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

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).

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

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

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.

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

A highlight of the commissioning initiative is the exhibition "Eying East, Wondering West — Square Word Calligraphy Classroom". Artist Xu Bing invites the audience to explore Square Word Calligraphy from three perspectives: "Appreciation", "Learning" and "Application", while incorporating Hong Kong’s linguistic culture to further enrich its meaning and interpretation.

It has been moved to Oi! for display after being exhibited at the Hong Kong Museum of Art. Viewers start by observing seemingly obscure characters. Next, in a classroom setting, they engage in hands-on learning of the calligraphy system and gradually understand the written content. Finally, using digital technology, they can apply what they have learnt by conceptualising and designing words written in Square Word Calligraphy. The artist aims to provide a progressive experience that encourages reflection on language and culture, challenges fixed ways of thinking, and sparks creativity through the switching between languages.

Venue address: Oi! Glassie, 12 Oil Street, North Point

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.

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

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

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

THE SHOPHOUSE is pleased to present UK-based artist Joseph Jones’ first solo exhibition in Asia， exploring the tensions between image, material, and attention. The exhibition brings together a new series of paintings that continue Jones’s precise and contemplative depictions of cats and flowers—subjects through which the artist examines both the intimacy and distance of contemporary representation.

Working consistently at a small scale, Jones develops his paintings through a logic of seriality—a quiet system that allows images to echo, dissolve, and reassert themselves across time. Each painting holds its own distinct presence while also belonging to a wider constellation of repetitions and differences. Drawn from a vast personal archive of thousands of collected photographs, Jones’s subjects—though grounded in real sources—often emerge as composite constructions. His works, while recalling the traditions of still life and portraiture, move beyond direct biography or realism, operating instead like reflections that shift between memory and archetype, reality and dream.

Gallery address: 4 Second Lane Tai Hang

They say not to lie in bed awake—it only fuels the anxiety of not sleeping. But the origin of insomnia is not within you; it’s the influence of our always-on, techno-capitalist world. 𝗧𝗵𝗲 𝗗𝗮𝗿𝗸𝗲𝘀𝘁 𝗛𝗼𝘂𝗿 𝗮𝘁 𝟯𝗮𝗺 is an immersive exhibition that recreates this psychological landscape. It’s a journey from the chaos of sleeplessness to the potential of restorative sleep, questioning if we can reclaim our rest. Find your lullaby here.

𝗖𝘂𝗿𝗮𝘁𝗲𝗱 by Alberta Leung

𝗙𝗲𝗮𝘁𝘂𝗿𝗶𝗻𝗴 𝗔𝗿𝘁𝗶𝘀𝘁𝘀:
Tobias Bradford, Ben Grosser, Yoojin Lee, Cleo Miao, Kate Mitchell, Elisa Giardina Papa, James Raphael Tabbush, TCOY, Karen Yu

Gallery address: 3F, Remex Centre, 42 Wong Chuk Hang Road

DE SARTHE is pleased to announce Marc Chagall: Dreaming in Color, a captivating exhibition of paintings and vibrant original works on paper by the legendary modernist Marc Chagall (1887-1985).

Marc Chagall: Dreaming in Color brings together a curated selection of works that showcase Chagall’s unique visual language, where memory, folklore, and fantasy coalesce. This exhibition highlights the artist’s masterful use of color and line with works dated from 1950 to 1984. The collection features a range of paintings and original works on paper, where Chagall’s signature motifs, floating lovers, whimsical animals and nostalgic village scenes, come to life in a symphony of exuberant color.

“Chagall’s ability to convey profound emotion and narrative through color is unparalleled,” said Pascal de Sarthe, founder of DE SARTHE. “This exhibition focuses on the works where his imagination was most immediate and unbridled. To experience a Chagall is to step into a dream, and these works offer a particularly direct and poignant window into his world. We are thrilled to present this collection to our audience in Hong Kong.”

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

M+M Gallery is pleased to present Water Margin: Alessandro Twombly Solo Exhibition, marking the artist’s first solo presentation in Asia, featuring eight newly created works conceived specifically for Hong Kong and the region. The exhibition title, Water Margin, draws inspiration from Water Margin (Shui Hu Zhuan), one of China’s Four Great Classical Novels, which chronicles the legendary exploits of 108 outlaws of Liangshan who rise against injustice during the Song Dynasty. The “water margin” is the edge of water, the limit of order, and the birthplace of wild energy. Twombly’s canvases function as such a margin—where pigment escapes the bondage of representation, and brushstrokes become autonomous acts of life, guided by the principles of nature rather than human reason. “I don’t want to control the paint; I let it find its own place,” the artist explains.

Opening reception on November 6, from 3 to 6 PM.

Gallery address: Unit 1902, Winsome House, 73 Wyndham Street, Central

Kiang Malingue is pleased to present at its Hong Kong location “Subrisio Saltat”, Grace Carney’s first solo exhibition in Asia. The exhibition features a selection of new paintings and drawings from 2025.

Carney was born in 1992 in Minnesota and is based in New York. Through painting and drawing, Carney tackles personal experiences, memories, and relationships by acknowledging vulnerability and precariousness, starting each artwork from a position of discomfort or self-imposed limitation. Major pieces in the current exhibition including Subrisio Saltat (2025), D for Duration (2025) and The Rose of Onlooking (2025) took their titles from Austrian poet Rainer Maria Rilke’s seminal work Duino Elegies. Instead of narrating stories, however, Carney is concerned with orchestrating harmony and moments of dissonance, balancing forces, light, gravity, and heaviness of the paint in her work, while leaving the right to read, interpret and make intertextual associations to the viewer.

Opening: Thur, 6 November, 6 – 8 PM

Gallery address: 10 Sik On Street, Wanchai

3812 Gallery is honoured to announce the launch of the Hsiao Chin Archives, a significant milestone in the legacy of Hsiao Chin, the revered post-war Chinese abstract master.

The vision of the Hsiao Chin Archives is to establish a leading global resource for understanding and celebrating Hsiao Chin's contributions to abstract art, fostering a deeper appreciation for his unique blend of Eastern philosophy and Western artistic practices. The Archives will focus on preserving, documenting, researching, and promoting Hsiao Chin’s artistic heritage, achieving this through comprehensive documentation of his works, supporting scholarly research, and producing a definitive catalogue raisonné of his oeuvre.

Opening reception:  Friday, 7 November, from 5 to 8pm.

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

moment
/ ˈməʊmənt /
noun
1. a short indefinite period of time
2. a tendency to produce motion, esp. rotation about a point or axis

wamono art is delighted to announce an upcoming exhibition “Moments”, a unique artistic experience born from the dialogue of two artists, Yuko Fukuba Johnsson and Ryan Cheng. This show showcases the creative journey of two artists who have collaborated to bring their artistic dialogue to life. Yuko encapsulates scenes from memories or stories she wishes to eternalize, whereas for Ryan, the focus lies in the essence of throwing and turning of the wheel.

Gallery address: 10/F, Derrick Industrial Building, Wong Chuk Hang

Within this silent veil, boundaries dissolve—what is seen, what is remembered, what is imagined—melting into a collective mist.

The Hartz Project is pleased to present “In Mist”, a duo show by Paris-based Chinese artist Yang Yi and Korean artist Goyona Jung at Gaia Art Space
Join us at the opening and meet the artists on 8 November 2025, 5-7pm.

