteau, Henri Matisse, and Pablo Picasso fuelled her innate artistic inclination from a tender age. 

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

Pace is pleased to present Tongues of Flare, an exhibition of new paintings and sculpture by Li Hei Di, at its Hong Kong gallery. On view from May 29 to August 29, this presentation marks Li’s first solo show with Pace since they joined the gallery’s program in 2024. Following its run at Pace in Hong Kong, Tongues of Flare will travel to the Pond Society during Shanghai Art Week in the fall.

Opening Reception: May 29, 2025, 6 – 8 pm

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

gdm Hong Kong is pleased to present “Kongkee: Future Jātaka”, the artist’s debut exhibition at the gallery, featuring Kongkee’s new bodies of work, including LED animations, lenticular lightbox, neon installation, mixed-media paintings, and a collaborative work with artist Law Man Lok. Through a rich tapestry of mediums, Kongkee opens up a dialogue set in an imagined future where artificial intelligence, spirituality, and humanity collide, inviting the audience to contemplate how enlightenment and humanity manifest amidst the ever-changing digital era.

Inspired by the Jātaka Tales of the Buddha’s past lives, Kongkee envisions a future where religious and spiritual figures are reincarnated in a technologically advanced future filled with flickering screens and winding cables. In this world, spiritual figures take on new incarnations—a buddha observes the world through the lens of a video recorder, a binge-watching buddha is engrossed in consuming digital content, a mechanized Virgin Mary carries a robotic child in her womb.

Opening Reception: 30 May 2025 (Friday) 5—7 Pm

Gallery address: 1/F, 11 Duddell St, Central

The British Council Hong Kong is delighted to announce the launch of its newly transformed art space Bookshop Gallery, with the opening of its inaugural exhibition, “Moore’s Visions. More Revisions.”, curated by Hong Kong curator Jims Lam.

Moore’s Visions. More Revisions. aims at honouring Henry Moore's legacy as one of the most influential artists of the 20th century, the exhibition also stage a dynamic dialogue between historical influence and contemporary perspectives in our present moment. The works by four contemporary artists Zheng Bo, Chihoi , Wilson Shieh and Liao Wen foster intergenerational exchange and challenge historical hierarchies within the visual arts.

Venue: Bookshop Gallery, G/F, 3 Supreme Court Road, Admiralty 

The University Museum and Art Gallery of the University of Hong Kong and L’ÉCOLE, School of Jewelry Arts, are honoured to welcome for the first time an exhibition devoted to jewellery designs, jewellery masterpieces, and the process of creating art from precious metals and stones. Little studied and published, even more rarely exhibited, jewellery drawings remain relatively unknown to the public.

Benefitting from Van Cleef & Arpels Patrimony Collection combined with the Van Cleef & Arpels Jewelry Culture Fund, set up for research, presentation and educational purposes in 2019, loans from Lalique Museum France, and private jewellery Collections from Hong Kong, the exhibition features a remarkable collection of about 100 drawings alongside 13 exquisite jewellery pieces. 

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

Empty Gallery is pleased to present our first exhibition with Hong Kong-based filmmaker Chan Hau Chun. Chan’s quietly radical moving image practice is defined by a sense of diaristic intimacy and empathetic distance grounded in a deep regard for her city and its inhabitants––both past and future. Depicting the affective landscape of contemporary Hong Kong through a direct engagement with figures who rarely (if ever) enter into the matrix of official representation, Chan’s films bear witness to the movement of a precarious and yet defiant autonomy which is nothing more than the continued practice of simply living.

Chan Hau Chun is a filmmaker living and working in Hong Kong. She received her BA from City University of Hong Kong in 2015. Her work was the subject of a solo exhibition, Silent Sojourns, at WMA Space, Hong Kong in 2024. She has also participated in group exhibitions including Tsaiyun (Rosy-Cloud) Bridge / Forget Each Other in the Rivers and Lakes at Hordaland Kunstsenter, Norway (2023); An Individual as Society in Guangzhou, China (2019); and Drifting Borders at Cattle Depot Artist Village, Hong Kong (2018)

Opening reception: Saturday, June 7, 5–7PM



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

Representing Hong Kong in a Collateral Event at the 60th International Art Exhibition – La Biennale di Venezia, Trevor Yeung returns to M+ with a new configuration of his commissioned solo exhibition, Trevor Yeung: Courtyard of Attachments, Hong Kong in Venice. Yeung’s installations explore the relationships between human and aquatic ecosystems and comment on the emotional disconnections and power dynamics of contemporary society. Restaged in a museum setting, the exhibition shifts focus to discuss larger environmental and systemic issues. This response exhibition is part of the sixth collaboration between M+ and Hong Kong Arts Development Council on Hong Kong’s presentation during the Biennale.

