Editorial Team

Interview | Jakarta-Based Artist Fiametta Gabriela

Fiametta Gabriela (b.1988) is a visual artist, artistic director, performer, and arts project manager based in Jakarta, Indonesia. Her work often explores psychological, performative, and everyday life themes through interdisciplinary approaches, combining mediums such as painting, drawing, video, performance, and installation.

She holds a Diploma in Visual Communication Design with a major in Illustration from Nanyang Academy of Fine Arts, Singapore. Her experience as an independent artist has broadened her technical skills and deepened her artistic vision as a multidisciplinary practitioner.

Fiametta has participated in numerous group exhibitions, including the Titicara – Meruah program initiated by Selasar Sunaryo Art Space, Bandung (2024), and major art fairs such as Art Jakarta Gardens, Art Jakarta, and Art Moments with D Gallerie (2023–2025).

As an artistic director, she was involved in the productions “5 Fragmen Perang Djawa: Alih Wahana ‘Babad Diponegoro” (2025) at the National Library & Galeri Indonesia Kaya, as well as “in(her)ited silence” (2025) at Salihara, Jakarta. She also directed the series Di Tepi Sejarah with the performances “Ke Pelukan Orang-Orang Tercinta” (2023) at Salihara and “Yang Tertinggal di Jakarta” (2022) at Teater Kecil, Taman Ismail Marzuki, Jakarta — both productions by Titimangsa Foundation. Additionally, she was involved in the Malay musical “Kwee Tek Hoay: Sang Pendekar Pena”(2024), produced by Kelompok Pojok at the Indonesian Musical Festival held at Ciputra Artpreneur, Jakarta. She also worked as a stage designer for the performance Bunyi Puan Nusantara during the National Cultural Week (2023) at the PFN studio, Otista.

As an installation artist, she created The Dancer (2024), a collaborative work with Tulola Design and fashion designer Auguste Soesastro, showcased at the Nusantara Ballroom, The Dharmawangsa, Jakarta.

In the field of arts management, she served as project manager for the solo exhibition Nunung WS: The Spirit Within(2023) at the National Gallery of Indonesia. She also helped organize the book discussion and tour for Nunung WS: Jiwa, Cita, dan Nuansa, a publication commemorating five decades of Nunung WS’s artistic journey, presented at institutions including Institut Kesenian Jakarta, Selasar Sunaryo, and ARTJOG (2024). Currently, she works as a project manager at D Gallerie while remaining actively involved in various contemporary art exhibitions across Indonesia.

innerforce, Courtesy Selasar Sunaryo

Can you tell us about your background and how you started your artistic journey?

Drawing has always been my sanctuary—a place where I can weave stories and let my imagination soar. As an only child, I was often given blank sheets of paper and coloring tools while accompanying my mother to work. She also took me to exhibitions, museums, and performances regularly. My close bond with my grandmother, a Balinese dancer from a family deeply rooted in tradition and culture, instilled in me a profound sensitivity toward the arts. This early passion led me to pursue a degree in Visual Communication Design at Nanyang Academy of Fine Arts in Singapore.

After graduating, I worked as a graphic designer in various advertising agencies. While I experienced periods of creative restlessness, my desire to paint remained strong. So, I enrolled in a three-year program at Studio Hanafi while continuing to work. Being in an interdisciplinary environment at Taman Ismail Marzuki provided me with opportunities for collaboration. Eventually, this led me to artistic direction in theater and performance production, where I could bring characters to life and give voice to untold narratives. Over time, I also became involved as a project manager in a commercial gallery and various arts programs. This role allowed me to nurture and sustain the arts ecosystem, which aligns deeply with my lifelong practice of creating, caring, and giving voice.

innerforce2, Courtesy Selasar Sunaryo Art Space

What is your creative process like? Do you follow a routine or work spontaneously?

My creative process is a balance between structure and spontaneity. Usually, it begins with observation—memories, conversations, spaces, or cultural references that linger in my mind. Even before I start painting, I often begin by intuitively choosing materials. I’m drawn to certain colors instinctively, guided more by feeling than logic. This small ritual helps me sense the emotional direction of the work before it fully takes shape.

I collect fragments through sketches, notes, and colors that feel emotionally charged. This phase is intuitive and open; I allow myself to respond freely without overthinking the outcome. However, once the idea starts to take form, I become more structured. My background in visual communication design trained me to think about composition, narrative, and context. If I’m working on a stage or collaborative project, I research deeply and build a clear conceptual framework. But when I paint, I try to stay present and let the work evolve organically. For me, creating is a dialogue—between control and surrender, planning and discovery.

Serdadu Pink & Yellow (Pink & Yellow Force), 2024, Acrylic, pastel, pencil colored on canvas, 130 x 120 cm

Your work is deeply embedded in daily life. What inspired you to use the mundane as a starting point?

My work is really rooted in everyday life. I’m drawn to simple, ordinary things because when I look at them more closely, they often open up very personal spaces for reflection. Within those small, familiar moments, I find layers of emotion, traces of past experiences, and memories that usually go unnoticed.

I start from what seems ordinary because that’s where memory feels the most intimate and alive to me. Through my work, I try to revisit fragments of those memories, place them in conversation with the present, and think about how they might shape or resonate with the future.

Serdadu Orange (Orange Force), 2024, Acrylic, pastel, pencil colored on canvas, 100 x 100 cm

What role do you believe art plays in social and cultural change?

I see art as something like a soft martyr — not loud or confrontational, but quietly enduring. It doesn’t always demand immediate change, yet it absorbs, witnesses, and carries emotional and social weight. In that sense, art becomes a container: it holds memories, tensions, fragile stories, and unresolved histories that might otherwise disappear.

In my practice, especially through memory and domestic space, art functions as a space that gathers these intimate fragments. The home, personal narratives, and everyday gestures may seem small, but they carry layers of cultural and social meaning. By containing and preserving these subtle experiences, art allows them to be seen, felt, and shared.

I believe this quiet containment is powerful. Change doesn’t always happen through force — sometimes it begins with holding space, with acknowledging what has been overlooked. Art creates that space.

In(her)ited Silence, Courtesy Salihara

What do you hope people take away from your art when they experience it?

