Nutz observes and responds to life through ceramics. Her art practice begins with various objects we use every day, integrating the functional and artistic expression aspects of ceramics. By delving into life through reshaping these items, she connects the traces of life left behind in their historical and cultural contexts with her own experiences and those of the viewer, piecing together different interpretations of life across various contexts.

In this project, Nutz draws inspiration from the century-old building of vA!, which was formerly Cassels Block, married quarters for British military officers, using ceramics to transform a series of everyday objects representing the lifestyle of the last century. By bringing these reimagined objects back into this former living space, she invites viewers to explore their past and present, to read and reimagine them, and to envision different forms of life.

Venue address: 7 Kennedy Road, Central

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

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

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

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

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

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

M+ presents Lee Mingwei: Guernica in Sand, a large-scale installation and performance to be staged in The Studio. Taking Pablo Picasso’s iconic 1937 masterpiece Guernica, painted in response to the violence of the Spanish Civil War, as its departure point, Lee Mingwei recreates this painting in sand—a material that connotes impermanence and instability. This meticulously crafted work references the indigenous and religious traditions of sand paintings found around the world. Towards the end of the display, a live performance will take place in which visitors are invited to walk on the sand painting. Four performers will then gently sweep the sand in spontaneous movements that simultaneously destroy and recreate the image anew.

The performance is scheduled to take place in late June. Please check this webpage closer to the date for additional details.

AIRSIDE is excited to announce the launch of “WEIRD SENSATION FEELS GOOD: The World of ASMR” in Hong Kong, to be held at AIRSIDE’s GATE33 Gallery between 14 March and 13 July 2025 – launching during the city’s most anticipated art month.

First showcased in Stockholm as a pioneering exhibition organised by ArkDes, Sweden’s National Centre for Architecture and Design, and later presented in collaboration with the Design Museum in London as the UK’s first ever exhibition to explore ASMR, Hong Kong will be first city in Asia to host the exhibition.

Building on the acclaimed touring exhibition curated by James Taylor-Foster, this Hong Kong edition will feature newly commissioned works by Hong Kong-based artists that interpret the global phenomenon for today. This marks Hong Kong’s first immersive exhibition dedicated to the culture, creativity, and community of ASMR, as well as the first time that AIRSIDE, Nan Fung Group’s flagship commercial development at the city’s former Kai Tak airport, collaborates with an international museum since its opening in late 2023.

Venue address: GATE33 Gallery, L312, AIRSIDE, 2 Concorde Rd, Kai Tak

The dragon has taken countless forms through the centuries: in ancient China, it was reserved for religious or imperial use; today, it is a symbol of prosperity widely applied in everyday life and on special occasions. Through the dragon, this display of CHAT Collection objects questions and attempts to answer how traditional motifs are sustained and reinterpreted, how they gain character, and how the success of their contemporary interpretations is measured. The display also aims to create dialogue with the seasonal exhibition by expanding on understandings of traditional motifs often featured in folk craft.

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

M+, Asia’s first global museum of contemporary visual culture in the West Kowloon Cultural District in Hong Kong, proudly announces Picasso for Asia: A Conversation, a groundbreaking Special Exhibition featuring more than sixty masterpieces from the late 1890s to the early 1970s by Spanish artist Pablo Picasso (1881–1973) alongside works by Asian and Asian-diasporic artists selected from the M+ Collections.

Co-curated by M+ and Musée national Picasso-Paris (MnPP), the exhibition will be co-presented with the French May Arts Festival. Picasso for Asia: A Conversation will be held at M+ from 15 March to 13 July 2025. This exhibition is a significant milestone, as it marks the first instance in which masterpieces from the Musée national Picasso-Paris are being shown together with works from a museum collection in Asia. It will showcase Picasso’s enduring influence and relevance by putting the master artist’s works in dialogue with Asian contemporary artworks.

Picasso for Asia: A Conversation is co-curated by Doryun Chong, Deputy Director, Curatorial, and Chief Curator, M+, and François Dareau, Research Fellow, Musée national Picasso-Paris, supported by Hester Chan, Curator, Collections, M+. The exhibition adopts a new, unique perspective to interpret Picasso’s legacy, exploring complex relationships between origin and reception, invention and adaptation, and West and non-West. More than sixty masterpieces by Picasso will be on loan from MnPP, which holds the largest and most significant repository of Picasso’s works in the world. These will be in dialogue with around eighty works from the M+ Collections by more than twenty Asian and Asian-diasporic artists from the early twentieth century to the present.

From beadwork to embroidery, straw weaving to paper craft, patchwork quilts of nomadic tribes to silkscreen prints of agrarian island communities, handicraft techniques and everyday objects inherited through time immemorial have often been sources of inspiration and materials for contemporary artists. Both folk craft and contemporary art originate from humanity’s innate desires for creation, expression, exchange and identity, and are vessels for conveying emotion and reason.

Lining Revealed examines the interactions between folk craft and contemporary art by juxtaposing artworks, handicrafts and archival documents. Through the critical lens and creative manifestations of contemporary art, it reveals the historical, social and cultural significance embodied in folk craft and the role craft plays in reinvigorating contemporary vision. The exhibition also speaks to the importance of contemporary art in the continuity of cultural heritage, such as challenging the over-celebration of the handmade and encouraging us to look beyond the value frameworks and ideologies of modern society to uncover the deeper content and meaning of folk crafts.

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

Embroidery, beading, drawnwork – these intricate tasks were once skilfully carried out by many of our older generations. Upon closer look, they also illustrate the defining qualities of commercial craft production and circulation in 20th-century Hong Kong, such as systematisation of skilled work, female labour and leadership, adaptation for export markets, and alienation between makers and consumers.

Busy Needles examines embroidery materials from Maryknoll Convent School Foundation, drawnwork from Swatow that circulated through Hong Kong, beadwork and its cottage industry, traditional kwan kwa marriage gowns and more, at the same time encouraging alternative and personal views of craft in Hong Kong.

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

九仞 Memory Smuggler is the opening exhibition of To Art House 嚮渡藝術空間. Invited by the founding team, four Hong Kong artists—Natalie CHU Lok Ting 朱樂庭, HO Siu Kee 何兆基, Jay LAU Ka Chun 劉家俊, LI Ning 李寧 —have collaborated since the art house’s construction phase to help define an experiment in art and articulate the vision for this new place.

Founded in the fringe of industrial Fo Tan 火炭 by the Tai Mo 大帽 mountain range, To Art’s unique vantage point inspires the four artists to delve into the area’s natural and anthropological past and future. In dialectics between handmade artifacts and natural elements, and often via digital objects, they find expressions of memory crisscrossing across time, even lapping recursively, but never lose their ground. In the counterpointing ensemble of their individual practices, a first quartet emerges.

Venue：location in Fo Tan will be provided upon confirmation of registration.

RSVP：you may complete the RSVP form at Visit us to secure your visit.

