Art Machines 2: International Symposium on Machine Learning and Art 2021 will take place between 10th-13th June 2021. "Art Machines 2," will bring together Academics, Artists, and Professionals in the field of Computational Media Art in a four-day symposium on the topic of Machine Learning and Art.

After the success of "Art Machines" in 2019, this much-anticipated follow-up symposium will provide the opportunity for in depth assessment of the impact of artificial intelligence on the making of computational art and media, and an exploration of the conditions of existence, range and futures of computationally based art and media. Media art does not exist in a vacuum and a critical concern of the conference will be both to understand and practice ways in which media art can intervene, both critically and constructively, in the ongoing construction of social reality by machine learning algorithms. The conference will comprise academic key notes, plenary panel presentations and discussions, scholarly and art practice paper presentations, an art exhibition and student-led workshops.

Embark on a magical art journey filled with light this Christmas at K11 MUSEA. Globoscope, a light showcase curated by French art lab Collectif Coin, has been showcased in various countries. It’s making a debut in Asia and arriving at Bohemian Garden, 7F on 27 November 2020.

Limited walk-in quotas are available but strongly recommend making a reservation on K11 MUSEA website to avoid dissapointment. Entry fee is free.

We believe that the ability to design is something that makes us uniquely human. It is a practice of realizing our imagination and a reflection of our way of thinking. Design is ubiquitous—it helps construct the fabric of our communication and has shaped how we exist as a species. It clothes our body and gives us our cultural identities, provides spaces of shelter, determines the substance we put into our mouth and keeps us alive. Everything manmade has been designed, hence everything can be redesigned.

The achievements of the Redress Design Award’s 10th cycle finalists and Alumni All Stars will be celebrated in an exhibition, opening on 20 November at THE FOREST, in Mong Kok, Hong Kong. a Hong Kong hub of outdoor living that fosters a sustainable environment surrounded by greenery.

Waste-reducing looks from the world’s top emerging menswear and womenswear designers will be showcased with visitors getting to see up close these stunning sustainable designs, and find out more about the circular design strategies applied by these talents who are working to shift the landscape of fashion. The exhibition features 14 designers, three of whom are from Hong Kong including much celebrated sustainable designer ANGUS TSUI.

Leung’s artistic practice involves observation and intervention through flaneuring, sometimes working with found images and ready-made objects, so as to explore the interplay between art and its plights. The result appears in the form of object, installation and video, exhibited to accumulate a visual disruption.

This radically inventive body of work is achieved by hand-screen printing images, in this case striking grids of currencies, onto retroreflective vinyl sheeting, the industrial material used to make road signs visible in the dark. While traces of patterning are perceptible upon first inspection of these intriguing monochromes, it is only when the works are illuminated by a beam of light that the intricate details of the iconic imagery are fully revealed. The works must be 'activated' by the viewer, whether using the light on an iphone or taking a photograph with a flash, encouraging an engagement and personalized experience with each work of art.

You can close your mind to things if something is important enough. It works very well. You make yourself very small, shut your eyes tight and say a big word over and over again until you are safe

The agave survives adversity and only blooms once in a lifetime. It is rare and precious. It is intertwined with works related to the conservation of endangered animals and natural resources by artists. Environmental pollution and excessive felling of trees have caused irreparable damage to the ecosystem. However, Gallery AGAVE by Kenal and How & How have joined as co-working partners to regenerate these precious species and destroyed places one by one with AR technology, giving vitality to life and enhancing the visual enjoyment of the audience to find the lost intimacy between human and nature, virtual and physical.

Pat Pat, Claudia’s seventh solo-exhibition, takes its name from an artwork in the ‘Hong Kong’ series. The collection comically illustrates Cantonese slag and innuendos. Each piece is accompanied by a caption offering insight into the connotation and cultural nuances. These works were made as an homage to the city and its way of life during a time of social uncertainty.

The artist graduated from London College of Communication in 2013 where she was already strongly focused on the sexual objectification of women. After working as a designer, she returned to her personal practice through her Instagram account. Quickly, the social media platform censored her works showing female body parts even though the style was far from explicit. She then played with the boundaries of the censorship algorithm, adding flying birds or skyscapes into the images, finding these details would keep the post from being deleted.

