49 Cole Lu
50 Takesada Matsutani 松谷武判
51 Henry Moore
52 Jade Ching-yuk Ng 吳晶玉
53 Aditya Novali
54 Daniel Otero Torres
55 Pak Sheung Chuen 白雙全
56 57 Thao Nguyen Phan 潘濤阮
58 Mark Salvatus
59 Shin Min
60 Young-jun Tak 卓永俊
61 Minh-Lan Tran
62 Wang Xu 王旭
63 Lawrence Weiner
64 Wong Hiu Ching 黃曉程
65 Stephen Wong Chun Hei 黃進曦
66 Wu Jiaru 吳佳儒
67 Wang Pei 王霈
68 Rose Wylie
69 Xi Jiu 昔酒
70 Dinner at LINGLONG
072 Para Site Limited Editions 076 Conditions of Sale
Dear Friends and Supporters of Para Site,
If I could choose one word to summarise the year for Para Site, it would be ‘momentum.’ This word embodies the gathering of collective energy, ideas, and ground-breaking initiatives created as we approach a momentous milestone—thirty years of growth and transformation from a local artist-run space to an internationally renowned organisation. Momentum propels our unwavering commitment nurturing creativity, innovation, and artistic excellence for Hong Kong and the region at large. This journey has been driven by our deep connection to the community and the collective spirit of the numerous collaborators and friends who have generously supported us along the way.
This fall, we were delighted to launch ‘Small Acts / New Flows,’ a new educational programme designed for emerging arts professionals, educators, and community organisers. Our goal was to strengthen our bonds with local communities and extend the impact of our programming beyond exhibitions. Staying true to our unique history and experimental roots, we firmly believe that even the smallest acts have the potential to catalyse broader positive change. Arts organisations have the potential to drive positive change and advocate for a more sustainable future by amplifying the voices of practitioners from other fields who share this vision with us.
As we continue to explore and forge connections with diverse communities across the globe through our various initiatives, our commitment to the interlinked ecosystem of artists, patrons, and galleries who share our belief in art’s power to foster unity remains steadfast. All contributions, no matter how large or small, make a difference in our work as we strive to make a positive impact for the next generation. On behalf of our dedicated board members, our entire staff, and our valued collaborators, who have all been touched by your generosity, we extend our deepest gratitude to each one of you for the remarkable donations we have received this year.
The encouragement we receive from your support has a profound effect on our work, and we cannot overstate its importance. Every form of support contributes to the momentum of transformation. This trust means the world to us. In a city where affordable space is often scarce to find, this year saw a continued commitment to supporting artist residencies of all kinds, allowing Hong Kong-based artists to experiment on a larger scale. Our spaces have become a laboratory for underrepresented artists—for this year’s Art Basel booth, we hosted Yeung Siu Fong to make new work challenging the visibility of the body from non-abled perspectives.
This year we have hosted newly commissioned projects with Art Labor, Aki Sasamoto, Chan Ting, Trevor Yeung, and later in the year we will launch two ambitious group exhibitions: curated by Zairong Xiang, the exhibition ‘How to be Happy Together’ is an ambitious exploration of both real and imagined connections between Latin America and Hong Kong; recently, we inaugurated an exhibition that transforms the tenth floor space in Para Site into a temporary home for experimental performance artists Bunny Cadag, Michele Chu, Florence Lam, and Monique Yim.
Our collaborations with Fogo Island Arts, MOCA Toronto, and Wysing Arts Center have proven instrumental in promoting the visibility of artists from Hong Kong on the global stage. This has been further amplified through the growing influence of our exhibition programme: this year our exhibitions have toured to Aranya Art Center, Qinhuangdao; CCA Berlin, Berlin; Glasgow International, Glasgow; and MoMA PS1, New York. We feel incredibly privileged to witness, on a daily basis, the tireless efforts of our dedicated team in promoting the exceptional talent of the region, both in Hong Kong and around the world. Their talent in bringing artists and curators into the spotlight is truly inspiring.
