Exhibitions in 2024 Hong Kong: Dates, Itinerary & Tickets Price(July Updated)

City As Studio - Hong Kong’s first major exhibition of graffiti and street art, tracing the evolution of a global movement. Curated by Jeffrey Deitch and presented by K11 Art Foundation and K11 MUSEA, City As Studio will feature over 100 works by more than 30 artists, showcasing the breadth and depth of the graffiti and street art scene across generations, styles and geographies. The exhibition includes works by genre pioneers including Jean-Michel Basquiat, CRASH, Fab 5 Freddy, OSGEMEOS, Keith Haring, Lady Pink, Lee Quiñones and more. Get ready to embark on a journey of imagination, celebrating the spirit of street art. Exhibition Date: 20 Mar 2023 - 14 May 2023

It is no accident that during the modern Atomic Age of the 1950s and ’60s—when the elemental nature of the relationship between light, energy, and matter had been made evident to all mankind— many painters began to focus uniquely on form and color in their work: elevating these two central components as the sole protagonists of their art. In America, this marked the period of color-field painting, with artists like Mark Rothko and Barnett Newman creating large-scale canvases filled with blocks of emotive, abstract color. In Europe, another type of color-form painting also became a mainstay of various avant-garde artists from Pierre Soulages and Alberto Burri, to Lucio Fontana and Zao Wou-Ki. From the 1950s onward, each of these artists used their own modes of color-form abstraction to explore the intrinsic relationship between light, energy, space, and matter. For Soulages, as his (“beyond-black”) paintings reveal, the concentration on black pigment allowed for the discovery of illumination and light. “My instrument is not black,” Soulages insisted “but the light reflected from the black.” His works including and , exemplify his ethos: “I found that the light reflected by the black surface elicits certain emotions in me. These aren’t monochromes. The fact that light can come from the color which is supposedly the absence of light is already quite moving, and it is interesting to see how this happens.” By applying paint in dense, material layers and using varied tools as well as brushes to generate smooth and rough surfaces, Soulages created surface textures that absorbed or emitted light. “Rather than movement, I prefer to talk of tension,” Soulages said, “and rhythm, yes. We can also say form: a shaping of matter and light.” While Soulages made use of monochromatic fields of black to portray light, Italian artists such as Alberto Burri and Lucio Fontana took monochrome painting in other directions. For Burri, planes of single hues, as seen in (1986–87) became a means of exploring the innate nature and self- expressive potentials of painted matter—while for Fontana, monochromatic tone was a vehicle for the articulation of deeper understandings of cosmic space. In his investigations of space, including his works, and (1968) in particular, Fontana destroyed the material surface of the canvas with a slash of a knife, opening up the saturated red picture plane to the embracing voids of space. In so doing, he created a painting that unites form, color, material, and space through his decisive gestures. A similar use of spontaneous energy to form painterly matter underpins the pictorial abstraction of Chinese artists like Zao Wou-Ki and Chu Teh-Chun, who, working in Paris from the 1950s onwards, sought to meld traditional Chinese painting with the color-form explorations of Western abstraction. By contrast, Pat Steir’s series reflects the attempts of an American-born artist to draw inspiration from Eastern approaches to color and form. Deeply influenced by Chinese paintings, Zen Buddhism, and the example of John Cage, Steir’s work, exemplified by (2017), investigates the aesthetic potentials of chance, gravity, and the weight of pigment to generate a painting’s ultimate form. Steir has said, “The way colors mix and the way they touch each other explains the world to me like mathematics explains the world to a physicist.”

