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.

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.

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.

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.