I’d like to extend my appreciation to the entire Para Site team for their hard work throughout this year. Thank you to our expanding family of Global Council members, Founding Friends, Friends, and Associates, as well as to our Board and Advisors, who have made our past year possible and the future bright. Special gratitude goes to our Gala Venue Partner the St. Regis, Hong Kong; Auction Preview Venue Partner H Queen’s; our auctioneer Jonathan Crockett, Chairman, Phillips Asia; auction platform provided by Givergy; Wine Sponsor Gelardini & Romani; Logistics Partner Bonds Fine Art; insurance provided by Circle Asia; Exclusive Luxury Media Partner Tatler; and artist Bobby Yu Shuk Pui for her contributions to making our gala evening so special this year. Last, but certainly not least, our heartfelt and special thanks to Yan Du and Juno Capital Management Limited, for generously hosting the gala.
Billy Tang Executive Director and Curator Para Site
Born in Fujian, China, in 1973
Lives and works in Hong Kong
2024
Recycled umbrella fabric, metal, LED light, magnets
61.5 × 61.5 × 6.5 cm
Unique
Estimate: HK $ 47,000–70,000
Generously donated by the artist and Axel Vervoordt Gallery
Social engagement plays a significant role in Lam’s practice since she started the ‘Micro Economy’ project in 2009, in which she works with local workers from the Hong Kong Women Workers’ Association. The organisation is formed by former female workers in garment factories who were laid off due to socio-economic transformations. Through hiring the workers, Lam not only creates an ecosystem of the city but also gives a second life to recycled materials, weaving their personal stories in response to the transformation of the society across generations. Blue Moon, specially made for the Para Site Benefit Auction, is illuminated by LED light from behind. Its material transparency and the illumination’s see-through effect evoke a beacon of hope for Hong Kong. Jaffa Lam is a Hong Kong-based artist specialising in large-scale, site-specific, and mixed-media works, often utilising recycled materials such as crate wood, old furniture, abandoned metal, and umbrella fabric. Lam has been invited to participate in many international shows and artist residency programs in Japan, Kenya, Taiwan, Bangladesh, China, the United States, France, and Canada, among others. Lam has represented Hong Kong in the Setouchi Triennale (2013); Hong Kong Week, Taiwan (2015); China 8, Germany (2015); Wuzhen International Contemporary Art Exhibition (2016), and Lumières, Lyon (2018). Lam’s work was exhibited at Para Site in the exhibition ‘signals…here and there’, which ran from 12 August–29 September 2023.
Born in Seoul, South Korea in 1988
Lives and works in Seoul, South Korea, and Amsterdam, the Netherlands
2024
Etching on copper plate
Unframed: 15 × 21.5 cm
Unique
Estimate: HK $ 60,000–80,000
Generously donated by the artist and Antenna Space
‘I thought about calling my exhibition at the New Museum “Assholes”, but decided that was too direct. The show is an immersive installation with kinetic sculptures that ooze and tumble liquid clay, set against walls lined in clay-dipped fabric. When I conceived of it, I was looking at images of different kinds of gaping holes online, and thinking about the ways in which a body that stays open is radically permeable to the outer world: Inside comes out and outside comes in. The anus in particular is a kind of erogenous hole that obliterates language; it is both a subject that cannot speak and something unspeakable. “Black Sun”, which I settled on as an exhibition title, references Julia Kristeva’s 1987 book on depression and melancholy in relation to artmaking. When you’re in the depths of depression, you don’t only lose the desire or need to communicate, you also experience what fundamentally cannot be verbalised. So you fall into holes and voids.” — As told by the artist to Cassie Packard for Artforum, 6 July 2023
Mire Lee is best known for her ambitious kinetic installations. Lee’s work challenges notions of selfhood, social acceptability, and cleanliness; obliterating societal conventions of aesthetics and desire in the face of her orgasmic, transgressive works. Towels, chains, clay, silicon hoses, and steel structures coalesce to form an organism that is haptic, primordial, and yet highly mechanised. Her work has been the subject of several solo exhibitions including at New Museum, New York (2023); and Museum für Moderne Kunst, Frankfurt (2022). Lee has also participated in major international exhibitions including the 59th Venice Biennale (2022); the 58th Carnegie International (2022); and Gwangju Biennale (2018). She is the current Hyundai Commission artist for Tate Modern’s Turbine Hall.