A new publication ‘Glenn Ligon: Distinguishing Piss from Rain; Writings and Interviews’, edited by James Hoff, will be released by Hauser & Wirth Publishers on 25 June 2024. Ligon’s solo exhibition ‘Glenn Ligon: All Over The Place’ will be held at Fitzwilliam Museum (the University of Cambridge’s principal museum) from 20 September 2024 – 2 March 2025. Alongside his paintings, sculptures and prints, the artist will curate a series of site-specific interventions throughout the museum aimed at peeling back layers of its exhibition history. About the exhibition ‘Stranger #98’ (2023) is from Ligon’s Stranger paintings, his longest running series, which first began in 1997 and renders excerpts from James Baldwin’s 1953 essay, ‘Stranger in the Village.’ In the text, Baldwin recounts his experience of visiting the small mountain village of Leukerbad, Switzerland, where he encountered villagers who had never met a Black man before him. He connects the experiences to global structures of racism, colonialism and white supremacy and analyses how they manifest in both the United States and Europe. In the Stranger series, Ligon stencils text onto the canvas with oil stick, creating a relief made of sentences. As the stencil is moved across the canvas, oil stick residue and smudges from previous words mark the canvas, obscuring some of the text. The text is further abstracted by the addition of coal dust—a black, gravel like waste product of coal mining—to the surface of the painting. Through the work’s varying degrees of legibility, Ligon evokes both hypervisibility and invisibility in the Black experience and explores language’s inability to fully articulate issues surrounding race, citizenship and subjecthood. As Ligon remarks, ‘The essay is not only about race relations but about what it means to be a stranger anywhere.’ [1] The new Static series sees Ligon building on this technique but to more abstract ends. Like his Stranger paintings, Ligon stencils excerpts from Baldwin’s text; however, here he uses white oil stick on a white gesso ground, subsequently rubbing black oil stick on the raised forms. In applying pigment to the overlapping layers of letters, the artist creates different degrees of abstraction and emphases their illegibility. The resulting compositions come to form a visual representation of static: the absence of a coherent transmission signal on a radio or television and the resulting noise. This series questions whether language--in our ‘post-truth’ world—can function as a way to describe the cultural moment we find ourselves in. Similarly in his untitled works on paper, Ligon pushes the limits of abstraction by employing the traditional rubbing technique of frottage. Using a single Stranger paintings as a textured surface on which Kozo paper is placed, the artist rubs carbon and graphite to translate the blurred text from canvas to paper. The spontaneous forms that emerge build upon the idea of ‘improvisational abstraction,’ which is central to the artist’s practice, exploring the tension between accident and intention, conscious and subconscious. All three series offer a reflection on, in Ligon’s words, ‘the things that can be said and the things that cannot be said, or the things that are difficult to say, or that remain opaque despite this will to be clear and explain...’[2] About the artist Glenn Ligon (b. 1960) is an artist living and working in New York. Throughout his career, Ligon has pursued an incisive exploration of American history, literature, and society across bodies of work that build critically on the legacies of modern painting and conceptual art. He earned his BA from Wesleyan University (1982) and attended the Whitney Museum Independent Study Program (1985). In 2011, the Whitney Museum of American Art held a mid-career retrospective, Glenn Ligon: America, organized by Scott Rothkopf, that traveled nationally. Important solo exhibitions include Post-Noir, Carre d’Art, Nîmes (2022); Glenn Ligon: Call and Response, Camden Arts Centre, London (2014); and Glenn Ligon – Some Changes, The Power Plant Center for Contemporary Art, Toronto (traveled internationally) (2005). Select curatorial projects include Grief and Grievance, New Museum, New York (2021); Blue Black, Pulitzer Arts Foundation, St. Louis (2017); and Glenn Ligon: Encounters and Collisions, Nottingham Contemporary and Tate Liverpool (2015). Ligon’s work has been shown in major international exhibitions, including the Venice Biennale (2015, 1997), Berlin Biennial (2014), Istanbul Biennial (2019, 2011), and Documenta XI (2002). [1] Glenn Ligon quoted in Jason Moran, ‘Glenn Ligon’, Interview Magazine, June 8, 2009, unpaginated. [2] ‘Glenn Ligon: In the Studio,’ Brooklyn, New York, 2021 © Glenn Ligon / Hauser & Wirth.

