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

In 1962, Frank Horvat was commissioned by the German magazine Revue to team up with writer Dieter Lattmann to create a number of features on major cities around the world. The duo arrived late that year for a stay in Hong Kong, which had been seeing a massive influx of new immigrants from China over a decade.

Horvat was fascinated to discover a dense city laid out vertically, packed with people, dwellings, objects, and symbols, where empty space was unimaginable. It perfectly suited the photographer’s style because he liked to compose his images in black and white, filling the frame with his subjects. As a large part of the commissioned work was not included in the published article, most of the images appearing in this exhibition have never been seen before. This is also the first time the Hong Kong Dream exhibition of Frank Horvat is shown in Asia. 

3812 Gallery is thrilled to present “Dreamscape", our summer show that collectively lifts the veil on a dreamlike realm of floral and natural landscapes rendered in abstract forms. Promising a tranquil, mesmerising experience that invites quiet contemplation, the exhibition features four young artists, each with a distinctive abstract visual language, weaving a liminal space between reality and mirage, consciousness and the subconscious, past, present, and future. 

“Dreamscape”, as it is collectively crafted by a host of new blood, seeks to invite viewers on a visually dynamic, lively, and trippy sojourn—one grounded in each individual’s inner space and unfolding into the conscious sphere for introspection, retrospection, nostalgia, as well as a pure appreciation of nature’s simple beauty. Viewers may well find themselves pleasantly lost in contemplation within the kaleidoscopic dream oases affectionately rendered by the five emerging artists.

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

Inspired by David T. Mitchell and Sharon L. Snyder’s concept “Disability as a Narrative Device”, the duo's representation explores how disability is often misrepresented within cultural narratives and discourse as an inspiration porn, an objectification of disabled people as inspirations to non-disabled people on the basis of their life circumstances. The performances and exhibition offer a critical point of view with performance art to queer and crip the existing biased cultural narratives and represent a fully fleshed-out human experience of people with disabilities, LGBTQ+ and women. 

The presentation explores distinct body experiences of two queer and crip artists in both Mainland China and Hong Kong, challenging heteronormative and ableist societal norms and expanding the boundaries of performance with the concerns regarding gender fluidity, queerness, cripdom as an authentic narrative device for the marginalized.

Venue address: 4/F Tomorrow Maybe, Eaton HK

AISHO Hong Kong is delighted to present “Sculptural Dialogue”, a group show that brings together three contemporary artists — Katrina Sanchez, Masaki Sato, and Rasmus Nossbring — in a compelling conversation through form and material. Each artist, while distinct in their approach, shares a profound understanding of sculpture as their artistic expression and transformation.

Through their masterful manipulation of material, these artists challenge traditional boundaries of the medium. Sanchez explores the delicate balance between strength and fragility in her sculptural works, while Nossbring's monumental designs incorporate everyday elements transformed through multiple layering techniques on glass. Sato's pieces demonstrate an exceptional understanding of light and transparency, creating works that seem to capture movement in stillness.

Gallery address: Shop B, Po Hing Mansion, Tai Ping Shan, Sheung Wan

Soft Crash is a quiet collision—a meeting point between beauty and resistance, between the polished surface of fashion and the raw truths of queer and transgender identity. Set within the drop-off and carpark area of Eaton HK, a hotel that champions diversity and social activism, this exhibition turns a space of transition into a space of transformation.

Traditionally, both fashion and photography have been shaped by binary frameworks—filtered through the dominant lens of a heteronormative, male gaze. Bodies are often captured to please, to sell, or to conform. Fashion photography, in particular, has been dismissed as commercial ephemera, rarely acknowledged as serious art. Soft Crash resists these limitations. Through the eyes of queer, trans, and non-binary photographers and subjects, fashion becomes a tool of disruption—a site where identities are assembled, unstitched, and reimagined.

The carpark setting is more than aesthetic; it is metaphor. A place of pause, of waiting, of movement and margins. It reflects the lived experience of many queer individuals—forever navigating thresholds, existing between arrival and departure, visibility and erasure. Soft Crash honors that liminality. It asks: what does it mean to be seen, but not recognized? To be styled, but not understood? This exhibition embraces contradiction. It is elegant but defiant, composed but emotionally charged. Every frame is a negotiation of selfhood—bold, fragile, fluid. Fashion here is not decoration, but declaration.

Opening: 5-7pm

Venue address: G/F Car Park, Eaton HK

Boogie Woogie Photography and PhotogStory are delighted to present MUSE and TOTEM by Jean Feldman, an exhibition featured as part of the French May Festival.

This summer, visitors are invited to explore a striking selection of Jean Feldman’s works inspired by the female form—an eclectic mix of pieces on paper and canvas, alongside some of his striking Totem sculptures.

