Featured Events in Hong Kong in April, 2024 (June Updated)

【SPACE MUSIC FESTIVAL 3rd hit】Korean diva HyunA comes to AXA x WONDERLAND😍! Whether you want to meet Korean queen Hyuna, Hong Kong goddess kayan9896🎀, Gigi Cheung, Sabrina Cheung, you must enjoy the performances of Lolly Talk🍭, the representative of the youth girl group, NAMXSIS, the famous DJ sister group in Macau, and the performances of local independent female singer KALAI Jiali🫦🎤 , Come to "AXA Presents: The Third Strike of SPACE MUSIC FESTIVAL" just released! This time, the all-female class of popular Asian singers and groups will perform in turn💃, vowing to make music fans sweet and excited for a while🔥! Check out the details of the music festival below🙌! Date: 30 April 2023 Time: 18:30 Venue：AXAX WONDERLAND, West Kowloon Ticket Price：VIP ($1380)/$1080/$780/ $580 [SPACE MUSIC FESTIVAL 2nd hit] AXA x WONDERLAND met Crowd Lu's team leader for the first time😍! SPACE MUSIC FESTIVAL's 2nd strike artist list announced! Following the earlier announcement that new hip-hop stars such as Tyson Yoshi and Gao Erxuan will gather at AXA x WONDERLAND✨, the second hit will invite a number of talented singer-songwriters, including Crowd Lu, J.Sheon, Julia Wu, Jocelyn 9.4.0,🎤, Bring a rare joint music party for music fans! Whether you want to feel the slow soul at the beach with the captain 🕶, listen to the works of Taiwan's new generation R&B queen Julia Wu🎶, or appreciate J.Sheon's unique blues and R&B style, come to SPACE MUSIC FESTIVAL for the second time It's almost sun! Check out the details of the music festival below🙌! Date: 1 May 2023 Time: 18:30 Venue：AXAX WONDERLAND, West Kowloon Ticket Price：VIP ($1080)/$880/ $580 【SPACE MUSIC FESTIVAL🚀】AXA x WONDERLAND, the new generation of singers from Asia 😍! This May, come to the SPACE MUSIC FESTIVAL sponsored by AXA, and you can meet the new generation of male god singers from Taiwan and Hong Kong✨, including Taiwan representatives OSN高爾宣, Marz23, and Hong Kong representatives TYSON YOSHI and TIAB ! The four singers have different stage styles, and they vow to do their best to bring you a wonderful and fun Party Night! This year's music festival will join forces with 王Aden, Pizzali, Red芮德 to participate in the performance. There will also be a dining area on the scene for everyone to chill and listen to songs together, and enjoy Happy Friday🙌! Check out the details below🎶! Date: 5 May 2023 Time: 18:30 Venue：AXAX WONDERLAND, West Kowloon Ticket Price：VIP ($1280)/$880/ $580

Experience the revival of Cantopop's golden era at Cantomania Vol. 5 with DJ Fabsabs. Delve into the nostalgic sounds of Cantonese music from the 80s, 90s, and 00s as DJ Fabsabs showcases a curated selection of timeless tracks. Immerse yourself in the iconic melodies of Anita Mui, Prudence Liew, Paradox, Leslie Cheung, Sam Hui, Priscilla Chan, Leon Lai, Nicholas Tse, Cookies, Hotcha, Kelly Chen, Joey Yung, and more. DJ Fabsabs will blend these classics with extended edits and rare remixes, promising a night filled with musical treasures. The event will take place at 宀 Club in Sheung Wan, located at 279 Des Voeux Road Central #4F, Sheung Wan, HKI, on April 30th to May 1st, 2024. Tickets are priced at HK$105.99. Don't miss this opportunity to relive the magic of Cantopop with DJ Fabsabs at Cantomania Vol. 5.

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.

Welcome to Hong Kong Sevens Day 1, a thrilling sports event held at the iconic Hong Kong Stadium in the vibrant city of Hong Kong. On April 5, 2024, sports enthusiasts from around the globe will gather at this prestigious venue, located at 55 Eastern Hospital Road, Hong Kong. The atmosphere will be electric as top rugby teams battle it out on the field, showcasing their skills and determination to emerge victorious. Spectators can expect a day filled with heart-stopping action, intense rivalries, and unforgettable moments. With its rich history and passionate fan base, Hong Kong Sevens Day 1 promises to be an experience like no other. So mark your calendars and get ready to witness world-class rugby in one of the most exciting sporting events of the year. Don't miss out on this incredible opportunity to be part of the thrill and excitement of Hong Kong Sevens Day 1!