As the first major Islamic art exhibition held in Hong Kong, “Wonders of Imperial Carpets: Masterpieces from the Museum of Islamic Art, Doha” features carpets from Iran, Türkiye, and India, along with ceramics, metalwork, manuscripts, and jades from the 10th to 19th centuries. These exquisite works illustrate the vital artistic exchange, facilitated by trade, migration, and diplomacy, among the three major pre-modern Islamic empires, namely the Safavid dynasty (1501–1736), Mughal dynasty (1526–1857), and Ottoman dynasty (1299–1923). This exhibition also evinces the inspiration Chinese art has given artists in the Islamic world, and vice versa.

The exhibition is divided into four sections: the first section introduces the cultural exchanges and mutual learning between the Islamic world and China since the Tang dynasty; the following three sections focus on, respectively, the Safavid, Mughal, and Ottoman dynasties. The design and creation of carpets and other works of art are explored in each section, offering insights into the cultural significance of imperial and finely knotted carpets, the transfer of interregional knowledge, and local characteristics.

Book your tickets in advance.

Venue address: Gallery 9, Hong Kong Palace Museum

Alisan Fine Arts is excited to present Cherie Cheuk’s long awaited first solo exhibition in Hong Kong. Featuring more than twenty works from four distinct series—Gathering of Ten Fragrances, Transcending Boundaries, Ballad of the Seasons, and Mutual Reflections—the exhibition reimagines ink art through contemporary perspectives. Steeped in Song Dynasty painting traditions yet fluent in digital-age visual culture, Cheuk bridges antiquity and modernity with lyrical wit, transforming classical techniques into vibrant dialogues with our times.

A graduate of Hong Kong’s rigorous ink painting programmes, Cheuk represents a generation that honours tradition while embracing conceptual freedom. Her works retain Song Dynasty technical mastery—evident in exquisite renderings of birds and branches—yet pulse with comic book energy and digital-age hybridity. The artist’s earlier triptych Eternal Current visualizes this duality: seabirds and waves form an infinity symbol, capturing what Cheuk calls “life’s unbroken rhythm within fragmented time.”

Opening Reception: 18 June 2025, Wednesday, 5pm-7pm

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

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.  

HART Haus and r é n are excited to present an exhibition “Art Actions | Our Youth Our Future”, featuring debut presence of six emerging artists in Hong Kong –– Daniel Roibal (Spanish, based in the UK), Keisuke Azuma (Japanese, based in Lithuania), Sin U Lam (Macanese, based in the UK), and the 2024 HART Awardees: Elsa Ngai, Kwok Wah San, and Kelly Kwok –– graduates from The Chinese University of Hong Kong and Hong Kong Baptist University.

This exhibition offers a collective perspective on how transnational training shapes the roles of artists, emphasizing the interplay of locality, time, memory, and emotional attachment within contemporary society as they transition towards professional artistic careers. Drawing from diverse diasporic experiences, origins, and narratives, these artists illustrate the collapse of time, memory and epitome within the works of painting and installation.

This exhibition is realized as part of “Linking Our Youth With Art and Design Through Humanity” campaign in collaboration between HART Haus and r é n, a collaborative initiative opening gateways for underprivileged youths to thrive in the art industry.

Opening Night: 26 June, 6 - 8 PM (artists in attendance)

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

Canton Modern presents twentieth-century Cantonese art and visual culture in its full complexity as an important chapter in global modernism. United in a shared linguistic and cultural identity, the southern port cities of Guangzhou (also known as Canton) and Hong Kong were historically marginal in China. The birthplace of revolution, the two cities gave rise to a distinctive visual and artistic modernism, one shaped by cross-cultural interactions and tensions between conservative and progressive artworlds. Cantonese artists broke away from the elegant poetics of classical ink painting to forge a socially oriented realism, depicting subjects ranging from leisure and labour to war and disaster. Working as journalists and publishers, they exploited the immediacy and circulation of print, photography, and cartoons to intervene in and even reform society.

M+, Asia’s global museum of contemporary visual culture in the West Kowloon Cultural District (WestK) in Hong Kong, is delighted to unveil the new M+ Facade commission HK:PM (2025) by internationally acclaimed photographer Greg Girard. This thrilling work is a visual journey through Hong Kong’s cityscape. HK:PM will be shown on the M+ Facade every night from Friday, 4 July to Sunday, 28 September 2025.

