-
Between Media, Myth, and Truth: Jiannan Wu’s Feb. News at The Sovereign Asian Art Prize
In April 2026, artist Jiannan Wu’s work Feb. News was shortlisted as a finalist for The Sovereign Asian Art Prize. The shortlisted works will be presented in two exhibitions in Hong Kong: the first will take place from April 24 to May 3, 2026, at H Queen’s in Central; the second will be held from May 12 to May 15, 2026, at WKCDA Tower in the West Kowloon Cultural District, where Phillips Asia headquarters is located. Members of the public will be able to view the shortlisted works in person and participate in the Public Vote Prize either online or on-site.
The Sovereign Asian Art Prize is organized by The Sovereign Art Foundation. Founded in 2003 and headquartered in Hong Kong, the foundation has long been dedicated to promoting international exposure for contemporary Asian artists. Through art prizes, exhibitions, and charity auctions, it also raises funds for art therapy and education programs supporting underprivileged children. As one of the most representative and influential annual contemporary art prizes in the Asia-Pacific region, The Sovereign Asian Art Prize not only recognizes artistic creation, but also continues to emphasize the connection between art, public value, and social care.
Jiannan Wu’s Feb. News was selected from more than 250 nominated works and entered the final list of 30 shortlisted artists. The prize operates through a nomination system by curators and galleries. All shortlisted works will be exhibited in Hong Kong, with public voting available both online and on-site. The artist who receives the most public support will be awarded the Public Vote Prize. At the same time, the shortlisted works will be sold and auctioned for charity, raising funds for The Sovereign Art Foundation’s art therapy programs supporting underprivileged children in Hong Kong.
Feb. News is based on the shell of a real 1990s vintage television set. Combining acrylic on resin with LED lighting, the work constructs a narrative space between sculpture, relief, and media installation within its dimensions of 32 x 45 x 33 cm. In this work, news is no longer simply a means of transmitting information, but becomes a staged, performed, and illuminated scene. The juxtaposition of mythological figures and cartoon characters also functions as a direct metaphor, revealing how we search for reality within a collage of fairy tales, entertainment, and propaganda, while often only reaching fragments that have been processed, filtered, and packaged. The adjustable lighting further reinforces this idea: when viewers turn the switch and change the color tones inside the television, it is as if they are also deciding which version of “truth” they are willing to believe.
Artist Jiannan Wu has long been concerned with how contemporary urban life, public events, and social images are viewed, circulated, and reproduced. Speaking about being shortlisted, Wu said: “Being shortlisted for the Sovereign Asian Art Prize—such an important award in Asia—is, for me, first of all a recognition of the work I’ve done so far, and also real encouragement to keep going. I’m very happy to be showing my work in Hong Kong—an important art context—alongside so many outstanding artists. It gives the work a chance to reach new audiences, and to be seen, understood, and discussed through a different lens.” He also expressed his gratitude to The Sovereign Art Foundation for providing this opportunity, to Gary Mok for the nomination, and to the jury for recognizing his work. Regarding the prize’s charitable mission, Wu added: “It reminds me that art doesn’t exist in isolation—it can connect to broader structures like education, public support, and social care. That feels especially meaningful to me, because it allows artistic practice to go beyond the work itself and link to a larger public value and social impact.”
Discussing his recent practice, Wu said: “In my recent work, one noticeable shift is that I’ve started paying much more attention to what the sculptural material itself can express. Compared to my earlier pieces, I’m using more metal and working at a larger scale. For me, this isn’t just a formal change—it’s also a way of pushing myself to rethink sculptural language itself. At the same time, the themes remain consistent: I’ll continue to engage with social events, as well as my own experiences and emotions.”
What makes The Sovereign Asian Art Prize distinctive is that it does not remain only at the level of artistic honor and market exposure. On the one hand, The Sovereign Art Foundation supports the international visibility of contemporary artists through its prize mechanism. On the other hand, through exhibitions, sales, and charity auctions of shortlisted works, it raises funds for its art therapy programs. The foundation’s Make It Better program supports children, caregivers, and social workers in underprivileged communities in Hong Kong through ongoing expressive arts workshops. For Jiannan Wu, this mechanism, which extends from artistic creation to public care, gives this shortlisting a significance that goes beyond personal recognition.
Text: Jianing Lu, Asian Art Contemporary
Image courtesy: The Sovereign Art Foundation
-
BLINDSPOT Gallery Debuts Lap-See Lam’s Solo Exhibition: Bamboo Palace, Revisited
Poster credit: Blindspot Gallery Blindspot Gallery is pleased to debut Lap-See Lam’s solo exhibition at the gallery and in Asia, “Bamboo Palace, Revisited”, opening on 21 March 2026, coinciding with Art Basel Hong Kong. The exhibition presents Lam’s expansive video installation Floating Sea Palace (2024), alongside her latest glass and neon installations.