As a highlight of 'Art March 2025', the HKPM will present the special exhibition 'A Movable Feast: The Culture of Food and Drink in China' from March 19 to June 18, 2025 in Gallery 8. Food culture is a vital component of traditional Chinese heritage, boasting a rich and diverse history. This exhibition will take the audience through a feast that traverses spiritual, cultural, and physical spaces. It explores the culinary culture and lifestyle of ancient Chinese people through the evolution of food vessels, eating practices, and traditions, presenting approximately 110 exquisite works. These objects, primarily on loan from The Palace Museum, span from the Neolithic period (c. 10000 BCE – c. 2000BCE) to the Qing dynasty (1644–1911). Additional works on display will come from the British Museum, the Cleveland Museum of Art, and the Asian Art Museum of San Francisco, as well as museums in Hong Kong.

This is the first exhibition of ancient Chinese artifacts since Sun Museum relocated, and it is also a highlight of the museum's annual "Sun Delight" program.

The exhibition will showcase 120 pieces of jade and stone carvings from the Song to Qing dynasties, all from private collections at the Little Moon Pavillion and Songde Tang. The exhibition is divided into two parts: the first part features carved jade and stone pendants, while the second part focuses on decorative art objects made of rare colour stones, including agate, white jade, lapis lazuli, coral, etc.

Chinese ancient arts and crafts are outstanding, and the brilliant achievements in jade and stone carving can be attributed to the various natural gemstones, the extraordinary skills of artisans throughout Chinese history, and the remarkable creativity of ancient people in expressing auspicious meanings through visual forms. Visitors to the exhibition can admire the scholar’s objects and decorative items made from various jade and stone carvings, some of which even come with original stands crafted by artisans from the Qing Palace's workshops. Through the auspicious meanings of some of the works, one can also appreciate the ingenuity of the ancients.

Venue address: Sun Museum, 1 Sai Yuen Lane, Sai Ying Pun

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

When a Cuban looks at the sea, it evokes the isolation and pain of thousands of families, the anxiety, and the psychological frustration of living in a divided country. The sea becomes a wall or a barbed-wire fence delimiting one’s destiny.

- Yoan Capote

Ben Brown Fine Arts Hong Kong is delighted to announce Yoan Capote: Mixed Feelings, an evocative exhibition of new works by acclaimed Cuban artist Yoan Capote on view from 22 March to 21 June 2025. In this presentation, Capote weaves together the sublime beauty of the Cuban landscape with the weight of its turbulent socio-political history. As its title suggests, Mixed Feelings explores duality – love and disillusionment, belonging and estrangement, hope and despair – and captures the paradoxes of the artist’s homeland in works that speak to global themes of migration and political turbulence. Capote’s meditations on Cuba’s fraught realities
extend far beyond its physical and ideological borders, resonating powerfully with the shifting political landscape of Hong Kong – a city and an island where the erosion of autonomy has fostered an increasing sense of insularity. Through his exploration of the ambivalent and often contradictory emotions that arise from living at the threshold of self-governance, Capote reveals the universal tensions of contested identity and political uncertainty.

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

“Oi! Spotlight” is Oi!’s annual flagship project held in Art March every year. It aims to showcase the creativity of both local and international artists, encourage cross-cultural dialogues, foster exchanges between regions and embrace innovative ideas. This year, “Oi! Spotlight” has invited renowned Japanese artist Toyofuku Ryo to organise his first solo exhibition in Hong Kong. Toyofuku has been invited to participate in various international art events. For this exhibition, he has drawn inspiration from Hong Kong's local culture, using large-scale installations to present a peculiar space that combines Japanese aesthetics and cultural elements of Hong Kong.

Venue address: 12 Oil Street, North Point

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

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

Venue address: 12 Oil Street, North Point

Born in Paris in 1911, and working in New York from 1938 until her death in 2010, Louise Bourgeois is recognized as one of the most important and influential artists of the past century. Oscillating between figuration and abstraction, and ranging from intimate drawings to large-scale installations, her work expresses a variety of emotions through a visual vocabulary of formal and symbolic equivalents. For over seven decades, Bourgeois’s creative process was a form of exorcism: a way of reconstructing memories and emotions in order to free herself from their grasp. Opening on 25 March and on view through 10 May 2025, Hauser & Wirth will present Bourgeois’s second solo exhibition with the gallery in Hong Kong, organized in collaboration with The Easton Foundation. The show brings together a selection of works from the 1960s to 2008, including rarely exhibited sculptures and works on paper. A three-meter-long fountain installation, ‘Mamelles (fountain)’ (1991), and a steel and marble sculpture, ‘Spider’ (2000), will be shown in Asia for the first time.

Opening Reception: 24 Mar, 5:00 pm – 7:00 pm

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

HOO Mojong (1924-2012), a trailblazer in modern art, stands as a key figure in bridging Eastern and Western artistic languages. As one of the most prominent Chinese female artists following Pan Yu-Lin, she has become a significant representative of Asian modernism in the 20th century.

This Retrospective exhibition takes place during a significant moment: the centenary of Hoo Mojong’s birth. Hoo was born in Shanghai and left her hometown in her early 20s. Her extensive travels and residencies around the world not only enriched her personal experiences but also infused her artistic creations with multicultural inspiration. From Shanghai to Taipei, then to Brazil and Spain, and finally settling in Paris where she created art for 37 years as a painter and printmaker. She returned to China in 1996, museums and institutions throughout China have since celebrated her distinct explorations of bodies and mundane, yet playful, objects. “Objects of Play ” will comprehensively trace her artistic creation features nearly 100 artworks including paintings, prints, drawings, and archival materials from various periods of Hoo’s career, recapping her integration of Chinese and Western art styles and investigations of the spirituality and power of ordinary life.

Venue address: Chantal Miller Gallery, 9 Justice Drive, Admiralty

Following Xu Bing’s appointment as Hong Kong’s Ambassador for Cultural Promotion in 2024, "Xu Bing in Hong Kong: Square Word Calligraphy" marks the renowned artist’s first large-scale art endeavour in the city. As part of this project, he has curated an exhibition centred around the Square Word Calligraphy Classroom at the Hong Kong Museum of Art, showcasing a unique fusion of Chinese and English languages intertwined with Hong Kong's linguistic culture. Through this exhibition, Xu enriches the meaning and interpretation of Square Word Calligraphy, opening new avenues for cross-cultural communication in a vibrant context.

Following centuries of political fragmentation and division during the Spring and Autumn period and the Warring States period, rulers of the Qin and Han dynasties forged the first unified China in history. Emperor Qin Shihuang (the 'First Emperor') established a centralised political system, standardised the systems of measurements and writing. The Han dynasty innovated on Qin’s unified approach and laid down Confucianism as the ideology of the nation, cultivating a prosperous and flourishing empire which deeply influencing the politics and culture of China for the next two thousand years.