Warhol was one of the most prolific artists of the twentieth century, and his work’s staying power has been augmented by its enormous diversity. Over the course of four decades, he continually reinvented his practice, moving from his intimate drawings of the 1950s to iconic silkscreened Pop paintings of celebrities, consumer goods, and disasters in the 1960s; portraits of the social elite in the 1970s; and photographs, television shows, and collaborative projects in the 1980s. This heterogeneity has seen Warhol’s legacy inform and inspire numerous contemporary artists. Warhol’s paintings (1963), Mao (1973), and (1979), and his film of Donyale Luna (1965–66), redefined portraiture in relation to contemporary style, power, and celebrity. In addition, (1964) and (1981) brought commercial design and financial icons into the realm of fine art, while his (1964) and series (1978–79) introduced new modes of abstraction. The new styles of representation that Warhol developed and his challenging of gender norms both resonate with the thematic centrality of identity, glamour, and performance to photographs by Nan Goldin, which here include (1972). Jean-Michel Basquiat’s double portrait of himself with Warhol, (1982), was made shortly after Basquiat first met his idol, while (1984–85) is one of more than 160 paintings on which the pair collaborated—it also saw Warhol return to painting by hand. As often as Warhol experimented with new art-making strategies, he also reimagined his public persona through techniques of doubling, masking, and recording. In his (1986), he alters his appearance by donning silver wig and sunglasses, also obscuring his features in shadow. Foregrounding an uneasy affinity with this approach, Douglas Gordon’s (2008) comprises a commercial reproduction of a self-portrait of a bewigged Warhol that is partially burned, split, and mounted to a mirrored background. (2023) by Urs Fischer employs post-Warholian strategies of appropriation and transformation of commercial imagery, while in (2024), Nathaniel Mary Quinn interprets Polaroids and paintings of Muhammad Ali and Kareem Abdul-Jabbar from Warhol’s series, along with a Campbell’s soup can. Zeng Fanzhi’s double portrait of himself and Warhol in (2000) imagines the two artists—their features hidden behind identical masks—standing in a field of flowers, as two jets fly overhead. A new painting by Takashi Murakami resonates with Warhol’s by abstracting from nature to create an instantly recognizable form, while (2012) by Alex Israel recalls the Pop artist’s embrace of artificiality. (2023) by Derrick Adams embraces popular culture, Untitled (2010) by Richard Prince employs a humor conversant with Warhol’s, and Sterling Ruby’s (2014) is inspired in part by Warhol’s paintings. Through these works, brings to light unexpected juxtapositions with artists whose work “thinks” through, with, and beyond Warhol’s oeuvre, demonstrating its enduring relevance.

Part of M+’s new Pao Pao and Watari exhibition series, “Henri Stein: Images into Words” celebrates Stein’s influential approach to imagery by showcasing his most iconic projects, tracing the city’s development since the 1960s. Henri Stein was born in Austria in 1934 and moved to the United States. He studied under the famous American graphic designer Paul Rand at Yale University and was well versed in telling stories through images. After moving to Hong Kong in 1961, he found that this multicultural city was full of vitality and was transforming into an international hub in manufacturing, trade, finance, leisure and tourism. Using concepts and contrasts, he juxtaposed elements of multiple cultures and created a new and infectious way of image communication. This playful, unexpected and intriguing language has made his designs resonate with a wide and diverse audience. The exhibition is divided into two parts, first tracing Henry Stein’s early experiences and influences, and then taking viewers through Henry Stein’s unique designs, from large-scale infrastructure and industrial projects that reflect Hong Kong’s development to plans that reflect the city’s ambitions to become a tourist resort. Showcasing Henry Stein’s work during Hong Kong’s most prosperous decades, the exhibition illustrates the important role of graphic design in Hong Kong’s unique visual culture.

MASSIMODECARLO is delighted to announce a solo exhibition by the Italian artist Massimo Bartolini. As he represents Italy at this year’s Venice Biennale, Bartolini brings a selection of his most iconic works to our Hong Kong gallery. Bartolini embraces the theme of movement in its most whimsical and profound forms. Titled To Everything That Moves, the exhibition explores the interconnectedness of all things - organic, alive, and occasionally even the unremarkable. In To Everything That Moves, Bartolini challenges the concept that motion is reserved solely for grand gestures or dramatic events. Instead, he suggests that everything, from the majestic to the mundane, is in perpetual flux.