HK:PM animates analogue photographs from Girard’s personal collection, shot between the 1970s and 1990s. They portray the bustling streets of Central, featuring students, fashionistas, and workers going about their daily lives. Girard also weaves in rare photographs of the now-demolished Kowloon Walled City. In other scenes, neon-lit streets, lively nightclubs, and magical celebrity moments come to life. There is a sense of perpetual motion, from airplanes soaring between dense skyscrapers near old Kai Tak Airport to the constant activity along Victoria Harbour.

 Girard is renowned for capturing cities in transformation, and HK:PM returns his photographs to the site of their creation. In this new format, incidental situations become lasting images, and their sequence unfolds like a film. As a keen-eyed urban explorer, Girard considers how intimate moments and personal memories together shape a collective history, connecting the past with the present.

Kiang Malingue is pleased to present at its Hong Kong headquarters “Summer”, an exhibition of recent paintings and works on paper by Liu Yin. The exhibition continues the artist’s exploration of nature that began with her 2023 exhibition “Spring”, revealing gentle and surging emotions in flowers, trees, fruits, seas and rocks.

More than a dozen paintings on view at Kiang Malingue’s Sik On Street space are organized into three chapters. In the first series of paintings, one sees a number of fruit-figures floating and frolicking in the waters: works such as River #1 (2025) reflect the artist’s interest in small bodies of water, such as rivers and streams, where traces of life remain and constantly redefine the environment in which they are left—the natural elements found in the waters interact with one another, adding another lively layer to the complex ecosystem of the flowing waters. In these paintings, Liu continues to paint adorable shōjo manga faces over flowers, leaves, and fruits, turning them into sentient, sensitive beings. They are unapologetically emotional in the network of affect they form with the environments, guiding the viewer’s gaze through compositions that deal with bodily concerns and expressiveness. Another work in this chapter, Summer (2025), actively draws the viewer’s body into a verdant landscape where joyful flowers emerge from a deep labyrinth of branches and leaves.

Opening reception: Thur, 10 July, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

This summer, Hauser & Wirth Hong Kong presents a group show, ‘Aura Within,’ bringing together a dynamic ensemble of six artists beyond the gallery’s roster—Luis Chan, Haneyl Choi, Nicole Coson, Shota Nakamura, Peng Ke and Yeh Shih-Chiang— and Hauser & Wirth artists Bharti Kher, Tetsumi Kudo and Zhang Enli. Organized by Hong Kong-based curator and scholar Anqi Li, the show invites the audience to return to the body as ground zero in the turbulent currents of our time, and to explore urgent contemporary topics of existence and perception, identity and memory, nature/urban landscape and spiritual dwelling with the nine intergenerational artists. 

The exhibition celebrates artists deeply intertwined with the cultural tapestry of Asia and its diasporic narratives, and stands as a testament to the gallery’s broader initiatives and enduring commitment to fostering dialogue and collaboration within the art communities it calls home, such as Hauser & Wirth Invite(s) in Paris and Zurich, ‘An Uncommon Thread’ and ‘Present Tense’ at Hauser & Wirth Somerset, and ‘Nonmemory’ at Hauser & Wirth Downtown Los Angeles, each reflecting a shared ethos of collaborative arts ecosystem. 

Opening reception: 10 July, 6 – 8 pm

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

Marty Schnapf’s paintings–textural, kaleidoscopic, and tenderly surreal–dwell in the watery space between two shores, as if plumbing the depths of the psyche. Vacillating between modes of figuration and abstraction, the crisply rendered compositions in Vignettes depict figures and scenes culled from personal dreams and recollections, positioning the paintings as portals to extrasensory realities where colors, sensations, and symbolic archetypes bleed and intertwine.

Schnapf’s painted bodies often serve as somatic vessels for his uncanny abstractions: their forms contort, fold, refract, and disappear–gestures of material dissolution that tug at the veil between the real and surreal. Water, a primordial element and a symbol of the abyssal fluidities of the subconscious, features prominently in these paintings

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

"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

This summer, Art Intelligence Global is pleased to continue its initiative of partnering with emerging galleries and curators through the group exhibition Elsewhen, Elsewhere, presented in collaboration with Tokyo-based gallery KAYOKOYUKI. The exhibition highlights eleven contemporary artists from the gallery’s program — Kenji Ide, Yohei Imamura, Kazuki Matsushita, Kate Newby, Yutaka Nozawa, Ayako Ohno, Emi Otaguro, Michi Suwa, Daichi Takagi, Masanori Tomita, and Evelyn Taocheng Wang. Through their practices, each artist interrogates their personal experiences and the enigmatic questions they raise. Drawing on imagery from their everyday surroundings, their works offer subtle insights into how we might coexist in a society increasingly defined by divergent values and social fragmentation.