The exhibition features over 100 pieces (sets) of treasured exhibits, including the terracotta army of Emperor Qin Shihuang, the warrior and animal figurines of the Emperor Jing of Han, components of chariot, as well as architectural components, showcasing the development of politics, economy, culture, technology and cross-border transportation during the Qin and Han dynasties. The exhibition also introduces the historical development of Hong Kong of the periods.

Venue address: Moonchu Historical Images and Culture Gallery and 1/F Main Lobby, Hong Kong Museum of History

Lucie Chang Fine Arts is pleased to announce the exhibition “UNVEILING SOUTHEAST ASIA – Harmony in Diversity” in April. We are honored to present the artworks of four outstanding artists from the Southeast Asian region: Erthh, Dabi Arnasa, Gabriel Cheah and Meliantha Muliawan. This exhibition offers art lovers a unique and diverse perspective on the richness of colors and materials in the artworks, exploring the aesthetics of everyday life and personal memory.

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

A new season begins. Time to prepare the plot, sow the seeds, and make space for all that might take root.

In 1994, psychologist C.R. Snyder defined hope as a combination of goals—the sense of direction for human actions, agency—the will to move forward—and pathways—the ability to imagine routes to get there. In this spirit, WMA’s new programme series “The Sow Must Go On” approaches the cultivation of “hope” as a diverse set of social, cultural, and collective actions.

Inviting six visionary artists and photographers, the programme begins with each proposing a cause close to their hearts. These seed ideas then grow into three-month incubative projects at WMA. Through collaborative programming, workshops and conversations, this artist-led initiative asks: how might we sow on the soil of uncertainty, and who do we choose to act with?

The sow must go on.

Venue address: 8/F Chun Wo Commercial Centre, 23-29 Wing Wo Street

Beijing-born artist Lin Yan’s artistic practice centres on her innovative use of Xuan paper, transforming this traditional Chinese material into site-specific installations that respond to architectural spaces. Lin creates works that navigate between two and three dimensions, using layers of pleated paper, ink, and plaster moulds to capture both natural beauty and temporal traces. Her technique breaks free from traditional ink art while maintaining subtle references to Chinese landscape paintings through undulating paper formations that evoke water ripples. Lin’s artistic language is deeply influenced by her time in France, where she studied at L’École nationale supérieure des Beaux-Arts (1985-1986), following a family legacy of Franco-Chinese artistic exchange - her grandfather Pang Xunqin studied there in the 1920s, and her mother Pang Yao was among the first Central Academy of Fine Arts professors to study in France. After further studies in the US, Lin has dedicated herself to pioneering a unique artistic realm that harmoniously blends minimalism with Eastern aesthetics. In Alisan Fine Arts’ first collaboration with the artist, Lin will present never-before-shown works and create site-specific installations at Alisan Atelier in Aberdeen that strike a balance between material tranquillity and contemporary dynamism.

Opening Reception: 06.05.2025 (Tue)

Our first Jockey Club Atrium showcase this year, titled “Crafting Memories”, featuring a variety of works that include photography, printmaking, drawing and painting. Four alumni artists — Juliana YAU Kit Chi |  Horace Yue Chiu WONG | MOK Fai | KONG Cheuk Wing — examine themes from personal and societal perspectives. They explore their artistic journeys in relation to the past and present, connecting emotional values with ideology, social structure, cultural characteristics, daily life, and value judgments. Their approaches respond to their perceptions and thoughts when observing and experiencing the world.

Curators: Chi-Chung WAN |  TSANG Chui Mei

Venue: Jockey Club Atrium, G/F – 4/F, Hong Kong Arts Centre (2 Harbour Road, Wanchai, Hong Kong)

Discover A Moveable Feast at Galerie Koo, an engaging exhibition showcasing the works of Hong Kong artists Cassian Lau and Kathy Fung. This captivating display invites you to explore the rich culinary traditions of France and Hong Kong through the lens of art, celebrating the harmony of flavours and the cultural stories they tell.

Cassian Lau’s playful creations bring historical icons to life in unexpected ways, such as Napoleon relishing a crusty baguette and other figures indulging in classic French treats. His works weave humour with gastronomy, offering a lighthearted and imaginative take on history and its connection to food.

Kathy Fung’s intricate artworks focus on the delicate balance of East and West, featuring beautifully rendered afternoon tea scenes that seamlessly blend French pastries with traditional dim sum. Her pieces celebrate the fusion of tastes, traditions, and aesthetics, creating a harmonious dialogue between the two cultures.

Together, their art presents a feast for the senses, inviting viewers to savour the beauty of culinary traditions and the stories behind them. Join us for this unique celebration of food, culture, and creativity that promises to inspire and delight audiences of all ages.

Opening Reception: 08.05.2025 (Thu) 2 – 7 pm

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

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

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

Para Site is pleased to present ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’, an exhibition that refocuses on Ha’s printmaking practice on the occasion of Ha’s 100th birth anniversary.

‘Motherboard’ is the term Hong Kong-based artist Ha Bik Chuen (1925–2009) coined for his collagraph plates. They are assembled from wood and other found material through a highly labour-intensive process. Throughout his life, Ha created over 100 motherboards and kept them away from public view. He used these motherboards to produce over 3,000 editioned collagraphs mostly in the 1970s and 1980s.

‘Reframing Strangeness’ stages a selection of Ha’s motherboards, collagraphs and gouache drawings. In the exhibition, the motherboards are placed next to their ‘offspring’ collagraphs and ‘parallel’ drawings to offer a re-reading of Ha’s interconnected art practice. It encourages viewers to examine Ha's motherboards as aesthetic objects. It invites them to contemplate the artist's distinctive relationship to materials circulating in the region then, which was a key part of Ha’s art-making process.

Opening reception: May 9, 2025, 6:30–8:30pm

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

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

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

Venue address: Gallery 7, Hong Kong Palace Museum

​​​​Tang Contemporary is proud to present Yoon Hyup’s solo exhibition “Montage”, featuring 15 new artworks curated by Yonni Park and Jeeun Hong. In contemporary art, rhythm and flow transcend mere formal elements, offering new ways of understanding the world. Yoon Hyup’s art visually embodies this philosophy, presenting a creative synthesis of Eastern and Western aesthetic traditions. His lines and dots go beyond simple visual expression, forming fluid structures that interweave time and space, drawing viewers into an immersive sensory flow. Viewing Yoon Hyup’s work is not a passive act but an active experience of following dynamic, rhythmic movements. Each artwork becomes an open field of exploration rather than a static object.

Yoon Hyup’s practice transforms the structures of the city and the rhythms of nature into a distinctive visual language. The order and chaos of New York—a vast metropolis—and the movements of people within it are abstracted and reconfigured in his work. This becomes a visual translation of urban experience, and a way of embodying the inherent rhythms of human life. In this process, Yoon Hyup’s lines remain uninterrupted and organically connected, echoing the flow of Qi (氣, energy) as described in Eastern philosophy. Much like Taoist thought, which emphasizes effortless and natural movement, his lines traverse space fluidly, without resistance.