I hope the work I present can offer a moment of reflection, while also becoming a space where people feel free to express themselves. Through this work, I want to create an environment that feels safe and open, where individuals can explore their thoughts, emotions, and identities without fear of judgment. Ultimately, I hope it becomes a place that encourages authenticity and allows people to simply be themselves.

What projects are you currently working on, and what can we expect from you in the future?

Currently, I am preparing works for a group exhibition, and I am also hoping to organize a solo exhibition either this year or next year. I am open to collaborative opportunities across different media for future projects, as well as several exhibition projects planned for this year.

Text and photo courtesy of Fiametta Gabriela

Fiametta Gabriela

Website: www.fiamettagabriela.com
Instagram: https://www.instagram.com/fiamettagabriela/
Interview | New York and Connecticut-based Artist Miya Ando

Miya Ando is a New York-based artist whose practice encompasses painting, sculpture, installation, and artist books. Her work constructs visual systems that translate temporal natural phenomena into material form, often marking impermanence through elemental processes. She engages materials such as indigo, silver, anodized aluminum, and washi, each chosen for its capacity to register durational change. Her multi-medium practice is grounded in the belief that each concept is best conveyed through the material that most viscerally reiterates its idea. Drawing from both Japanese and American lineages, as well as early years spent in a Buddhist temple in Japan and an apprenticeship with a master metalsmith in Okayama, she translates natural and linguistic ephemera into form. Titles often draw from untranslatable Japanese idioms tied to seasonal and ecological transitions, positioning language as a structural element within the work.

Ando’s solo exhibitions include the Noguchi Museum in New York, Asia Society Texas Center in Houston, SCAD Museum of Art in Savannah, Nassau County Museum of Art in New York, and the American University Museum in Washington DC. Group exhibitions include the Los Angeles County Museum of Art, Smithsonian American Art Museum (Renwick Gallery), Crystal Bridges Museum of American Art, Socrates Sculpture Park in New York, Haus der Kunst in Munich, and the 56th Venice Biennale at Palazzo Grimani in Venice. Her work is held in major public collections such as the Los Angeles County Museum of Art, Detroit Institute of Arts, Corning Museum of Glass, Crystal Bridges, Santa Barbara Museum of Art, Scottsdale Museum of Contemporary Art, and the Jean Paul Najar Foundation. Her public commissions include a thirty-foot September 11 memorial sculpture at the Zaha Hadid Aquatic Centre in London and the Flower Atlas Calendar installation at Brookfield Place in New York. She has received awards including the Pollock Krasner Foundation Grant, the Emerging Artist Prize from the Detroit Institute of Arts, and the Bronx Museum AIM Fellowship. In 2025 the MIT Press published her book Water of the Sky: A Dictionary of Two Thousand Japanese Rain Words. She is a sixteenth generation descendant of Bizen swordsmiths.

Aotenjō (Blue Ceiling/ Limitless Sky) August 8 2022 NYC, 2022, Pigment, dye, urethane, aluminum, 48 x 96 x 1 in

Can you tell us about your background and how you started your artistic journey?

A concept that has shaped how I think about my work is 森羅万象 (shinrabanshō), the Japanese term describing the totality of phenomena in the natural world as one continuous field. Within this framework, nature becomes a philosophical lens through which I think about impermanence and the passage of time.

I grew up between Northern California and Japan and spent part of my childhood in a Buddhist temple, where ideas of cyclical time and transience were part of daily life. These experiences shaped how I think about perception and the relationship between humans and the natural world.

Material knowledge also influenced my practice. I apprenticed with a master metalsmith in Okayama, Japan, and I come from a lineage of Bizen swordsmiths.Today I work across painting, sculpture, installation, and artist books, examining phenomena such as clouds, rainfall, and moon phases.

Boun (Twilight Cloud) Triptych October 2 2021 6:18 AM Tokyo, 2021, Ink on aluminum, 62 x 124 x 2 in

Ideas of transience and the poignancy of passing moments seem relevant to your work. In what ways do you explore these sensibilities in your practice?

My work begins with natural phenomena in transition such as weather, seasonal shifts, and lunar cycles. These conditions offer a way of thinking about impermanence.

The Japanese concept 物の哀れ (mono no aware) describes an attunement to transience and the emotional resonance of passing moments. Rather than depicting a single instant, I focus on making work that reflects gradual transformation and the accumulation of subtle shifts over time.

Spring Cloud Grid 2025, 2025, Ink on aluminum, 54 x 94.5 x 2 in

What is your creative process like? Do you follow a routine or work spontaneously?

Long periods of observation form the foundation of my process. I spend extended periods studying atmospheric conditions and seasonal transitions before translating those observations into visual form.

Material selection follows the idea behind each project. Indigo, silver, aluminum, and washi respond differently to light and atmosphere, allowing subtle changes over time to become visible.

The studio process is based on precision and involves experimenting and repetition.

Ginpa (A Wave That Looks Silver In The Light Of The Moon), 2026, Natural indigo dye, micronized pure silver, kozo paper, 79 x 79 in

You explore time as something experienced rather than depicted. How do you approach capturing its subtle passage in your work?

Time is a central concept in my work. I use color as a way of encoding time. In natural indigo dyeing, the longer the material remains in the vat, the deeper the blue becomes. The color reflects duration.I am also drawn to dusk and dawn, the two moments of the day when color shifts moment by moment as light fades or emerges. Metal surfaces register time differently, reflecting changes in light and atmosphere so the work shifts with its surroundings. In these situations, color and light record the passage of time.

Amagoi (Rainmaking Prayers), 2022, Natural indigo dye, micronized pure silver, graphite, aluminum-embedded paper, 42 x 42 x 1.75 in

How do your personal experiences and identity influence your art?

My work emerges from a hybrid perspective shaped by both Japanese and American cultural contexts. That position has often meant existing slightly outside either tradition, which influences how I think about nature, impermanence, and the passage of time. Japanese is my first language and plays an important role in the work, and many titles draw from untranslatable idioms tied to seasonal and atmospheric change.

0012_Uryū Ensa (Describes the Appearance of a Fisherman Working in the Rain), 2021, Natural indigo dye, micronized pure silver, graphite, hahnemühle paper, 11 x 8.5 in

What projects are you currently working on, and what can we expect from you in the future?