Opening: Saturday, July 12, 2025, 3 – 6 PM
Gallery address: 1/F, TS Tower, 43 Heung Yip Road, Wong Chuk Hang

Darren Almond returns to White Cube Hong Kong for the first time since 2016, with a new series of paintings exploring the instability of time, memory and place.

Made with delicate materials including gold leaf, silver, copper and palladium, the works on view examine how our relationship to the natural world undergoes inexorable change.

Preview: 17 July 2025, 5–8pm

Gallery address: 50 Connaught Road Central

In the interplay between dreaming and seeing, presence and absence, permanence and transience, the works of Chen Zhe, Bianca Raffaella, and Aida Tomescu trace the delicate thresholds where endings dissolve into beginnings. Drawing from poetry, memory and personal visions, the artists play upon the evanescent nature of our existence, revealing how the fleeting and the eternal are inextricably entwined. 

Private View on Thursday 17 July from 6-8pm

Gallery address: 49 Tung Street, Sheung Wan

To celebrate its tenth anniversary, Sun Museum announces a series of exciting events to be launched in 2025. Following the successful opening of the exhibition, "Colours of the Universe: Jade and Colour Stone Carvings from the Little Moon Pavilion and Songde Tang Collections" in March 2025, the museum’s anniversary programme “Sun Delight” will present "Variegated Memories: The Art of Leung Shek Yuen" in July 2025. This exhibition and activities will focus on the outstanding Chinese ink artist Mr. Leung Shek Yuen and continue to promote local artists in Hong Kong.

Mr. Leung Shek Yuen was born in 1946 and grew up in mainland China before moving to Hong Kong in 1978. He has dedicated his life to art, demonstrating extraordinary talent since his school years, and has engaged in painting and teaching after graduation. In the 1980s and 1990s, his works were exhibited multiple times not only in various cities across mainland China, but also in Hong Kong, Macau, Japan, and South Korea. As a veteran artist, his works have been widely collected by museums, art galleries, academies, and private collectors.

Venue address: G/F & 1/F, Artisan House, 1 Sai Yuen Lane, Sai Ying Pun

In 2005, Rossi & Rossi London unveiled one of the first commercial Tibetan contemporary painting exhibitions in the Western world at its former space on Old Bond Street. Titled Visions from Tibet: A Brief Survey of Contemporary Painting, the presentation featured more than a dozen Tibetan artists, marking the beginning of the gallery’s foray into contemporary art.

Twenty years later, we are inviting eight Tibetan artists, all of whom are based in Lhasa, from the same group to commemorate the twentieth anniversary of our contemporary programme. Many of them are founding members of the famed Gedun Choephel Artists’ Guild, an artist initiative formed in 2003 to showcase, discuss and express the multifaceted Tibet in creative originality through art.

Curated by Tibetan artist Gade, a founding member of the guild, and gallery owner Fabio Rossi, the exhibition will include works by Benchung, Dedron, Gade, Nortse, Penpa, Tashi Norbu, Tsering Nyandak and Tsewang Tashi. Each artist brings their works from twenty years ago into dialogue with their most recent creations, reflecting the changes that have been taking place on their sacred land in the Himalayas. Of special note, five of the artists (indicated below with an asterisk) will travel to Hong Kong for the opening.

Opening reception: Jul 26, 3-7pm

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

Drifting across restless seas while yearning for home, they finally arrive only to discover a jarring dissonance: they have become strangers in their own home. The homeland they remember exists only in memory; the person who left its shores exists only in the past, unmarked by traces of that journey. In this era of fluidity, we all embark on personal odysseys, perpetually negotiating our identities, carrying fragments of our origins while being irrevocably altered by our journeys. ‘Another Odyssey’ brings together three artists who chart these migratory passages and their profound impact on selfhood. They invite us to linger in these transitory spaces and contemplate how migration not only changes our relationship to place but also reshapes who we are.

Participating artists: Celia Ko, Ziyi Wang, Wong Winsome Dumalagan

Opening reception: 31 July 6-8 pm

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

We’re delighted to announce our latest exhibition, Blue Lotus Revisited, a celebration of the gallery’s most iconic exhibitions and defining moments in recent years. With a steadfast commitment to exploring Hong Kong’s identity and culture through photography, we have long championed artists whose work captures the soul of this ever-evolving city, alongside others whose unique perspectives reflect our broader vision.