Lam probes the experience of the Hong Kong Chinese diaspora, migrational movement, generation loss, and the mistranslation of cultural symbols, orientalized through the spectacle of exoticization. Through speculative fiction and mythology, Lam explores the slippery notions of home and belonging, drawing from her personal experiences growing up in a Hong Kong-immigrant family that owned and ran a Chinese restaurant in Stockholm until 2014. Her work further integrates reinterpretations of traditional forms of storytelling, including shadow play and Cantonese opera, and 3D scanning technology. The scans glitch and deform, a quality embodied in the term “generation loss”, which for Lam conveys a multifaceted identity, and the mutations of memories and knowledge across generations.
Raft, Mandarin (I), 2026, Glass, 21 x 55 x 55 cm, Production and realisation: Cirva, Marseille, Image courtesy of artist and Blindspot Gallery The exhibition is anchored on Floating Sea Palace, developed from The Altersea Opera (2024), presented in the Nordic Pavilion in the 60th Venice Biennale in 2024. The work forms part of her Altersea series (2022-2025), the artist’s neologism alluding to the alternate vision of the sea, mystical and layered with tales. The libretto narrates an apparition on a ship at sea, carrying the weight of its own hauntology as it sails through space and time, propelled by the currents of memories and stories. It centers on the protagonist Lo Ting, a primordial hybrid human-fish, mythologized as the ancestor of the Hong Kong people.
Installation view: “Lap-See Lam: Bamboo Palace, Revisited”, Blindspot Gallery, Hong Kong, 2026, Image courtesy of artist and Blindspot Gallery Venue
Blindspot Gallery, 15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang, Hong KongArtists
Lap-See LamExhibition Dates
23 March – 2 May, 2026Website
https://blindspotgallery.comInstagram
https://www.instagram.com/blindspotgallery/Contact
info@blindspotgallery.comAbout Lap-See Lam
Lap-See Lam (b. 1990, Stockholm, Sweden) draws on experiences of the Hong Kong Chinese diaspora, delving into migratory movement, generation loss, speculative fiction, mythology, and the mistranslation of cultural symbols through video installations, sculptures, and performance. Her works blend traditional forms of storytelling with contemporary techniques, integrating 3D scanning technology. The glitches from these scans inform her visual language, conveying information loss that spans across generations. Her works reflect on her family history of migration, capturing the complexities of cultural heritage and the convoluted notion of belonging. Influenced by her upbringing, her research has been focusing on Chinese restaurants in Stockholm, exploring their cultural history and projected Chineseness catered to a certain gaze. Lam was the recipient of The Lise Wilhelmsen Art Award 2025 and represented Sweden at the 60th Venice Biennale in 2024. She will have solo exhibitions at Henie Onstad Kunstsenter in Oslo in June 2026, Vienna Secession in September 2026, and SCAD Museum of Art in Savannah in summer 2026. Her recent solo exhibitions took place at Moderna Museet (Stockholm, 2025 & 2018), PHI Foundation (Montreal, 2025), Hammer Museum (Los Angeles, 2025), The Power Plant (Toronto, 2024) (with Vega Foundation), Studio Voltaire (London, 2024), Buffalo AKG Art Museum (New York, 2023), Swiss Institute (New York, 2023), PORTIKUS (Frankfurt, 2023), and Lidköping Konsthall (2023), among others. Lam currently lives and works in Stockholm, Sweden.
(Text and images courtesy of Blindspot 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/FArtists
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-muiExhibition Dates
20 March, 2026 – 5 May, 2027Gallery Hours
Monday – Wednesday, Friday | 10 AM – 6 PM
Saturday, Sunday, public holidays | 10 AM – 9 PMWebsite
hk.art.museumInstagram
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 KongArtists
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, 2026Gallery Hours
Monday – Friday | 11 AM – 7 PMWebsite
https://www.3812galleryInstagram
https://www.instagram.com/3812gallery/Contact
hongkong@3812cap.comAbout 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)
-
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 WenzhiPublic Days
March 27 – 29, 2026Opening Hours
Friday – Saturday | 2 – 8 PM
Sunday | 12 – 6 PMWebsite
https://blindspotgallery.comInstagram
https://www.instagram.com/blindspotgallery/Contact
info@blindspotgallery.com(Text and images courtesy of Blindspot Gallery)
-
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 WanMedia 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.hkAnnual 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 attendBook 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 CentreAbout 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)
-
Gajah Gallery Presents Suzann Victor’s City Lantern at Art Basel Hong Kong 2026
Poster credit: Gajah Gallery Gajah Gallery is proud to present Suzann Victor’s monumental kinetic installation City Lantern at Art Basel Hong Kong 2026. The work will be shown at Booth EN12, Level 3 as part of Encounters, the sector dedicated to large-scale installations, sculptures, and performances. City Lantern is a reflection on Asia’s evolving urban landscapes, pairing colonial-era photographs with contemporary images into a panoramic, rotating cityscape. Through its field of Fresnel lenses, the region’s histories fracture and recombine — buildings, bodies, and landscapes surfacing and dissolving in shifting constellations.