For six decades the Osaka-born, Paris-based artist Takesada Matsutani has developed a unique visual language of form and materials. Organized with Olivier Renaud-Clément, the artist’s first solo exhibition in Hong Kong includes new mixed-media paintings, works on paper, assemblages and an important site-specific installation from the artist’s archive.

From the early 1960s until the 1970s Matsutani was a key member of the influential post-war Japanese art collective, the Gutai Art Association. As part of the group, Matsutani experimented with vinyl glue, using fans and his own breath to manipulate the substance, creating bulbous and sensuous forms. By working closely with the material, this approach embodied an important aspect of Gutai: letting material and spirit work in conjunction with one another to create something new.

In between breaths, the world became still. Time once again was measured in sunrises and sunsets, shadows that grew to their terminal length in the confines of our homes. In its third year, this edition of Sound Forms has mutated and grown with the seismic shifts that have affected forms of mutual aid, care, and turmoil. Hong Kong, an international airport hub and transfer node, now finds itself physically isolated. Yet the project of world-building endures. The sound artists we have invited for this first collaboration with Tai Kwun Contemporary reflect those who have superseded the usual confines of their medium. What they have to offer is a sensorium of experience created in collaboration with video artists, composers, and choreographers. Curated by Remy Siu of CMHK (Contemporary Musiking Hong Kong) and Hera Chan, Sound Forms 2020 (TKC Edition) is a series of transmissions that celebrate the world that can be found in the local.

In the third year of FP2.0 at JCCAC, Andio Lai wants to try out another event similar to the Sketch Out show (稿展) in 2018. Assembled this time will be performance-related old media files from FP1.0 and FP2.0, which hopefully generates something new through the exhibition period.

More importantly, Andio is experimenting with new event formats under the pandemics and post-pandemics work conditions. Would an impromptu mode embracing flexibility with a carefree touch also generated something valuable and spatially innovative?

We are entering a space full of barely perceptible, yet deliberately edited sounds and images. These sounds and images are like weak signals that cannot be transmitted completely or accurately. We can only supplement them through our own experiences and memories, or try to augment the limited external information by other methods and reorganise our indistinct visual and auditory consciousness.

“BAD CONNNNNNNECTION” is the first duo exhibition by Jacklam Ho Tsz-yeung and Li Hiu-wa. In addition to their experiments with space, creation, and forms of display, the works also show the artists’ recent bewilderments and obsessions.

Post No Bill presents BOMS’ works from different stages of his artistic oeuvre including his iconic characters, photography of his street art and graffiti, contemporary Chinese calligraphy and the local hip-hop scene.

BOMS (b. 1990) is a graffiti artist working in Hong Kong. Starting out in his early practice with acrylic on canvas, BOMS strayed away from the traditional medium after discovering street dancing and hip-hop at the age of 17. It was through the local hip-hop scene that he was exposed to graffiti art for the first time, and its down-to-earth power in capturing city dwellers’ attention with bursts of creativity soon also captured his artistic imagination. He started to devote himself to spray-painting murals and is now one of Hong Kong’s most recognizable street artists.

SHOP Taka Ishii Gallery is pleased to announce “The Mingei”, a group show curated by Nicolas Trembley, featuring Japanese crafts, prints, design and publications from Oct 9 – Nov 15, 2020. Artworks and products presented in cooperation with Gallery Kojima, KOMIYAMA TOKYO, Kurodatoen, LYAN ARTS’ COLLECTION, Shikama Fine Arts, as well as collectors Terry Ellis & Keiko Kitamura and Masamitsu Saito.


This exhibition explores the presence and legacy of Mingei—the Japanese Folk Craft Movement founded in the late 1920s by philosopher and critic Soetsu Yanagi. Based on handcrafted art, the movement originally finds beauty in everyday ordinary and utilitarian objects created by nameless and unknown craftsmen. Yanagi has a core concern for the functional qualities of objects, which he described as an “honesty with regards to their intended use”, leading to the well-known expression of “YOnoBI” or functional beauty. Perceived through intuition, the inherent beauty of Mingei arts can be enjoyed by all walks of life.