Through this collection, Feldman mixes influences, symbols, and figures that have inspired his artistic vision. Each work offers a dialogue between imagination and form, where muses spark discovery and totems evoke a sense of wonder.

In an apocalypse narrative of extreme disastrous weathers and depleting natural resources, the Earth could no longer sustain human livings. Apart from gazing at the stellar sky in quest for hope, humanity must venture deep beneath ground to explore alternative ways for survival. “INDUSHAUS”, an underground cityscape, is meticulously designed and technologically constructed as a below-earth sanctuary for endgame survivors to invent post-apocalyptic living.

Running for life? Keep your calm. INDUSHAUS, the place-to-be to keep you alive, and for the better, to live with style. This is an experiential exhibition of “INDUSHAUS”, curated for immersive exploration and welcoming all for partaking in the sci-fi tale - to engage with the works, to interact and to spark dialogues, with each and in between.

Opening reception: 13 June, 6-8pm

Venue address: 5/F Pao Galleries, Hong Kong Arts Centre, Wan Chai

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

Dai Guangyu’s  And Thus Is This Land  is a work of participatory performance art to be held and exhibited in the Focus Gallery in conjunction with the special exhibition Canton Modern: Art and Visual Culture, 1900s–1970s. Invited artists and art students will collaboratively recreate This Land So Rich in Beauty (1959), a monumental landscape by Fu Baoshi (1904–1965) and Guan Shanyue (1912–2000). An icon of modern Chinese art history, This Land So Rich in Beauty hung in Beijing’s Great Hall of the People from the time of its creation until 1990, when it was replaced with a replica. Guangdong-born Guan Shanyue is considered one of the four contemporary masters of the Lingnan School of Painting, and his works are featured in Canton Modern.

Blindspot Gallery is pleased to debut Wing Po So’s solo exhibition “Polyglot”, on view from 17 June to 9 August 2025, featuring her recent body of work. So’s intuitive approach towards art-making draws nourishment from her formative encounters with Chinese medicine, characterized by a meticulous observation of nature and its interconnectivity. She wields the materia medica derived from our living environment as vocabularies in her conceptual works, seeking to excavate the inner logic and systems latent in our surroundings. So shows a distinct sensitivity, curiosity, and fantasy towards nature and the cosmos, all through a pharmacological lens.

“Polyglot” refers to an individual of multilingual proficiency, and here, So draws a parallel between materials and language. “Polyglot” encapsulates how materials embody the multiple “languages” of nature’s patterns. Akin to how languages carry their own logic, codes, and structures, materials embody their own rules and systems. So’s works accentuate the patterns, forces and interconnectivities hidden in our everyday.

Opening reception: 14 June 2025, Saturday; 3:00 – 6:00pm

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

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

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

Book your tickets in advance.

Venue address: Gallery 9, Hong Kong Palace Museum

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

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

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

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

Soluna Fine Art proudly presents Urban Reveries, featuring the works of four Korean artists: Choi Young-Bin, Lee Ja-Young, Park Jong-Ho, and Yoon Dong-Chun. In collaboration with SYHY PROJECT, a Korean curatorial group dedicated to introducing talented emerging Korean artists, this exhibition aims to explore the intimate sensibilities and perspectives of individual artists rooted in Seoul, layered with the temporal and existential dimensions of urban experience.

Through each work, viewers are invited to wander the city’s emotional landscape, tracing the faint echoes of presence that linger in its corners. Four artists from four different generations, all currently based in Seoul and working across various media, present works that evoke specific memories or emotions, creating distinct sensory layers that together form a synesthetic harmony. As these works are displayed in the new context of Hong Kong, we hope the urban fragments and artistic expressions conveyed by Seoul will reach local audiences with a quiet yet profound resonance.

Opening reception: 19 June (Thur), 6-8 pm

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

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

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

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

Gallery address: 50 Connaught Road Central

The first comprehensive exhibition in Hong Kong dedicated to the pinnacle of Mughal art, featuring approximately 110 iconic artworks from the collection of the Victoria and Albert Museum in the UK. The exhibition celebrates the extraordinary artistic achievements of the Golden Age of the Mughal Empire (ca. 1560–1660) on the Indian subcontinent during the reigns of its most famous emperors: Akbar (r. 1556–1605), Jahangir (r. 1605–1627) and Shah Jahan (r. 1628–1658).

Gallery 8, Hong Kong Palace Museum

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).

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

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

Gallery address: 50 Connaught Road Central

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.

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

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

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

Curated by Galuh Sukardi

Gallery address: 50 Connaught Road Central

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

Gallery 9, Hong Kong Palace Museum

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

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