Shows

Installation view of <b>APICHATPONG WEERASETHAKUL</b>'s <i>The Word Silence Is Not Silence</i>, 2022, mixed-media installation, dimensions variable, at the former Uchisange Element

Highlights from Okayama Art Summit 2022

Installation view of <b>ANGELA LYN</b>'s <i>passenger, </i>2021, Chinese sedan chair, objects, embroidered text, 180 x 450 x 110 cm. Photo by Andrea Rossetti. All images courtesy t

Angela Lyn’s “On the Edge of Time”

<b>CHU HING-WAH</b>, <i>Tin Hou Temple</i>, 2018, ink and color on paper, 115 x 83 cm. All images courtesy the artist and Hanart TZ Gallery, Hong Kong.

Chu Hing-Wah’s “Bare Life”

<b>HONG HAO</b>, <i>Everchanging Appearance No.32</i>, 2022, oil, acrylic, clear gel, and molding material on canvas, 120 x 195 x 6 cm. All images copyright the artist; courtesy Pa

Hong Hao’s “New Works”

Installation view of <b>HEMALI BHUTA</b>'s

Temporalities and Memories: Hemali Bhuta’s “Aha!”

<b>WU JIARU</b>, <i>The Creation of Space</i>, 2022, oil and acrylic on linen, 175 x 135 cm. All images copyright the artist; courtesy Flowers Gallery, London / Hong Kong.

Wu Jiaru’s “To the Naiad’s House”

Installation view of <b>CEVDET EREK</b>'s<i> What grows where if flows</i>, four-channel sound installation, synthetic shade, durations variable. All photos by Saygin Mavinil. All

Merging of Myth and Fact at the 8th Çanakkale Biennial

Installation view of <b>LEE UFAN</b>'s <i>Relatum - The Arch of Versailles</i>, 2014, stainless steel and two stones, 11.13 x 15 x 2 m, at the Palais de Versailles. Copyright Lee U

Lee Ufan’s Explorations of Material Infinity

<b>GONG BIN</b>, <i>In the deep woods no one knows, the bright moon comes to shine on me in company</i>, 2022, acrylic, pastel, spray paint on canvas, 145 x 100 cm. All images cour

Gong Bin’s “The Love That Moves the Sun and All the Stars”

<b>SANCINTYA MOHINI SIMPSON</b>, <i>The Plantations</i>, 2022, watercolor and gouache on handmade wasli paper, six pannels, approx. 95 x 125 cm irreg. each, 190 x 375 cm overall. A

Sancintya Mohini Simpson’s “Sugar”

Installation view of <b>AN LAURENCE</b>'s <i>Come Closer, I'll tell you what I forgot</i>, 2022, audio recordings, LED lights, ink prints on rice paper, reclaimed boxes, covers, in

“How far can we see within?” at La Centrale galerie Powerhouse

Portrait of <b>VVZELA KOOK</b>. All images courtesy the Hong Kong Arts Development Council.

Hong Kong Arts Development Council Presents Vvzela Kook’s “Empty Space”

Photo documentation of <b>LU YANG</b>'s<i> DOKU - The Binary World</i> (2022), performance, duration variable, at Freespace, Hong Kong, 2022. All images courtesy West Kowloon Cultu

Lu Yang’s “DOKU – The Binary World”

<b>MARLON CARAIG MENDOZA</b> and <b>DIMENSION PLUS</b>'s <i>DJOK Station</i>, 2022, electric motorcycle, remixed soundtrack, DJ controller, LED installation, dimensions variable. A

Paving “The Way Forward”