Curators: Yonni Park, Jeeeun Hong

Opening reception: 15 May, 6-8pm

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

THE SHOPHOUSE is pleased to present Just Looking, the first solo exhibition in Asia by artist Sarah Fripon. It is an exhibition that invites viewers to linger on the overlooked fragments of daily life—cash bills, coffee cups, hygiene products—and reconsider their embedded meanings. Her paintings do not seek to narrate or moralize but instead create a space where the familiar becomes uncanny, where the mundane is defamiliarized just enough to provoke thought. By borrowing imagery from advertising, domestic kitsch, and obsolete media, Fripon constructs visual constellations that are at once recognizable and strangely dislocated. The exhibition is less a statement than an open question: What do these everyday systems reveal about us?    

Opening reception: 17 May 2025 (Saturday) 2 - 6 PM

Gallery address: 4 Second Lane, Tai Hang

Sheets of paper and fragments of cardboard. Scaled perforations and delicate cracks across wide surfaces. Pale and dark scraps of matter. Bluish tones and earthy reds outlining horizons, drifting freely in different directions. Traces of black forming unstable figures. Shapes that meet and overlap, composing quiet arrangements that fall into their own inner order.

In Daybreak, a new series by Natalia Załuska, her distinctive abstraction-based language remains unmistakable. Geometric forms continue to serve as key points of reference, engaging in a dialogue with abstract avant-garde traditions, evoking the rhythmic compositions of Maria Jarema, the sculptural-architectural investigations of Alina Ślesińska, and the works on paper or monument studies by Magdalena Więcek. In comparison to her earlier works, Załuska’s latest series invites us to consider subtle shifts in her approach. These pieces feel more nuanced, each emerging as an autonomous composition that suggests its own narrative. One might notice patches of dark colour lingering in the background or fading away, as though something were hiding just beneath the surface. Are they emerging from a different order, or perhaps even a different temporality?

Opening reception: 3–6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

How is the Zeitgeist revealed through written text in the situatedness of Hong Kong and our relations with each other? Text is an omnipresent public and private companion, at work, home, leisure or on the move. In the churn of the necessary, the imposed, and the personal choices of what we read for (dis)information, pleasure, provocation, connection or escape, this exhibition seeks connective pathways between shared access to a multiplicity of texts. It combines text-based artworks and zines by Pop & Zebra, Kaio Wu Hiu Nam, Crip Zine, Ning-Ning and Damon Tong, with interactive visitor activities for text-making and sharing.

The Goethe-Gallery becomes a temporary in-between space where the banal, the imaginary and the world-building of text coexist in new intertextual intimacies and where visitors collaboratively co-create the visual accretion of text and contemporary meanings during the exhibition.

Facilitators: Megan Olinger, Christine M. Kaiser, Michael Leung and Kay Mei Ling Beadman

Exhibition opening in the presence of the facilitators and the artists on 17.5.2025 (Sat) from 3:00 PM - 5:00 PM.

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

The exhibition, The Rule of Three, explores the interplay of art forms through the unique perspectives of three distinct artists: Karena Lam, Olivier Cong, and Hilarie Hon. Each artist, rooted in their respective medium, contributes to a collective dialogue that underscores the fundamental principle of triads in art and life – balance, harmony, and complexity. 

Opening Reception: 17.05.2025 (Sat), 3 – 6 pm

Venue address: 31 Sun Chun Street, Tai Hang

THE SHOPHOUSE is pleased to present Hindsight, the first solo exhibition in Asia by artist Paul Robas. The exhibition interrogates the instability of memory through paintings that hover between figuration and abstraction. Unlike traditional narratives of recollection, Paul Robas’ work embraces fragmentation—distorted figures, cropped compositions, and optical flares—to mirror how perception is continually reshaped by time. The exhibition’s title alludes to the paradox of retroactive clarity: what we “know” in hindsight is often a reconstruction, not a revelation.

The human figure here is a vessel for collective psychological states rather than individual identity. Paul Robas’ subjects emerge from shadows or dissolve into light, their forms rendered transient through brushwork that oscillates between precision and dissolution. This ambiguity reflects memory’s additive and subtractive nature—how details are amplified or erased to fit evolving narratives. Lens flares, a recurring motif, further destabilize the image, reminding viewers that seeing is never neutral but conditioned by the observer’s position.

Gallery address: 4 Second Lane, Tai Hang

The first solo exhibition of Prague-based artist Monika Žáková at Double Q presents her two most recent series of paintings, Echoes of Time and Echoes of Memories. As the title suggests, Žáková's work in these two series (as well as in her previous practice) focuses on the traces, imprints, passages or stamps left by time and the presence of force on the material itself. However, to speak of them as poetic ephemeral gestures would be too naive – in the author's case we encounter a precise and thoughtful work in which there is a cautious equilibrium between the uniqueness of the material and the use of its self-referentiality and the application of various degrees of control with which she approaches the medium. Despite the fact that the two series bear many common denominators, as one might expect in the practice of a single artist, what separates them are the two distinct temporal grants through which the artist grasps them. This is because the one in Echoes of Time is strongly organic, changing, unstable and irregular, at times even physical, which can be understood as traces of flux and entropy. Whereas in Echoes of Memories we observe structural and mentally precise proportions of the pictorial plan corresponding to the way the brain stores and reconstructs memories and eventually constructs memory.

Opening reception: 3–6pm

Gallery address: 68 Lok Ku Road, Sheung Wan

Nouvelle Vague is a tribute to the late 1950s French New Wave art film movement, which rejected traditional filmmaking to explore narrative and existential themes in a documentary style. La Galerie Paris 1839 presents a retrospective of Chantal Stoman's series, which includes Nouvelle Vague, Visiting Paris, Tokyo Trip, Copacabana, New Orleans, and Suntory. These works reveal a strong artistic style, with images shot in different locations and atmospheres, seemingly different chapters of the same book, revealing the artist's strong style. 

Stoman uses accessories like shoes, bags, glasses, and hats to set scenes, transforming them from mere fashion into keys that unlock character stories and interactions. Her cinematographic images create a sense of time, showcasing both before and after moments. The fashion elements conceal and reveal character identities, while Stoman's deliberate composition enhances the relationships between characters and their environments. Every character carries significance, with the main character’s actions impacting others. 

10 Chancery Lane Gallery is pleased to present Sea of Silver Sand, a solo exhibition by pioneering Chinese contemporary artist Huang Rui, on view from May 22 to July 5, 2025. This exhibition showcases Huang Rui’s latest works from his ongoing Sea of Silver Sandseries, a deeply meditative body of paintings inspired by his long-standing fascination with Zen gardens and the transient beauty of nature. The exhibition will coincide with The French May in Hong Kong, marking a significant moment as the artist will be present to attend the opening.

