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

The post The Must-See Art Exhibitions for November 2021 in Hong Kong appeared first on Prestige Online - Hong Kong.

There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

The post Yvonne Fong on Curating Art at Simon Lee Gallery and Vernissage Style appeared first on Prestige Online - Hong Kong.

The work of Los Angeles-based artist Alex Hubbard encompasses different media, including video art, painting and sculpture, to explore the boundaries of each through an investigative cross-examination of different practices.

For his second solo exhibition and inaugural presentation at Simon Lee Gallery in Hong Kong, Hubbard has created a series of mesmerising paintings that feature classic and new techniques as well as wide range of materials. One of his latest process, for instance, involves UV printing technology to combine abstraction and figuration in a single canvas.

In his oeuvre, thanks to the use of fast-drying materials, Hubbard embraces chance happenings, revealing the autonomy of his chosen media.

We talked to Alex Hubbard about his Hong Kong exhibition and the meaning behind his art.

Can you tell us about your inaugural presentation in Hong Kong? What can gallery goers expect?

I use a wide variety of materials and techniques to make paintings. They are created from plastics, fiberglass, sprayed automotive paints, oil paint and printed images. The materials and images are layered, building up a surface. In this show, I'm using that process and surface as a springboard to start a painting. Then I paint into the work with traditional oil paint.

How would you describe your artistic style?

I'm not restless, but I do love to explore new materials, new methods. Vito Acconci would speak about his process. It was always the problem, the resolution of that problem in a work and then the problem with that. All to create the next problem and series of problems. It's less explicit in what I make but there is an underlying dialectic approach to materials and medium.

What are the many themes of your work?

I'm often using very common objects from the studio to create imagery. I'm filming chairs, buckets, tools, ladders. I'm painting gloves, caster wheels and printing pictures of wheelbarrows and dollys. The work is very process based. I want it to have life. Getting there is hard, and it takes planning and labor. That's the contradiction for me, I make things that look like an accident - it takes so much time to properly plan an accident.

How did you become an artist?

It was the only thing I was any good at. My mom is an artist, but it wasn't her profession. I never imagined people did it as a profession. I grew up in a rural coastal area in Oregon. I knew an older figurative painter who drank vodka from teacups and lived in a shack next to the ocean. When I attended college, my second college of many, I met other young people who were more familiar with contemporary art. They were going to be artists. I guess that was my introduction. Several colleges later I moved to New York and attended the Whitney Independent Study Program then worked for Christopher Wool in his studio.

Did the challenges of 2020 inspire your work in any way? How?

I don't know if inspiration is the word I would use - but a certain sense of liberation brought on by the isolation of Covid. So much of being a contemporary artist is being a part of a general dialogue or rejecting the dialogue - a syntax formed through the public presentation of different ideas and techniques. The exchange that takes place through normal exhibitions, the exchange between artists drinking at a bar together, or studio visits with collectors - all that stopped, and my schedule stopped. Everything was cancelled initially, and it was hard to work. No deadlines, no shows to look at, just the books in the studio and time. I drew a lot at first - I think that's some of what this show comes out of.

Has art been personally helping you to get through the pandemic?

I'm very much a studio artist and I love to work, getting completely consumed in work is a great escape.

You use a lot of mixed media and technology in your works. Can you tell us more about that?

I love problem solving. I love to see how different artists are working through materials and compositions. Good painting can be a window into an artist's internal chain of thought, an unfolding or a record of intelligent ideas and similar to a visualization of good music. I see the materials and technologies I use in the same way. The idea is to always push it, to create something that hasn't been done or seen. I like to present myself with a challenge or puzzle and try to solve it in a graceful and interesting way. I see people make the same painting for like ten years and I just have no idea how they can stand to do it. I would just feel like I was pantomiming myself. I love a good studio disaster, then trying to get out of it.

What is like to be a contemporary artist in LA?

LA has its moments. I have an incredible studio. Los Angeles has great light and the environmental conditions for using so many of the materials I use are perfect. Low humidity and high temperature is how things dry and cure. A good deal of the materials I use overlap with Hollywood, car culture and even aerospace as so many of the chemicals found in my work are manufactured here. There's a tradition of the Light and Space artists using these materials, that thinking is part of the landscape here. There is also the performative history here of Mike Kelley, Paul McCarthy and Guy de Cointet. The humor and irony of the Los Angeles masters like Ruscha. There are also hidden masters in the hills like John Knight and Richard Hawkins. I've been here 7 years, but I still feel like a visitor. Like everywhere, the pandemic has been hard on Los Angeles. Many of the great old bars and restaurants are closing, they are some of the better attributes of the city.

What artistic movement of the past inspires you or inspired you the most?

When I started out it was Fluxus, the intelligence and comedy and light heartedness. We could use a dose of that right now. For the show in Hong Kong, I was looking at Picabia and Duchamp's machine drawings. Inspiration changes a lot, we kind of pull in what we need from history when we need it.

The exhibition will run until March 13, 2021 at Simon Lee Gallery

The post LA-based Artist Alex Hubbard on His Mesmerising Paintings and Hong Kong Exhibition appeared first on Prestige Online - Hong Kong.

US curator brings a roster of conceptual artists together to examine written and spoken word use in Trip of The Tongue, on till October 27.

The post Simon Lee Gallery Hosts 5 Artists for New Exhibition appeared first on Prestige Online - Hong Kong.