In a liminal space amid “primitive” experiences and erudite allegories, in which a childlike spirit and the memories therein clash with the adiaphoric character of metropolitan solipsism and the tangential contradictions of contemporary subsistence, innocent and wild scenery thrives affably in the open countryside or along the banks of waterways. Formally composed of a multitude of simple forms and large patches of earthy colours, they generate an authentic, open, and uninhibited fresco. After the gust of a warm summer evening breeze and generous caresses, libidinous bodies and sweet memories embrace each other. Pleasantly protected by a white sheet, they celebrate the immense pleasure of the present moment, symptomatic of an ideal world that pushes the limits of conventional representations. Thus arises “Preciously Profane Possessions,” a new exhibition chapter by the young Santiago Evans Canales. At its center is a search for and celebration of the primal colours typical of the bold and magnificent virgin nature. Here, generous and meandering brushstrokes slowly trace the indefinite images of reclining bodies, enlarged through vivid swathes of colour that slowly manifest in the auroral layers of paint. Through the use of a luxuriant colour palette that generates a golden light, at once warm and vibrant, and endowed with action and movement, all areas of shadow gain a sort of brightness. Sometimes this is a whisper, other times it surges with intensity.

WOAW Gallery is pleased to present Chinese artist Kang Haoxian’s first solo exhibition in Hong Kong, In Montion, which will be held at the gallery’s Wan Chai space from August 31 to October 14, 2024. Kang Haoxian is known for his grand and atmospheric paintings. His past works are known for combining magical realism elements with pop culture, but in In Montion he will change his style and bring a new artistic creation. Art attempts to start from the subtle moments in life and more specific objects, so in this series of artworks, the brushstrokes are transferred to "wheels". People drive vehicles and make tires move. For Kang Haoxian, "wheels" have always been an indispensable part of society since their appearance. And based on the increasingly progressive needs of development, humans began to produce and use tires in large quantities. He noticed that tires are a special tool, but human love makes them more diverse. The craftsmanship and performance are a reflection of the driver's ultimate pursuit, and human emotional involvement is reflected here like a mirror. On the other hand, in this series of works, he emphasizes a unique perception of the friction between tires, the environment and the road, and transforms it into a philosophical and poetic metaphor - tires take people far away, and also take people to an unexpected and farther future. The artist explores the emotions wandering in private spaces through the subtle portrayal of the interaction between people and cars. The woman reflected by the reflection of the car window in "Live Free or Die" (2023), the arm hanging outside the car window in "Brave Action" (2024), and the sharp contrast between the breath-holding car interior and the blood-like red outside the car window in "I enjoy my own tranquility" (2024) all demonstrate the artist's great interest in the emotional depiction in private spaces. For the artist, the world is like a big garage. In addition to "cars", it is also filled with the emotions that humans express all the time. "Wheels" may not be a regular theme in paintings, but they are an important component of vehicles and an indispensable part of people's daily lives. "Motion" emphasizes the permeability of art in our daily lives, trying to capture the complexity of human emotions through the reliable existence of car tires.

The second part of the ``Social Abstraction'' exhibition will be held from September 10th to November 2nd. ''Social Abstraction'' Exhibition The exhibition focuses on practical creative techniques used by black people of different generations, abstract art exploration culture used by other people, different problems such as the position of people in the universe, comprehensive oil paintings, multidimensional media works, Ceramic, porcelain, pine resin, pine, and pineapple. The main topics are formal formal consideration, in-depth investigation, identification, society group attributes, Japanese life style, etc.