City Lantern, 2025, (Installation View) At once luminous and disorienting, City Lantern is a 3.6-metre-wide kinetic installation in which a ten-meter photographic mural rotates slowly behind a ring of Fresnel lenses. The composition weaves together approximately sixty architectural sites from across the region, such as the General Post Office, Freemasons Hall, and Tian Tan Buddha in Hong Kong; Binondo Church and shanty houses in Manila; Tiger Pagoda in Taiwan; Temple of Heaven in Beijing; Golden Mile Complex and Roxy Theatre in Singapore, among others. This pictorial narrative maps a visual geography shaped by empire, migration, and aspirations to modernity, where buildings act as palimpsests, bearing the legacies of war, conflict, and the often invisible histories of women.
Detail view of Suzann Victor’s City Lantern (2025) First presented in her 2025 solo show A Thousand Histories at Gajah Gallery Singapore, City Lantern expands upon Victor’s Lens Paintings and Lens-Sculptures body of works, confronting colonial-era photographic and post-card imagery to reclaim space for obscured histories of women and migration. Most of the images refracted through the lenses are drawn from colonial-era photographic records of Southeast Asia, dating to the turn of the 20th century. Comprising studio portraits and postcards — popular forms of visual culture at the time — these photographs reflect racial and social hierarchies that shaped perceptions of the region through a colonial lens.
By bringing City Lantern into the global stage of Encounters at Art Basel Hong Kong, Victor expands the work’s frame of reference. In this context, the lantern becomes more than an optical device: it is a space of encounter where audiences navigate histories of visibility and invisibility, of colonial image-making and its undoing. The very act of seeing is unsettled, made contingent on the viewer’s movement. From one perspective, the panorama might read as a continuous cinematic scroll; from another, it might fracture into a surface of unstable, shifting images. Larger lenses trace the panorama’s clockwise rotation while smaller ones generate counter-rotations, conjuring the uncanny sensation of two directions at once.
Suzann Victor with guests Victor has long defied disciplinary boundaries. From her historic participation at the 6th Havana Biennale—the first time the biennale included an Asian section—to being the first woman artist to represent Singapore at the Venice Biennale in 2001, she has consistently probed the poetics and politics of visibility. Through collaborations with Yogya Art Lab (YAL), Gajah Gallery’s production arm in Yogyakarta, Indonesia, she has expanded her lens sculptures to an architectural scale. Her lens-based explorations also include Sea Lantern II (2025), a commissioned work currently on view at the Art Gallery of New South Wales in Australia, and Third World Extra Virgin Dreams (1997), first shown at the 1997 Havana Biennale and now in the collection of the Singapore Art Museum.
City Lanten with Guest On the stage of Encounters, City Lantern is presented as a luminous, disorienting archive that transforms colonial images into a kinetic ocean of vision. It asks us to reconsider what it means to look, to remember, and to orient ourselves amidst fractured yet interwoven worlds. In the words of writer Anca Rujoiu, “As in Victor’s other kinetic sculptures, the unmooring perception stems not from engineering complexity but from the quiet force of fundamental optical physics. No single image can be fully seen, consumed, or possessed. There is no fixed vantage point. There is no totalising gaze. The image remains in perpetual motion; it refuses to yield clarity or closure.”