Greg Girard, Fan Ho, Bianca Tse, Birdy Chu, Palani Mohan, Thomas Gust, Keith Macgregor, Romain Jacquet-Lagrèze, Michael Kistler, Yasuhiro Ogawa and Michael Kenna

Gallery address: 28 Pound Lane, Sheung Wan

AISHO Hong Kong is delighted to present “No Such Person”, on view from Aug 1 to Aug 30, 2025. In this compelling group exhibition, three international artists — Akira Inaba, Henrik Godsk, and Sablo Mikawa— present their distinctive interpretations of the human figure, challenging our conventional understanding of portraiture.

The exhibition title "No Such Person" plays with the familiar bureaucratic phrase often encountered in official searches and the postal system. In this digital age, this declaration of non-existence raises intriguing questions: What defines a person's presence? Can a portrait capture the true essence of an individual? When does representation become abstraction, and does authenticity lie in literal depiction?

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

The undercover film’s theme of surviving on the edge and in the gaps in-between has flourished in the cinema of Hong Kong, a city that has often found itself in a similar in-between position. From New Wave pioneer Man on the Brink to heroic bloodshed classics City on Fire, A Better Tomorrow II and Hard Boiled; from the generational change of superstars in Century of the Dragon to the immensely influential Infernal Affairs; and from the standard setter of Hong Kong-China co-production crime films Protégé to the action blockbuster The White Storm — undercover heroes have been with us all the way. Precariously caught between black and white, shadow and light, evil and justice, they struggle hard to do the right thing. Undaunted by the most spectacular explosions and reticent about their identity, they defiantly live up to the international reputation of Hong Kong cinema as “all too extravagant, too gratuitously wild.”

Tai Kwun’s summer show Undercover Underworld will take you on a journey through these eight films, pursuing the shadows of real Hong Kong undercover cops. The exhibition’s co-curators Sunny Chan and Kristof Van den Troost have reproduced many memorable moments from these films into enticing interactive installations featuring priceless items — manuscripts, awards and trophies — on loan from top filmmakers. In addition, heavyweight artists from the industry (Hong Kong Film Award Best Actor Louis Koo; celebrated directors Tsui Hark, Alan Mak and Alex Cheung; Hong Kong Film Award Best Music recipients Teddy Robin and Peter Kam; director/former police officer Philip Chan) along with real undercover cops, their coaches and psychiatrists, will help separate fact from fiction.

Venue address: Duplex Studio, Tai Kwun, Central

Ora-ora proudly presents A Touch of Gold, a solo exhibition by acclaimed Hong Kong artist Nina Pryde, marking her first showcase since the gallery’s announcement of exclusive global representation.

Renowned for her innovative fusion of photography, ink, and collage, pryde reimagines classical landscapes with a contemporary vibrancy. Her works—ranging from early career milestones to bold new explorations in color—invite viewers into layered compositions where mist-clad mountains and winding rivers intersect with unexpected modern details.

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

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

SC Gallery will present "Between Gaze and Mist",  the duo exhibition of Cho Wing Ki and Lau Yin Yeung featuring their latest body of works. The two artists share distinctive lifestyles and artistic expression. For this exhibition, they interpret everyday lives through their own unique lenses, exploring the relationship between them and the external environment.

Opening reception: 2 August, 4-7pm

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

Para Site is thrilled to welcome Hong Kong-based artist Sam Lui for a two-month residency (4 August – 20 September 2025) in its tenth-floor space.

As the third iteration of Para Site’s on-site residency programme, Lui probes her ongoing project ‘Wendy’s Wok World’—a narrative-driven performance of wok cooking as an exploration of concepts of purity, discipline and absolutism. Through the constructed persona of Wendy, an apprentice devoted to mastering the exacting philosophy of traditional Cantonese wok cooking, Lui examines how ‘authority’ is internalised and performed in cultural practices.

During the residency, Lui will spend time developing her new artist book—a reflective and archival project that translates ‘Wendy’s Wok World’ into print. The residency will serve as a space for writing, dialogue, and shared thinking, inviting the public into the process through discursive formats such as book club, group discussions, and gathering events. Additionally, open studio hours will be held every Thursday from 4–6 PM, when Lui will be available in the studio to meet and chat with the public.