David Zwirner is pleased to present an exhibition of paintings by Brazilian artist Amadeo Luciano Lorenzato (1900–1995), on view at the gallery’s Hong Kong location. Marking Lorenzato’s third solo exhibition with the gallery and the first presentation of the artist’s work in Asia, this exhibition coincides with Lorenzato’s inclusion in the 60th Venice Biennale, organized by curator Adriano Pedrosa, on view through November 24, 2024. Among the foremost Brazilian artists of his generation, Lorenzato developed a singular body of paintings centered on his fastidious observations of everyday subjects in his hometown of Belo Horizonte—including favelas, semi-urban landscapes, and scenes of agriculture and rural industry. Lorenzato’s distinctive compositions are characterized by reduced geometric forms and densely textured surfaces that the artist achieved through the use of richly colored, self-made pigments applied with brushes, combs, and forks. Imbued with an assured freedom of expression, Lorenzato’s canvases masterfully capture the vitality of the artist’s surroundings as well as the colors and textures of the natural world.

Tang Contemporary Art is delighted to announce Hong Kong artist Chow Chun Fai’s solo exhibition “Map of Amnesia,” which will be held at the the Central HQueen’s space from 13 Sep to 15 Oct. Encompassing works that perpetuate the artist’s practice of portraying Hong Kong’s memories and cinematography, presented are historic locations like the Mahjong House at Portland Street, Man Mo Temple, the Hong Kong Museum of Art, Mido Café, and Lin Heung Tea House. Meanwhile, cinema classics like As Tears Go By 旺角卡門, A Moment of Romance 天若有情, Comrades: Almost a Love Story 甜蜜蜜, City War 義膽紅唇, Infernal Affairs 無間道, and The Lucky Guy 行運 一條龍 are also featured in the exhibition. Created specifically for this exhibition, Chow’s latest canvas paintings are based on his photography done over the last 20 years when wandering around the city streets of Hong Kong. From there, Chow echoed his paintings with how Hong Kong films would depict particular scenes at particular times, evoking a sense of nostalgia for the collective memory in a romantic urbanity of the past, breaking the framework of time and expressing the artist's thoughts and feelings about these locations over the past several to tens of years. This exhibition will also feature a large-scale six-panel work titled "Chicken and Duck Talk 1988 at Tai Po Man Mo Temple”. The unique aspect of the artist's collage work is that each panel has an independent figure within it, which also reflects the artist's persistence in the work. The 14 brand new works on display capture many disappearing locations, overlapping impressions that are familiar to Hong Kongers and even tourists, in order to evoke the audience's resonance and collective memories of the city. Each work contains countless details, from the fading neon lights, window grilles, and scaffolding, to every brick and tile, all of which are worth savoring. In one of Chow’s latest works 1988 City War at the Carpark of Star Ferry Pier, we see the two protagonists Chow Yun-fat and Tik Lung confronting each other on the top storey of the carpark at Star Ferry Pier. The Bank of China Tower, which was still under construction at the time, could be seen in the background. It is the significance these two structures – the Star Ferry Pier and the Bank of China Tower – possess that intrigues Chow, of which both are indispensable to Hong Kong’s collective memory.

ob’s world is one where tranquility pervades. Gentle hues, misty scenes, and wide-eyed, reticent girls create a sanctuary where one’s defenses quietly dissolve. Softened contours rendered in oil pastels form a blue haze, imbued with the spirit of gathered moisture. This atmosphere stirs emotions, allowing them to accumulate, ferment, and flow within. Everything in the painting morphs gradually, sometimes fading into nothingness, at other times reemerging with vivid clarity. Dreamlike yet grounded in tangible objects, these scenes navigate the delicate boundary between reality and dreamscape. Water transcends being merely a subject in ob’s paintings; it becomes a medium. Be it a pond where water lilies bloom, a distant coastline glimpsed during a picnic, a lake traversed by boat, or a bathtub filled with water, water carries the artist’s intrinsic imaginings of matter. Delving into the essence of water, she consistently expands and draws on its fluidity, uncertainty, boundaries, and transparency. This reshapes reality with subjective distortions, all fluidly converged through water. Here, water acts as a catalyst, opening the passageway to another world.

