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 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

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

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).

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

Galerie j/ is pleased to present “Absurd Elegance,” a compelling exhibition that brings together seven international artists who reveal the hidden frameworks underlying apparent chaos through contemporary art. The exhibition features works by Anouchka Gérard, Dourone, Mao Yu Qiu, Ricko Leung, Simona Mihaela Stoia, Toninho Dingl, and Yizhi Wan. This thoughtful exploration examines the paradoxical relationship between disorder and pattern, demonstrating how artists harness unpredictability as a creative force while discovering the inherent beauty that exists within complexity itself.

“Absurd Elegance” marks Galerie j/’s first presentation in Hong Kong, introducing the gallery’s commitment to showcasing innovative contemporary art that challenges conventional thinking. Throughout the exhibition, viewers are invited to reconsider chaos not as an absence of structure, but as the birthplace of complex, emergent orders—revealing how beauty arises not despite disorder, but because of it. The exhibition creates an intimate viewing experience, inviting close engagement with each artist’s unique approach to finding pattern within disarray.

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

Contemporary by Angela Li is excited to present a solo exhibition of Leung Po Ying, Agnes, “SWAG”, featuring her latest series of works. Life unfolds like a game – a mix of playful encounters, cheeky twists and curious quests. She creates her bold characters to navigate the rhythms of modern life, from the crowded fitness studio to happy hour at the park bench. Inspired by familiar animations and toys, these characters radiate a spirited confidence that encourages us to meet life with ease and a little swag.

As a passionate gamer, Leung enjoys making her own game strategy guides, a practice that nurtures her instinct to observe, analyse, and connect the dots within daily life. Her characters often have exaggerated characteristics, which gives her works a special sense of humor, transforming the ordinary into opportunities for play, reflection and discovery. She invites the audience to immerse themselves into her reimagined playground where wonder meets the mundane.

Opening reception: Thursday, 23 October 2025, 6-8pm

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

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

Chen Hongzhi's solo exhibition, Theatre of Silence will be opening on 23 October, 2025, at Leo Gallery. Following his group exhibition Layers of Beings: Image and Soul at our Shanghai space earlier this year. This solo exhibition extended his artistic brushstrokes and showcases the artist's works from 2018 to the present. From the large swathes of black in 2018 to highlight individuals, to the subsequent dramatic reduction of the proportion of the crowd. Faces on the canvas appear either concealed or blurred, with overlapping hues of human silhouettes extending into vast spaces. The contradictory relationship between figures, reality, and nothingness constitutes the theatre constructed by the artist—a theatre for the figures within the paintings, and even more so, the theatre where we are at.

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

The University Museum and Art Gallery, The University of Hong Kong is honoured to present Handmade and Handheld: Song to Qing Dynasty Chinese Bronzes for the Scholar’s Studio. The eighty-seven objects illustrate a remarkable cultural continuum that links ancient ritual traditions to a sophisticated literati aesthetic and intellectual life. These bronzes, having transcended their original ritual functions, became prized art objects, instruments of scholarly inquiry, and emblems of moral and political values. Their diverse forms—from ritual vessels to intimate incense burners and scholarly desk pieces—reflect the deep integration of bronze into the fabric of imperial and literati culture. In so doing, many of the plants and animals—mythical or real—carry important auspicious meanings that contribute to the learned culture from which they originate. 

Venue address: 1/F, Fung Ping Shan Building, UMAG, HKU, 90 Bonham Road, Pokfulam

Since I began creating ink paintings in 1969, I have gone through various stages, including "Pop Ink," "Reinterpreting Tradition," "Natural Imagery," and "Independent Innovation," moving from figurative to abstract. Entering the 21st century, my love for Chinese characters has inspired me to merge calligraphy and painting, blending cursive script with landscapes, embodying the concepts of "writing from the mind" and "painting my mind." In the process of being unable to derive new methods from existing ones, I created something out of nothing, unfolding personal imagery from the contours of the mind. Currently, with unrestricted use of ink and color, the work presents the vast and grand natural vision of the Mindscape.