Address
Booth EN12, Level 3, Convention & Exhibition Centre, Wan Chai, Hong Kong, ChinaArtist
Suzann VictorExhibition Dates
March 27 – 29, 2026Website
https://gajahgallery.com/Instagram
https://www.instagram.com/gajahgallery/Contact
art@gajahgallery.comAbout the artist
Image Credits to Gajah Gallery Suzann Victor (b. 1959, Singapore)
Suzann Victor is a Singapore-born, Sydney-based contemporary artist known for prospecting the contours of human sensorial experience, perception and phenomena. Her works activate materials derived from the body, the physics of light, water, sound and lenses, in conjunction with engineered components and the readymade. Through intimate performances, large-scale installations, public artworks and collective labour, Victor creates immersive environments that draw awareness to the viewer’s own body as an investigative tool for apprehending the world at large.The first female artist to represent Singapore at its inaugural showing in the 49th Venice Biennale (2001), she is the concept-developer of 5th Passage, Singapore’s first corporate-sponsored female-artist-run space that set the precedent of reaching out to the public long before “outreach” became a mainstay of local art institutions to come. A leading figure in Singapore’s contemporary art ecology, Victor’s socio-political works are recognised for their critical engagement with the colonial aftermath in Southeast Asia, the politics of female disembodiment and the inversion of the abject.
On environmental concerns, her meteorological installation at the 4th Singapore Biennale employed green technology to produce objectless art – optically conjured with the eye – by inducing natural rainbow arcs to appear within the museum’s rotunda. Its methodological precursor, the Rich Manoeuvre iterations, presented a mid-air calligraphy of twelve live ephemeral drawings rendered by moving lights from swaying chandelier-pendulums – a signature kinetic series whose ocular nature captivated audiences physiologically and psychologically at multiple international venues. This conflation of dynamic image, sumptuous materiality, movement, and multi-tiered concepts epitomises Victor’s oeuvre.
Victor’s works have been commissioned for presentation beyond Venice in notable exhibitions including the 6th Havana Biennale, 2nd Asia-Pacific Triennial of Contemporary Art, the 6th Gwangju Biennale, and the 4th Singapore Biennale. As part of the Sunshower Exhibition (Tokyo, 2017), she was invited by the Fukuoka Asian Art Museum for a special artist residency to create a cultural response to the city. Her iconic performance, Still Waters 1998, was honoured 21 years later as the theme of the M1 Singapore Fringe Festival in 2019.
She received her MA and BA (First Class Honours) and completed her doctorate in 2009 at the University of Western Sydney, supported by the Australian Postgraduate Award and the UWS Top Up Award. Victor’s works reside in public and private collections worldwide.
About Gajah Gallery
Founded in 1996, Gajah Gallery has developed a sustained, critically engaged commitment to Southeast Asian contemporary art, shaped through long-term collaboration with artists and the region’s leading academics and art historians. Operating across Singapore, Jakarta, Yogyakarta, and Manila, the gallery presents a rigorous year-round exhibition programme and maintains a strong presence across major regional and international platforms. Its activities extend to long-term research and scholarly engagement, as well as supporting the production of extensive printed publications on seminal artists and collectives, contributing to the scholarship and historiography of Southeast Asian art.
About Yogya Art Lab
Co-founded by Gajah Gallery Director Jasdeep Sandhu and Indonesian artist Yunizar, Yogya Art Lab (YAL) was established to provide artists with a dedicated space to experiment with new mediums and to ensure access to high-quality materials. Over the years, YAL has evolved into a world-class foundry and production house, enabling artists to realise new dimensions in their practice.
(Text and images courtesy of Gajah Gallery)
-
Arario Gallery Presents Contemporary Art Works at Art Basel Hong Kong 2026
Poster credit: Arario Gallery ARARIO GALLERY will participate in Art Basel Hong Kong 2026, taking place from March 25 to 29, 2026 at the Hong Kong Convention and Exhibition Centre.
At this edition of Art Basel Hong Kong, ARARIO GALLERY aims to present an expanded landscape of contemporary Asian art through artists who explore a wide range of issues—from identity and history to materiality, digital imagery, and embodied sensation—based on distinct thematic focuses and experimental approaches to media.
Kohei NAWA, PixCell-Toy-Plum Blossom, 2026, Mixed Media, 27 x 27 x 36 (h) cm In this presentation, artists exploring identity, space, and narratives of migration will be featured. CHEN Yujun(b. 1976, China), one of the most influential figures in Chinese contemporary art, closely connects personal emotions with his hometown and investigates themes of family, identity, and space through intergenerational experiences of migration. In his recent series L’Étranger, he juxtaposes abandoned architectural spaces with the encroachment of nature, metaphorically reflecting fragmented senses of belonging in the era of globalization. HU Yun(b. 1986, China) reconstructs historical fragments and personal memories within a contemporary context, and through his Palm series visualizes intersections of colonial history, globalization, and the commodification of nature. SHIH Yung Chun(b. 1978, Taiwan) draws on the social landscapes of 1980s Taiwan, incorporating toys and vintage packaging to create narratives where mass-produced imagery intersects with personal memory. PARK Wunggyu(b. 1987, Korea) explores the painterly possibilities of East Asian painting by constructing symbolic formal orders of positivity and negativity through subjects that evoke ambivalent emotions. He reconfigures Buddhist painting motifs, insects, and internal organs to juxtapose sublimity and repulsion, generating an ambiguous sensory experience on the pictorial plane.