The Sea of Silver Sand series, conceived over the past five years, finds its origins in an initiatory journey Huang Rui undertook in 2000, when he visited Kyoto’s Ginkaku-ji (Silver Pavilion) and its famed Zen rock garden. This experience left an indelible mark on the artist’s spiritual and artistic practice, shaping his continued exploration of nature’s fleeting yet eternal presence.

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

Flowers Gallery Hong Kong is pleased to announce Edward Burtynsky: China in Africa, opening 23 May 2025. The exhibition explores China’s evolving role in global manufacturing, from the transformation of its domestic production systems to the expansion of its industrial footprint across the African continent. Captured between 2018 and late 2024, the works in this show continue Burtynsky’s decades-long engagement with the infrastructures of extraction, energy, and logistics, offering a visual record of China’s pivotal influence on the contemporary industrial landscape.

With a deep historical understanding of twentieth-century industrial processes, Burtynsky uses his aerial and wide-angle lens perspective to create sweeping images that reveal the scale of industrial development and its impacton the environment. Inside China, a new generation of robotics and vast battery assembly lines stretch across the frame, as seen in Burtynsky’s 2023 photographs of the BYD manufacturing facility in Jiangsu Province – a major producer of lithium batteries for electric vehicles. In works such as BYD Manufacturing Facility #2, Changzhou, Jiangsu Province, China, 2023, rows of yellow components and minimal human presence signal a shift toward automation and the industrial scale of the energy transition.

Private View: Thursday, 22 May, 6–8 pm

Artist Talk & Film Screening: Friday, 23 May at M+ Museum

Gallery address: 49 Tung Street, Sheung Wan

Chou Yu-Cheng's upcoming exhibition at Kiang Malingue's Sik On space features a new series of gradient paintings titled Imaginary Body. By incorporating meticulous surfacing techniques, bodily shapes, and a specific, disorienting gravity, Chou has further developed an abstract painting practice that depicts complicated states of suspension as well as celebration of life. 

Opening Reception: 22.05.2025 (Thu) 6 – 8 pm

Gallery address: 10 Sik On Street, Wanchai

Gagosian is pleased to announce an exhibition of new paintings by Cy Gavin in Hong Kong. Opening on May 22, 2025, it is his debut exhibition in Asia.

Gavin interprets natural spaces and phenomena with varied mark making that echoes the complexity of the forces that shape the landscape. Depictions of biological, geological, and cosmic structures made with at-times vivid hues, this group of paintings foregrounds themes of growth and transfiguration. Many use unprimed wooden panels as supports, with the visible wood grain itself playing an important compositional role where it is left unpainted. The square format of many of the paintings lends itself to an open-ended range of visual exploration.

Opening Reception: 6:00–8:00pm

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

Long before social media, On Kawara used the advanced communication tools of his time—postcards, telegrams, and calendars and CD to mark his presence and connect with others, bridging the personal and universal. In the early 1960s, he emigrated from Japan to Mexico, then to the US. His relentless voyages across continents are inscribed in uniquely distinguished forms, highlighted by his singularly schematic Date painting. These works redefine our perceptions of time and existence. His work transcends the fleeting nature of modern communication, reminding us of the value of authenticity and intentionality in how we record and share our lives.  

Kawara stands as a pivotal figure in conceptual art. His practice centered on the constant negotiation between self-imposed rules of creative practices and real-life experiences—particularly the tension between rules and freedom. He was a pioneer who transformed the mundane into profound meditations on time, presence, and existence. His work transcended cultural and geographical boundaries, offering a quiet yet universal reflection on the human condition.

Rule of Freedom, Freedom of Rules is the first institutional solo presentation of On Kawara’s work in Asia and the first since his passing in 2014. This landmark exhibition presents his most iconic series spanning five decades, with a special section focusing on his trip to Hong Kong. The exhibition reflects on Kawara as both a global citizen and an artist-philosopher who bridged divides between the everyday and the metaphysical, simplicity and complexity, the present and the eternal, and ultimately, life and death. His work, minimal in appearance yet rich in meaning, captures the paradox of stability within the flux of his nomadic lifestyle, widely shared by artists in a globalized world today. 

Venue: 1F JC Contemporary & 1F F Hall, Tai Kwun

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

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

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

Axel Vervoordt Gallery is delighted to introduce the artist Zoran Music (1909-2005) at our Hong Kong location. This exhibition features works from the 1960s to the 1980s, showcasing a curated anthology of several series that Music explored throughout his career. This gallery presentation coincides with a major retrospective of Zoran Music in his hometown of Gorizia, held at Palazzo Attems-Petzenstein, marking the 20th anniversary of his passing.

Opening reception: Saturday, May 24, 2 p.m. - 6 p.m.

Rossi & Rossi is pleased to present Pressed Matter, the second solo exhibition of Thai artist Mit Jai Inn (b. 1960) with the gallery. Opening on 24 May, the presentation derives inspiration from the rich ambiguity of the word ‘press’ – in this case, the physical act of pushing pigment onto a surface as well as the psychological tension of constrained time and space. The works on view capture compressed states: moments pressed between action and stillness, urgency and resistance, where layered meanings emerge like textures beneath the artist’s hand.

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

wamono art proudly presents a visual project to preserve a record of the historic exhibition Japon des Avant Gardes 1910-1970, held at the Centre Pompidou in Paris from December 1986 to March 1987, together with Aomi Okabe, a renowned art critic and curator from Japan. This project delves deeply into the exhibition through interviews with Aomi, who was the only Japanese commissioner (curator) of the Centre Pompidou side of this show, alongside valuable documentary footage she captured.

In France in the 1980s, interest in contemporary Japan was growing due to the impact of the Comme des Garçons fashion show held in Paris in 1981. To understand contemporary Japan, there was a need to comprehensively unravel the events that shaped modern Japan. Therefore, this exhibition dynamically explored the period from 1910 to 1970 in Japan from an interdisciplinary perspective, covering creative activities including art, architecture, design, literature, and music. 

Portions of this recorded footage have previously been shown in lectures at the Mori Art Museum and the Museum of Contemporary Art, Tokyo. However, this time, wamono art will present a newly edited version, featuring commentary by Aomi Okabe.

24.05 & 07, 14, 21.06.2025 (Sat) 2 – 6 pm

DE SARTHE is pleased to present 1, its first solo exhibition for Hong Kong-based artist Ailsa Wong, featuring a mechanical sound installation, a body of moving sculptures, an interactive 3D video game, a 2D visual novel game, and mixed media works all situated within an immersive cave-like environment. A dimly lit chamber constructed to recall the interior of an ant nest, the exhibition explores the notion of existence within a unified body and considers techno-animism under the context of contemporary pantheism. Utilizing the archetypal ant colony as basis, the artist proposes a paradigm wherein all sentient beings – living, mechanical, or otherwise – are constituents to a single, all-encompassing entity. 1 opens on May 24th and runs through July 26th.