Gallery address: 2101, Landmark South, 39 Yip Kan St, Wong Chuk Hang

Axel Vervoordt Gallery is pleased to present the first solo exhibition in Asia of American artist Ann Leda Shapiro at its Hong Kong space. Body is Landscape brings together a historical work from 1980 alongside a series of recent paintings highlighting the central concerns of Shapiro’s practice: advocacy, care and the interplay between personal experience and the wider world.

Shapiro emerged as an artist during the feminist art movement of the 1960s and 1970s, a period when her work engaged directly with questions of gender, social justice and the visibility of women in society. Her early practice combined sharp social awareness with a commitment to care, laying the foundation for a lifelong exploration of how art can respond to and reflect upon the broader human condition.

Opening reception: 8 November, 2 - 5 pm. The artist will be in attendance

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

Gallery EXIT presents CHENG Ting Ting's 'Amber Steps'. Building on her previous work, this new collection explores how small, ordinary moments can be transformed into a painterly language. Cheng examines how simple daily routines, often unnoticed, can provide moments of calm and clarity. These quiet intervals gently create space for self-reflection and creative expression.

Saturday, 8 November 2025, 2 – 5pm

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

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

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

Opening reception: Saturday, 8 November 2025, 4 - 8pm

Gallery address: 20 Aberdeen Street, Central

MAYAO is pleased to present Chinese artist YU JI’s solo exhibition, Peony Pavilion. Join us for the opening reception on November 8th from 4:00 PM to 7:00 PM, as ink and brush recompose the operatic imagery and bring us to a spiritual garden where absurdity and reality intertwine.

China has long had the custom of illustrating its plays. Compared to the ancients, Yu Ji places ceremonial processions, grand spectacles, and Opera stages within surreal, grotesque mountains and forests. Humans and animals, rolling their eyes, gaze disdainfully at modern cars, airships, and hot-air balloons that trespass through their world—yet they continue to play their eternal roles. Human history unfolds acompanied by construction and destruction, as well as the tangled stories of passionate men and women caught within. These fleeting “small loves,” suspended within the dust of “great history,” can only gain visibility when entangled with national tragedy and collective hatred. Such is the eternal sorrow of humankind.
Opening Reception: 4:00 - 7:00 PM, 8th Nov, Saturday

Gallery address: 10/F, Derrick Industrial Building, Wong Chuk Hang

Ben Brown Fine Arts Hong Kong is delighted to present Alighiero e Boetti: Ononimo, an exhibition exploring the artist’s enduring fascination with systems, collaboration, and variation. Bringing together works from Boetti’s celebrated Biro and Aerei series, the exhibition traces his investigation into how order and repetition give rise to difference, and how meaning emerges through collective labour, time, and chance.

 The exhibition’s title, Ononimo – borrowed from Boetti’s 1973 work – derives from a neologism he coined by merging the Italian anonimo (anonymous) and omonimo (homonymous). First written in blue biro in 1971 as a self-reflexive expression, it reflects Boetti’s preoccupation with duality and the splitting of identity, a principle he formalised that same year by inserting an “and” between his names to become “Alighiero e Boetti.”

Private view: 11:00 - 7:00 Saturday 22 November

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

Gulnur Mukazhanova is a Kazakh contemporary artist who combines Central Asian felt with other media to examine the interaction between ancient textile culture and contemporary issues. This solo exhibition showcases diverse creations from across her career, including felt paintings, felt sculptures, patchwork installations, photography and video.

Felt making is a laborious process that demands both physical strength and mental focus – wool fibres are repeatedly squeezed, kneaded and pounded into a densely matted textile. Mukazhanova blends traditional techniques with bold colours and experimental collages, taking Central Asian felt beyond its everyday uses and cultural significance for freer, more open and more emotional expressions.

Venue address: 45 Pak Tin Par Street, Tsuen Wan, N.T.

gdm Hong Kong is pleased to present Fung Ming Chip’s fourth solo exhibition with the gallery. A retrospective of the artist’s work spanning over three decades, the exhibition journeys through Fung’s evolving visual language. He unifies the modern with the traditional, figuration with abstraction, script with image—marking a radical reimagination of the centuries-old tradition of calligraphy.

A self-taught artist, Fung Ming Chip’s practice goes against the grain, constantly trying out new tools and techniques. His calligraphies encompass over a hundred unique script styles, which are constantly being revisited and revised, capturing humanity’s intuitive and insatiable curiosity.

Opening reception: 19 November 2025, 5-7pm
Gallery address: 11 Duddell Street, Central

Evading the boundaries of the traditional picture plane, McGurn often eschews the limits of her canvases by extending the imagery directly onto the gallery walls and furniture brought into the space, displacing her subject and creating an immersive environment. Instead of approaching a static painting, the artist activates the composition allowing the figures and forms to be seen as though in a field of vision. Occasionally confrontational, sometimes passive, sometimes ecstatic, these characters shift through these emotions constantly reforming their personas.

Key themes in Mcgurn’s work include music, dreams, memory and popular culture. Her visual sources have included 70s film stills, Janus fetish magazine, Botticelli prints and celebrity autographs. The works are developed intuitively via the artist's use of swift calligraphic brush marks and attention to the human form. Repeated lines and movement recall antiquity but are similarly influenced by Glasgow’s post-industrial city aesthetic. With her paintings, Mcgurn builds loops through pastel colours, speed and fluid motion. Playing with ideas around circadian rhythms and familiarity her works un-stagnate and are experienced rather than seen.

Opening reception: 19 November, 6-8pm

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

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

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

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

Gagosian is pleased to announce Paint, an exhibition of new paintings by Spencer Sweeney opening at the Hong Kong gallery on November 19, 2025. These imposing works—oil portraits of seated figures with visible torsos, and others in which only the subjects’ heads and shoulders are depicted—convey intense energy and feeling through Sweeney’s use of rich color and bold paint handling.

Sweeney cites jazz as having sparked his love for improvisation, which he interweaves with references to pop culture and art history in nudes, portraits, and self-portraits. Resonating with the spirits of artists from Henri Matisse to Giorgio de Chirico and American painter Bob Thompson, his images embody a Neo-Expressionist verve while repeating signature motifs, and are characterized by their juxtaposition of direct emotional appeal with a freewheeling exploration of the creative process. In a complement to his painting practice, Sweeney transforms gallery spaces into studios and stages, conjuring dynamic “atmospheres” in conjunction with figures from various disciplines, including Lizzi Bougatsos, with whom he cofounded the New York noise-art group Actress.

Opening reception: Wednesday, November 19, 6–8pm

Gallery address: 7/F Pedder Building, 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

Zhang Kechun, one of the most famous and award-winning contemporary Chinese photographers, is returning to Hong Kong for the first time since 2017 to unveil his latest photo series, Yellow Land and The Sky Garden.

Opening Date: Thursday 20 November 2025 at 6-8:30pm

As part of the opening programme, we are pleased to invite you to a Dialogue with Zhang Kechun. The Artist will share his perspective on the transformations of contemporary China, drawing on the inspirations and insights behind his most recent series, "The Yellow Land" and "The Sky Garden."

 First Dialogue (Conduct in Chinese) - Wednesday 19 November 2025 at 6:30PM

Second Dialogue (Conduct in English) – Saturday 22 November 2025 at 5PM

*Each session lasts about 40 minutes, including the Q&A.

*The Second Dialogue will be followed by refreshments and an opportunity to engage in conversation with the artist.