LEE Jinju, Relation-Darkness at Noon, 2026, Handmade LEE Jeongbae black, powdered pigment, animal skin glue and water on unbleached cotton, 60 x 50 cm Alongside this, the exhibition also highlights explorations of material properties and bodily intervention. MA Lingli(b. 1989, China) uses traditional silk as her primary medium, combining “pinching” and spray techniques to record bodily traces and transform them back into a flat surface, visualizing the accumulation of time and gesture. LEE Jinju(b. 1980, Korea) blends traditional East Asian painting techniques with contemporary sensibilities, meticulously depicting scenes where memory and the unconscious intersect. Through her Shaped Canvas and Black Painting series, she reveals multilayered structures of time, space, and perspective, condensing sensory intensity within highly detailed imagery. BEAK Jungki(b. 1981, Korea) combines scientific experimentation with artistic imagination to explore the essence of materials and the flow of energy. His is of series, which prints images using pigments extracted from plants collected in nature, foregrounds the material presence of the natural world.
Yuki SAEGUSA, In the Forest, 2026, Oil, tempera, pen on canvas, 130 x 162 cm Furthermore, the exhibition highlights the intersection of tradition and contemporary thinking. LEE Ufan(b. 1936, Korea), a master who has long explored the relationships between objects, space, and presence through a restrained visual language of points and lines, presents works from his Correspondence series, in which minimal interventions generate moments of tension and resonance. Kohei NAWA(b. 1975, Japan) combines the minimal unit of digital imagery with the concept of biological cells in his PixCell series, exploring relationships between the natural and the artificial, and the individual and the collective. Yuki SAEGUSA(b. 1987, Japan) references traditional Japanese landscape painting and Flemish painting to meticulously construct “nowhere” scenes where personal memory and imagination overlap.
PARK Wunggyu, Body No. 10, 2025, Pigment on hemp, 135 x 60 cm Meanwhile, works addressing digital environments, ritual elements, and embodied sensation will also be presented. Aokizy(b. 1988, Korea) expands the tension between infinitely reproducible digital images and the uniqueness of artworks into painting and sculpture. Yohan HÀN(b. 1983, Korea) invokes bodily action and ritualistic sensibility through drums made from animal hides, questioning the relevance of tactile experience in an era where physical presence is diminished. Buen CALUBAYAN(b. 1980, Philippines) critically examines the intersections of art, labor, and education from the standpoint of contradictions embedded in Filipino identity, reconfiguring institutionalized visual systems.ARARIO GALLERY will present the works of CHEN Yujun(b. 1976), BEAK Jungki(b. 1981), LEE Jinju(b. 1980), HU Yun(b. 1986), PARK Wunggyu(b. 1987), Yuki SAEGUSA(b. 1987), LEE Ufan(b. 1936), Kohei NAWA(b. 1975), MA Lingli(b. 1989), SHIH Yung Chun(b. 1978), Aokizy(b. 1988), Yohan HÀN(b. 1983), and Buen CALUBAYAN(b. 1980) at Art Basel Hong Kong 2026. Through the multilayered practices of these Asia-based artists, the gallery will showcase the complexity and expanded horizons of contemporary Asian art on the international stage.
Address
Booth 1D19, Convention & Exhibition Centre, Wan Chai, Hong Kong, ChinaArtist
Aokizy, BEAK Jungki, Buen CALUBAYAN, CHEN Yujun, HU Yun, Kohei NAWA, LEE Jinju, LEE Ufan, MA Lingli, PARK Wunggyu, SHIH Yung Chun, Yohan HÀN, Yuki SAEGUSAExhibition Dates
March 27 – 29, 2026Website
https://www.arariogallery.comInstagram
https://www.instagram.com/arariogallery_official/Contact
info@arariogallery.com(Text and images courtesy of Artists and ARARIO GALLERY)
-
Hong Kong Arts Centre and The School of Crafts China Academy of Art Co-Present Beyond Tangible Objects
Poster credit: Hong Kong Arts Centre and China Academy of Art The Hong Kong Arts Centre (HKAC), in collaboration with the School of Crafts of the China Academy of Art (CAA), proudly presents Beyond Tangible Objects–Hong Kong Exhibition of Faculty Works from the School of Crafts, China Academy of Art, which officially open today with a grand ceremony held at the Pao Galleries, 5/F, Hong Kong Arts Centre. The exhibition officially opened to the public free of charge from today to February 20, 2026, showcasing over 60 representative works by nearly 50 faculty professors and artists from the Academy’s four major disciplines–Department of Ceramics, Crafts, Cultural Heritage Conservation, and Design Studies. With a combined value exceeding 20 million Hong Kong dollars, the exhibition presents a diverse array of media, exploring the endless possibilities of object-making through contemporary lens.