Ants operate as a superorganism, where the colony functions by instinct as a singular, self-organizing system. Each ant plays a specific role, such as foraging, defending, or caring for the young, all working in concert such that the colony may adapt, survive, and thrive as if it were one living organism. Across varied philosophies, similar ideas have been raised vis-à-vis the universe and all that it contains – seeing all living things as part of a unified whole, be that of a divinity, cosmic harmony, or simply the natural order. It is under this framework that Ailsa Wong asks: what if all objects, including those of technology, had souls? If we were to subscribe to techno-animism, how will we co-operate within an interconnected system?

Gallery address: 26/F, M Place, Wong Chuk Hang

Aryo Toh Djojo studied at Pasadena’s Art Center College of Design. Toh Djojo employs an airbrushing technique as a central facet of his artistic process, skillfully incorporating principles of design, such as visual perspective, color theory, and an examination of the formal elements of art, to experiment and shape his paintings. Notably, he draws inspiration from the likes of Gerhard Richter, Vija Celmins, Ed Ruscha, John Baldessari, and Richard Prince. Much of his oeuvre is situated within the urban fabric of Los Angeles, thus resonating with the city's distinct subcultures.

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

White Cube Hong Kong is pleased to present an exhibition of paintings by Salvatore Emblema (1929–2006), marking the first solo presentation in Asia of works by the Italian artist. Born in 1929 in Terzigno, Naples, Emblema, with his singular focus on the qualities of light, space and transparency, diverged from his contemporaries in Italy’s post-war avant-garde. Inspired by the landscape of his upbringing – a volcanic red-zone on the slopes of Mount Vesuvius – Emblema worked predominantly with natural materials, extracting his pigments from soils, stones and agricultural materials.

Preview: 27 May, 5–8pm

Gallery address: 50 Connaught Road, Central

David Zwirner is pleased to announce an exhibition of works by Robert Ryman (1930–2019) at the gallery's Hong Kong location. Marking Ryman's first solo presentation in Greater China, this exhibition will feature a range of works from the early 1960s through the 2000s, offering a concise survey of the materials, supports, painterly treatments, and ways of engaging with the wall that Ryman utilised over the course of his six-decade-long career.

Ryman is widely celebrated for his tactile works using white paint in all its many permutations, which he executed using a range of painterly mediums on various supports including paper, canvas, linen, aluminium, vinyl, and newsprint. Emerging in the 1960s, Ryman eschewed self-contained representational and abstract imagery, instead giving precedence to the physical gesture of applying paint to a support.

Opening Reception: Wednesday, May 28, 5–7 PM

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

The exhibition “The Realm of Vision” brings together the creative practices of artists Zhao Peizhi, Zhang Jian, and Yafeng Duan, who each explore the dual structure of perception and feedback through their unique artistic languages. This exploration not only pertains to the perception and representation of the external world but also points to the introspection and reshaping within the subject. In their works, some reconstruct and appropriate faces and cultural symbols to provoke new understandings of identity and the other; others interweave natural landscapes and human scenes on canvas, creating a visual experience that is both profound and intense; or they guide the empirical world toward a transcendent perceptual dimension, where the subtle interplay of light, shadow, and colour generates a vibrant, evocative resonance.

Three artists intertwine the flow of history with individual memory, creating unique paintings that present the complex and dynamic symbiotic relationship between perceived memory and environmental existence, as shaped by distinct creative individuals.

Curator: Han Yali

Opening Reception | May 29 , 4 – 7 pm

Gallery address: Unit 2003-08, 20/F, Landmark South, Wong Chuk Hang

At Sansiao Gallery HK, our 2025 programme explores themes surrounding gender, the release from roles unconsciously ingrained by society, the presence of the individual, and the freedom of choice.

The first chapter of this series is the exhibition “A Room of One’s Own”, opening in May.
The participating artists—Sumiko Iwaoka and Kaoru Taguchi—each bring a unique perspective shaped by personal experience and quiet introspection. Their works reflect a deep sensitivity to the structures that shape perception and identity. With quiet strength and sincerity, they speak to the themes of the exhibition through painting, printmaking, and layered visual language.

Opening Reception: 29 May, 2025 from 6-8PM

Gallery address: Wilson House, 19-27 Wyndham St, Central

No Idea Gallery proudly presents “Oddly Enough”, the debut Asian solo exhibition of artistVaughan Tomlinson. This provocative showcase invites viewers to explore a world where unconventional aesthetics reign, underscored by the artist’s bold declaration: “𝐀𝐧𝐝 𝐢𝐟 𝐲𝐨𝐮 𝐥𝐢𝐤𝐞 𝐭𝐡𝐢𝐬 𝐩𝐚𝐢𝐧𝐭𝐢𝐧𝐠, 𝐲𝐨𝐮 𝐡𝐚𝐯𝐞 𝐛𝐚𝐝 𝐭𝐚𝐬𝐭𝐞.” Immerse yourself in a collection that challenges norms and sparks dialogue.

Join us at Suite 1703, Chinachem Hollywood Centre, 1 Hollywood Road, Central, to experience this audacious fusion of wit and creativity firsthand.

Opening Reception on 29 May (6–8 PM)

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

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

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

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

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

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

Kevin Fung, born in 1964 in Hong Kong, has switched from his trained profession of engineering to devoting fully to art. He obtained the Diploma of Contemporary Sculpture from University of Hong Kong in 1993, followed by his studies with the renowned sculptor Tong King Sum.

His art represents the daily routines of Hong Kong’s middle class, as well as the challenges and pressures they face. Fung considers the interaction of different walks of life and the daily routine of labour as the fabric of society. Through his works, he also depicts the impact these activities have on the people. 

Opening Reception: 6 - 8 pm, Thurs, 29 May

Gallery address: 46 Sai Street, Sheung Wan

Square Street Gallery is pleased to present “Skin in Limbo” by Emily Kueis, marking the artist’s debut solo exhibition with the gallery. At its centre are three new large-scale oil paintings. Shown alongside recent works on canvas and paper, they form a kind of metaphysical landscape shaped by a pictorial language that unfolds like a diary, reflecting Kueis’ shifting sense of self, place, and identity as a painter in Hong Kong.

Kueis’ practice fluidly combines abstraction and figuration. Her distorted, floating figures appear suspended in indeterminate, cosmic-like spaces. These partial bodies, often depicted in precarious or contorted poses, explore the tension between physical and psychological boundaries. Here, flesh becomes not just a vessel but a repository of lived experience.