Seats are limited, please RSVP.

Gallery address: G/F 74 Hollywood Road, Central

Following the evocative journey of Life Records I, which delved into the formative years of several pioneering Indonesian artists, Life Records II continues this intimate exploration — shifting the focus to another group of remarkable artists whose creative lives have also intersected with Sin Sin Fine
Art in deeply meaningful ways.

This second chapter brings together works by Anusapati, Andy Dewantoro, Dani Huda, Hanafi, Jumaldi Alfi, Lie Fhung, M. Irfan, Nasirun, Rudi Mantofani, Talitha Maranila, and Zulkarnaini Rustam — alongside a more recent series of works by Sin Sin Man herself. Each artist presents pieces that act as visual
memoirs — quiet yet powerful reflections on the personal, emotional, and philosophical landscapes they have traversed over the years.

These artists are not merely names in a list; they are companions on a shared creative journey that has unfolded across decades. Their works — contemplative, courageous, and deeply individual — speak of
transformations both internal and external. Some explore memory and identity through abstraction, others through figurative narratives or material experimentation. Collectively, they form a rich, multidimensional portrait of artistic resilience and evolution.

Opening reception: 21 Nov, 2025 6:00 pm – 9:00 pm

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

Following the spirit of Ripple Effects in 2024, which highlighted how individual actions ripple outward into wider societal dialogues, this year’s Colours of Humanity 2025: Pool of Resonance continues the conversation with a quieter, deeper resonance. Many submissions carried a heightened sense of intention and complexity, speaking to a growing maturity in how artists and community organisers are navigating the urgencies of our time.

This year’s finalists include painters, photographers, performers, and social organisers—many of whom draw from lived experience to pose questions about equity, memory, displacement, and renewal. Their works respond to both personal and collective needs, creating space to care for others while imagining different futures.

Artists: Alex Huda, Arianna San Pedro, Chu Hoi Ding, Florence Lam, itit Cheung, Jeeyun Kim, Jodie Luk, Kelvin Au, Lana Lok, Louise Lok, Marina Kniazeva and Sergei Kniazev, Phoenix Ngo, Rhenea Diclas, Rico Lau, Siufa Yu, Thomas Fung, Tianyi Zheng, Veron Wei, and Yau Kwok Keung.

Exhibition opens on 21.11.2025 (Fri) at 6:00 PM in the presence of the artists.

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

L’ÉCOLE, School of Jewelry Arts is delighted to unveil "Discover the Diamond, Art & Science", a comprehensive range of programs in Hong Kong to explore the diamond journey from rough stone to brilliant elegance. The newly curated series of activities will feature opresentation, talks, courses and a variety of cultural moments centered around theme of diamonds. “Discover the Diamond, Art & Science,” is scheduled to take place at the L’ÉCOLE Hong Kong campus at K11 MUSEA from November 22nd, 2025, to April 30th, 2026.

Venue address: 510A, 5F, K11 MUSEA, Tsim Sha Tsui

DE SARTHE is pleased to present its second solo exhibition for Shanghai-based artist Caison Wang, titled Limerent Warrior • The Digital Reincarnation. The exhibition features a new body of works on canvas and a sculpture that predicts a hypothetical post-human era wherein spirituality has been abdicated, and data logic is embraced in its stead. In this imagined future, there is a strong distrust of the present, causing existing belief structures, even emotional mechanisms to be thoroughly rewritten. Humans gradually relinquish control over lived realities, entrusting decisions of love, infatuation, life, and even death to algorithms. A wildly colorful, dystopic read of the future, Limerent Warrior • The Digital Reincarnation opens on November 22nd and will be on view until January 17th. 

A prominent motif runs through the exhibition – a powerful female figure, accompanied by symbols of birth and procreation; this is the limerent warrior, a fictional character that Wang imagines to be the face of post-human humanity. Using the Buddhist and Hindu goddess Mahākālī – the great mother who governs time, destruction, and rebirth – as a prototype, the artist imagines the warrior to be the digital reincarnation of what humans had once fantasized to be pure love, as well as the data mother to the new calculated world. Through the limerent warrior, what was once expressed through literature, mythology, film, and personal narratives are now produced through code and programs, and the once romantic hero of human imagination becomes both a product and agent of an intimacy economy. 

Opening: Saturday, November 22nd, 3 – 7 pm

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

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.

Alisan Atelier is pleased to announce Spirit In Flux, a special group exhibition of 11 artists inspired by and engaging with the innovative spirit championed by the founder of Hong Kong’s New Ink Movement, Lui Shou-kwan. Participants include Au Hoi-lam, Fan Yan, Fung Hoi-shan, Sherry, Heung Kin-fung, Alex, Kong Chun-nga, Kitty, Li Tingting, Miao Hanwen, Mok Hoi-ching, Silvester, Tang Kai-yiu, Frank, Tse Chun-sing, and Yuen Ka-yee, Angela. They each chart their own course in artistic innovation, directly and indirectly responding to the legacy of Lui Shou-kwan, which is currently celebrated in a landmark solo exhibition at Alisan Fine Arts’ Central Hong Kong gallery.

Curated by veteran curator Leung Siu-kee, the exhibition showcases a diverse array of works, from two-dimensional paintings in ink, oil, and mixed media to three-dimensional pieces incorporating ceramics, paper sculptures, light installations, and new media. These artworks explore contemporary artistic expression, echoing the Spirit central to the exhibition’s title. Lui Shou-kwan's Zen paintings uniquely blend Eastern philosophy with Western abstract art, expanding the world of Chinese ink painting. He once remarked, “Brush and ink have no legacy; they are the universe of the self,” suggesting that artists should not be confined by traditional teachings but should instead pursue their own creative impulses. This exhibition also aims to showcase the artist's continuous pursuit of change and the deepening of his personal style.

Opening Reception: 22 November 2025, Saturday, 2PM - 5PM

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

WKM Gallery is pleased to present Forms of Becoming, an exhibition of Japanese ceramics featuring artists Osamu Inayoshi, Takumi Morozumi, Tomohisa Obana, and Tomoko Obana. All based in regions with long ceramic traditions, these four artists draw on inherited customs not as a rulebook but as a point of departure, approaching clay through a contemporary lens and using it as a foundation for personal expression and conceptual exploration.

Ceramics in Japan have long existed at the intersection of utility and aesthetic philosophy. Many central values of the culture are reflected in the craft: a deep reverence for nature, an appreciation of imperfection and ambiguity, and respect for the humble beauty within simple forms. From this core, distinct identities arose across geographies in response to local clay and firing environments. The exhibition navigates a veritable map of Japan’s ceramic heritage, with each artist engaging with the history of their respective region: Morozumi is based in Shigaraki, one of Japan’s most famous ceramic centers; Tomohisa Obana and Tomoko Obana in Iga, home to the ancient Igayaki pottery tradition; and Inayoshi in the Atsumi peninsula, birthplace of Atsumiyaki stoneware. These regional differences shape each artist’s practice, the form and finish of their works influenced by different types of clay, firewood and kilns. Yet each artist puts their own contemporary spin on these traditions, incorporating their own subjective emotions, identities, and interpretations.

Opening Reception: Saturday, 22 November 2025, 3–7pm

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

DE SARTHE is pleased to announce the activation of its new media room, dedicated to showing contemporary multimedia artworks, in elaboration of the gallery’s exploration of technologically influenced artistic practices. To host an independent program in parallel to the gallery’s contemporary and 20th century exhibitions, the new media room will be inaugurated with a presentation of two video artworks by Shanghai-based artist BingQing Dong, including Don’t Talk to Paula (2024) and Moist Theater (2025).