Marking the School of Crafts of CAA’ first major exhibition in Hong Kong, this collaboration signifies a new milestone in cultural and artistic exchange between Chinese Mainland and Hong Kong. It also aligns with the Hong Kong SAR Government’s “Blueprint for Arts and Culture and Creative Industries Development”, reinforcing the city’s role as a dynamic intercultural hub, and fostering deeper academic and institutional partnerships between higher education institutions in both regions.
Installation view of “Beyond Tangible Objects”–Transcending Past & Present, East & West through Craftsmanship, Image courtesy of The Hong Kong Arts Centre “Beyond Tangible Objects”–Transcending Past & Present, East & West through Craftsmanship Titled “Beyond Tangible Objects”, the exhibition emphasises on the symbiotic philosophies of craftsmanship, objects and their creative inspirations. This close-knit trinity signifies that objects can only be realised with craftsmanship. Objects are also the vessels for creativity, without which would deem craftsmanship a soulless endeavour. Through the work of nearly50 faculty professors, the exhibition highlights the enduring, symbiotic nature of craftsmanship. It reflects the school’s academic mission in handcrafted arts, capturing key developments in contemporary practice and the transformation of traditional Chinese crafts. The works also open new possibilities for dialogue between Eastern philosophy and handcrafted art.
This exhibition showcases more than 60 works from the Department of Ceramics, Crafts, Cultural Heritage Conservation, and Design Studies. Each distinguished by their unique styles, the exhibits explore the endless possibilities of handcrafted objects in a contemporary lens through diverse artistic media.
Installation view of “Beyond Tangible Objects”–Transcending Past & Present, East & West through Craftsmanship, Image courtesy of The Hong Kong Arts Centre The Department of Ceramics feature works in clay and porcelain, supplemented by materials such as wood and glass. Drawing inspiration from Eastern philosophies, the pieces reflect on the relationship between man and nature.
Rooted in minimalist form, Dai Yuxiang’s Vessels of Stillness embodies the Zen philosophy of “emptiness and serenity”. The work also draws on Constructivist and Abstract Expressionist languages found in Western modern art, creating a cross-cultural resonance in aesthetics. For this exhibition, the artist breaks formal boundaries by employing bolder geometric structures and linear compositions to enhance the work’s sense of form and tension. While maintaining the meditative quality of “stillness”, the new pieces introduce dynamic elements that suggest latent vitality–quiet yet charged with subtle movement and energy.
Xiong Kaibo’s Three Rams Bring Prosperity is enamoured with the pottery and bronze creations of ancient times The artist observes the understated, unadorned aesthetics of traditional vessels with innovative techniques so to integrate historical pieces with contemporary creations. In Zhou Wu’s Mountain Gaze, the artist depicts wintery mountains and vistas with contemporary ceramic art in dialogues with nature. In Zhong Kui, Liu Zheng embodies the wish for universal prosperity and auspiciousness.
Dai Yuxiang, Vessels of Stillness 
Xiong Kaibo, Three Rams Bring Prosperity 
Zhou Wu, Mountain Gaze 
Liu Zheng, Zhong Kui The Department of Crafts has employed a diverse range of materials, including enamel, sterling silver, buffalo bone, agate, marble, and digital imagery, focusing on the dialogue and reinvention between objects and contemporary life.
Duan Yanli’s Dreaming Back to Yungang Series No.2 emphasises ethnic culture with diversified forms and distinctive metal techniques, highlighting their experimental and individualised features. Drawing from the cultural imagery of the Yungang Grottoes, it depicts the Buddha, architectural elements, and decorative patterns in a figurative manner. By challenging the conventional boundaries of the cloisonné enamel, the work refocuses the spotlight onto the intrinsic qualities of the medium, textures of Eastern colours and the evolution of painted lines. It also explores the contemporary significance of Chinese traditional culture and cloisonné’s intangible heritage.
