Celebrity Life

Here are the latest shows, immersive experiences, and must-see art exhibitions for this November 2021.

M+ Museum

Not a "show" per se, but we can't round up everything art in the city without shouting out the brand new M+ museum. The highly-anticipated cultural hub opened last week and houses 33 galleries, three cinemas, museum shops and much more – you can find out everything you need to know by reading our guide here. Entry will be free for all visitors for a year, with an exception for entry to special exhibitions and events.

M+ Museum, 38 Museum Drive, West Kowloon Cultural District

Axel Vervoordt Gallery: Shen Chen

Axel Vervoordt Gallery is presenting a solo exhibition by Shanghai-born, New York-based artist Shen Chen, comprising 12 paintings created between 2009 and 2021. Although Shen’s works bear stylistic influences of paintings from the "color field" movement of 1940s and ‘50s New York, his practice is rooted in a philosophical mode of thought deriving from his training in traditional Chinese ink painting. If you don’t catch the show in Hong Kong now, you’ll have to visit Kanaal in Antwerp in the spring, the exhibition’s next stop.

Until December 25. Axel Vervoordt Gallery, 21/F, Coda Designer Building, 62 Wong Chuk Hang Road, Wong Chuk Hang

Ora-Ora, Tai Kwun: Living with Botero by Fernando Botero

Living with Botero is an exhibition of work at Ora-Ora's new gallery in Tai Kwun by Colombian-born figurative artist Fernando Botero, in a faithful recreation of his New York apartment. An open invitation to step into the artist's working environment, the show comprises paintings and drawings never seen before in Hong Kong, many of which Botero lived with and considered his personal favourites.

Until November 27. Ora-Ora, 105-107, Barrack Block, Tai Kwun, 10 Hollywood Road, Central

Woaw Gallery: TEKNOLUST: OBJECTOPHILIC FUTURES

Curated by Ben Lee Ritchie Handler and Melanie Ouyang Lum, Woaw Gallery’s latest exhibition, TEKNOLUST: OBJECTOPHILIC FUTURES opens with Stephen Neidich’s The so-called blush response (2021); a set of kinetic curtains that animate at will, obscuring then revealing then obscuring once more what lays beyond. From female human-android sculptures emerging from the gallery floor to EPOCH’s REPLICANTS, a full-scale, digital replication of Queen’s Road Central, prophesying the future of the neighbourhood as one devoid of humanity, the multi-artist showcase examines many, many “What If?” theses.

Until November 24. Woaw Gallery, 9 Queen’s Road Central, Central

Carnaby Fair x The Stallery: SUB9TURE

The Stallery plays host to Hong Kong’s first ‘CAP-ART’ exhibition in collaboration with Carnaby Fair, showcasing seven local Hong Kong artists’ capsule collections including those of The Stallery’s own Ernest Chang, Plumber King and DaddyBoy®️. Works showcased will include digital installations, large-scale displays, and interactive experiences, with all artists involved collaborating with Carnaby Fair to imprint their pieces onto caps, t-shirts and NFTs. All proceeds from the exhibition donated to V Cycle, a Hong Kong social enterprise that supports poverty alleviation and COVID-19 stress relief. Beyond the gallery exhibition, the façade of The Stallery will also become canvas to a large-scale, cross-generational collaborative graffiti-jamming project for Mr. Yim (The Plumber King) and BOMS.

Until February 13. The Stallery, G/F, 82A Stone Nullah Lane, Wan Chai

10 Chancery Lane Gallery: Love in the Dream

A celebration of 10 Chancery Lane Gallery’s 20^th anniversary, Love in the Dream is a sweeping 44-artist showcase, with the exhibition itself segmented into groupings of artwork thematically, salon-style. Sections include works built from resin, a dedication to Southeast Asian artists, photography and a solo partition for Hong Kong’s iconic Frog King Kwok — also featured in the toilet. 

Until January 22. 10 Chancery Lane Gallery, G/F, 10 Chancery Lane, Soho, Central

THE SHOPHOUSE x MINE PROJECT: perspective parallel by Yang Bodu and Zhao Zhao

A collaborative exhibition between THE SHOPHOUSE, MINE PROJECT and Qiong Jiu Tang, perspective parallel is a collective exhibition between Yang Bodu and Zhao Zhao, the couple’s first-ever joint feature. The title of the exhibition nods at the couple’s daily routine; a communal experience of shared time, shared space and shared professions as artists. Bodu’s paintings are connected by similar points of obscurity, from one jet-black stripe to another jet-black column in a separate painting; a theme that acts as portals throughout the artist’s oeuvre. Zhao’s paintings, on the other hand, posits questions asked since time immemorial: What is “THE WORLD”? Zhao’s answer: A fully abstract series that neither answers nor posit; instead, leaves the viewer wondering if the point of reference is microbial cells, floating grains of sand or the entire galaxy from the point of view of an omniscient narrator. 

Until 21 November. THE SHOPHOUSE, 4 Second Lane, Tai Hang

Gallery HZ x Arta: skin in the game

From mixed-media paintings by Ewa Budka, Javier Martin and Ewelina Skowrońska to photography by Chong-Il Woo, Gallery HZ and Arta’s group exhibition skin in the game brings together pieces that thematically represent the complexities of womanhood in today’s increasingly ambiguous world, especially with regard to gender, gender expression and gendered expectations.