10 Chancery Lane Gallery will present the 13th "HKFOREWORD 24" on September 19. 13 art students from 4 Hong Kong institutions were invited to participate. The group exhibition covers paintings, videos, installations, ceramics, ink on paper, sculptures, animations and photography. This exhibition will present a new look for Hong Kong art.

The works take poetry as a starting point, particularly that of her mother, Jennifer Rankin (1941-79), exploring landscape as a vehicle for emotion and personal memory. Through a combination of embroidery and painted marks, Rankin weaves together personal, historical, and literary references to create colorful works that are at once topographical, cosmological, and psychological.

In the exhibition, Day-Lewis turns his attention to a group of young people from the early 2000s who do not know each other, wandering in the mysterious gap between the past and the present, and constructing a fragmented narrative.

Soluna Fine Art sincerely presents the "Pneuma 숨결" group exhibition, which showcases the works of four renowned Korean contemporary artists, Choi Young-wook, Kim Deok-ryong, Kim Young-hun and Lee Ki-soo. The word Pneuma comes from ancient Greek and means breath. It can also be extended to mean spirit or soul. This exhibition aims to break the boundaries between art and material, embody the essence of Korean aesthetics, and jointly experience the breath that connects works and souls. Through the works of the four participating artists in "Pneuma 숨결", each of which combines traditional culture and personal colors, with their eclectic and rich and varied artistic styles, they jointly present the unique spirit of the Korean contemporary art world. **Cui Yongxu** uses realistic creative techniques to bring the large white porcelain pot (moon pot) from the Joseon Dynasty into the painting, allowing this long-standing Korean traditional craft to be reproduced on the canvas across time, space and media. . Cui's works emphasize the unique ice cracks on the surface of porcelain, which symbolize the karma and retribution in life and depict the trajectory of life. Inspired by the mother-of-pearl craftsmanship of Goryeo, **Jin Delong** is good at using mother-of-pearl and wood as materials, using exquisite craftsmanship to present the sublime aesthetics of nature and interpret the endless vitality of all things in the universe. Kim's latest series of works uses pearlescent spheres as the main axis, which are reminiscent of the marbles and soap bubbles that people couldn't put down in childhood. The beautiful memories of childhood are used to retain the bright moments of the Mood for Love, leading the audience to immerse themselves in the time and space of Kim's creation. **Kim Yong-hun** uses the traditional Korean painting technique "leather strokes" and adds elements of radio waves in the virtual real-time space of the digital age to express the electronic nostalgia experienced in the transition from analogy to the digital world. Jin's works use uninterrupted brush strokes to draw flowing stripes on the canvas, retaining the traces and layers of leather brushes. They use the ubiquitous noise vibrations in today's daily life to reflect the changes of the times, and at the same time use color to reflect the artist's personal changes in mood. . Ceramic artist **Li Qizhu** skillfully combines traditional techniques and contemporary aesthetics to create a charming white porcelain pot (Moon Pot), which fully demonstrates the timeless value of porcelain crafts across centuries. Since the moon pot must be made by shaping the upper and lower halves separately and then combining them into one, the finished product does not seek to be completely symmetrical and perfect. Just like the bright moon, which also has waxy and waning parts, we can learn from it the philosophy of life of appreciating the beauty of imperfections.

Sun Museum is entering its tenth year and is moving from Kowloon to a new location in Sai Yuen Lane, Sai Ying Pun, Hong Kong Island, marking the beginning of a new phase of development. The museum has always aimed to promote Chinese culture and support Hong Kong's art scene. In celebration of the opening of the new venue and to continue its mission, the museum began preparing for a special exhibition entitled "Hong Kong Paintings in Sai Yuen Lane" in early 2024."Hong Kong Paintings in Sai Yuen Lane" invited a diverse range of Hong Kong artists to exhibit their works, aiming to showcase the breadth and depth of Hong Kong's artistic landscape and reflect the diverse styles and perspectives of local artistic talent. The response was overwhelmingly positive, and we extend our heartfelt thanks to the artists for their enthusiastic support.The exhibition features over 130 outstanding works by 92 artists and is presented in two phases. The first phase features 66 works by 44 artists, including ink, acrylic, charcoal, and mineral pigments paintings. The second phase showcases 66 works by 48 artists, including oil, watercolour, pastel, and marker pen drawings. All the works are recent creations from the past two years by the participating artists.