Opening Reception: 2025/11/08 (Saturday) 16:00 - 18:30 pm
Gallery address: Shop 103, 1/F, Block 3, Tai Kwun, 10 Hollywood Rd, Central

Dolly Land is a fantastical exhibition created by Hong Kong artist Jess Leung Lai-man, who uses ink and brush as a bridge connecting past and present, memory and dream. Through three interwoven series of works, this exhibition poses a timeless question: how have the objects and spaces that carry our hopes and define our image—from ancient times to today—acted as a mirror, reflecting the soul of an era and the inner landscape of the individual?

The exhibition opens on a modern echo of an ancient painting. Ji Sheng's Ming Dynasty work, The Peddler, records everyday life. The dazzling array of birds and toys on the peddler's stand ignite wonder in children's eyes — they are not merely goods, but anticipation for a novel world. In Dolly Land, Leung reinterprets this spirit for the modern era, transforming these ancient stalls into consignment stores, gachapon machines and sought-after art toys. This series is a dialogue through time and space — regardless of the era, we project our dreams and expectations onto objects.

Opening Reception: 2025/11/07 (Friday) 17:00 - 19:00 pm

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

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.

Preview: 30 October 2025, 6–8pm

Curated by Galuh Sukardi

Gallery address: 50 Connaught Road Central

"Wei wei, anybody home?" reimagines Hong Kong's cultural identity through everyday objects. Angel Hui, Giraffe Leung, and Cassandra Lau explore heritage and modernity in a multidisciplinary show.

This group exhibition "Wei wei, anybody home?" invites audiences to a thoughtful exploration of Hong Kong's unique cultural fabric. Featuring works by three prominent local artists—Angel Hui Hoi Kiu, Giraffe Leung Lok Hei, and Cassandra Lau Po Yan—the show transforms everyday items into profound statements on heritage, value, and belonging. The exhibition's title poses a resonant question about identity and place, challenging viewers to consider what "home" means in a city where Eastern and Western influences constantly intertwine. Each artist uses their distinct medium to dissect this complex relationship, creating a dialogue between traditional aesthetics and contemporary life.

Opening reception Nov 1st, 2025

Gallery address: 7th Floor, One Island South, 2 Heung Yip Road, Wong Chuk Hang

In the coming November, SC Gallery is pleased to present the second solo exhibition of Tao Hoi Chuen, Jacky, “Ecstasy”, featuring the artist’s latest body of work and a curated selection of previous pieces. Using ‘screen’ as his central visual element, Tao delves into the dual metaphor between traditional pingfeng (folding screen) and modern display monitor. Through his materiality exploration with ink on paper and acrylic painting, he reconstructs the visual storytelling of the cityscape.

The show reflects the artist’s recent use of television screen and billboard as image carriers, creating a ‘painting within a painting’ through the division of composition. Tao further expands on the multi-spatial painting style where he starts by depicting pingfeng and display screen: the former is an ancient decorative furniture for separating space; the latter is an indispensable information interface of modern life, a window to the digital world. The two objects obtain both notions of ‘separation’ and ‘extension’ of space. Adapting these qualities, Tao integrates his travelling experiences with observations of streets, shops and people within his works. Through his conceptualization of ‘Screen’, Tao combines the fragmented urban landscapes of reality into a cohesive visual narrative, slowly and gradually constructing a worldview uniquely his own.

Opening reception: Nov 1, 4-7pm

Gallery address: 19/F, Sungib Industrial Centre, Wong Chuk Hang

“Blooming flowers, a poem is born; falling petals, Zen is woven.
Choosing how to live is an aesthetic tribute to life;
how we embrace our fading years is a spiritual reflection resonating with the cosmos.”
- Bennata So

In this exhibition, Bennata continues her practice of the unique “layering colors, tracing light” technique to blend insights from contemporary life into her ink painting. Her works, with the interplay of modest space of ink and blankness, allow a boundless conversation between traditional medium and modernity on canvas, meanwhile, they also present her personal pursuit and expression of Daoism, and finally return to the pursuit of the essence of human through the ink art.

Opening reception: 5:30 - 7 pm (Wednesday) on the 5th November

Gallery address: 13A Prince's Terrace, Central