Duan Yanli, Dreaming Back to Yungang Series No. 2 Ni Xianou believes that our vision of the world is composed off ragments of scenery refracted through light; the very moment of seeing already belongs to the past. Inspired by this reflection, Refracted Landscapes deconstructs the traditional Chinese garden within a contemporary framework. The geometric silver lines draw from modern spatial composition—cool, restrained, and succinct. “Conflict, contradiction, and balance” remain enduring propositions of the world, and this work approaches these relationships through the lens of traditional gardens, probing the interplay between time and space. Through the combination of different materials, “Refracted Landscapes” offers a rich sculptural and visual experience. The depth of history and the breadth of time are condensed together, unfolding like a quiet, compact chronicle of spacetime.
Ni Xianou, Refracted Landscapes In Insulation & Connection, Zheng Wenqing integrates the form of electrical insulators with mold structures, utilising the insulating properties of glass and specialised techniques to construct a new conceptual framework from a contemporary perspective. The work reveals the care hidden behind the austere landscapes of industrial society. The artist employs a highly challenging glass-making technique—multiple casting processes—to control the internal forms of the “insulators” and the rising bubbles, symbolising the rich social landscape implied by the form and semantics of the insulator. The reconstructed mold structures are enriched with glass powder and glaze to create layered textures, producing a strong and solid overall presence. The Chinese characters “绝” (insulation, separation) and “缘” (connection, affinity) carry multiple layers of meaning in different contexts, prompting diverse interpretations. The work invites viewers to engage their subjective awareness and enter a unique dialogue with the piece.
Zheng Wenqing, Insulation & Connection In Wang Zhenghong’s Taking Off, the “Angel Wang Doll” is a symbol of inclusivity, embodying those who lend a helping hand while also reflecting beneficiaries giving back to society. Like an angel sounding the trumpet of happiness, the piece conveys good fortune and hope to everyone.
Wang Zhenghong, Taking Off Huang Xiaowang’s Mirror Mirror is grounded in an interdisciplinary research perspective combining digital humanities and traditional craftsmanship. Its core creative logic emphasises technology-enabled cultural translation. The artist constructs a contemporary expression of traditional symbols by integrating digital imaging with traditional metalworking, precious metals such as gold and silver, acrylic, and digital transfer techniques. Using Chinese traditional patterned symbols as the visual cultural genome, the work employs the reflective and refractive properties of the mirror medium to explore the intertextual relationship between traditional cultural symbols and popular culture. It examines their symbiotic logic and tensions in the mediated era, as well as their profound influence on contemporary community identity, self-conception and evolving social behaviours. As the central expressive device, the mirror’s textured details follow a media-archaeology-inspired design path, transforming the viewer’s visual experience into an ontological self-inquiry, and prompting philosophical reflection on the dialectical relationship between individual traits, behavioural motivations, and outward presentation.
Huang Xiaowang, Mirror Mirror In addition, the Department of Cultural Heritage Conservation’s exhibits offer fresh perspectives to cultural relics through masterful restoration techniques, technology and contemporary artistic approaches. The Department of Design Studies presents multiple installations inspired by imagery from traditional Chinese literary paintings. These works promise a novel visual experience by reinterpreting classical motifs through contemporary techniques such as lacquer grinding and indigo dyeing.
About Hong Kong Arts Centre
Since 1977, the Hong Kong Arts Centre (HKAC) has been a platform for nurturing and supporting artists, and infusing art into everyday life. Its unique arts and educational programmes aim to make the arts accessible for all. The HKAC believes in the transformational power of art for people from all walks of life. Established for more than four decades, the HKAC endeavours to bring arts to the people of Hong Kong by presenting programmes in diverse art disciplines, such as visual arts, performing arts, moving images,media arts, comics, animation, arts education, lecture forum, public art, art festival and community art. With the vision of inspiring creativity in the local and international art community, HKAC focuses on five key areas of art development, including Global Arts Explorations, Community Engagement, Voices of Diversity, Artistic Empowerment, and Art for Life.
About The China Academy of Art
Founded on moral cultivation, The China Academy of Art pursues world-class excellence with a distinctively Chinese edge. With aims to revitalise traditional craftsmanship with a focus on Eastern aesthetics under contemporary lens, the Academy prizes interdisciplinary integration and an educational ethos that balance breadth and depth, cultivating versatile talents proficient in ancient and modern knowledge, theory and practice, character and academia as well as Chinese and Western cultures. The Academy’s roots date back to 1928, when renowned educator Cai Yuanpei founded its pattern design discipline by the West Lake in Hangzhou, offering handcrafted arts-related courses that made up the foundation of today’s China Academy of Art. Over the subsequent 9 decades, the programmes underwent substantial change and improvement to now make up the four major disciplines of Ceramics, Crafts, Cultural Heritage Conservation and Design Studies.