As the gateway between Hong Kong and the world, the airport has joined hands with the Hong Kong Tourism Board, the Cultural and Creative Industries Development Division of the Culture, Sports and Tourism Bureau, and the producers of the film "Kowloon Walled City: The Besieged City" to hold the "Into Hong Kong, Into Hong Kong Movies" Kowloon Walled City: The Besieged City Film Exhibition, inviting passengers to explore this legendary landmark of Hong Kong in the past. The exhibition is now open in the airport arrival hall A, recreating various classic scenes in the movie and meticulously restoring the life of Kowloon Walled City in the 1980s. There are six exhibition areas in the two-story walled city building built in real proportion, namely "Barber Shop", "Tea Stall", "Store/Plastic Flower Production Society", "Water Well/Electrical Appliance Shop", "Back Alley" and "Attic", leading everyone to reminisce the wonderful moments of the movie and understand the unique culture and historical feelings of Hong Kong.

Gianluca Crudele's paintings are inspired by classical mythology and are based on the binary opposition between chaos and control. The protagonists in the works have a powerful confrontation with nature, chance and fate. The Italian artist's narrative paintings often explore the conflict between authority and rebellion in classical texts, from the fable of the outlaw Zhi in the fourth-century Taoist classic Zhuangzi to the harbingers of unfortunate fate in classical mythology. In his latest solo exhibition at Square Street Gallery, Crudele examines the story of Echo and Narcissus in Ovid’s Metamorphoses and incorporates the ill-fated nymph into his work Amidst the turbulent landscape.

The Hong Kong Coin Show is an exclusively numismatic event The Hong Kong Coin Show is an exclusively numismatic event. The event aim is to make Hong Kong a world-class numismatic hub for auctions and coin shows and therefore HKCS takes a holistic approach to include educational seminars, exhibitions and free appraisals by experts. Information Source: Hong Kong Coin Show | expotobi

International Conference on Business Economics Social Science & Humanities conference will cover vital issues in Business, Economics, Social Sciences International Conference on Business Economics Social Science & Humanities conference will cover vital issues in Business, Economics, Social Sciences and Humanities under multiple sub-themes. The aim of the conference is to support, encourage and provide a platform for networking, sharing, publishing and nurturing the potential growth of individual scholars across the globe. Information Source: Academic Fora | expotobi

Co-created by the Hong Kong Performing Arts Expo and Ishikawa Ongakudo Time in a Bottle is a unique theatrical experience combining visual art, theatre, music and scent to tell the story of our human existence. The event features a collection of precious perfume bottles as the backdrop and characters in a series of miniature stage sets. The exhibition is divided into twelve scenes, each one a self-contained diorama depicting a pivotal moment in history - from the creation myth to humanity's greatest triumphs and struggles. The audience is invited to walk through a scented tapestry of our shared past. Each bottle is carefully selected for its own artistry. Once commercially available to the world guarding their precious fragrances, most of these containers were discarded after use or lost to history. They are the true survivors of time. Curated, written and composed by Leon Ko, Time in a Bottle also presents perfume bottles from the collection of Leon. Visitors can enjoy the exhibition at their own pace with a recorded soundtrack. Programme Remarks Approximately 60 minutes in duration.No audience seating is available.You are recommended to arrive 15 minutes before the event starts. No admission for latecomers.Programmes are subject to change without prior notice. HKPAX reserves the right to make the final decision regarding the arrangements. For more details, please visit hkpax.org.hk

Blue Lotus Gallery is pleased to present Voices from the Walled City, a new joint photography exhibition exploring the unique history and culture of Kowloon Walled City through the work of photographers Ian Lambot, Greg Girard, Bianca Tse and Keeping Lee. The exhibition runs from 17 October to 1 December 2024, providing a rich visual history of a controversial and peculiar community. Photographs are an important medium for collective memory and preservation of heritage, especially in the Walled City, a place that will disappear. Few people are willing to venture into the Walled City to document it. However, Ian Lambot and Greg Girard did so in the years leading up to its demolition, culminating in the publication of the book City of Darkness, which has sold over 20,000 copies to date. The series not only preserves the cultural heritage of the walled city through photos and stories, but also provides inspiration for contemporary artists, such as Bianca Tse, who showcases a series of artificial intelligence digital art works, and the latest hit movie "Kowloon Walled City: The Besieged City".

