Month: November 2025

Yim Sui Fong 嚴瑞芳

Published by Jessica Wan

Between the personal and the political lies Hong Kong-based artist Yim Sui Fong’s long-standing enquiry into how we come to know and relate to the world – an enquiry shaped by playful, embodied, socially engaged practices. Her work often explores how individual agency can generate new ways of seeing and being within power structures embedded in everyday life. Through participatory listening, performative archiving and collaborative workshops, she creates artworks that become public encounters and platforms for collective meaning-making. In recent years, she has developed sonic interventions, such as A Stream A Path (2025-) and Stair Mass (2022), to explore the role of sound in remembering personal experience and sparking collective imagination. These works expand the role of the artist as storyteller, facilitator and social archivist. From June to August 2025, she was a resident artist at Delfina Foundation in London, where she continued researching archives and collaborative learning practices across cultural contexts. Jessica Wan: What brought you to Delfina Foundation and how has the residency community influenced your thinking or practice so far? Yim Sui …

Oscar Chan Yik Long at The Radvila Palace Museum of Art Vilnius 

Published by Artomity Magazine

Oscar Chan Yik Long /They always look from an imagined above /Nov 27, 2025 – Mar 15, 2026 / The Radvila Palace Museum of Art of the Lithuanian National Museum of Art 24 Vilniaus StreetVilnius, Lithuania T +370 5 250 5824Tuesday, Wednesday, Friday, Saturday, 11am – 7pmThursday 12am – 8pmSunday 11am – 5pm lndm.lt Oscar Chan Yik Long (Hong Kong, 1988, lives in Helsinki) works mostly in Chinese ink. His paintings and drawings are mostly based on motifs from East Asian mythology or other esoteric traditions. This is his first solo exhibition in a museum, and it contains both new and existing works. Its title, They always look from an imagined above, also names a temporary ink mural (2025) on the vaulted ceiling of the a seventeenth-century Radvila Palace. Who are ‘they’? What is the ‘above’ and why is it ‘imagined’? Chan is not telling us. He has placed Cosmic egg (2021), a woollen rug, under the mural. The rug alludes to a creation myth, but again without explanation. In an adjacent space, the walls and ceilings receive the projected work Patrol (2025), where ‘they’ …

Chan Kwan Lok 陳鈞樂

Published by Caroline Ha Thuc

Weaving together Chinese traditional techniques, Japanese iconography and contemporary critical perspectives, the practice of Hong Kong artist Chan Kwan Lok draws on his daily experiences and observation of nature. His works depict human beings – and often himself – grappling with their environment, set against grand landscapes that both subsume and permeate them, while confronting their own emotions. The delicate ink lines facilitate the intertwining of worlds and perceptions, where elements overflow and merge. The sea, along with the forest and the mountain, provides the artist with particularly inspiring settings. CHT: Coral Reef (2013) and The Odyssey in Waves (2014) are among your first long handscrolls. Both depict the ocean. Later, one of your solo exhibitions was titled Threading Ocean. Where does this interest for the sea come from? Chan Kwan Lok: The first long scroll painting about the ocean can be traced back to my childhood work The Ocean (1999). I created it while having dim sum with my family, using pages torn from my school dictation book, drawing one page at a time …

Art Specialist Course 2024 — 25 Graduation Exhibition at Hong Kong Visual Arts Centre

Published by Artomity Magazine

Art Specialist Course 2024 — 25 Graduation Exhibition /Nov 7 – 28, 2025 / Hong Kong Visual Arts Centre / Exhibition Hall, 5/F /7A Kennedy Road, Mid-Levels /Wednesday – Monday, 10am – 9pm / apo.com The Art Specialist Course 2024–25 Graduation Exhibition showcases the creative achievements of students from two courses: Drawing, Painting and Printmaking, and Sculpture, Body and Space. The exhibition features a wide range of artworks exploring both three-dimensional and two-dimensional visual arts. Students experiment with materials, forms, and space in their sculptures, expressing bodily experiences and emotions. Their paintings and prints move between realistic representation and abstract concepts, revealing personal reflections and artistic imagination. Each work reflects the dedication and development of the students in both skill and vision. The exhibition offers visitors the opportunity to experience how these students interpret the world around them through their unique creative voices. We warmly invite everyone to visit and appreciate the richness and diversity of these artworks. This exhibition not only celebrates the students’ hard work over the past year but also inspires all to see the …

Felix Gonzalez-Torres at David Zwirner Hong Kong

Published by Artomity Magazine

Felix Gonzalez-Torres /Somewhere better than this place / Nowhere better than this place /Nov 19, 2025 – Feb 14, 2026 /Opening Reception: Wednesday, Nov 19, 5pm – 7pm / David Zwirner5-6/F, H Queen’s 80 Queen’s Road CentralCentral, Hong KongTuesday – Saturday, 11am – 7pm+852 21195900 davidzwirner.com David Zwirner is pleased to announce Somewhere better than this place / Nowhere better than this place, the first exhibition of Felix Gonzalez-Torres’s (1957–1996) work in Hong Kong. Gonzalez-Torres was one of the most significant artists to emerge in the late 1980s and early 1990s. In its reduced formal vocabulary, conceptual rigor, and evocative use of everyday materials, his work resonates with meaning that is at once specific and mutable, rigorous and generous, poetic and political. Featuring examples from key bodies of work by the artist, this presentation will also extend beyond the gallery into the city, and will seek to draw out the deep resonances between Gonzalez-Torres’s practice and the city’s complex urban fabric, historical trajectory, and evolving identity. Hong Kong—a place shaped by histories of passage and transformation—mirrors many of the …