Venue
Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong, Pao Gallery 5/FArtists
50 Faculty Professors and ArtistsExhibition Dates
28 January, 2026 – 20 February, 2026Gallery Hours
Monday – Sunday | 8 AM – 11 PMWebsite
Hong Kong Arts CentreInstagram
@hongkongartscentre(Text and images courtesy of Hong Kong Arts Centre and The China Academy of Art)
-
The Stroll Gallery Presents Between Black and White
Poster credit: The Stroll gallery The Stroll Gallery by Stella A&C (hereinafter called The Stroll gallery), a Hong Kong-based venue that has been introducing the works of Korean artists, will host an exhibition <Between Black & White> from November 7 to November 22. Featuring ceramics, glassware, crafted objects and artist Sangsun Bae’s artwork, The Stroll gallery invites you to engage in a journey with your inner self through black and white.
The exhibition will feature a collection of tableware, ceramics Moon jars and tea sets. With each piece crafted with intricate details, combining minimalist design and integrating with daily life, the crafted objects create a beautiful balance of form and function, blurring the lines between craft, art and design. From Moon Jars to various tableware, each piece tells a story and reflects the beauty found in everyday life, blending traditional craftsmanship with contemporary aesthetics. These everyday objects also provide moments of peace in our fast-paced world.
Sangsun Bae, Morphing Void I, 2024, Gesso on velvet, 162 x 112 cm, © Sangsun Bae On the other hand, artist Sangsun Bae’s artwork explores the complex relationship between humans and the meaning of life, encouraging viewers to find their peace within chaos. One of the series of featured artwork, Morphing Void, the spreading paint embodies the unstoppable energy of life. The black velvet serves as metaphorical void or abyss, while the layered stains symbolize cycles of growth and infinite reproduction emerging from emptiness.
Each piece evolves through a process of layering paint on black velvet, allowing it to spread organically. The patterns are formed over multiple cycles of drying and reapplication, creating a sense of continuous transformation. This series explores the tension between chaos and creation, reflecting the dynamic, uncontrollable flow of thoughts, emotions, and existence itself. Viewers are invited to immerse themselves in these ever-evolving forms and uncover the latent possibilities arising from the void.
Sangsun Bae, Morphing Void VI, 2024, Gesso on velvet, 32 x 41 cm, © Sangsun Bae Together, these works reflect a deep connection to the rhythms of nature and invite viewers to contemplate the contrast between simplicity and complexity. The interplay of black and white serves not only as a visual theme but also as a metaphor for the dualities of life—light and shadow, chaos and calm, creation and destruction.
Sangsun Bae, Chaos Within (Scroll 1), 2024, Gesso on velvet, 92 x 182 cm, © Sangsun Bae Venue
The Stroll gallery, Unit 504, 5F, Vanta Industrial Centre, 21-23 Tai Lin Pai Road, Kwai ChungArtists
Sangsun BaeExhibition Dates
November 7 – 22, 2025Gallery Hours
Tuesday – Saturday | 11 AM – 7 PMWebsite
https://thestroll.galleryInstagram
https://www.instagram.com/thestroll_gallery/Contact
info@thestroll.gallery
Tel: +852 6366 0717About Artist
Artist portrait, © Sangsun Bae Sangsun Bae explores the complex relationship between humans and also the meaning of life. Through her paintings, she encourages the viewers to find their peace within chaos. The artist’s works have been featured in various exhibitions over the globe. She studied for her Doctoral Thesis at Kyoto city University of the Arts, during which time she won a scholarship in London at the Royal College of Art. In 2024, she was selected as a sculpture installation artist for Yi Tai at the Hong Kong Art Central and is currently expanding her artistic endeavors across Korea and Japan.
About Gallery
Stroll, an online platform that has been introducing the value and beauty of Korean crafts in Hong Kong, has transformed into The Stroll gallery in Kwai Chung in July 2022.In line with the Hong Kong government’s industrial area revitalization policy, The Stroll gallery creates and delivers new values and aesthetics by transforming an industrial place of history into a venue of art and culture by converging various fields of crafts, art, and technology. The Stroll gallery has been created as a new concept space that combines Korean art and culture through our high-quality art sense and design capability.
The Stroll gallery has introduced Korean crafts and artists to major art and cultural organizations in Hong Kong such as the Korean Cultural Center Hong Kong, M+ Museum, and IFC Mall, and will continue to bring more diverse Korean artists to Hong Kong and the world.
(Text and images courtesy of The Stroll gallery)