Until December 16. Gallery HZ, 222 Hollywood Road, Sheung Wan

Karin Weber Gallery: Wish You Well by Sharon Lee, Wai Kit Lam and Linda Norris

Karin Weber Gallery’s Wish You Well exhibition is a celebration of neither painting nor installation, instead, focuses attention on an "often underestimated" medium: that of the A6 square-footage of a postcard. Sharon Lee’s body of work, for which this exhibition is named after, is inspired by postcards of the Hong Kong Zoological and Botanical Garden, while Wai Kit Lam and Linda Norris present their submissions from the “Root & Branch” project, where postcard-sized collages and paintings thematically linked through inclusions of wood and trees delve into notions of identity and heritage.

Until December 18. Karin Weber Gallery, 20 Aberdeen Street, Central 

Gagosian: Jonas Wood

Jonas Wood’s plant-focused oeuvre makes its way to Hong Kong for the very first time with this solo exhibition at the Gagosian gallery, featuring ten new paintings of flowers, fruits and houseplants rendered on black backgrounds alongside two series of related drawings including Yellow Flower with Lines 2 (2021). Originally from the East Coast, Wood’s interest in flora manifested upon his move to Los Angeles in 2003, where lush, verdant growth reflect the artist’s immediate environment at home as well as his then-new chosen home’s cultural identity. 

Until January 15. Gagosian, 7/F Pedder Building, 12 Pedder Street, Central 

Simon Lee Gallery: Georg Karl Pfahler

Designated as Georg Karl Pfahler’s first solo exhibition in Asia, this showcase predates the exhibition’s later, more comprehensive showing in Spring 2022 in the gallery’s London chapter. Here, Pfahler’s work from 1965 to 1975 is exhibited, beginning first with the artist’s Tex and Metro series in the early ‘60s to his later Ost-West Transit and Espan series that defined his work through the ‘70s. Known as one of the first “hard-edged painters”, Pfahler’s signature traces through abstract geometric shapes and crisp colour-blocking; an exploration of colour, shape and space that defined the artist’s entire life’s work. 

Until January 8. Simon Lee Gallery Hong Kong, 304, The Pedder Building, 12 Pedder Street, Central

White Cube: His Own Worst Enemy by Damien Hirst

His Own Worst Enemy features sculptures from Damien Hirst’s Venice installation Treasures from the Wreck of the Unbelievable (2017) — as well as a series of new paintings entitled The Revelations. Treasures from the Wreck of the Unbelievable (2017), in development for over a decade, weaves a tale of an incredible archaeological excavation from an ancient shipwreck, with found treasures verging on whimsy and the fantastical, including a black-bronze sculpture of The Severed Head of Medusa (2008). 

Until January 8. White Cube Hong Kong, 50 Connaught Road Central, Central

David Zwirner: Isa Genzken

If you’ve found yourself in the vicinity of Victoria Dockside and K11 MUSEA in recent months, you’d undoubtedly have walked past one of Isa Genzkhen's most recognisable works: Rose II, standing ever blooming, ever larger than life. Coinciding with the 8.5-metre-tall sculpture’s tenure in Hong Kong, Isa Genzken's key works from the past decade — including the “tower” and “column” sculptures and the Schauspieler (Actors) series — will be on display for the artist’s first solo presentation in greater China. 

Until December 18. David Zwirner, 5-6/F, H Queen’s, 80 Queen’s Road Central, Central

PERROTIN: Behind My Back, in Front of My Eyes by Gregor Hildebrandt

Gregor Hildebrandt’s preferred medium of choice is a technique named “Sound Paper,” or “Tönendes Papier,” as it was first coined by inventor Fritz Pfleumer in 1928 in reference to magnetic tape used to tape audio; then, the kinds of paper coiled in cassette tapes several decades later. Hildebrandt, however, uses the medium to produce silence. Capturing a recorded melody on empty tapes, Hildebrandt then uses the treated audio cassette tape as “paint”; thus, "sticking" music to canvas in what he calls “rip-off paintings.” From the graphic motifs of White flower pointing up (Alphaville) to the multi-coloured Sur le comédien, Hildebrant manufactures a silent soundscape rife with memories, yet amputated from its latent musicality. 

Until November 20. Perrotin Hong Kong, 807, K11 ATELIER, Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui

Tai Kwun: Poetic Heritage

Questions of heritage, generally, most likely, come with implications of tradition; of heirlooms. Of things and lore and customs someone from generations past thought was worth keeping. Poetic Heritage — a joint exhibition borne out of Tai Kwun Contemporary’s open call for curatorial proposals — ruminates on precisely this; on the how, the why and, then, the why not. Six chosen artists and artist groups intentionally chose debris and objects — think reclaimed granite, wood pallets and cardboard boxes — otherwise unsavoury and headed for the landfill as materials that hold evidence of the past. As evidence of stories untold and forgotten.

Until November 21. Tai Kwun, 10 Hollywood Road, Central, Hong Kong

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