Hilarie Hon 韓幸霖

Published by Caroline Ha Thuc

Shaping Surface into Light /Gallery EXIT /Hong Kong /Aug 30 – Sep 17, 2025 / There is, first of all, an immediate shock. On either side of the space, the pure colours of Hilarie Hon’s paintings vibrate and strike with dazzling intensity. In her new solo exhibition at Gallery Exit, the same motif recurs everywhere: an immense sun slipping into the sea at sunset. The tones are vivid – flamboyant orange, scarlet red and fuchsia pink against bright blues. These colours radiate through the room, producing an initial pleasure that feels raw and almost physical. But what arises from these works is not pure joy. Rather, it is a kind of nostalgia, a feeling inevitably tied to that fleeting instant when day falters and yields to night. Hilarie Hon has been painting sunsets since 2017. It is an obsession for the artist, who, as a child, developed the habit of watching the sunset from Plover Cove Reservoir Dam. When she struggled with sleeplessness and nightmares, her father would take her for night walks to the …

Ulana Switucha at Blue Lotus Gallery

Published by Artomity Magazine

Ulana Switucha /Torii /Nov 15 – Dec 14, 2025 /Solo exhibition and book launch /Opening: Thursday, Nov 13, 6pm – 8pm / Blue Lotus Gallery G/F, 28 Pound LaneSheung Wan, Hong Kong +852 5590 3229 Tuesday – Sunday, 11am – 6pm bluelotus–gallery.com Blue Lotus Gallery presents Torii, a new photobook and exhibition by Ulana Switucha. Hong Kong–based Canadian photographer Ulana Switucha spent ten years journeying through Japan’s quiet, lesser-travelled landscapes, photographing its most iconic and sacred gateways.  First appearing in Japan around the 10th century, torii evolved from simple wooden structures into the iconic forms seen across the country today. They mark the transition from the secular to the sacred, serving as enduring symbols of reverence for the Kami: deities believed to dwell within the natural world. Architectural and symbolic, these gates embody reflection, balance, and the harmony between humanity and nature, and today stand as enduring symbols of Japan’s cultural and spiritual heritage.  A former resident of Japan, her decade-long journey is uniquely devoted to photographing its torii. Over the years, Ulana Switucha has developed a deep familiarity with …

Palace Museum 故宮文化博物館

Published by Ilaria Maria Sala

Wonders of Imperial Carpets: Masterpieces from the Museum of Islamic Art, Doha /Palace Museum /Hong Kong /Jun 6 – Oct 6, 2025 / A carpet exhibition might sound like something reserved for a niche audience, but the extraordinary Wonders of Imperial Carpets: Masterpieces from the Museum of Islamic Art, Doha at the Palace Museum is so full of surprises and so well curated that it’s one of the most stimulating shows Hong Kong has seen in a while. The stars of the exhibition are, as the title implies, carpets from Safavid Iran, Ottoman Türkiye and Mughal Hindustan, the three Islamic empires of the early modern period. They’re accompanied by ceramics, metalwork, glasswork, maps, illuminated copies of the Quran and jades, spanning eight centuries, mostly from modern-day Pakistan, Afghanistan, India, China, Iran and Türkiye. A number of ceramics from Central Asia are also on show, on loan from Doha, mostly from the Timurid period (1370-1507). The aesthetic and cultural dialogue in this vast region was extensive and fertile. Chinese blue and white porcelain, for example, was …

Kiang Malingue presents Carrie Yamaoka at Manshu-in Temple, Kyoto

Published by Artomity Magazine

Carrie Yamaoka /Inside Out/Outside In /Nov 12 – Dec 3, 2025 / Manshu-in Temple /42 Takenouchicho, Ichijoji, Sakyo-kuKyoto, JapanMonday – Sunday, 9am – 5pm kiangmalingue.com Kiang Malingue is pleased to present Inside Out/Outside In, an exhibition by Carrie Yamaoka. Spanning works from the past twenty-five years, this is the artist’s first solo exhibition in Japan, and follows her prestigious 2025 Maria Lassnig Prize. When approaching a work of Carrie Yamaoka: Acknowledge the potential of an irreversible intimacy. Savor your distance to form a holding pattern, as this orbiting could bring you closer to what future proximity might hold. Recognize your present orientation—physically, mentally, and spiritually—as the inception of your visual recognition and perception. Consider time’s virtue in the displacement and distance of your encounter. In physics, displacement contains magnitude and direction: walking around the block to return to the starting position yields zero displacement. Yamaoka’s work claims power back from the solitary zero-sum game of life. Walk around that block. Anticipate the amplitude of your heart to shape the architecture of the self the work offers. Let …

Moments in Time – Available for Immediate Purchase, exhibition and text at opening reception of watches and other items for sale, Sotheby’s Maison, Central, Hong Kong, 21 August 2025.

Published by John Batten

A few months ago, contributor Sam Knight’s article How a Billionaire Owner Brought Turmoil and Trouble to Sotheby’s was published in The New Yorker, following similar reports in art publications. Each discussed French-Israeli telecommunications billionaire Patrick Drahi’s ownership of auction house Sotheby’s, which he purchased in 2019. The article outlines Drahi’s propensity for cost-cutting, staff downsizing and extracting capital from the businesses he operates. Since his purchase, Sotheby’s debt has risen, nearly a quarter of its staff have left and US$1 billion of dividends have been paid to its holding company. Also, a disastrous recent attempt to introduce a new fixed set of fees for buyers and sellers at its auctions backfired. The fixed fees did not allow Sotheby’s art specialists any leeway to negotiate fees with potential consignors. Christie’s duly undercut its rival. Sotheby’s specialists consequently struggled to find stock for their auctions. Just seven months later, amid falling business, Sotheby’s reverted to its old fee structure. The above photograph could be illustrative of Sotheby’s recent approach to business. It also reflects the transactional …