My book Water of the Sky: A Dictionary of Two Thousand Japanese Rain Words, published by MIT Press in November 2025, will appear in a second printing in April 2026. The project gathers two thousand Japanese words describing different forms and expressions of rain, each paired with a drawing.

Together these drawings form an archive translating linguistic descriptions of weather into visual form. I am currently working on how this body of work might eventually take shape as a large-scale installation bringing the archive together within a museum context.

I also recently exhibited a series based on the traditional Japanese calendar of seventy-two microseasons (shichijūni kō) in Tokyo in January 2026, and I am continuing this body of work with presentations in London and New York later this year.

Text & photo courtesy of Miya Ando

Miya Ando

Website: www.miyaando.com
Instagram: https://www.instagram.com/studiomiyaando/
Interview | Ho Chi Minh City-based Artist Nguyen Khoi

Khoi is a multidisciplinary artist based in Ho Chi Minh City, Vietnam.

Nguyen Khoi graduated from high school with a major in the sciences department. He earned a bachelor’s degree in multimedia arts from the Ho Chi Minh University of Fine Arts in Ho Chi Minh City and a master’s degree in fine arts at Falmouth University.

By dismantling and reconstructing damaged everyday household electronics, objects that have quietly mediated human actions and experiences, to create paradoxical works, Khoi examines how identity and perception are constructed between humans and objects. He also considers how ignorance and ambiguity draw attention to images or objects beyond the scope of knowledge, while simultaneously reflecting on the complex relationship between humans and technology.

In addition, he is also a co-founder of Chinbo Collective, which is an art group in Vietnam.

Hatch, 2024, Metal frame of a hammock, hammock swinging machine, old filters of water machine, plastic tube, computer electronic wires, loop video, 100 x 100 x 100 cm, Photo by Nguyen Le Tuan Kiet

Can you tell us about your background and how you started your artistic journey?

I was born into a family with a strong artistic tradition, my father is a lacquer painter and my mother a literature teacher. Yet, my early interests leaned toward technology, particularly biomedical engineering, which led me to pursue studies in the sciences. Over time, however, I realized that this path felt rigid and overly defined by strict notions of right and wrong, shaped by teachers who demanded absolute clarity.

Feeling constrained, I decided to step away and experiment with art. In the freer environment of artistic practice, I gradually discovered a deep sense of belonging and passion. What began as exploration soon grew into commitment, and I have since devoted myself to studying and pursuing art as my true path.

Hatch, 2024, Metal frame of a hammock, hammock swinging machine, old filters of water machine, plastic tube, computer electronic wires, loop video, 100 x 100 x 100 cm, Photo by Nguyen Le Tuan Kiet

What are the main themes or concepts you explore in your work?

The central theme of my work is the complexity of the relationship between humans and objects, particularly household electronics. As a child, I once encountered a Buddhist monk who spoke to me about the soul. He compared the soul to electricity: when electricity flows through a fan, it becomes mechanical energy; when it passes through a stove, it becomes heat. In the same way, the human soul transforms depending on its vessel.

Later, I read a book that suggested objects are not merely tools but also carriers of history, reflections of identity, and communicative partners with humans. These ideas deeply influenced me, sparking a desire to explore the intricate connections between people and the objects that surround them.

No.9, 2024, Electrical outlet, electric plug head, hair, silkworm cocoon, 15 x 40 x 3 cm

You work across multiple disciplines. How do these different forms of expression inform and inspire each other?

I find that different artistic disciplines complement one another in powerful ways. For example, sound, video, or movement can transform a static painting or sculpture into an experience that engages the viewer’s senses more deeply, heightening emotions or generating multiple layers of meaning for each individual.

From the perspective of the artist, working across diverse fields also equips me with a wide range of skills and keeps my practice dynamic. This multidisciplinary approach prevents monotony, allowing me to continually discover new possibilities and sustain my passion for creation.

+3-1, 2024, Aluminum alloy infrared stove heat plate, clock, heat sink, tooth color chart, 50 x 35 cm, Photo by Nhu Ngoc

How do your personal experiences and identity influence your art?

I believe this has had a profound influence on me. As a child, instead of playing with conventional toys, I often used household objects and imagined stories around them. A hard drive became a spaceship, a cup transformed into a cluster of energy, and a roll of tape turned into a coiled creature. In a way, I was already practicing art through imagination, using objects as vessels for creativity.

This early habit has shaped my current practice. I continue to imagine the possibilities and relationships of everyday household items, dismantling them, reassembling them, and altering their structures, to explore how they can embody new meanings and connections.

No.10, 2024, Video, audio, tomato, needles, microwave door, grocery nets and hangers, 80 x 100 cm

What role do you believe art plays in social and cultural change?

I believe that art has the power to deepen our understanding of humanity’s relationship with the world, nurturing empathy and a greater sense of responsibility toward one another and toward non-human entities. Art enables people to engage with diverse ideals, cultures, and ways of thinking. By embracing these new values, perspectives are expanded, and awareness of life’s diversity becomes sharper.

I see art as a force that challenges prejudice, broadens personal viewpoints, and ultimately contributes to building a more inclusive and compassionate society.

Intermediary Object, 2025, Engraving on an aluminum pot, 70 x 70 cm, Photo by Nhu Ngoc

What projects are you currently working on, and what can we expect from you in the future?

At present, I am collaborating with another artist on a research project titled Salvage Computing as a Foundation for Digital Media Arts Pedagogy. I hope that this study will, in the future, prove valuable both to artists and to the field of arts education.

Looking ahead, I also wish to embark on collaborative projects with my wife, Nguyen Viet Trinh, exploring themes of gender through the lens of domestic spaces and architecture.

Text & photo courtesy of Nguyen Khoi

Nguyen Khoi

Website: https://undergo.wixsite.com/ngkhoi
Instagram: https://www.instagram.com/im.just.ngkhoi/
13B Gallery Presents 4th Group Exhibition: Sea, Seam, Sawn

Poster credit: 13B Gallery

13B Gallery is a curatorial team founded in London by two Korean artists, Sangwon Jo (sculptor) and Eunwoo Jeong (ceramic artist). They organise and curate exhibitions within domestic residential environments, aiming to shift the focus from “works made for exhibition” to “exhibitions as part of the continuing life of a working artist.”

