Featured Events in Hong Kong in March, 2024 (May 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

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.”

Experience the dynamic and multifaceted DJ, NASH, at Shuffle in Hong Kong on March 22nd, 2024. Presented by UMAMI and Mixmag Asia, NASH, a Delhi-based DJ, will showcase a diverse mix of Afro, House, Disco, UK Garage, Breaks, and Breakbeat music genres. Hailing from Delhi, NASH's sets seamlessly blend various sounds like Afro, House, Disco, UK Funky, Garage, Breaks, Breakbeat, Electro, and Left-Field Techno. With a background in Hindustani classical music, NASH's rhythmic talent creates an immersive musical journey. Starting with influences from Hip-Hop, R&B, and Motown Soul, NASH has collaborated with renowned brands like Fred Perry, Adidas, Bally, and Armani Exchange. Having performed worldwide alongside industry giants, NASH's presence electrifies audiences, including memorable performances at the Boiler Room India tour and international festivals. Don't miss this opportunity to witness NASH's captivating performance at Shuffle in Hong Kong. Immerse yourself in the UMAMI experience and let the UK Bass music ignite your soul at this unforgettable event.

Experience the ultimate high-intensity workout at the LANE EIGHT x Tribal Fitness HIIT session in Hong Kong. This exclusive event, taking place at the renowned Tribal Fitness venue located at 30 Hollywood Road 3F, will be held on March 23, 2024. Immerse yourself in a dynamic one-hour class led by expert trainers, blending functional movements, cardiovascular exercises, strength training, and flexibility drills to challenge and invigorate participants of all fitness levels. Participants will receive a pair of LANE EIGHT HIIT Trainers in their preferred color, valued at $1,080. After the session, shoes can be collected at the LANE EIGHT store in Wan Chai or shipped directly. The ticket price for this premium fitness experience is set at HK$580. Don't miss this opportunity to push your limits in a supportive environment alongside like-minded individuals. Sign up now and elevate your workout routine with the LANE EIGHT x Tribal Fitness HIIT workout.

Experience the magic of a night filled with a cappella music at the A Capella Music Night featuring the talented groups, DBros and Medipella. Taking place at The Aftermath in Hong Kong on March 23, 2024, this event promises a fulfilling and enjoyable musical experience for all attendees. DBros and Medipella will showcase their vocal prowess and harmonies, creating an unforgettable evening of entertainment. The venue, located at 57-59 Wyndham Street, Hong Kong, HKI, sets the perfect stage for this captivating performance. Tickets for this exclusive event are priced at HK$108 and are nonrefundable, ensuring that you secure your spot for a night of exceptional a cappella music. Don't miss out on this opportunity to immerse yourself in the captivating melodies and harmonies of DBros and Medipella. Join us at The Aftermath for a night to remember.

Supper Club is a unique week-long event set to debut in Hong Kong at the Fringe Club from March 25 to March 26, 2024. It offers a fresh concept by combining an art fair, a social space, and an interactive platform for engaging with contemporary art. The event promises to redefine the traditional art fair model by creating a relaxed atmosphere for art appreciation and socializing. Visitors can explore the carefully curated selection of 22 international galleries, each showcasing their works in different areas of the Fringe Club. The concept was conceived by Willem Molesworth, Ysabelle Cheung of PHD Group, and Alex Chan of THE SHOPHOUSE, aiming to provide a new perspective on art consumption. Extended evening hours allow guests to wander through the event's interconnected spaces at their leisure. For more details and ticket prices ranging from HK$105.99 to HK$158.99, interested individuals can reach out via email at info@supperclubhongkong.com.

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.

Immerse yourself in a night of ART, MUSIC, fine WINES, and delectable CANAPES at the SIP AND BID - Affordable Art Auction in Hong Kong. This event, known for its diverse artwork suitable for every budget, promises another remarkable art experience. Taking place at the iconic Club Lusitano on 16 Ice House Street in Central on March 27, 2024, from 6 to 9 pm, this auction showcases the talent of five incredible artists. With successful bids typically ranging from HK$2000 to HK$10000 based on past events, attendees have the perfect opportunity to find amazing artworks within their budget. Don't miss out on this extraordinary event; secure your spot now by booking a ticket priced at HK$0 to HK$300. Join us for an evening filled with Art, Wine, Canapes, and Music at this entertaining art event.

當藝術與繁華都市香港交織時，便孕育出了令人期待的香港巴塞爾藝術展2024。這一年度盛會將在香港的地標—香港會議展覽中心隆重舉行，日期定於2024年3月28日，為藝術愛好者呈獻一場視覺與靈魂的盛宴。作為世界級的藝術展覽，香港巴塞爾藝術展每年吸引眾多國際藝術家和藏家齊聚一堂，展出最創新、最引人入勝的藝術作品。踏入展覽中心，觀眾將被引領至一個充滿想像力與創意的空間，每一幅作品都是對生活美學的獨到詮釋。在這裏，藝術不僅是觀賞的對象，更是連接世界的橋樑，是展示文化多元性的平台。諸位藝術愛好者，不容錯過這場年度盛會，讓我們一同感受藝術的魅力與節奏，體驗香港巴塞爾藝術展2024帶來的精彩。

隆重介紹，2024年巴塞爾藝術展將於3月28日，在香港會議展覽中心盛大開幕。這場規模宏大的藝術盛事，將吸引來自世界各地的藝術愛好者和專業人士匯聚於此。香港這座文化交融的城市，將盡其所能呈現一場前所未有的視覺盛宴。對於有志於藝術領域、渴望與國際藝術界交流的參與者而言，2024年巴塞爾藝術展絕對是不容錯過的機會。對於具體的票價信息，敬請期待後續公告。讓我們一起預期這場藝術的盛典，揭開它神秘而迷人的面紗。

KCON HONG KONG 2024將是一場盛大的韓國文化和音樂盛事，將於2024年3月30日至3月31日在亞洲國際博覽館舉行。KCON作為全球最大的韓流活動，在洛杉磯成功舉辦後，已經擴展到紐約、東京、曼谷、阿布達比等地，吸引了逾100萬樂迷參與。KCON以明星雲集的音樂會、引人入勝的座談會、充滿創新的博覽會和藝人活動為特色。參與KCON HONG KONG 2024的粉絲將有機會近距離接觸喜愛的韓國明星，包括aespa、ATEEZ、BOYNEXTDOOR、DAY6等眾多知名音樂人。這將是一個讓粉絲們與偶像近距離互動的難得機會。敬請期待KCON HONG KONG 2024，一場充滿活力與激情的韓流饗宴。