Venue address: 10/F, Wing Wah Industrial Building, Quarry Bay

When Plato's "theory of mimesis" begins to conflict with the virtual realities created from the digital age, and as AI learns to replicate our physical world, we can’t help but ask: Why do artists still continue to approach realism through the labor of hand, eye, and soul?  

The answer lies in that liminal space between precision and imperfection, between objective and subjective, between our world and the artist’s vision. In Okumura Akifumi’s works, traditional Japanese painting techniques capture the relationship between animals, humans and nature. Lin Haobai’s contemplations of urban light and shadow beautifully depict architecture and still life. Wang Haozhun’s paintings of Hong Kong dollars reveal a deeper critique on money and culture.

Hong Kong artist Steven Tang pushes the limits of colored pencils, elevating humble food with hyperrealistic drawings. Grace Mak, meanwhile, captures objects with a microscopic precision, blurring reality and fiction.

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

Yrellag Gallery is delighted to invite you to the opening of our next duo exhibition, titled “Luminous Threshold” by Sze Ching Fan & Kingyu Wong.

At the threshold of light, the true appearance of matters defocused.

This exhibition shows two artists' observations and interpretations of relationships. They closely examine, delineate, and present the fragments within relationships. The aim is not to resolve or advance what resides within relationships but to individually present those inexpressible and shared emotions through installations.

Opening reception: 4 - 7 pm on the 9th August

Gallery address: 13A Prince’s Terrace, Central

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

The humble laundry lines that once crisscrossed Hong Kong's neighbourhoods will weave a new story at "The Future Vintage Store" exhibition on view at JPS Gallery. Marking the third collaboration between Hong Kong artist Peep and local fashion brand HER, this showcase embraces the city's signature 'organised chaos' where yesterday's Hong Kong meets tomorrow's fashion. By reimagining the city's cultural touchstones, the exhibition creates an immersive environment that invites visitors to explore the evolving identity of this dynamic city.

This exhibition represents a natural evolution in Peep's collaborative journey with HER, reflecting their shared commitment to celebrating Hong Kong culture. Through 'The Future Vintage Store,' Peep deepens this connection by creating a uniquely Hong Kong dialogue between eras, aesthetics, and experiences. Drawing from her own upbringing in 1990s Hong Kong, Peep infuses this nostalgic showcase with treasured memories from her idyllic childhood. Visitors are invited on a journey of rediscovery, where they gain fresh perspectives on their own early years through thoughtfully curated antiques delicately enhanced with contemporary brushwork, creating a harmonious bridge between Hong Kong's rich cultural heritage and its dynamic present.

Opening reception: 7 August, 5-6pm

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

Korean Cultural Center invites you to the Opening Reception of the exhibition "Alice • The Turtle, Rabbits beyond the Door", the second 2025 Open Call Exhibition, featuring diverse works by Burgundy (LEE Jooyoung, KIM Myongjong, KIM Jeongwoo, and JEONG Woojin). The exhibition examines the intertwined concepts of identity and change, connecting them through the central metaphor of the door. While these concepts may appear antithetical, the exhibition reconsiders them as mutually sustaining, each defined and deepened through its relation to the other.

Opening Reception: Thursday, 7 August 2025, 6:00 – 8:00 PM (Artists tour at 7 PM)

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

Whitestone Gallery is pleased to announce the soft opening of its new Hong Kong space in Wong Chuk Hang with the group exhibition Contours of Expression.

This exhibition brings together an extraordinary lineup of artists spanning different generations and practices: post-war Japanese artist Tsuyoshi Maekawa (b. 1936), celebrated painter Tetsuo Mizù (1944 - 2025), contemporary duo Julie & Jesse (established 2012), and emerging talent Kohei Kyomori (b. 1985) — whose practices challenge traditional boundaries through a vibrant expression of contour and composition.

Artists: Tsuyoshi Maekawa, Tetsuo Mizù, Julie & Jesse, Kohei Kyomori

Opening: 9 August 2025 from 15:00-19:00
Gallery address: 7/F, M Place, 54 Wong Chuk Hang Road

THE SHOPHOUSE is pleased to present Germany based artist Sebastian Burger’s solo exhibition, Broken Wind Repair Kit, concluding the month-long artist residency at the gallery, as well as marking his first solo exhibition in Hong Kong. The exhibition features a series of new paintings displayed across three floors, showcasing his ongoing exploration of the delicate interplay between industrial, utilitarian, and organic elements, and further extends humanity's enduring yet futile desire to repair and fix not only tangible objects but also intangibles such as wind, breath, memory, and time. Broken Wind Repair Kit probes the instinctual impulse to mend what is deteriorating, while parsing the ephemerality of control and perfection.