By reflecting the process and environment of making within the exhibition itself, they curate in a way that allows artworks to be experienced not as objects that merely exist to be presented, but as entities born from the artist’s life and continuing to live as part of it. Poem that emerges from the region where the exhibition takes place and share it with the participating artists. The artists then translate their interpretations and impressions of the poem into works, and the exhibition is formed by gathering these resonant responses. This principle of curation has been continued throughout their exhibitions.

For this fourth exhibition, they draw from the poem “Sea (海)” by the Chinese poet Wu Ang ( 巫昂). The line “海被搬到了房子里” (“The sea was moved into the house”) is interpreted as the act of declaring a part of the infinite sea as one’s own sea. From this interpretation, the exhibition <Sea, Seam Sawn> builds its narrative by connecting this gesture to the worldview of the working artist of one that is defined through acknowledging one’s own conditions and limitations within the infinite possibilities of life.

Sera Oh, An Island Made by Swimming, 2023, Gelatin Silver Print, 172 x 91 cm, ©Sera Oh

Eight artists participating in this exhibition have each drawn a line across the sea from where they stand. To draw a border line across the sea is to acknowledge that the infinite possibilities of life cannot continue endlessly; at the same time, it is to confront the conditions and identities that shape ones’ life. Through this uneasy and daunting declaration, the artists finally come to possess fragmented seas that bear their own names.

The emergence of a bordered sea marks the formation of a personal world as an artist. An acquisition of ones’ own field of meaning.

Yet this line is not drawn merely to separate. An endless sea can contain everything, but within such boundlessness the differences that arise are easily forgotten. Only when a boundary appears can differences reveal themselves in a form that allows them to face one another.

The fragmented sea spoken of in this exhibition is therefore not something severed, but a surface of contact that permits relation. The boundaries each artist claims are not only necessary for standing as oneself, but also become the place through which one can reach another. In other words, this boundary is not a line that pushes the other away, but one that opens toward and overlaps with the other.

Minjae Song, Aging Chair 2, 2023, Steel Frame, Plastic casting, 550 x 450 x 580(H) mm, ©Minjae Song

In this way, the exhibition places works throughout the space that reveal the conditions and limitations that have shaped the artists’ worldviews and the formation of their practices. Through this arrangement, the eight fragmented seas are shown not as isolated pools but as bodies of water that inevitably come back into contact with the world.

Gathered in one place, the works form a new sea. Each carries a different density and its own waves, which may generate new tensions and collisions or give rise to moments of dialogue and exchange. Rather than attempting to control these relations, the exhibition leaves them open.

Throughout the exhibition period, certain works change their positions at set times. Through these movements, the exhibition attends to the constantly shifting relationships between the works and the vitality that emerges as they continue to ripple like waves.

Kanako Kitabayashi, Grasp at the air 3, 2026, Ceramic, beads, yarn, W190 × H90 × D110 mm, ©Kanako Kitabayashi

Venue
31, Yeonhui-ro 29-gil, Seodaemun-gu, Seoul, Republic of Korea

Artists
Kanako Kitabayashi(Ceramic and textile artist), Minjae Song(Sculptor), Kyeongwon Seo(Sculptor), Youngdon Cheon(Performance artist), Sera Oh(Printmaker), Meixuan Li(Glass artist), Yezi Lin(Video artist), Leop Chen(Photographer)

Curator
Subin Han, Sangwon Jo

Editor
Yemi Kwon

Producer
Sangwon Jo

Tech Support
Dokyun Koh

Exhibition Dates
March 27th – April 1st, 2026

Gallery Hours
Monday – Sunday | 11 AM – 6 PM

Website
https://13bgallery.com/

Instagram
https://www.instagram.com/13b.gallery/

Booking for Visit
https://booking.naver.com/booking

Contact
gyb@13bgallery.com

(Text and images courtesy of 13B Gallery)
Hong Kong Museum of Art Presents Live: Hong Kong Art Exhibition, a Group Exhibition

Poster credit: Hong Kong Museum of Art

Hong Kong art reflects the city’s unique position as a cultural crossroads, synthesising Chinese traditions and Western influences into distinctive artistic vocabularies and aesthetics. As a flagship Hong Kong art event of “Art March”, “Live: Hong Kong Art Exhibition” brings together 19 artists who are actively shaping the city’s contemporary art scene, ranging from established masters to rising stars. Their works are often deeply rooted in local contexts, reflecting Hong Kong’s unique urban landscape, rhythm of life and cultural sensibilities. Central to many of their practices are cross‐media transformation and experimentation. Through multifaceted artistic languages, familiar forms are reimagined into contemporary expressions—paintings that resonate with light and shadow, ink interwoven with digital media, and traditional crafts that collide with innovative ideas—sparking an aesthetic uniquely tied to this time and place.

From 2026.3.20, visitors will have the opportunity to explore a selection of their recent works across a variety of media—including painting, ink art, ceramics, sculpture, video, installation and multimedia—offering a comprehensive showcase of the exceptional creativity and diverse practice of Hong Kong’s artistic landscape. A special section titled “Live: Inspiration” featured in the exhibition offers visitors an intimate glimpse into the artists’ creative worlds, revealing their sources of inspiration and innovative approaches. Through the video series Studio and Beyond, the artists’ studios become a lens through which the unique ecology of Hong Kong art is explored.

Art March Spotlight—Presenting the Many Faces of Hong Kong Art

As a flagship Hong Kong art event of “Art March”, the “Live” exhibition brings together 19 artists who are actively shaping the city’s contemporary art scene, ranging from established masters to rising stars. Visitors will encounter a selection of their recent works across diverse media, including painting, ink art, ceramics, sculpture, video, installation and multimedia. The exhibition offers a comprehensive showcase of Hong Kong’s artistic excellence and stylistic diversity, offering art lovers from around the world the opportunity to experience the unique charm of Hong Kong art.