Her recent works incorporate recurring motifs drawn from the mundane. Mannequins, scarecrows, and raven silhouettes are subtly transformed into psychological markers, prompting viewers to re-engage with what is often overlooked. This perspective finds affinity with Martin Heidegger’s notion that everyday existence is frequently forgotten until it is disrupted, much like a stone unnoticed in one’s shoe until it shifts underfoot. Kueis reimagines allegory as disruptions, gently unsettling the familiar to reveal what is typically unseen.

Curated by Jims Lam.

Opening reception: 29th May, 6 - 8 pm

Gallery address: 21 Square St, Sheung Wan

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

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

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

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

Hidden Space is delighted to present Well-lit, a solo exhibition by Li Hiuwa curated by Kobe Ko. Li’s installation subtly examines sensations of time passing and our perceptions of the visible. From an entire photosensitive wall slowly darkening, to videos that seem to slow or accelerate man-made movement, Li muses on what can be seen and experienced, and our means of doing so.

Li uses multiple forms originating from still photography and moving images. Silver gelatin, the light-sensitive component from film, is mixed with plaster to cover an uneven concrete wall. For the duration of the exhibition, this wall will undergo a gradual developing process without offering up any recognisable image. In another material conundrum, a photograph documents a partially built entrance inside the exhibition space, creating echoing layers of simultaneous physical and visual experience. A video made up of still shots and reverse editing juxtaposes both jumping and linear time to show a stack of ordinary pieces of tape almost imperceptibly diminishing layer by layer. In another video, a stone tumbles over and over so rapidly that we can never quite catch it in focus or see its actual shape.

Opening Saturday 31 May, 4-8pm

Venue address: Unit 6, 16/F, Block A, Wah Tat Industrial Centre, 8-10 Wah Sing Street, Kwai Chung

In 2015, a group of history enthusiasts accidentally stumbled upon a diary in a soon-to-be demolished residential building in Hong Kong. The diary belonged to Lam Ping-yu, who was part of a select group of 24 Chinese naval officers sent to Britain for training during World War II. As their first mission in Europe, many took part in the D-Day Landings and Operation Dragoon in the liberation of Southern France.

Lam Ping-yu’s diary appears to be the only known primary source on Chinese participation in D-Day. It reveals numerous first-hand stories about the realities of war, countless depictions of excitement, frustration, envy, and even romance! Moreover, Hong Kong features in Lam’s voyage. In 1945, he took part in Operation Armour, an operation devised by the British government to alleviate Hong Kong’s dire situation following Japanese occupation. His writings provide us with a glimpse into the city’s post-war recovery.

The exhibition debuted in 2024, receiving international attention and support. Following that, the curatorial team has achieved further research breakthroughs, gathering more first-hand information and exhibits. Set for a relaunch this year, the exhibition will present this little-known episode of history in greater depth.

02.06 - 31.07.2025 Venue address: HKMU Ho Sik Yee Library

06.08 - 06.11.2025 venue address: HKUST Library

The Magical Ts’un: Texture Beyond Strokes presents a diverse collection of works that explore the rich possibilities of texture in ink art. Ranging from delicate paper cuttings to layered, expressive brushwork, the exhibition reimagines the traditional technique of ts’un (皴) — textural strokes — through contemporary approaches, varied materials, and fresh visual language.

Exhibiting artists include Amy CHAN Man-yin, Bovey LEE, Danny LEE Chin-fai, CHAN Kwan-lok, HUNG Fai, HUNG Hoi, LAM Yau-sum, LING Pui-sze, SHUM Kwan-yi, Tammy TAM Tip-yin, WAI Pongyu, YAU Wing-fung.

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

Through the lens of romantic Realism, this exhibition illustrates the passage of time, as well as a sense of spirituality shaped through the experiences of life. I use the image of a horse as a spiritual symbol, indicative of the authentic, unmasked self. The relationship between horses and humans signifies a state of self-empowerment. Through taming them, we can achieve speed, strength, grace, and struggle.​

In recent years, people have begun to re-examine the relationship between consciousness and time. In 1922, during the debate in Paris between Einstein and Henri Bergson, Einstein argued that physical time is the true time, represented by the readings of clocks. Bergson, on the other hand, believed that true time is the flow of consciousness. It is your breath in the present moment, the intertwining of memory and anticipation, and the overall flow of life.

I believe that painting transcends our understanding of physical time. When you stand in front of a piece that touches your soul, time comes to a standstill. We return to the interweaving of memory, reality, and the future. Time is the essence of our lives. When painting, I use color, shape, and academic training, to ultimately reveal the most precious part of life – our fleeting memories. Art can reveal truth in illusions and evoke spirit in form. It is one’s consciousness set free.

Opening Reception: 13/6/2025 (Fri) 5:30 - 7:30pm
Gallery address: Shop 103, 1/F, Block 3, Tai Kwun, Central

Korean Cultural Center invites you to the Opening Reception of the exhibition "Artistic Companions in Life", featuring diverse works by LEE Ungno from the 1960s to the 1980s, including his famous Abstract Letters series and the People series, accompanied by PARK In-kyung's recent ink-wash abstractions derived from her daily observation of nature. The exhibition, co-presented with Galerie Vazieux (Paris, France), presents this couple's shared artistic journey and the commonalities of their artistic world.

Opening Reception: Thursday, 5 June 2025, 6:00 – 8:00 PM (Curator tour at 7 PM)

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

In a time once again marked by rupture—by war, displacement, ecological collapse, and disinformation—Villepin presents Worlds Within: Art as Refuge, an exhibition that brings together four visionaries whose work offers a sanctuary, not of escape, but of presence. Through journeys across continents and histories, Zao Wou-Ki, Fernando Zóbel, Lê Phổ, and Kang Myonghi found in art and abstraction a way to endure uncertainty and preserve what is essential. Marking the first time Fernando Zóbel’s works will be exhibited in Hong Kong, alongside a comprehensive showcase of Lê Phổ’s artwork from each major era of his career, this exhibition is a significant moment for both artists. It underscores Villepin’s ongoing dedication to shaping the cultural landscape and serving as a messenger for the most significant artists of Asia and Southeast Asia from the 20th and 21st centuries.

Their practices, shaped by exile, migration, and reinvention, gave rise to visual languages that are both deeply rooted and radically modern. These artists do not impose; they invite. Their works transform turbulence into rhythm, displacement into meaning, and silence into resonance, offering a profound response to the complexities of identity and belonging. Rooted in traditions of contemplation and balance, yet forged through personal and historical upheaval, their art embodies values urgently needed today: harmony, resilience, spiritual reflection, and unity in diversity. In a world increasingly fractured, their vision reminds us that tradition and modernity can coexist, and that transformation can emerge not from rupture, but from reintegration.

Gallery address: 53-55 Hollywood Road, Central

In the abandoned streets of Chernobyl, nature did not wait for permission to reclaim what humans left behind. Flowers erupted through cracked pavements, vines strangled street signs, and roots invaded the remnants of human lives. This silent revolution of the natural world inspired “Echoes of the Earth”, a riveting new exhibition by Hong Kong artist duo VASEBYSU, opening at JPS Gallery Hong Kong on June 6th.