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

“If Lee Ufan’s brushstrokes capture his reflections on his relationship with the world, my brushstrokes represent a journey to contemplate the transient emotions I carry within. Although the direction of our thinking may differ, the essential questions surrounding existence and the inner self ultimately lead us to the same horizon.”

- Lee Chae

Whitestone Gallery Hong Kong is pleased to present “Trace of Wind”, an exhibition that brings together significant works of two distinguished Korean artists from different generations, Lee Ufan (b.1936) and Lee Chae (b.1989), fostering dialogue that explores our deep and enduring connection with the natural world and the inner self.

Opening Reception 2025.11.22(Sat) 3 - 6 pm *Artist Lee Chae will be present

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

Parrotman reads like a scene from a future novel: after the end of the world, on a new Earth where humans no longer exist. They use archaeology and fieldwork to uncover human remains, traces of objects, images, and gestures and they study, imitate, and rebuild, translating human civilization into their own way of living. They were once only recorders; now they also become re-enactors. Through mimicry and re-enactment, they practice a daily life that is close to human, yet no longer human, in a place where humans are absent.

Hong Kong is a switch for memory, it wakes up films, melodies, and smells from my childhood. It is a secret base in my mind: not a point on a map, but a coordinate where feelings come into focus. The works grow from this coordinate and meet Parrotman’s “rebuilding experiment” on the same axis:
by the backyard pool they read messages from the sunset; they say good night to the glow over the valley; with friends they sing together on the grass. These light scenes are small re-creations of human behavior. They keep a distance and also create closeness. If earlier works were like field notes, these are more like samples of living: on an Earth without humans, they rehearse with humor and patience and build a place “only we know.”

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

The Flagstaff House Museum of Tea Ware is staging a new exhibition, "Hong Kong Artist Dialogue Series: Shape of Tea", featuring 35 sets of tea ware in various types such as tea bowls, tea caddies and teapots, from the museum's collections spanning the Song dynasty to the 20th century, along with 20 sets of new wood and bamboo works created by Hong Kong artists Yan Yung and Inkgo Lam.
     
 Drawing inspiration from the collections of the Flagstaff House Museum of Tea Ware, wood artist Yung and bamboo artist Lam integrate the aesthetics of life in the Song dynasty, with rustic simplicity and unpretentious elegance, into daily life. They have created works diverse in form, including small tea bowls, exquisite bamboo carved tea ware, as well as large mortise tea racks and bamboo woven tea tables. They have also created art from fallen tree wood and drawn inspiration from flora and species named after Hong Kong, expressing their visions of Hong Kong in their works.

Venue address: 10 Cotton Tree Drive, Central (inside Hong Kong Park)

Sotheby’s Hong Kong is pleased to present Korean artist Je Yeoran’s exhibition in Hong Kong. Curated by Jang-Uk Lee, Chief Curator at Space K, Seoul, the solo exhibition will showcase abstract paintings produced between 1997 to 2025, ranging from Je’s signature Usquam Nusquam series, to a rare example of her earlier Untitled series.

Je’s journey in abstraction began in the 1980s during a period where pioneering abstract Asian artists such as Park Seobo, Lee Ufan and Kazuo Shiraga were working. She is one of the few female abstract painters of her generation from Korea. Je’s sole use of the squeegee as a tool as opposed to a traditional paint brush, makes works iconic. As she tames the flat rubber blade, it becomes as extension of her body, and each work becomes a performative accumulation of bodily gestures, driven by her internal impulses.

Venue address: G/F, Landmark Chater, 8 Connaught Road Central, Central

Giuseppe Castiglione’s Gathering of Two Auspicious Signs is a painting intimately connected to the fate of China. It is also the very work that marked the entry of a Western painter onto the stage of the Chinese imperial court, a figure forever etched into the canon of art history. From its very moment of creation as an allegorical painting in the imperial court to win the favour of the Yongzheng Emperor, Gathering of Two Auspicious Signs was destined to be symbolic of the Mandate of Heaven. Its silk threads bear signs of the vicissitudes of time, witness to the nation’s fateful turns of fortune and a bygone era of the last three hundred years. There is perhaps no other painting that beholds such a powerful line of succession, passed through the hands of many of the most influential figures in Chinese history from the Great Qing to this day.

Venue address: G/F, Landmark Chater, 8 Connaught Road Central, Central

HART HAUS and artist collective Gloria Awareness are excited to present an upcoming group exhibition MADAM I'M ADAM, featuring latest works by six emerging artists practicing and diaspora with Hong Kong — Amy Tong (Hong Kong), Chan Kakiu (Canada-born, Hong Kong-based), Dony Cheng (Hong Kong), Lau Hiu Tung (Hong Kong), Tiger Wong (Hong Kong), Wu Jiaru (based in Hong Kong).

Perhaps you are familiar with the exhibiting artists and their practices, and yet, this exhibition "MADAM I'M ADAM” is rather an unconventional and thought-provoking exploration of art-making with the concept of repetition and its inherent complexities. The works delve into the idea that repetition is not simply a reproduction; rather, it serves as a re-illumination that carries a displacement, inviting viewers to engage with the nuances of systemic repetition.

Opening reception: 27.11.2025 (Thurs 四) 19:00 - 20:30

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

The Yijing, or Book of Changes, is unquestionably a quintessential Chinese cultural heritage. Confucianism and Daoism have their common roots here. Ancient Chinese philosophy, science, and statecraft and even modern living have all drawn inspiration from it. As a classical divination document and a philosophical exposition, this book has an enduring imprint on many aspects of Chinese life. 

The current exhibition highlights the continued relevance of the Book of Changes through the artistic interpretation of Hong Kong photo artist Basil Pao. Two series of his works—The Great Walls of China and Glimpses of Silence—are presented here to explore the relation between heritage and artistic creation. Capturing a world of changing reality and changing appearances, these pictures are the testament to Pao’s deep connections to the Book of Changes for embracing the authentic self and beholding the beauty and mystery of the world. The show offers a visual feast for observing the eternal energy and subtleties of change in all-embracing landscapes. It invites contemplation on the interaction and unity of Heaven, Earth, and Humanity—an ancient Chinese philosophical concept presented in the classic. 

Venue address: Duplex Studio, Tai Kwun

We are thrilled to invite you into the world of “Where Life Meets, Once — New Works by Mizuki Nishiyama”! Mizuki Nishiyama, a multi-cultural artist born in Hong Kong and raised between Japan, Italy, London and New York, expresses her kaleidoscopic roots through artworks that celebrate both fragility and resilience. Her expressive, multifaceted works bridge East and West through vivid explorations of human fragility, identity, and ancestry, especially from the perspective of the female experience.

Mizuki’s journey spans New York and London, where she studied at Parsons and Central Saint Martins, and currently a PHD candidate at the Institute for Doctorial Studies in the Visual Arts, her art has been showcased across continents. With each piece, she shares fragments of emotion and ritual — drawing viewers into a space where past and present, ancestry and longing, quietly meet. Her earlier series, “Fragile,” “Bodies in Landscape,” and her latest series “Between Land and Earth,” remind us that every moment can be both fleeting and unforgettable.