Exploring Unique Aesthetics—Experiencing Local Contexts

Hong Kong art uniquely reflects the city as a cultural crossroads. It is neither purely Eastern nor entirely Western, but nurtures its own distinctive artistic language and aesthetic form in the spaces between these traditions. Among the artists participating in this exhibition, many draw on Chinese artistic traditions and philosophical thought. They refuse to be constrained by inherited frameworks and are bold in breaking new ground. Their works are deeply rooted in local contexts, reflecting Hong Kong’s unique urban landscape, rhythm of life and cultural sensibilities. Central to many of their practices are cross-media transformation and experimentation. Through multifaceted artistic languages, familiar forms are reimagined into contemporary expressions, sparking an aesthetic uniquely tied to this time and place.

̇Inspiration Unlocked—Step Inside the Artist’s Creative Mind

The exhibition features a special section, “Live: Inspiration”, which transforms the gallery into miniature studios for each participating artist, revealing the fascinating sources of inspiration and creative tools that fuel their practice. This innovative experience provides visitors with unique insights into the artists’ creative process, moving beyond traditional exhibition formats.

Live: The Studio—Direct Encounters with Artists

For the first time, the Hong Kong Museum of Art introduces “Live: The Studio”. Located in The Wing (Lower) on the ground floor, this open studio invites participating artists to take up residencies. Through live creation, workshops, sharing sessions and other activities, visitors will have the rare opportunity to step behind the scenes, engage directly with the artists, and witness the complete process of art making from ideation, experimentation with materials, to final fruition.

Promoting Hong Kong Art from Diverse Perspectives

The Hong Kong Museum of Art has engaged the Community Art Network (CAN) as the exhibition’s education and promotion partner. Through videos, artist interviews, multi-sensory guided tours and tailor-made teaching kits for primary and secondary schools, the programme makes contemporary Hong Kong art accessible to a wide range of audiences, students, and individuals with special needs. These initiatives aim to broaden public understanding of contemporary Hong Kong art and cultivate a deeper appreciation among diverse audiences.

Venue
Hong Kong Art Gallery and Lobby, 2/F, and The Wing (Lower), G/F

Artists
Chu Hing-wah, Angela Yuen, Inkgo Lam, Ross Yau, Hung Keung, Leung Mee-ping, Joseph Chan, Chan Wai-lap, Chan Kwan-lok, Jess Leung, Raymond Fung, Wong Hau- kwei, anothermountainman (Wong Ping-pui, Stanley), Wong Chung-yu, Wong Chun-hei, Wong Lai-ching, Fiona, Hung Hoi, Hung Fai, Law Yuk-mui

Exhibition Dates
20 March, 2026 – 5 May, 2027

Gallery Hours
Monday – Wednesday, Friday | 10 AM – 6 PM
Saturday, Sunday, public holidays | 10 AM – 9 PM

Website
hk.art.museum

Instagram
https://www.instagram.com/hkmoa/

Contact
hkmoa_enquiries@lcsd.gov.hk

(Text and images courtesy of Hong Kong Museum of Art)
3812 Gallery Presents The Ascent: 15 Years of 3812 Gallery – Anniversary Exhibition

Poster credit: 3812 Gallery

As the 2026 Hong Kong Art Month anticipates, 3812 Gallery is pleased to present “The Ascent: 15 Years of 3812 Gallery – Anniversary Exhibition”, inviting audiences to witness this milestone when we celebrate the gallery’s 15th anniversary — a journey defined not only by crossings between East and West, but by how artists — and an institution that champions them — have learned to face the changes that shape practice, perception and place. “The Ascent: 15 Years of 3812 Gallery – Anniversary Exhibition” opens from 19 March to 7 May 2026, with an Opening Reception held on 19 March at 6 – 8pm.

Fifteen years ago, 3812 Gallery began an ascent: a steady climb by Calvin Hui and Mark Peaker, co-founders of 3812 Gallery—to the Aiguille du Midi ridge (3,812 m) above Chamonix—sometimes venturing off-piste, compelled by conviction, curiosity and the willingness to move beyond familiar ground. The name “3812” thus references that ridge, a symbol of new horizons and the courage to meet challenges.

Liu Guofu, Flower No. 13, 2021, Oil on canvas, 150 x 150 cm

This exhibition brings together the twin ideas that have guided our work since 2011: ascent as continuous striving, and change as the engine of artistic life. Across fifteen years, 3812’s role has been to witness, support and present those transformations — to give historic voices renewed platforms, to accompany rising practitioners across borders, and to foster the conversations that make art resonant beyond its origin.

At the heart of 3812’s curatorial vision is a belief that art can and should connect to the soul. Curatorial practice at 3812 has always been a conversation: between media (ink, woodcut, painting, sculpture, photography, video and A.I. technology), between generations, and between geographies.The exhibition features 12 artists across generations, including the masters who have given us roots: Hsiao Chin (1935 – 2023), Ma Desheng (b. 1952), Raymond Fung (b. 1952) and Liu Guofu (b. 1964); the mid‑career artists whose practices have matured within and beyond our walls: anothermountainman(Stanley Wong) (b. 1960), Liu Zhuoquan (b. 1964), Victor Wong (b. 1966), Li Hongwei (b. 1980), Chloe Ho (b. 1987); and the young talents whose work points to new altitudes: Joanne Chan (b. 1992), Natalie Cheng (b. 1992) and Thomas Ngan (b. 1995). Each object holds traces of its creator’s decisions: how to persist, to adapt, to resist, to reimagine. Collectively, they tell a larger story about the human capacity to transform experience into enduring form.

We warmly invite collectors and art enthusiasts to join us at 3812 Gallery Hong Kong. As you move through “The Ascent” we invite you to engage with the artworks both as markers of personal journeys and as parts of a wider cultural conversation – together they chart fifteen years of careful climbing: moments of arrival, moments of reorientation, moments of renewed risk.