Materials reflect the progress of the times and advancements in technology. Contemporary society's pursuit of materials has evolved toward the most robust and durable substances, as if a commitment to permanence. Even when damaged, we swiftly find replacement parts to reinforce our possessions. However, when the affected objects are something soft, intangible, or memories, humanity's responses seem to lag behind. In our quest to move forward, we often find ourselves crafting temporary fixes to navigate immediate obstacles, striving to restore things to their flawless state. Yet, in this exhibition, Burger deliberately magnifies the various fissures and abrupt repairs in objects, challenges viewers to confront the fragile, psychologically fraught systems we’ve built—structures that appear permanent yet alienating, failing to reconcile our physical vulnerability with the illusion of permanence.  

Opening reception: 9 August 2025 (Saturday) 3 - 6 PM

Gallery address: 4 Second Lane, Tai Hang

Artists’ sensations of the surrounding world, like a chord gently struck, often awaken their keen sensitivity, inspiring their creations that are resonant and thought-provoking. Contemporary by Angela Li is pleased to present group exhibition curated by Leung Shiu Kee Eric, “Between Soul and Senses”, from 14 August to 13 September 2025, bringing together eight recent Fine Arts graduates from three Hong Kong institutions to exhibit their artworks. Through their different perspectives, the artworks open an intimate dialogue between artists and viewers – a quiet exchange between the soul and sensibility. The exhibiting artists include Ang Cheuk Kiu, Kayla; Chiang Wing Sze, Cecilia; Hi Tsz Cheuk, Andrew; Kwok Hei Tung, Cynthia; Ng Hon; Pun Ka Man, Carman; Tang Tsz Wai, Cheri and Wong Ka Yuet, Kathleen. Through their distinctive works, each artist offers a personal reflection on the world around them, shaped by feeling, perception and inner response.

Opening reception: 14 Aug Thur 6-8pm

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

Imprints of Time is more than an exhibition—it is a living dialogue that transcends time, dissolving the boundaries between past and future to weave Hong Kong’s collective memory into an unfolding, flowing narrative. Featuring ten artists spanning from the post-80s generation to Gen-Z, this show explores the intimate resonance between personal identity and the city’s soul. Their works rise beyond individual expression to form a rich cultural polyphony—layered histories, constant reinventions, and the resilient core of selfhood amidst relentless change.

In this ever-shifting metropolis, transformation itself becomes the central theme. Each artwork acts as a temporal amber—preserving vanished moments and crystallizing fragile poetry that lingers before dissolution. Through varied media—drawing, painting, sculpture, and installation—the artists decode Hong Kong’s cultural alchemy, translating its hybrid heritage into a vivid visual poetry.

Peter Hong-Tsun Chan, Kila Cheung, Chow Chun Fai, Kwong Man Chun, Lewis Lee, Ling Wai Shan, Jade Ching-yuk Ng, Pak Sheung Chuen, Tam Kwan Yuen, Angela Yuen.

Opening reception: 16 August, 4pm

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

“For every journey, in the end, is a becoming. And in the bend of the light, is where we meet.”

一 Shirky Chan, Where the Light Bends Between Us Curatorial Statement

Soluna Fine Art proudly presents Where the Light Bends Between Us, a compelling summer group exhibition curated by Shirky Chan. Featuring the works of five artists from Hong Kong, Korea and the UK: Ashlee Ip, Heyse Ip, Jeremy Ip, Chino Ng, and Ido Park, the exhibition explores the theme of space and time in-between. It invites viewers to discover the subtle thresholds where transformation and transition reside, immersing them in a realm where light and shadow intertwine. Through their diverse creative practices, these artists guide us across invisible passages, revealing the delicate beauty of change, emergence, and process. 

Opening Reception: 21 August (Thursday) 6 - 8 pm

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

“If there is a garden, where would I be?” is a visual and spatial art project that create a “garden” for viewers to stay, explore and enjoy.

This collaborative project is conceived and constructed by AU Hoi Lam and CHANG Hoi Wood. Their dispositions and aesthetic values are merged into this Garden. AU uses handicraft to express ideas and emotions, embodying the relationship between the individual and the world. CHANG focuses on the exploration of the emotional power of space through the articulation of geometry, and the innermost sentiments evolved and encountered in such experience. In this project, they explore further the themes of being as an individual: retrospection, contemplation, otium, vigilance, soothing and cultivation. Gardens allow viewers to stroll, introspect and reorganise oneself. Gardens connect the individuals to the world. Gardens craft landscapes on earth and in mind.