As curator William Fong remarks, “In the quiet epiphany her work awakens, each canvas becomes where life meets — a convergence of self, world, and time, a presence that can never be lived twice, existing only now — and once.”

Gallery address: Pottinger 22, Central

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

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

Gallery address: 9 Tung Street, Sheung Wan

The HKDI Gallery is pleased to announce its first flagship exhibition in its 2025-2026 slate, the Pluriversal Futures – Ars Electronica Exhibition in Collaboration with Hong Kong Design Institute (“Pluriversal Futures”), jointly organised by Ars Electronica, the world’s leading platform of media art for the intersection of art, technology and society based in Linz, and Hong Kong Design Institute (HKDI). The curation presents a reinterpretation of “multiple” and “pluriversal” visions of the future, which entails the coexistence of several worldviews, futures, and realities that are entangled, interconnected, and intertwined.

Venue address: Hong Kong Design Institute, 3 King Ling Road, Tseung Kwan O

Gallery EXIT presents Candyce WONG Ka Ying’s exhibition, ‘Merry-Go-Nowhere’, featuring a series of intuitively driven, automatic writing-inspired paintings. Wong’s playful, childlike style combines scribble and collage to construct her imagery. Treating her paintings as distinct objects, she presents them as subconscious manifestations of her psyche and subtle yet shifting feelings.
 
Wong approaches the intuitive assembly of imagery as a visual game. Viewers may recognize individual elements, but the resulting composition evokes an ambiguous, suspended atmosphere. In ‘Maybe it’s a Carsick Dog’, a small anxious dog with three blurred companions looking out the car window, evoke a sense of unease. Similarly, ‘Party Dogs’ portrays two dogs in party attire, yet frozen in time, conveying a mood of awkwardness and perhaps anxiety.

Opening reception: 6 December 2025, 2—5 pm.

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

Gallery EXIT is pleased to present ‘Drifting’ by Angie CHOI Nga Sze, featuring her latest ceramics. Choi’s work explores the fleeting nature of time, memory, and everyday moments, seeking to preserve experiences that might otherwise vanish. Each piece is titled with the exact time of its creation, emphasizing the uniqueness and fragility of every moment.
 
Using glaze as paint and ceramic slabs as her canvas, Choi embraces the unpredictability of the kiln-firing process, where flowing glaze transforms in color and texture. This balance between control and chance is central to her art. The sturdy ceramic slab represents permanence, while the fluid glaze captures the transient flow of time, turning each work into a reflection of memory and transformation.

Opening reception: 6 December 2025, 2—5 pm

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

PHD Group is pleased to present “Mothering,” their third ever group show.

It is a paradox that we all experience: to heal, we must grow, but to grow, we must endure. Our group exhibitions have always been opportunities for us to meditate and reflect on our space and its purpose, a brief respite from the operational grind of openings and closings, fairs and travels. In examining the work of the artists we surround ourselves with, we find introspective turns within each practice, a homage to the invisible, sometimes more-than-human elements that give form to new life. To mother is to birth, to nurture, and to seek alternate, sometimes even painful, paths of growth—we are reminded of the tiny plantlets that fall from the parent, bright-white roots already attached, ready to begin again.

The group show will feature work by Chan Ting, Michele Chu, Liao Wen, Yuko Mohri, Sasaoka Yuriko, Tan Jing, Pam Virada, Wang Xu, Xi Jiu, and Zheng Mahler.

PODIUM is proud to present ‘Like a Thief in the Night’, Berlin-based artist Dennis Scholl’s first solo exhibition in Asia and with the gallery. Known for his lush and phantasmagorical paintings and drawings, Scholl has been creating enigmatic worldviews where human and non-human beings oscillate between brutality and beauty, violence and tenderness. In this ambitious body of work, spanning 16 new paintings and a collection of drawings, the artist draws upon the pastoral as both a locus of sentimentality and a theatre of profound spiritual allegory. Centring on the recurring image of the shepherd—a guide of flocks—Scholl reimagines it as a sacred figure that commands cultivation and sacrifice across human and non-human life. Through his enchanting visual language and storytelling, Scholl invites the viewers to inhabit the crux of tension between comfort and foreboding, belonging and exile, nurture and disruption; reminding one that vigilance is not merely a stance of fear but also of attention and tenderness—that to live in anticipation of the unknown is to remain awake to care for oneself.

The exhibition opens on 29 November 2025 (Saturday) from 2 to 7 pm

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

Grotto Fine Art is pleased to present 𝘈 𝘝𝘦𝘪𝘭𝘦𝘥 𝘙𝘦𝘷𝘦𝘭𝘢𝘵𝘪𝘰𝘯, the third solo exhibition of Hung Fai, with an opening reception on Saturday, 29 November, from 2 to 6 pm. The exhibition will run from 29 November to 30 December.

Following his representative 𝘛𝘳𝘢𝘤𝘦𝘴 series, this exhibition presents an entirely new body of ink works by Hung Fai. Continuing Hung’s exploration of the ink medium, the works employ folding and diffusion techniques to construct layered, interwoven compositions, showcasing a distinctive conceptual visual language. The new series 𝘙𝘢𝘷𝘦𝘭𝘭𝘪𝘯𝘨, 𝘔𝘢𝘻𝘦 and 𝘙𝘦𝘤𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯 breaks away from the rules set in his earlier works and highlights the mutual pull between artist and medium. At the same time, Hung turns to more private emotions, hinting at the tension between personal pursuits and the expectations of family and community. The new series incites a mental and visual collision, as traces of tradition, heritage and familial lineage quietly surface, all unified by the essence of ink as a medium.
Opening Reception: Nov 29 (Sat), 2-6pm

Gallery address: 2/F, East 17, No. 17 Main Street East, Shau Kei Wan

Blindspot Gallery is pleased to present “Un Cheng: Bedroom Paintings”, from 29 November 2025 to 31 January 2026, marking the artist’s fourth solo exhibition with the gallery. The exhibition will debut her newest body of works and coincide with the book launch of her first artist monograph titled Un Cheng: Now, and Then?, encompassing her works from 2017 to date. 

Un Cheng is known for her distinct palette, capturing the quotidian details of city life, each scene brimming with psychological depth and emotional fervor, depicting a universal longing for human connection. In “Bedroom Paintings”, Cheng captures the complexities and nuances of the human experience. The scenes are recreated from photographs and memories, each rendered in expressionistic strokes that evoke the artist’s underlying psyche. Her brush marks oscillate between intuition and conscious control, infusing her works with immediacy and viscerality.

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

Parrotman reads like a scene from a future novel: after the end of the world, on a new Earth where humans no longer exist. They use archaeology and fieldwork to uncover human remains, traces of objects, images, and gestures and they study, imitate, and rebuild, translating human civilization into their own way of living. They were once only recorders; now they also become re-enactors. Through mimicry and re-enactment, they practice a daily life that is close to human, yet no longer human, in a place where humans are absent. 

Hong Kong is a switch for memory, it wakes up films, melodies, and smells from my childhood. It is a secret base in my mind: not a point on a map, but a coordinate where feelings come into focus. The works grow from this coordinate and meet Parrotman’s “rebuilding experiment” on the same axis:
by the backyard pool they read messages from the sunset; they say good night to the glow over the valley; with friends they sing together on the grass. These light scenes are small re-creations of human behavior. They keep a distance and also create closeness. If earlier works were like field notes, these are more like samples of living: on an Earth without humans, they rehearse with humor and patience and build a place “only we know.”