Ma Desheng, Time Tunnel, 2005, Acrylic on canvas, 114 x 146 cm

Venue
26/F, Wyndham Place, 44 Wyndham Street, Central, Hong Kong

Artists
Hsiao Chin, Ma Desheng, Raymond Fung, Victor Wong, Liu Guofu, Liu Zhuoquan, Li Hongwei, Chloe Ho, Joanne Chan, Natalie Cheng, Thomas Ngan, anothermountainman(Stanley Wong)

Exhibition Dates
March 19 – May 7, 2026

Gallery Hours
Monday – Friday | 11 AM – 7 PM

Website
https://www.3812gallery

Instagram
https://www.instagram.com/3812gallery/

Contact
hongkong@3812cap.com

About 3812 Gallery

Co-founded by Calvin Hui and Mark Peaker, 3812 Gallery is a dynamic art space with locations in Hong Kong and London. In 2025, the London gallery is relocated to a new and exciting destination, The Whiteley. 3812 represents both modern and contemporary Chinese artists, such as Hsiao Chin, a major post-war painter whose works can be found in prestigious institutions like M+ in Hong Kong and the Metropolitan Museum of Art in New York; and Ma Desheng, an internationally renowned Chinese artist based in Paris, who had a solo exhibition at Centre Pompidou in 2022. His works are collected by international institutions including Centre Pompidou, the British Museum, and M+ Museum. 3812 also highlights the significance of ink art, including the works of Raymond Fung from Hong Kong, whose works can be found in notable collections such as The Asian Art Museum of San Francisco and the Hong Kong Palace Museum. The gallery also represents Liu Guofu, a meticulous painter based in Nanjing, whose works are collected by Macau’s MGM Chairman’s Collection and the Shanghai Art Museum. 3812 continuously expands its artistic vision by working with contemporary artists from diverse genres. This includes celebrated Beijing-based artist Zhao Zhao, recipient of the Artist of the Year Award of Art China (AAC) in 2019, as well as the captivating porcelain creations of Li Hongwei, which have been collected by over 30 prominent institutions including the Art Institute of Chicago sand the British Museum, among others.

Image courtesy of 3812 Gallery

(Text and images courtesy of 3812 Gallery)
Vanguard Gallery Presents Solo Exhibition By Ella Wang Olsson: Landescape

Poster credit: Vanguard Gallery

Vanguard Gallery is pleased to present “Landescape” by multidisciplinary artist Ella Wang Olsson, featuring a new body of cross-media video and sound installations alongside paintings. As a member of Gen Z, having grown up navigating this fractured reality and the collision of divergent value systems, Ella Wang Olsson’s practice, stemming from inquiries into escapism and belonging, revolves around the question:how can we truly be free today?

The title “Landescape” merges the words “landscape” and “escape”, framing the ongoing research project in Ella’s practice to investigate celebration, the collective body and escapism. The exhibition opens on 17 January 2026, marks Ella’s first solo presentation at the gallery.

Tree of Life, 2025, Oil on canvas with Chinese ink and acrylic, 200 x 300 cm

“Landescape” begins with Ella’s long-term reflection on the archaic practice of celebration. Viewed through the parallel lenses of Daoism and rave culture, celebration is understood not merely as leisure or entertainment, but as a ritualised suspension of order. It is a way to escape from the stale and repetitive patterns of everyday life, opening up a healing interval in which the present moment is released from the demand to produce value or meaning.

The video installation “Landescape” that shares the same name with the exhibition was developed from Ella’s previous performance at Shanghai’s Power Station of Art. Drawing from Daoist notions of the body as a landscape, and Georges Bataille’s writings on collective celebration as a means of reintroducing the sacred into everyday life, Ella frames the party as a site where belonging and escapism collide. It is a space of harmonious chaos—a lawless union, a temporary manifesto—that captures the unease of being together in an age of mass individualism. Here, escapism reveals its dual nature: it may dissolve into passive withdrawal, or evolve into an active force of healing and creation.

Installation view of Landescape, Courtesy of Vanguard Gallery

The paintings presented in the exhibition belong to the same evolving series exploring the spirit of the party. Each canvas captures a fleeting moment of chaotic revelry, rendered through a complex, layered surface built by repeated gestures of wiping and erasure. This series is deeply inspired by the cave paintings of Dunhuang and Daoist understandings of chaos as fluid, formless and rich with potential. As bodies converge and dissolve in the scene, individuality gives way to a collective presence, and the human figure is absorbed into the landscape itself.

“Landescape” proposes a temporal escape to the viewer. Upon entering, one may find the way to reconnects with the body, reclaims collective experience, and momentarily touches a form of freedom that remains elusive, but urgently necessary.

Venue
Vanguard Gallery (B1-8, 9 Qufu Road, Jing’an, Shanghai)

Artists
Ella Wang Olsson, aka xiexie3lla

Exhibition Dates
January 17 – March 28, 2026

Gallery Hours
Tuesday – Saturday | 11 AM – 6 PM

Website
http://www.vanguardgallery.com

Instagram
https://www.instagram.com/vanguardg/

Contact
info@vanguardgallery.net

(Text and images courtesy of Vanguard Gallery)
Blindspot Gallery Presents at Art Basel Hong Kong 2026

Poster credit: Blindspot Gallery

Blindspot Gallery is pleased to return to Art Basel Hong Kong 2026 (Booth 1D20), featuring works by Chen Wei, Un Cheng, Cheung Tsz Hin, Isaac Chong Wai, Lap-See Lam, Andrew Luk, Sin Wai Kin, Xiyadie, Yeung Tong Lung, Trevor Yeung, and Zhang Wenzhi. The presentation spotlights latest works by Lap-See Lam and Trevor Yeung, coinciding with their respective solo exhibitions at the gallery; it will also mark the gallery’s first-time presentation of works by painter Cheun Tsz Hin.

In addition, Sin Wai Kin’s The Fortress(2024) and Jen Liu’s The Land at the Bottom of the Sea(2023) will be screening at Art Basel’s Film program, curated by Ellen Pau. In other programs at the fair, Angela Su will be taking part in Art Basel Conversations, on a panel moderated by Venus Lau, in conversation with artist Kandis Williams, titled “On ghosts and monsters“.