Born in Tehran, Iran, in 1976
Lives and works in Brooklyn, New York, USA
Ali Banisadr lived with his family in Tehran, Iran until the age of twelve. Growing up during the Iranian Revolution and the Iran-Iraq War, he experienced sounds and sights that had a lasting impact on his sensory foundations. In Banisadr’s highly-detailed paintings, the artist coaxes characters and hybrid figures out of atmospheres of colour and brushwork. Though his paintings appear from afar like intricate abstractions, closer inspection reveals that each painting is a world unto itself, rich with narrative suggestion and mysterious imagery. Appearing sometimes like sweeping landscapes and other times like stage sets, Banisadr’s painted scenes imagine unique realms, while also drawing on references ranging from ancient to futuristic. A voracious reader and student of art history, Banisadr draws inspiration from artistic predecessors across multiple genres and time periods, stretching from Mesopotamian antiquities, to Persian miniatures, to alchemical, magical, and surreal imagery in 16thand 17th-century European paintings, to the 20th-century movements of surrealism and abstract expressionism. An upcoming solo exhibition of his work will be held at the Katonah Museum of Art, New York (2025). Recent solo exhibitions include those at Princeton University Art Museum (2023), Museo Stefano Bardini and Palazzo Vecchio, Florence (2021); Benaki Museum, Athens (2020); and Academy of Fine Arts, Vienna (2019). His works can be found in the public collections of the Centre Pompidou, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Metropolitan Museum of Art, New York; The Victoria and Albert Museum, London; and Los Angeles County Museum of Art, amongst others.
2022
Colour etching on Hahnemühle paper
83.1 × 156.1 cm
Edition of 35
Estimate: HK $ 90,000–140,000
Generously donated by the artist and Perrotin
Born in Bangkok, Thailand, in 1996
Lives and works in London, UK
Estimate: HK $ 90,000–130,000
Generously donated by the artist and Nova Contemporary
Cosmic Ripple extends James Prapaithong’s longtime investigation in light, memory, and place. Characteristic of his practice, the work draws from informal photographs and videos, often his own, or taken by those close to him. This radiant piece depicts a scene of the natural everyday yet imbues it with intimacy and nostalgia, producing a hazy, dream-like field that mirrors the fluidity of remembrance. James Prapaithong explores memory, isolation and longing through his filmic paintings which deliberately use the aspect ratio of the screen and are devoid of people. Resembling enlarged photographs of familiar yet distant places and using high saturation with a particular attention to light, Prapaithong’s landscapes become vehicles to communicate the uncertainty of recall, the construction of memory, and the space between connection and estrangement. Commonly romanticised elements of the natural world such as water, the moon and the stars, become an essential part of Prapaithong’s oeuvre, used as both aesthetic devices to explore light within the picture, and as visual metaphors for nostalgia, yearning and a need for shared experience.