Opening Reception: 2025/11/29 (Saturday) 15:00 - 18:30 pm
Gallery address: Shop 103, 1/F, Block 3, Tai Kwun, Central,

Jimmy Keung (b. 1958) has had a diverse practice that is hard to pinpoint, navigating many artistic spheres. The artist has contributed to Hong Kong's urban visual landscape while participating in seminal exhibitions, yet was also relegated to the margins due to his choice of medium and practice. He started as a cinema billboard painter before transitioning to live-arts and theatre, working for major stage production companies to paint backdrops and sceneries, as well as the lecturer in scenic art at Hong Kong Academy for Performing Arts. The perception of these activities as being purely decorative has culminated in a tension that carries multitudes in his work, referencing his previous experiences and fusing techniques that are as central to painting as they are to large-scale drawing, colour theory, stage lighting and advertising. This unification has been both arduous and fruitful, challenging him to expand out of his comfort zone and explore the possibilities of straddling multiple realities, disrupting the notion that these approaches are mutually exclusive and on a sliding scale of importance, or even relevance.

Gallery address: 13A Prince's Terrace, Central

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

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

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

Gallery address: 68 Lok Ku Road, Sheung Wan

Over the past five years, Villepin has championed artists and created spaces where their voices endure. This anniversary exhibition, The Villepin House, brings together works by Zao Wou-Ki, Myonghi Kang, Marie de Villepin, Lawrence Carroll, and Yukimasa Ida - visionaries who represent different chapters of Villepin’s story.

Villepin’s journey began in 2020 with Friendship & Reconciliation, an exhibition dedicated to Zao Wou-Ki - a natural choice, as Villepin’s founders shared a deep friendship with the artist long before the gallery was conceived. Today, this bond is reflected in a new commission: a tapestry inspired by Zao’s triptych Le vent pousse la mer (2004–2005). Woven over 1,000 hours by the artisans at Pinton using 120 colours, it captures the chromatic depth and spirit of Zao’s original oil on canvas, a symbol of continuity and transformation.

Since then, Villepin has curated over twenty exhibitions, including four museum shows in China and Korea, and curated four exhibitions at unique locations across the globe

As dawn creeps through the window frame, as dusk paints the horizon, time slips away unnoticed in the ticking of moments. Yet the passage of time never reveals any form. It can be linear; it can be cyclical. We embrace space within the folds of time, yet often find ourselves left with nothing but frustrations in its formlessness. Grandly opening on 4 December 2025, this solo exhibition, Form of Time, by Lin Yusi will present a series of works on paper created in 2025. Inviting every viewer to participate in this artistic and spiritual journey about time as we approach the end of the year.

Using paper as his canvas and pastel as his brush, the artist captures time within the two-dimensional realm, sketching its vibrant contours. The “Form of Time” series represents Lin Yusi's bold breakthrough beyond his artistic boundaries, abandoning his carefully constructed formal systems, and relinquishing his pursuit of sharp brushwork to return creation to its most authentic state. Each contact between fingertips and pastel is not a deliberate design but a natural response to the preceding movement.

Opening reception: Thursday 4 Dec 2025 | 6-8 pm

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

Illuminati Fine Art is thrilled to present "Night · Hong Kong", a solo exhibition by contemporary ink artist Lam Tian Xing. Through the series, the artist focuses on the dazzling nights of the Victoria Harbour metropolis and mountains, constructing a unique visual language. The exhibition showcases over 50 pieces of selected works

Opening reception: 4 December, 5-8pm
Gallery address: 31-33 Hollywood Road, Central

Contemporary by Angela Li is delighted to present “Feelings in Balance”, duo exhibition featuring German artist Martin Wehmer and Shanghai-based artist Liang Manqi. Often described as conceptual and abstract painters, the two artists each employ their own visual vocabulary to construct worlds that balance analysis and emotion, inviting viewers into a dialogue between the two.

Opening reception: Thursday, 4 December, 2025 from 5 to 8 p.m.

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

Prepare to be swept away into an extraordinary world where timeless legend collides with trailblazing contemporary art! JPS Gallery Hong Kong is thrilled to unveil “Guan Yu vs. Wilson Shieh”, an exhilarating solo exhibition by Hong Kong’s visionary artist Wilson Shieh. At its heart beats the fierce spirit of Guan Yu (160-220 AD), the iconic warrior deity from the Three Kingdoms era, reimagined through Shieh’s innovative lens.

Here, Shieh’s signature architectural figures, cloaked in the silhouette of Hong Kong’s landmark buildings, roar to life as mighty warriors wielding traditional Chinese weapons. This mesmerising experience extends beyond traditional gallery viewing—featuring a meticulously recreated vintage cinema environment and groundbreaking AI-generated film that brings these painted warriors into stunning animated battle.

Opening reception: Thursday, December 4, 2025, 5 - 8 pm 

Artist Tour: Saturday, December 13, 2025, 3 - 4 pm

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

Soluna Fine Art is proud to present Kaleidoscope City, the inaugural Hong Kong solo exhibition by Australian contemporary artist Jasmine Mansbridge. Deeply rooted in geometric art, Mansbridge constructs intricate visual worlds and distinctive compositions through her dynamic use of shapes, lines, and vibrant colours. Having visited Hong Kong multiple times, she infuses this new body of work with the city’s dynamism and visual rhythm. Kaleidoscope City embodies more than personal memory or experience; it is a meditation on universal values, human connection, and the infinite capacity of imagination. Through Mansbridge’s artistic lens, we are invited to journey into a world that is dynamic, multifaceted, and luminous, much like the ever-shifting patterns of a kaleidoscope.

Opening Reception: 4 December 2025 (Thursday) 6 - 8 pm

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

Medium Rare Medium Well brings together fifteen Hong Kong artists – some skilled in woodblock printing, etching and screen printing, others working across diverse disciplines – to explore how the fundamental principles of printmaking resonate within contemporary art. Their works demonstrate how concepts like repetition, transfer and the balance between control and chaos transcend the art of printmaking, revealing unexpected dialogues across artistic practices.
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This exhibition features long-term collaborators of the Hong Kong Open Printshop(HKOP), past awardees of our “Award in Printmaking” and “Research Fellow” programmes, as well as cross-media artists. They have witnessed the vibrant growth of HKOP, just as HKOP has been part of their creative journeys. Through the exhibited works, we hope the public will gain insight into the accomplishments of HKOP and lend support to Print Art Contemporary’s ongoing efforts in promoting print art culture, nurturing emerging talents, and connecting local and international communities.

Opening reception: 2025.12.04, THU, 6:00—8:00PM

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

Born and raised in France, Antoine de Saint Vaulry has spent the greater part of his life abroad. Over twenty years ago, he left Paris for London before eventually settling in Hong Kong, where he has lived with his family since 2010.

A life of expatriation has proven deeply enriching — a continual encounter with new cultures, perspectives, and friendships that have shaped both his personal and artistic identity. For Antoine, this experience has inspired a constant reflection on questions of cultural identity, belonging, and heritage.

How does one define identity when life is lived between cultures? What becomes of national origins when experience and environment extend far beyond their borders? « Home is a Map » emerges from these questions — from the interplay between Antoine’s French heritage and his perspective as a guest in Hong Kong, immersed in a complex and ever-evolving city.