WHATZ International Contemporary Art Fair was founded in Taipei in 2020. Since its development, it has always been avant-garde curatorial thinking that integrates popular fashion and local humanities, and has won an excellent reputation. In 2024, the organizing team will once again go overseas after Singapore to hold the first "WHATZ ART CURATORS FAIR" at the JW Marriott Hotel in Hong Kong. The organizing team will continue the spirit of the art fair curatorship and invite art lovers from all over the world to witness the aesthetic feast of artistic creativity and luxury brands.

HKTDC Hong Kong International Lighting Fair (Autumn Edition) is a remarkable showcase in which suppliers of all kinds of lighting can connect with international buyers HKTDC Hong Kong International Lighting Fair (Autumn Edition) is a remarkable showcase in which suppliers of all kinds of lighting can connect with international buyers. The fair partner with HKTDC Hong Kong International Outdoor and Tech Light Expo to form the world’s largest lighting marketplace feature over 3,120 global exhibitors, showcasing the latest innovations from commercial and residential lighting to smart solutions, outdoor lighting, advertising, and signage. Hong Kong International Lighting Fair - Autumn Edition will majorly deal with categories like Commercial Lighting, Household Lighting, LED & Green Lighting, Lighting Accessories, Parts & Components, Lighting Management, Design & Technology, Outdoor Lighting and Trade Service & Publication. 2014 had showcased products from some other categories apart from lighting, like building materials, machineries and hardware, electronic toys and games and gifts. Manufacturers, distributors, exporters, importers and suppliers of Desk lamp, LED candle light, LED tubes, LED spotlight bulbs, Dip LED Strip Lights, Bath lights, Chandeliers will be present with many more products apart from these. Design services and advertising, marketing and PR, Association Service and Government Organization and so on are going to participate in order to highlight their offerings to the customers. In the previous edition, more than 2,000 exhibitors participated from 31 countries, among which more than 500 were from Hong Kong and above 1500 were from other places, in which China mainland tops the list with more than 1,200 exhibitors. Information Source: Hong Kong Trade Development Council | expotobi

Penumbra refers to the edges and blurred areas created when only partial light is shining, or the incomplete shadow between full shadow and full light. For the artist, this phenomenon is about the shifting nature of perception and nuance, and the fluid entanglement of control and freedom. The works in the exhibition will explore existential questions about human agency through the metamorphosis of color, form and energy.

This is the artist's first solo gallery exhibition and the second collaboration between the artist and the gallery after their collaboration in the "Art Discovery" section of Art Basel Hong Kong in 2023. The exhibition presents a series of recent video works by Yang Dingliu on the theme of free diving. The "Master Switch" is a metaphor for the free diver's need for absolute self-control.

This immersive multi-channel video installation connects the distant Aotearoa and Hong Kong, China through a moving visual narrative, reflecting the colonial influence and long maritime history shared by the two places.

Hong Kong International Wine & Spirits Fair features a display of products such as brandy, sake, champagne, and other alcoholic beverages Hong Kong International Wine & Spirits Fair features a display of products such as brandy, sake, champagne, and other alcoholic beverages. It also offers a wide range of high-quality wine and spirits, wine production, wine education, logistics & services to buyers, experts and connoisseurs across the world. Wine Producers from around the world will participate - Importers, Exporters, Wholesalers, Wholesale distributors, Wine producers, Generic promotional bodies,Associations/Institutions. Information Source: Hong Kong Trade Development Council | expotobi