Born in Yokohama, Japan, in 1980
Lives and works in New York, New York, USA
Fables, anecdotes, and biographical elements often seep into Sasamoto’s works that explore relationships between body and space, engaging viewers on multiple sensory levels through a stream-of-consciousness interaction. This piece was part of a newly commissioned installation for the artist’s first solo exhibition, ‘Sounding Lines’ (2024), at Para Site, Hong Kong. Meticulously hand carved from red cedar wood, these mobile sculptures hang in the air and mimic the function of angling baits, capturing the viewers’ attention with their reflections of light, motion, and vibrant colours. Aki Sasamoto works in performance, sculpture, dance, and video. Her videos often develop in tandem with her performance and installation work, where improvisational performances combining spoken narrative and physical contortions unfold in a feedback loop with careful arrangements of sculpturally altered found objects and multimedia elements. Sasamoto’s institutional solo exhibitions include those at Para Site, Hong Kong (2024); Queens Museum, New York (2023–2024); The Kitchen, New York (2017); and SculptureCenter, New York (2016). She has participated widely in international exhibitions including the 59th Venice Biennale (2022), the Aichi Triennale (2022), the Busan Biennale (2022), the Okayama Art Summit (2022), the Kochi-Muziris Biennale (2016), and Yokohama Triennale (2008).
2024
Wood (red cedar), acrylic paint, epoxy, Mylar, plexiglass, stainless-steel wire and springs, fishhook, stainless-steel, hardware, kitchen utensil 42 × 18 × 5 cm
Unique
Estimate: HK $ 60,000–80,000
Generously donated by the artist and Take Ninagawa
Untitled (the Study of Light) 《無題（光的研習）》
2023
Oil on canvas
101.6 cm × 76.2 cm
Unique
Estimate: HK $ 170,000–200,000
Generously donated by the artist and Antenna Space
Born in Guilin, China, in 1988
Lives and works in Los Angeles, California, USA
Owen Fu’s work is never a specific image, but rather a hybrid entity of emotions, desires and a complicated incarnation of realities beneath mundane daily life. Behind the image is a void without a face, but full of imaginations and illusions within the vacant sight, in which sensual sentiments, emptiness, joy and sorrow drift around. In Untitled (the Study of Light), the vibrant background is ultimately covered in black, and the colours are concealed. Only the parts illuminated by light reveal the original base colours. Fleeting moments in hidden corners are exposed, as if a child’s gaze tearing through a curtain, secretly observing everything that unfolds. What is being concealed, and what is being revealed under the light? Currently based in Los Angeles, Fu received his MFA at the ArtCenter College of Design, Pasadena, and his BA in Fine Art from the School of the Art Institute of Chicago. Owen’s works are part of the permanent collections of institutions worldwide, including the Los Angeles County Museum of Art (LACMA); the Hammer Museum, Los Angeles; Domus Collection, New York; the K11 Art Foundation, Hong Kong; the George Economou Collection, Athens; the Aïshti Foundation, Beirut; and the Juan and Patricia Vergez Collection, Buenos Aires, among others.
Born in London, UK, in 1950 Lives and works in London, UK
For Antony Gormley, drawing is a form of thinking. But it is also about the medium: using the intrinsic qualities of substances and liquids, a kind of oracular process that requires tuning in to the behaviour of substances as much as to the behaviour of the unconscious, like reading images in tea leaves, trying to make a map of a path of feeling, a trajectory of thought. Gormley does not take his mediums for granted: lamp black, bone black, casein, linseed oil, milk, blood, coffee, chicory, earth, shellac, varnish, and in Together IV, mushroom ink, all come with their own qualities, extracted from the body of the earth, plants and other living bodies. In their reactivation, these are not innocent partners. The finished drawings depend on light to be seen, but they are mostly made at night, when it is easier to withdraw into the inner realm. The act of drawing is its own experimental field, a journey into the unarmed parts of our internal landscape, or out into the unknown. Antony Gormley has had solo exhibitions at Musée Rodin, Paris (2024); TAG Art Museum, Qingdao (2023); the Royal Academy of Arts, London (2019); Uffizi Gallery, Florence (2019); Philadelphia Museum of Art, Philadelphia (2019); Zentrum Paul Klee, Bern (2014); and Centro Cultural Banco do Brasil (2012). Several of Gormley’s public works are permanently installed around the world, including at the Massachusetts Institute of Technology, Cambridge. Gormley won the Turner Prize in 1994 and has been a member of the Royal Academy since 2003. He was made an Officer of the British Empire in 1997 and knighted in 2014.