This exhibition reframes the 1986 Chernobyl disaster into a powerful meditation on renewal by revealing the paradoxical beauty that emerges when nature reclaims spaces abandoned after history’s worst nuclear catastrophe. Through three distinct yet interconnected installations, the artists pay tribute to those who sacrificed their lives while challenging viewers to reconsider their fundamental relationship with the natural world.

Opening Reception: Friday, June 6, 5 - 8 pm

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

Michael Kenna’s photography transcends the boundaries of traditional landscape art. His work is a pilgrimage in every sense of the word: a journey to sacred places, an exploration of life’s deeper meaning, and an act of devotion to beauty and simplicity. The exhibition presents his meditative images of Japan’s landscapes, from ancient pilgrimage routes to solitary shrines, and reflects on the artist’s own spiritual quest as he connects with the land, its culture, and its essence.

A Pilgrimage Through Japan’s Sacred Landscapes

For over 40 years, Michael Kenna has returned to Japan, drawn to its spiritual and aesthetic traditions. His photographs, often captured in the quiet hours of dawn or night, transform the natural world into places of contemplation and reverence. Many of his images document Japan’s literal pilgrimage routes, including pathways leading to ancient Shinto shrines, Buddhist temples, and sacred mountains. These routes, walked for centuries by seekers of enlightenment, are rendered timeless and universal in Kenna’s serene compositions.

Gallery address: 28 Pound LaneTai Ping Shan

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

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

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

For French artist and agronomist engineer Haude Bernabé, understanding life at the base is vital in her approach to life. In her studio near Paris, through various media, sculptures, drawings, and installations, she navigates between conception and intuition, exploring territories of the intimates, relation to the Other, spiritual links, and the movements of our societies.  

Natural components such as plant pigments and leaf prints are prominent in her recent works, addressing both environmental concerns and the desire to move away from an anthropocentric worldview. Her artworks have been exhibited in Europe and Hong Kong, and widely collected including by the Cérès Franco Museum in France. 

Opening Reception  : 06.06.2025 (Fri) 6 – 9 pm

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

PODIUM is delighted to present ‘Ballet with the Devil’, a group exhibition that employs the metaphor of a treacherous yet seductive dance with the diabolical to probe humanity’s entanglement and complex interplay with desire. Through the lens of Lacanian psychoanalysis, the artists, including João Gabriel, Shimon Kamada, Dew Kim, Jaewon Kim, Joy Li, and Tao Siqi, dissect and unveil the intrinsic unattainability of human yearnings, and explore the potential transcendence of its ensnarement. Navigating the precarious terrain where fantasy and materiality converge, the works compel the viewer to reevaluate the agency of one’s subjectivity when confronted by manifestations of trauma and anxiety rooted in the psyche.

Opening reception: 07 June 2025 (Sat) from 2 to 7 PM

Gallery address: Unit 9D, E Tat Factory Building, Wong Chuk Hang

Yrellag Gallery is delighted to invite you to the opening of our next solo exhibition, titled “The Vanishing Years,” by Birdy Chu. Hong Kong has been rapidly changing these past few years, especially after Covid which engendered a universal economic downfall, escalating the closure of local shops. Many iconic heritage sites and cultural elements are vanishing. Famous old shops and cafes are demolished every few months, which are actually treasured symbols of our city. This photo collection mainly focuses on vanished scenes between the years 2020 to 2025. A visual record documenting the disappearing cultures and values through the impact of Covid.

Opening reception: 7th of June 2025 from 3pm to 6pm

Gallery address: 13A Prince’s Terrace, Central

Karin Weber is pleased to announce its upcoming exhibition, ‘Echoes of Nature,’ featuring new works by Tang Ying Chi, Kensa Hung and Chonticha Kaiaroonsuth.

‘Echoes of Nature’ explores the profound connection between humanity and the natural world, presenting viewers with evocative interpretations of landscapes, flora, and fauna. The exhibition features a diverse range of styles and techniques, united by a common thread of reverence for the beauty and fragility of the environment. This exhibition promises to inspire reflection and dialogue, inviting viewers to reconnect with the natural world through the unique visions of Tang Ying Chi, Kensa Hung, and Chonticha Kaiaroonsuth.

Opening reception: Saturday, 28th June 2025, 3-6pm

Gallery address: 20 Aberdeen Street, Central

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

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

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



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

WKM Gallery is pleased to announce In Pursuit of Totality: Paintings from 1950 to 1998, a retrospective exhibition showcasing key works by Japanese painter Yamada Masaaki (1929 - 2010) from Shane Akeroyd. This exhibition brings together paintings from Yamada’s three major series, Still Life, Work, and Color, tracing his evolution from contemplative still life paintings to rhythmic abstractions and, finally, to meditative color fields. Yamada’s practice is increasingly being recognized as a vital contribution to the discourse on post-war Japanese abstraction, and In Pursuit of Totality: Paintings from 1950 to 1998 offers a timely opportunity to reassess the work of a historically underacknowledged artist whose sustained formal inquiry pioneered advances in the language of modernism.

Opening Reception: 7 June 2025 | 4 - 7 pm

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

WURE AREA is delighted to invite you to visit the upcoming showcase《焦日淪漫》”As It Slowly Looms” by  梁凱喬 Arlie Leung, 梁卓怡 Bao Leung, 胡晞裕 Heidi Wu, 劉建鵬 Ken Lau.

The participating artists consist of four graduates from last year and this year. Residing in a collaboratively constructed temporary canvas space, they contemplate the uncertainties of life and explore the associations of happenings, recording their triggered anxieties through their respective mediums, painting, moving image, installation, and performance art.

Opening reception: 7/6/2025 (Sat) 4-7pm
Venue address: Block B, Po Lung Centre, Unit 707, 7/F, 11 Wang Chiu Rd, Kowloon Bay

This coming June, SC Gallery presents the new show “We Float, As We Slowly Fall Asleep,” the first solo exhibition of Chui Suet Wai, Doris. Using her own experiences as a starting point, Doris employs a contrasting neon colour palette and the dislocation between scenes and figures to create a new series of works reflecting the contradictory mindset of urban dwellers—feeling mentally fatigued yet constantly chasing speed under the kaleidoscopic modern life.

Doris's creative process revolves around her observation on her mental state—high productivity is held together by external simulations, though underneath it lies a sensory perception worn out by the dazzling city lights. As technology progresses, modern society prioritizes efficiency, people are trapped in a cycle of work. Pace accelerates and becomes the core pursuit of many. People habitually follow established metrics, relying on external stimuli to enhance their efficiency, racing towards the goals. However, when the driving force gradually becomes passive and these stimulations slowly fade away, all that remains is an overwhelming sense of fatigue.

Opening reception: 7 June | 4 - 7pm

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