Lap-See Lam, Raft, Mandarin (II), 2026, Glass, 23 x 55 x 55 cm

During Art Basel, Blindspot Gallery will present two solo exhibitions at the gallery: “Trevor Yeung: swallowing rumination, gracefully“(on view until 2 May) and “Lap-See Lam: Bamboo Palace, Revisited” (23 March – 2 May). This will mark the Swedish-born Hong Kong artist Lap-See Lam’s debut solo exhibition in Hong Kong and in Asia. On 21 March (SAT), the two artists will have a conversation at 4pm, moderated by Olivia Chow, Director of Curatorial Programs at the Chinese Canadian Museum. On 24 March (TUE), Blindspot Gallery will participate in “Late Night Southside”, when galleries in the Southern District of Hong Kong will open till late.

Other exhibitions also include the participations of Chen Wei, Lap-See Lam, and Andrew Luk in “Stay Connected: Supplying the Globe” at Tai Kwun Contemporary (on view until 31 May). South Ho Siu Nam will participate in the group exhibition “CERTAINLY” at GOLD by Serakai Studio (20 March – 3 May).

Yeung Tong Lung, Fung Wong Muk Native Region: Madagascar (detail), 2024, Oil on canvas, metal frame, 78 x 96 x 4 cm (framed size)

Venue
Booth 1D20, Hong Kong Convention & Exhibition Centre (1 Harbour Road, Wan Chai)

Artists
Chen Wei, Un Cheng, Cheung Tsz Hin, Isaac Chong Wai, Lap-See Lam, Andrew Luk, Sin Wai Kin, Xiyadie, Yeung Tong Lung, Trevor Yeung, Zhang Wenzhi

Public Days
March 27 – 29, 2026

Opening Hours
Friday – Saturday | 2 – 8 PM
Sunday | 12 – 6 PM

Website
https://blindspotgallery.com

Instagram
https://www.instagram.com/blindspotgallery/

Contact
info@blindspotgallery.com

(Text and images courtesy of Blindspot Gallery)
Johyun Gallery_Seoul Presents A Solo Exhibition By Ouhi Cha: Strata of Being, An Existential Odyssey

WINTER – REISE, 2024-2026, Mixed media, collage, acrylic on canvas, 130 x 89.5 cm, Courtesy of Johyun Gallery

Johyun Gallery_Seoul presents Strata of Being, An Existential Odyssey, a solo exhibition of works by Ouhi Cha, who has worked between Korea and Berlin for over four decades. Marking the artist’s first solo presentation with the gallery, the exhibition brings together paintings from the signature Ship of Odyssey series and a new body of work inspired by Franz Schubert’s song cycle Winterreise (Winter Journey).

Ouhi Cha’s childhood memories at the port of Busan are the point of departure for a practice that traverses the terrain between personal interiority and the universal tragedies and hopes of humankind. Born in 1945, the year of Korea’s liberation, and among the first cohort of students to receive formal art education at Korean universities, Cha relocated to Berlin in 1985 on a DAAD (German Academic Exchange Service) scholarship. Her nomadic existence between Korea and Germany has given rise to a singular aesthetic, one in which the visceral energy of German Expressionism and the contemplative spatial philosophy of East Asian sumuk (Indian-inkwash) painting converge. In 1989, Cha witnessed the fall of the Berlin Wall firsthand, and incorporated cement fragments from the Wall into installation works that translated historical upheaval into the language of form. That same body of work led to her participation in 1990 as a German national in both the 8th Sydney Biennale and the Venice Biennale Turkish Pavilion. Historical turmoil and individual existence have remained central to her practice since, notably in Kunst gegen Gewalt (Art Against Violence), Berlin, 2010. Art critic Seo Sung-rok has described her work as “the product of a fierce critical inquiry that seeks to restore, as artistic memory, the suffering of individuals rendered powerless before the violence of history,” calling it “an existential voyage toward the truth of being.”

W.R, 2024-2025, Mixed media, oil on canvas, 40 x 40 cm, Courtesy of Johyun Gallery

Black and white, reduced to a minimal palette, compose canvases that resemble the wake of a vessel erasing its own trace. Illegible coordinates intimate direction across the surface, into which dust gathered from burned letters and other remnants has seeped. Sand, cement, and pigment are layered onto the canvas, then repeatedly scraped with knife and brush until forms emerge: signs and numerals, ladders and wings. These are traces inscribed upon the skin of a life that has passed through the long days of voyage. Indelible clues of memory, having passed through strata of matter, shimmer across the surface in condensed form.

The Winterreise series, newly presented in this exhibition, opens another dimension of this navigational narrative. The earlier Odyssey works operated within a mythic structure predicated on return; Winterreise, by contrast, addresses a state in which return is indefinite and suspended, a condition of enduring existential solitude. Schubert’s restrained measure and tension, transposed onto canvases steeped in grey, become configurations of signs and lines. The concrete memory of music, imprinted through Dietrich Fischer-Dieskau’s interpretation, functions as material substrate, yet ultimately persists as illegible notation. This transposition is consonant with the artist’s conviction of revealing memory not through explication but through erasure: to use material, but leave none of it behind.

Venue
Johyun Gallery_Seoul, B1 The Shilla Hotel, 249 Dongho-ro, Jung-gu, Seoul, South Korea

Artists
Ouhi Cha

Exhibition Dates
March 18 – May 10, 2026

Gallery Hours
Tuesday – Sunday | 10:30 AM – 6:30 PM

Website
https://www.johyungallery.com

Instagram
https://www.instagram.com/johyungallery/

Contact
press@johyungallery.com

About the Artist

Ouhi Cha, Courtesy of the artist

Ouhi Cha (b.1945)

Four decades of voyage culminate in this presentation at her country of birth, another moment of passage that contemplates the strata of being revealed in the interval between the lowering and raising of an anchor. To the contemporary moment goverened by speed and immediacy, Ouhi Cha’s canvases respond with the density of existence.

