Artbridger and Soho House Hong Kong are presenting Elsa Jeandedieu's latest works, alongside those of Kaki So, Ghanem Hassan, William Tong, and Wai Hong, at Art Central 2025.
Hong Wai's latest exhibition, now making its triumphant return to Hong Kong after successful runs in Paris and Taipei, is a dazzling testament to the artist's ability to weave together disparate cultural threads.
Ane Alfeirán – (Mexico City, 1987) is a self-taught artist with a global perspective forged during her 13 years of residence and work in Asia.
William Tong stands as a notable figure in Hong Kong's contemporary art scene, distinguished by his ability to blend local inspirations with universal themes. His work, primarily focused on the Temphouse and Amazing Fish-Fusion series, reflects a deep appreciation for nature and a yearning for freedom.
There are moments in art criticism when serendipity reveals deeper truths about an artist’s work. I experienced one such moment with Francesco Lietti on a humid Hong Kong afternoon in Wyndham Street. There he stood, carefully cradling his paintings wrapped in simple cloth, having just retrieved them from a gallery.
In the gleaming halls of the Chi K11 Art Museum, where commerce meets culture in Shanghai’s ever-evolving artistic landscape, Takashi Hara’s recent exhibition, “Blazing in the Universe,” emerges as a profound meditation on existence itself.
There’s something wickedly subversive about watching a female artist take the masculine stronghold of Chinese calligraphy and infiltrate it with lace—yes, lace, that most feminine of decorative arts, traditionally crafted in hushed monasteries and draped across the bodies of society women.
Chapman’s approach is rooted in the belief that art should be accessible to all.
by Luke Chapman
The use of lace as ink is particularly poignant; it transforms traditional calligraphic practices into a contemporary dialogue about identity and memory. Each piece in the series not only serves as a tribute to the past but also engages with ongoing conversations about cultural heritage, nostalgia, and the complexities of modern life in Hong Kong.
by Luke Chapman
In Francesco Lietti's latest series, we encounter a masterful convergence of Hong Kong's pulsing urban energy and his distinctive mixed-media approach. This particular piece - executed in his signature combination of media with resin on canvas - captures the city's verticality with an almost jazzy rhythm, the buildings swaying like notes on a modernist score.
by Luke Chapman
by Luke Chapman
"Wayfinding 2" continues the artistic exploration of industrial landscapes with a remarkable shift in emotional tenor from its companion piece. Where the previous work employed cool teals, this painting introduces a warm, almost nostalgic palette that transforms industrial architecture into something approaching the sublime. The rose-gold atmospheric treatment suggests either dawn or dusk—transitional moments when ordinary structures take on extraordinary qualities. This temporal ambiguity serves the painting's conceptual foundations, suggesting that our perception of industrial landscapes shifts with context and perspective. The golden navigational lines create visual pathways through the composition while simultaneously referencing lighthouse beacons, search lights, and perhaps even divine illumination—asking viewers to reconsider these utilitarian structures as potential sites of transcendence. What distinguishes this work is its sophisticated negotiation between documentary impulse and emotional response. The artist maintains the recognizable features of industrial architecture while elevating them through atmospheric treatment and compositional devices. This approach resists both naive romanticism and cynical critique, instead occupying a nuanced middle ground that acknowledges the complex legacy of industrialization. For collectors interested in contemporary landscape painting, "Wayfinding 2" offers an important meditation on how we navigate environments that are simultaneously human-made and beyond human scale. The work succeeds in finding unexpected beauty in utilitarian structures while acknowledging their cultural and environmental implications. Through this romantic-industrial aesthetic, the artist invites viewers to reconsider spaces typically overlooked in traditional landscape painting traditions.