Opening: 23.08.2025 (SAT) 2:00 - 6:00 pm

Artist Talk: 30 August 2025 (Saturday) 3:00 pm – 4:30 pm

Gallery address: 1a space (Unit 14, Cattle Depot Artist Village)

Sotheby’s Hong Kong is honoured to present Masterpieces of Chinese Ceramics from the Ise Collection, one of the most distinguished private collections of Chinese ceramics ever assembled and without question the greatest auction event of Chinese ceramics in recent memory. Meticulously curated by celebrated Japanese collector and tea master Mr Hikonobu Ise over the past half a century, the collection reflects decades of pursuit, honing and refining, driven by an innate understanding of quality. The collection is unique as a definitive survey of Chinese ceramics, spanning seven millennia of history from the minimalist elegance of Neolithic pottery to the splendour and technical perfection of Qing dynasty enamelled porcelains, and captures the distinctive Japanese sensibility in Chinese art. All throughout his collecting journey, Mr Ise was guided by Mayuyama Co., Ltd, the legendary Tokyo dealership, and the great majority of the pieces are wrapped in their signature furoshikis.

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

10 Chancery Lane Gallery is proud to present the 14th edition of HKFOREWORD in 2025, which introduces new art from Hong Kong through its latest art graduates. This year we have selected 12 artists from 3 Hong Kong universities and 2 overseas universities. The exhibition includes painting, video, installation, ceramic, sculpture, animation, artist's books, and a live performance at the opening. HKFOREWORD25 offers a fresh perspective on artistic development in Hong Kong, revealing the inspirations and concerns driving a new generation of creators.

Frankie Au 區卓勳, Tiffany Chan 陳卓霖, Hugh Cheng 鄭皓軒, Thomas Fung 馮倚天, Jenny Jiang 姜燁, Jonathan Kan 簡以誠, Monica Lam 林沚潣, Lola Law 羅苑櫻, Stephanie Teng 鄧詩廷, Jocelyn Tsui 徐曉瑜, Louise Wan 温洛儀, Yuen Lok Yiu, Vera 袁樂遙.

Opening: 28 August, Thursday, 5 – 8 pm

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

Tang Contemporary is proud to present the group exhibition “August in Bloom,” featuring 10 internationally acclaimed artists: Ai Weiwei, Jonas Burgert, Mao Xuhui, Yue Minjun, Xiyao Wang, Edgar Plans, Woo Kukwon, Rodel Tapaya, Kitti Narod and Gongkan. Through the lens of "light," the exhibition investigates its multifaceted symbolism in contemporary society, culture, and the realm of personal experience. August’s radiance blooms not only in the natural world but also in the mind—a luminous projection. Through their own prisms, the artists reveal light’s dual nature: a wellspring of hope and energy, yet also a heat that burns, a flicker that slips into shadow. “August in Bloom” invites both visual and philosophical conversation and reflection on nature, time, and our shared human experience.

Opening reception: Thursday, 6-8pm

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

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

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).

‘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

Tomoo Gokita was born in 1969 in Tokyo, Japan, where he currently lives and works.

Now a leading Japanese contemporary artist on the international art scene, he started as a designer in the 90s, producing a series of newsprint books, some of which gained cult status, such as Lingerie Wrestling (2000). In 2000, he set aside graphic design and dedicated himself entirely to painting.

His work is inspired by 1960s and 70s Japanese and American subcultures as well as vintage magazines, film stills, pornography, and postcards. Combining abstract and expressive brushwork, deformed fi gures, and lowbrow imagery, Gokita’s works are emotionally charged canvases. Although he is widely known for working in greyscale, color has been a recurring feature of his practice since the beginning of his career. Whether working in greyscale or color, Gokita’s paintings have long been characterized by their psychologically charged subject matter. The subjects of his paintings are indeed uncanny portraits, disquieting still lifes, and dream-like abstractions

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

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.

Gallery address: 50 Connaught Road Central

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

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

Isaac Chong Wai uses performance, video, installation, photography and drawing as mediators to investigate contemporary global phenomena. His work transforms the emotions, tensions, and memories from human interactions into performative materiality and immersive experiences. Treading the line between the individual and the collective, he examines the vulnerability of the body and the inherent violence within social systems and historical traumas and imagines alternative microcosms of human relations.

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 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 space, 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 space. 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. 

Gallery address: 68 Lok Ku Road, Sheung Wan

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 18 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.

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.

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

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.

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

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.

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.