2023
Inkcap on paper
38.3 × 28 cm
Unique
Estimate: HK $ 350,000–400,000
Generously donated by the artist
Alexander Groves, born in 1983
Azusa Murakami, born in 1984
Live and work in Tokyo, Japan, and London, UK
2021
Tempered glass
120 × 120 × 1.5 cm
Edition 2 of 3 + 1 AP
Estimate: HK $ 125,000–150,000
Generously donated by the artists and Pearl Lam Galleries
A.A.Murakami is known for their immersive installations using ephemeral materials like fog, bubbles, and plasma—in the artists’ words, we are walking fish moving around the bottom of an ocean of air. This is a rare example of one of their collectable works. Day 1 refers to the sky, the breathable atmosphere created some 3.8 billion years ago by microorganisms in our oceans. The work captures light and colour in its soft gradient. A.A.Murakami are the artists behind Studio Swine (Super Wide Interdisciplinary New Explorers). Working across the media of sculpture, film and immersive installations, their work explores themes of regional identity and the future of resources in the age of globalisation. In A.A.Murakami’s Ephemeral Tech series, the boundaries between digital technology and natural forces are dissolved to create unnatural phenomena using real materials that engage the viewer’s senses beyond the standard visual stimuli of digital interfaces. The series looks to a future where technology transcends familiar interfaces and becomes inseparable from our built and natural environments. Their work has been widely exhibited at institutions such as the V&A Museum in London and the Venice Art and Architecture Biennales. Their works have been collected by the Museum of Modern Art, New York; Centre Pompidou, Paris; The Museum of Architecture and Design, Ljubljana; Röhsska Museet, Gothenburg; Vitra Design Museum, Weil am Rhein; and M+, Hong Kong.
Chris Huen Sin-Kan focuses on how people understand objects through ‘seeing’, with his paintings which mainly depict his family and everyday environments. Since his relocation to the United Kingdom in 2021, Huen has repeatedly depicted scenes in the woodlands which he and his family frequently visits. With limited brushstrokes, Huen illustrates his subjects remarkably—a technique he developed from the influence of Chinese ink painting. Although the viewer is able to recognise the motifs in Huen’s paintings, there is a certain vagueness to it. Huen paints entirely from memory and it reflects his attempt to capture time and space on the two-dimensional canvas. He suggests that the process of ‘recognition’ shifts through time and space, and the white space on the canvas seems to express forgotten memories. Distorted shapes and the contrasting light illustrate the transition of the day from various perspectives and captivates the viewer. Huen’s recent exhibitions include those at Yuz Museum Shanghai (2023), Artist-in-Residence Programme and Exhibition, Royal Academy of Arts, London (2022), Thailand Biennale, Korat 2021, Rajamangala University of Technology Isan (2022), Museum Dhondt-Dhaenens, Belgium (2020). His works are in the collection of the Art Gallery of New South Wales, Sydney; Institute of Contemporary Art, Miami; Kadist Art Foundation, Paris and San Francisco; and Sifang Art Museum, Nanjing. Huen’s work was exhibited at Para Site in the exhibition ‘Imagine there’s no country, Above us only our cities’, which ran from 1 August–6 September 2015.