On Day 2 of the highly anticipated Hong Kong Sevens event, sports enthusiasts from around the world gather at the iconic Hong Kong Stadium. The venue, located at 掃 桿 埔東 院 道55號 in Hong Kong, sets the stage for a day filled with thrilling rugby matches and electrifying performances. As the sun rises on April 6, 2024, the air is charged with excitement and anticipation for what the day has in store. Teams will showcase their skills and determination, vying for victory and glory in this prestigious tournament. Spectators can expect a day packed with intense competition, passionate fans, and unforgettable moments. The Hong Kong Sevens Day 2 promises to be a spectacle like no other, where the spirit of rugby shines bright amidst the vibrant atmosphere of this world-class event.

Experience the mesmerizing rhythms of South Indian classical music at the Carnatic Rhythm Workshop. Hosted at LTL, Cheng Yu Tung Building in Clearwater Bay, the event features renowned percussionists Sri K. Sai Giridhar and Krishna Sriram guiding select UST students through the intricate beats of konnakol. Witness this unique musical journey in front of a live audience, followed by an exclusive concert by the vocal duo Ranjani-Gayatri and their ensemble at Shaw Auditorium at 7:30 PM. Admission is free, and tickets will be allocated on a first-come, first-served basis. Attendees aged 6 and above are welcome to register for this engaging event. Upon successful booking, registrants will receive a confirmation email with printable tickets and unique QR codes for entry. Check-in will begin 30 minutes prior to the event start time, and attendees must present their QR codes for admission. Please note that no eating, drinking, unauthorized photography, or mobile phone usage is permitted during the workshop. Let's immerse ourselves in the world of Carnatic rhythms and enjoy this enriching musical experience.

Experience the captivating Yi Xiang Chaozhou Music Ensemble: String Poems event in Clearwater Bay. Immerse yourself in the enchanting melodies of Chaozhou music as the renowned ensemble showcases traditional Teochew music from eastern Guangdong. Delve into the rich cultural heritage of the Teochew people through a mesmerizing program of xianshi, a chamber music genre focusing on strings. Held at the Main Hall, Shaw Auditorium, at The Hong Kong University of Science and Technology in Clearwater Bay on April 16, 2024, this free event offers a rare opportunity to appreciate the musical artistry of the seven-piece ensemble. To secure your spot, register early as tickets will be allocated on a first-come, first-served basis for attendees aged 6 and above. Upon successful registration, receive a confirmation email with printable tickets and unique QR codes for seamless check-in at the reception starting at 7:00 PM. Please note the house rules: refrain from eating, drinking, photography, recording, or phone usage during the performance to maintain a respectful atmosphere. Let the mesmerizing music of Yi Xiang Chaozhou Music Ensemble transport you to the heart of Teochew traditions.

Looking for a fun and exciting physical activity to participate in? Look no further than golf te&am! This thrilling event will take place on April 25, 2024, at 330 Lockhart Road, Wan Chai. The venue is easily accessible and promises a day filled with entertainment and competition. Best of all, admission to this event is completely free! Whether you are a seasoned golfer or just looking to try something new, golf te&am is the perfect opportunity to showcase your skills and enjoy a day out with friends and family. Make sure to mark your calendars and join in on the action at this exciting event in Wan Chai. Don't miss out on this fantastic opportunity to experience the thrill of golf te&am in a vibrant and lively atmosphere.

Aerial photography, also known as aerial filming, is the technique of capturing ground scenes using an aerial camera mounted on an aircraft or other aerial vehicle. In the past, engaging in aerial photography required expensive equipment and renting aircraft or helicopters for shooting from above. Nowadays, with the use of remote-controlled model aircraft and cameras, professional photography can be easily accomplished. Moreover, video production is also possible. With this innovative equipment, captivating photos and videos can be taken and applied to various occasions such as weddings, gatherings, large-scale performances, and opening ceremonies. Are you passionate about photography? Do you enjoy capturing moments? Immerse yourself in the exciting world of aerial photography. Event Name: Free - Aerial Photography and Videography Workshop (Cantonese Speaker) City: Kowloon Tong Venue: Hong Kong Productivity Council Building - 1/F Lecture Hall 2 Address: 78 Tat Chee Avenue, Hong Kong Productivity Council Building, Kowloon Tong, Kowloon Event time: April 26, 2024 Ticket Price: Free.

The upcoming Diasqua Little Sai Wan Cricket Club v Pakistan Association of Hong Kong (9th Match) is set to take place at the renowned Mission Road Ground in Hong Kong on April 28, 2024. Cricket enthusiasts and sports fans alike are eagerly anticipating this thrilling encounter between these two prominent teams. The venue, located at Tin Kwong Rd, Ma Tau Wai, Hong Kong, is expected to be buzzing with excitement as both sides showcase their skills and competitiveness on the field. The match promises to be a spectacle of outstanding athleticism and sportsmanship, drawing in spectators from near and far. With a rich history and tradition, both the Diasqua Little Sai Wan Cricket Club and the Pakistan Association of Hong Kong are sure to put on a captivating display of cricketing prowess. So mark your calendars and make sure not to miss this epic showdown between these two formidable teams at the 9th Match of the Diasqua Little Sai Wan Cricket Club v Pakistan Association of Hong Kong.