By appointment only

Gallery address: 8/F, E Wah Factory Building, 56-60 Wong Chuk Hang Road, Wong Chuk Hang

Rossi & Rossi is pleased to present Luce Iconica, a solo exhibition by Italian artist Massimo Antonaci (b. 1958). On view from 6 December 2025 through 21 February 2026, the presentation marks his third solo project with the gallery.

The Italian word ‘luce’ translates to ‘light’, and the light revered in the works of Antonaci is absolute and pure. Luce Iconicahighlights a series of works in gold, silver and white, all veiled by glass. Adhering to a 60 by 60 cm compositional guide, the artist has created virtual grids, where mental images intersect with space. In Cornerstone (2019), a slightly tilted glass pane rests atop a square of white paint, inviting viewers to look beyond the surface and see what the element truly embodies. As Antonaci noted in the catalogue from his 2019 retrospective at Rossi & Rossi Hong Kong, ‘When the reflection of consciousness no longer projects any image, the mental substance manifests itself in its own nature, which is colourless’. Here, the glass is a window that frames human sight as a medium of manifestation.

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

The exhibition features a variety of exquisite craftworks that create a crucible for innovation — the convergences between traditional masters’ disciplined techniques and contemporary designers and artists’ forward-thinking visions. Central to this exhibition is the concept of “creative cross-pollination”—a dynamic process where seemingly disparate ideas and techniques, drawn from diverse sources with traces of common ground, are brought together to generate something entirely new.

It brings together five groups of local and international artisans to create five groups of work that transcend boundaries and topple conventions.

Venue address: 11 Peel Street, Central

La Moustache, a group exhibition organized by Jordan Stein, opens this Saturday, 6 December, 6–8 PM, with a performance by Bill Orcutt.

With works by Lutz Bacher, Mary Helena Clark, Jay DeFeo, William Eggleston, Vincent Fecteau, Maureen Gallace, Doris Guo, Stephen Kaltenbach, Paul Kos, Lee Lozano, Danny McDonald, Kazuna Taguchi, Leo Valledor, and Jonathan Velazquez

Drawing loose inspiration from the existential thriller of the same name, La Moustache presents a searching exploration of that precarious psychic territory in which the accepted borders between sense and nonsense, interior and exterior, the abstract and the concrete, are rendered scintillatingly porous.

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

In Sarah Tse’s solo exhibition ‘The Rooted and the Rootless’, the artist presents a vibrant and immersive collection of plant and animal paintings created during her nomadic journey in the last 2 years. Her ultimate studio has no walls, instead it has beaches, vast savannahs and forest floors blanketed in botany and fungi. Sarah’s practice is an act of translating the ephemeral moments of the natural world into enduring, powerful statements on canvas. Her dynamic mixed media technique—building layers of texture and color—serves to capture the raw energy of her subjects.

The exhibition’s core, however, is a masterful ode to the botanical world. Sarah finds plants endlessly captivating, noting how they share fundamental needs yet express themselves with profound individuality. The veins of a green leaf are like the brushstrokes of nature; each texture is a lifeline in the palm of life, revealing the mystery of vitality on a canvas of layered shades of green. Through a masterful command of color theory and composition, Sarah elevates her floral subjects, celebrating their intricate forms and resilient beauty. This collection is a testament to her skill in transforming observed reality into a passionate, vivid tapestry of life.

Opening Reception: Saturday, December 13, 2025, 4:00 PM – 6:00 PM
Location: Room 202 Touch Gallery, Tai Kwun Central

The University Museum and Art Gallery, The University of Hong Kong, is honoured to present Zhao Hai Tien—Cultivation: 50 Years of Painting, a comprehensive overview of Zhao Hai Tien’s artistic journey as a painter and her boundless explorations as a Hong Kong artist, both locally and internationally. Her work is distinguished by a poignant confluence of abstract expression, spiritual depth, and cross-cultural dialogue. From her early New York-inflected abstractions to the later meditative, calligraphic, and cosmic visual language, she has consistently infused her practice with vitality, reflection, and resilience—an enduring testament to her inquiry into identity, spirituality, and the cosmos.  

Born in Shanghai in 1945, Zhao Hai Tien emerged as a pioneering figure in modern Chinese art and was among the few of her generation to train overseas before China’s opening in 1979. She completed her early studies in Shanghai and Hong Kong, before moving to New York, where she earned a BFA from Cooper Union in 1969. Immersed in the dynamic New York art scene of the 1960s, she began experimenting with abstraction, transforming her artistic language in bold and innovative ways. Zhao Hai Tien’s artistic evolution and creative explorations are characterised by a remarkable diversity of media—from airbrush and automotive spray paint on wooden folded screens and acrylic on canvas to calligraphic experiments, large-scale public murals, and oil paintings. Her practice blends technical precision with expressive freedom, deeply informed by spiritual traditions.  

Gallery address: 1/F, T. T. Tsui Building, UMAG, HKU, 90 Bonham Road, Pokfulam

Korean Cultural Center invites you to the Opening Reception of the exhibition "Unfolding Silence (2025 Korean Artists Series)" on Wednesday, 10th December 2025. In collaboration with Whitestone Gallery, Gallery Exit, Soluna Fine Art, and Stroll Gallery, the exhibition will feature works by six prominent Korean abstract artists: KWON Soonik, BAE Sangsun, WOO Jong-Taek, JEONG Yun Kyung, KIM Deok Han, and LEE Chae.

This exhibition brings together Korean artists represented by Hong Kong galleries, showcasing the depth and diversity of contemporary Korean abstract art. Through their works, visitors will experience a visualized "Unfolding Silence"—an expression of inner reflection and sensory experience.

Opening Reception: Wed, 10 Dec 2025, 6:00 – 8:00 PM (Artists introduction at 7 PM)

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

Laibach’s artistic method operates through a precise and often unsettling strategy of over-identification. By appropriating and amplifying the rhetoric, aesthetics, and rituals of authority, the group transforms ideology into spectacle, compelling the viewer to confront their own complicity in the systems they believe they merely observe. This performative mirroring of power does not aim at parody or subversion in the conventional sense, but rather at revelation — a disclosure of the unconscious drives, fantasies, and desires that sustain collective belief.

Opening | 11 December 2025, 18:00

Talk | 13 December 2025, 15:00

hosted by Ivan Novak (aka Ivo Saliger), founder and core member of the Slovenian cult band Laibach.

Venue address: No.218, Hollywood Road

The University Museum and Art Gallery, The University of Hong Kong, is honoured to present Symbols of Identity: IKAT Textiles from Indonesia , a highly focused exhibition highlighting the artistic virtuosity of weavers across the Indonesian archipelago. Building upon the Museum’s presentation of IKAT Textiles of the Indonesian Archipelago in 2017, and two new publication projects, including Noble Virtuosity: Hidden Asymmetry in Ikat Textiles from Sumba, the display reveals forms of asymmetric design that scholars so far have consistently overlooked or explicitly negated in the past. Today, investigations of early specimens reveal that high class weavers from these islands excelled in hiding tiny visual elements that disrupted expected symmetry in a way that was made to be overlooked. They exploited insights in the way we process visual information by simulating regularity, while deceitfully tying in elements that break it. Thereby they were so successful in their deceit that in academia it remained unnoticed for over a century.  

The creative virtuosity of these highly skilled artists was a product of the islands’ highly competitive culture, suffused by an ancient headhunting ethos. As the weavers strove to outsmart each other, naturally they guarded their repertoire of tricks. This secrecy increased the social distance between the nobility, commoners and slaves, reinforcing the islands’ feudal societal structure. Only high-caste initiates would even begin to look for hidden devices.  