Ouhi Cha is an artist who has practiced a nomadic life for over four decades, moving between Korea and Germany. Since relocating to Berlin in 1985, she has persistently crossed boundaries, engaging in intense existential struggles. Her work, where the vigorous energy of German Expressionism meets the profound spaciousness of East Asian ink painting, creates compositions imbued simultaneously with tension and balance. Her signature series, Ship of Odyssey, treats the canvas as both sail and map, arranging compressed symbols and characters amidst stark black-and-white contrasts. The deep, mysterious layers of yellowish backgrounds embody the accumulation of time, while the drifting, irregular forms—arrows, question marks—evoke childhood memories rooted in the numbered boats of Busan’s harbor and float across the canvas like a soul’s voyage toward the unknown. These symbols and compositions, which minimize the artist’s subjective imprint and highlight the intrinsic presence of things, permeate a distinctive aesthetic that fluidly transcends the boundaries of time and space. Ouhi Cha has participated in numerous exhibitions, including at Jin Gallery in Seoul, Korea; Galerie Georg Nothelfer in Berlin, Germany; Gallery Shirota in Tokyo, Japan; Nagoya City Art Museum, Japan; and the Venice ‘Asiana’ Group Exhibition, Italy and the Sydney Biennale, Australia. Her works are held in major public collections such as the National Museum of Modern and Contemporary Art, Seoul, Korea; Seoul Museum of Art, Seoul, Korea; Samsung Museum of Art, Leeum, Seoul, Korea; Berlinische Galerie, Berlin, Germany; and the Museum of Prints and Drawings, Berlin, Germany.

(Text and images courtesy of Johyun Gallery_Seoul)
Asia Art Archive Presents a Two-chapter Exhibition:At 25: Artists’ Early Worlds

4 March 2026, Hong Kong—Asia Art Archive (AAA) announces its March 2026 programmes, spotlighting the crucial role of art archives in understanding and reinterpreting art history. Presented as part of AAA’s 25th anniversary programme series, At 25: Artists’ Early Worlds is a two-chapter exhibition that gathers eight prominent contemporary artists to reflect on their artistic origins at the age of 25. Part I of the exhibition opens at AAA’s library on 17 March 2026. On 26 March 2026, AAA welcomes renowned Beijing-based artist Zhang Xiaogang as the guest speaker for this year’s Annual Artist’s Lecture. AAA will also launch the publication Hong Kong Art: A Curator’s History (1987–2004) by Oscar Ho, one of Hong Kong’s most influential cultural advocates, at its booth at Art Basel Hong Kong.

Image: Zhang Xiaogang, 1985. Zhang Xiaogang Archive, Asia Art Archive Collections. Courtesy of the artist. 

For At 25: Artists’ Early Worlds, AAA invites eight contemporary artists from Asia to respond to a seemingly simple question: What were you like at 25? Part Ifeatures Ho Tzu Nyen, Tehching Hsieh, Araya Rasdjarmrearnsook, and Zhang Xiaogang. Bringing together artworks and rare archival materials, the exhibition offers a close reading of these artists’ personal histories, while tracing the cultural environments in various historical periods that have shaped these artists at 25. The presentation also reflects generational shifts: how conditions of learning and access to information have evolved, and how “beginnings” themselves have changed across decades. Besides artist and art institutional records, the exhibition also draws from documentary photography and film, television, radio, and other mass media, as well as government, academic, and personal collections. At 25 further extends the invitation to visitors to reflect on or imagine their own 25th year, allowing them to weave their personal timelines into a much larger cultural and historical continuum. At 25: Artists’ Early Worlds, Part I will be on view at AAA’s library from 17 March to 27 June 2026. Part II will follow from July to October 2026.

Image: Portrait of Araya Rasdjarmrearnsook at age 25. Courtesy of the artist.

AAA is honoured to host renowned Beijing-based artist Zhang Xiaogang as the distinguished speaker for this year’s Annual Artist’s Lecture on 26 March 2026. Zhang rose to prominence in the 1990s with his iconic figurative and surreal works that explore Chinese history, identity, and collective memory. In 2007, Zhang first collaborated with AAA to digitise his personal archive. As part of AAA’s 25th anniversary celebration, he returns this March to participate in At 25: Artists’ Early Worlds, Part I, and to deliver a lecture reflecting on his archive and his relationship to personal history. On 26 March 2026, a breakfast reception will be held at 10am at AAA’s library, followed by the lecture at 11am. The Annual Artist’s Lecture is generously supported by Octone Foundation, Stephen King, and Jason Zhai. The breakfast reception is supported by Jina Lee.

Image: Portrait of Zhang Xiaogang. Courtesy of the artist.

The publication Hong Kong Art: A Curator’s History (1987–2004) will be launched at AAA’s booth at Art Basel Hong Kong. This publication is the first illustrated art historical study of Hong Kong, focusing on the period from 1987 to 2004. A fascinating insider account by curator, artist, art critic, art educator, and leading cultural figure Oscar Ho Hing Kay, the book will be published by Rizzoli International Publications and is supported by AAA in the areas of research, archival material gathering, and translation. AAA’s presentation at Art Basel Hong Kong is generously supported by Christopher K. Ho, Stephen King, and Nelson Leong. Asia Art Archive is a Cultural Partner of Art Basel Hong Kong 2026.

Archive for All: Growing with Communities is generously supported by the Hong Kong Arts Development Council, as well as Mimi Brown & Alp Erçil and Wendy Lee & Stephen Li.

Supported by

The Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

Media partners for At 25: Artists’ Early Worlds, Part I are ArtReview Asia and The Art Journal.

Programme Schedule

Exhibition | At 25: Artists’ Early Worlds, Part I
17 March–27 June 2026 (Mon–Sat, 10am–6pm)
CCG Library, Asia Art Archive, 11/F Hollywood Centre, 233 Hollywood Road, Sheung Wan

Media Tour of the Exhibition 
Tuesday, 17 March 2026, 12nn–1pm 
CCG Library, Asia Art Archive, 11/F Hollywood Centre, 233 Hollywood Road, Sheung Wan
Please RSVP via email to christy@aaa.org.hk

Annual Artist’s Lecture: Zhang Xiaogang
Thursday, 26 March 2026, 10–11am (breakfast reception), 11am–12:30pm (talk) 
CCG Library, Asia Art Archive, 11/F Hollywood Centre, 233 Hollywood Road, Sheung Wan
Register to attend

Book Launch | Hong Kong Art: A Curator’s History
27–29 March 2026
Cultural Partners Area on Level 1 Concourse, Art Basel Hong Kong, Hong Kong Convention and Exhibition Centre

About the Program

Asia Art Archive (AAA) is an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With one of the most valuable collections of material on art freely available from its website and onsite library, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes.

(Text and images courtesy of Asia Art Archive)