Phillips in collaboration with K11 presents a rare selling showcase at the new K11 Art & Culture Centre of Victoria Dockside. This exclusive selling exhibition spotlights the pivotal pieces that made immense implications in the world of contemporary art and blurred the lines between pop culture and fine art.

Thirty years after the untimely death of one of the most celebrated artists of the 20th century, Keith Haring: Falling Up honors the monumental leap this visionary made in contemporary art. The one-of-a-kind showcase of more than 35 pieces, including paintings, drawings, painted aluminum sculptures, and a group of memorabilia, will be available for viewing and purchase at K11 MUSEA. Here, we explore five key pieces of great significance in Haring’s career and in art history.

Following the success of the FFFRIDAY 2020 campaign in May 2020, Fashion Farm Foundation (FFF) continues in the spirit of FFFRIDAY, showcasing the creativity of Hong Kong designers to the public by co-organizing a pop-up event with Asia’s iconic luxury department store, LaneCrawford.


A one-month pop-up featuring 3 homegrown fashion talents, #YatPit, #SFZandSON and #FEASTON, handpicked by Fashion Farm Foundation and Lane Crawford, starts today at Lane Crawford ifc mall, and ends on Oct 29th 2020. This is a rare chance to see Hong Kong’s hottest local brands under one roof.

de Sarthe is pleased to present its third solo exhibition for the Beijing-based contemporary artist Liang Ban, titled, Pearl Rolling Across the Floor, featuring a new series of video works as well as sculptural and photographic installations.

Liang Ban believes that in the current era mobile devices have evolved to become a “possessive technology”, that is one which has taken control of its users. In the same way that ships, planes, and cars influenced architecture in the early 20th century, the artist captures how mobile devices have influenced modern humanity. In the video works Caged Bird (2019) and On a Slow Boat to China (2019), the artist reenacts idioms using the icons of smartphone applications. Titled after Maya Angelou’s novel I Know Why the Caged Bird Sings, Liang Ban’s Caged Bird depicts the social media platform Twitter’s famed icon of a bird attempting to escape its screen. The bird flutters across a field of red and white stripes, only to discover that its effort has been in vain. While red and white stripes are associated with certain flags, the artist likens its banded pattern to a cage. On a Slow Boat to China, conversely, shows an icon of a man in a boat, slowly struggling across the screen but never reaching its destination – a depiction its titular saying which is used as a metaphor for a long, unending journey.

Ben Brown Fine Arts is proud to present Hank Willis Thomas's Don't Let Money Change You at the Hong Kong gallery. This is the artist's third solo exhibition with Ben Brown Fine Arts, following his highly acclaimed shows in London, The Beautiful Game, 2017, and Hong Kong, My Life is Ours, 2018. Don't Let Money Change You will bring together a new body of work from Thomas's innovative retroreflective series, depicting serial imagery of international currencies in bold monochromes.

Axel Vervoordt Gallery is pleased to present the second solo exhibition by Jaromír Novotný (°1974, Český Brod, Czechoslovakia) in the Hong Kong location. The exhibition invites visitors to experience the silent and seemingly monochrome creations, which, through the use of colour and materiality, enable the power of memory and remembrance.

In modern days, there’s a strong tendency to rely only on what is seen. The act and ability to see may result in an illusion or misconception of things and situations. However, Novotný’s works and his creative process gently reminds viewers that human intuition has great potential, perhaps more than may be realised. The word ‘tactile' was derived from Latin for 'that may be touched, tangible'. It refers to the physical act of feeling; the experience of touching – for example, the skin. Novotný's work bears the traces of the human hand and presents itself as a skin around the frame, or a membrane that blocks certain aspects or sensations of vision while allowing others.

Bloom of Joy gathers artworks of modern and contemporary masters of Pace’s program that are especially impactful with their brilliant palettes and focus on perception, including James Turrell, Sam Gilliam, Mary Corse, and Peter Alexander.