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

This December, Kwai Fung Hin presents Enchanted Visions, a group exhibition featuring seven contemporary artists with ties to Italy. Through painting, sculpture, installation, and photography, they conjure mythic, uncanny worlds where certainty dissolves and boundaries blur. Drawing on history, cultural heritage, symbolism, and philosophy, each artist translates reality into a field of possibilities beyond conventional logic.

Distinct in approach yet united in creative courage, they reveal hidden magic woven through the layers of perception in our contemporary world. Here, enchantment is not about pretty lies of fantasy, but about guiding viewers beyond the familiar toward the essence of things.

Gallery address: Office A, 9/F, Entertainment Building, 30 Queen's Road Central, Central

Para Site is delighted to present the group exhibition ‘Muted Hums’. The exhibition is curated by Celia Ho, featuring works by nine international and asian artists, including Catalina Africa (Philippines), Özlem Altın (Germany), Lêna Bùi(Vietnam), Oscar Chan Yik Long (Hong Kong/ Finland), Saodat Ismailova (Uzbekistan/ France), Ling Pui Sze (Hong Kong), Man Mei To (Hong Kong/ UK), Christina Quarles (USA), and Aycoobo - Wilson Rodríguez (Colombia), with three presenting newly commissioned works. 

‘Muted Hums’ explores the interplay between inner selves and the broader worlds around us. The exhibition invites the audience to engage with the multiplicity and fluidity of existence, attuning to a deeper awareness of the multifaceted dimensions of being. The exhibition title prompts our attention to the subtle and quiet pulses of intimate emotions that are often overlooked. It emphasises the significance of looking beyond immediate perceptions, connecting with the silent gestures of consciousness, revealing the fragmented truths we carry within our bodies that are inherited from those before us.

The exhibition revolves around the concept of mapping ourselves, and observing what our bodies hold. This inquiry transcends the corporeal boundaries beyond the present, serving as a reminder of the invisible energies that shape our connections. It challenges us to reconsider our sense of place within this intricate web of existences, where bodies exist within bodies and worlds unfold beyond the immediate. Spanning a wide variety of media (including paintings, sculptures, video, and site-specific works), the artworks illuminate the unseen realms of personal narratives and collective memories. Through the tensions between the fragmented and the unified, ‘Muted Hums’ reimagines the interconnectedness of all beings across time. 

Opening reception: Sat, 13 Dec 2025, 3-6pm

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

Zao Wou-Ki: Master Printmaker 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.

Venue address: Main Hall Gallery, G

Hanart TZ is pleased to present: Morphology, by 𝗣𝗘𝗧𝗘𝗥 𝗡𝗘𝗟𝗦𝗢𝗡 彼得•倪森 and 𝗧𝗢𝗕𝗜𝗔𝗦 𝗞𝗟𝗘𝗜𝗡 簡嗚謙
(In collaboration with Alvaro Cassinelli). The exhibition is supported by 𝘚𝘐𝘎𝘎𝘙𝘈𝘗𝘏 𝘈𝘴𝘪𝘢 2025 𝘛𝘩𝘦 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘺 𝘔𝘶𝘴𝘦𝘶𝘮 𝘢𝘯𝘥 𝘈𝘳𝘵 𝘎𝘢𝘭𝘭𝘦𝘳𝘺 (𝘜𝘔𝘈𝘎)

Opening reception (artists will be present): 13 December 2025 (SAT) 2-6pm

Gallery address: 2/F Mai On Industrial Building, 17-21 Kung Yip Street, Kwai Chung

To celebrate the 10th anniversary milestone of THE MONSTERS, the elf supergroup created by artist Kasing Lung, How2work, in collaboration with POP MART and Paradise, presents the Hong Kong stop of the 10th anniversary tour: MONSTERS BY MONSTERS: NOW AND THEN.

The exhibition will be held from December 15, 2025 to January 4, 2026 at Asia Society Hong Kong Center. Riding the momentum from the tour’s debut in Shanghai and Taipei, it brings a fantastical art feast to THE MONSTERS enthusiasts in Hong Kong.

Starting in 2015, artist Kasing Lung released the picture-book trilogy, The Puca Story, Pato and the Girl, and Miro’s Requiem, creating for the first time the fantastical world of LABUBU and THE MONSTERS. Deeply inspired by Nordic mythology, the works launched a journey of boundless imagination. A decade later, these quirky monsters have crossed cultures and regions to become cultural icons that blend trendiness with emotional resonance.

Ticket Price: HKD 60 (Admission at designated times, one-hour visiting time)

Alisan Fine Arts is delighted to present its sixth solo exhibition for Chinyee (1929-2023), honouring six decades of the renowned female abstractionist’s career. A first-generation Chinese-American artist, Chinyee was associated with the New York School of Abstract Expressionism. This exhibition marks her first posthumous solo show in Hong Kong since her passing in 2023 and features approximately ten oil paintings along with selected works on paper, including watercolours and collages created between 1955 and 2018. From traditional calligraphic strokes to vibrant Western hues, these pieces invite viewers to revisit the artist's evolution in abstraction. Many of the pieces have never been exhibited in Hong Kong, including several that will make their global debut.

Opening reception: 16 December 2025, 5pm-7pm

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

Tang Contemporary Art is proud to announce that, to celebrate the tenth anniversary of our Hong Kong space, we are presenting a large-scale group exhibition, "Decade One: Chronolect," from December 18, 2025, to January 31, 2026, at both our Central and Wong Chuk Hang spaces. The exhibition's title, "Chronolect" – a lexicon of time – captures the distinct artistic language developed over this inaugural decade. The exhibition aims to focus on the most precious gains in artistic practice—namely, "accumulation and growth"—connecting the iterative evolution of the artists' works, the gallery's and collectors' explorations within the industry, and the unwavering adherence to their original aspirations.

Since its establishment in Central in 2015, the space has hosted nearly 100 exhibitions, accumulating a wealth of academic knowledge, and has become a vital bridge connecting Chinese contemporary art with global dialogue. The second Hong Kong space was established in Wong Chuk Hang in 2023, focusing primarily on pan-international projects with young artists, interspersed with group and solo exhibitions featuring artists from Europe, America, Southeast Asia, and Japan.

Artists: Jonas Burgert, Cai Lei, Heri Dono, Huang Yongping, Jigger Cruz, Leng Guangmin, Edgar Plans, Qin Qi, Wang Du, Xiyao Wang, Wu Yi, Yue Minjun, Yang Jiechang, Zhao Zhao, Zhu Jinshi

Opening reception: 18 Dec, 2025, 4:00 pm – 6:00 pm

Gallery address: 10/F, H Queen's, Central & 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang

Square Street Gallery is pleased to present ‘Training Centre for the Soul’, a group exhibition curated by KY Wong, featuring Yarli Allison, Fyerool Darma, and Tu Lang. Taking its title from a meditation centre nearby, the exhibition draws parallels between machine learning, which trains algorithms through data and feedback, and the formation of human consciousness through lived experience. Who trains whom? Rather than fearing artificial intelligence as inherently threatening, we must examine how human biases and power structures become embedded within technological frameworks. The exhibition presents three artists who reveal these hidden infrastructures and reimagine technology’s potential for community building and social transformation through speculative possibilities.

Opening: 18 Dec 6 - 8 pm
Gallery address: 21 Square Street, Sheung Wan