2024
Watercolour and coloured pencil on paper
Unframed: 57 × 77 cm
Unique
Estimate: HK $ 150,000–200,000
Generously donated by the artist and Ota Fine Arts
Born in Manila, Philippines, in 1983
Lives and works in London, UK
2017
Acid dye print on silk twill
200 × 100 cm
Edition 1 of 1 + 1 AP
Estimate: HK $ 110,000–130,000
Generously donated by the artist and Silverlens (Manila / New York)
A nominee of the 2024 edition of the Turner Prize, Pio Abad’s multimedia practice investigates personal and political entanglements, with a particular focus on the postcolonial history of the Philippines. In the series COUNTERNARRATIVES, Pio Abad continues his engagement with Philippine political history through a series of silk banners, looking at the problematic cultural legacy of the Marcos dictatorship in light of recent attempts to rehabilitate this dark chapter in the nation’s history. Emblazoned in red is ‘HISTORY HAS ITS EYES ON YOU’, a line sung by George Washington in the musical Hamilton, refashioned as an anti-revisionist sign during the protests against the burial of Ferdinand Marcos at the National Heroes Cemetery in November 2016. Ranging from drawing and textile to sculpture and photography, Abad’s work is deeply informed by the modern history of the Philippines where he was born and raised. Abad uses strategies of appropriation to mine alternative or repressed historical events, unravel official accounts, and draw out threads of complicity between incidents, ideologies, and people. Pio Abad began his art studies at the University of the Philippines before receiving a BA from Glasgow School of Art and an MA from the Royal Academy Schools, London. He has recently exhibited at venues including the 58th Carnegie International, Pittsburgh (2022); Ateneo Art Gallery, Manila (2022); Museum of Contemporary Art, Tokyo (2020); Jameel Arts Center (2019); Kadist, San Francisco (2019); and Para Site, Hong Kong (2017). Abad’s work was exhibited at Para Site in the exhibition ‘Soil and Stones, Souls and Songs’, which ran from 18 March–11 June 2017.
Born in Remscheid, Germany, in 1968 lives and works in Berlin, Germany, and London, UK
This is a portrait of a tree in London’s Hampstead Heath which has long acted as a meeting point for cruising men in the park, but whose existence has also long eluded the consciousness of those not in the know. The same tree was the central motif of Trevor Yeung’s solo exhibition ‘Soft breath’ (2024) at Para Site. Wolfgang Tillmans is an artist working primarily in photography whose practice also encompasses three-dimensional installations, sound and video, book making, journalism and writing, as well as photographs generated both with and without a camera. Seamlessly integrating genres, techniques, and exhibition strategies, Tillmans has expanded conventional ways of approaching the medium. His work has epitomised a new kind of subjectivity in photography, pairing intimacy and playfulness with social critique. Tillmans’s work has been the subject of solo exhibitions at Art Gallery of Ontario, Toronto (2023); The Museum of Modern Art, New York (2022); Tate Modern, London (2017); Metropolitan Museum of Art, New York (2015); National Museum of Art, Osaka (2015); and Kunsthalle Zürich (2012–13). ‘Fragile’, a major touring solo exhibition opened in 2018 at the Musée d’Art Contemporain et Multimédias in Kinshasa, with the final stop at Art Twenty One and CCA, Lagos (2022). In 2000, Tillmans was the first photographer and non-British artist to receive the Turner Prize. Tillmans has operated the nonprofit exhibition space Between Bridges since 2006. In 2023, he was named as one of the one hundred most influential people by TIME
2020
Inkjet print on paper
33 × 45.5 × 2 cm
Edition 8 of 10 + 1 AP
Estimate: HK $ 60,000–90,000
Generously donated by the artist
Born in Hong Kong in 1984
Lives and works in London, UK
2024
Watercolour on paper
31 × 41 cm Unique
Estimate: HK $ 250,000–300,000
Generously donated by the artist and Vitamin Creative Space
In her works, Firenze Lai explores how the mind and body of a person adapt and react to different circumstances in their everyday life. This work belongs to the first series that Lai made when she moved to the United Kingdom. For Lai, her practice was deeply influenced by her living environments. Having been raised in the outlying islands of Hong Kong, Lai’s works parse interiors, exteriors, and the human interactions that exist within them. In her paintings, human figures stand, sit, repose, or huddle, together or separately—evoking the psychological tensions and releases underlying her innocuous scenes. Her recent solo exhibitions include those at MAMC+, Saint-Étienne (2019); and Mirrored Gardens, Guangzhou (2015). She has participated in international exhibitions and biennials including at Centre Pompidou, Paris (2020–2021); Para Site, Hong Kong (2019, 2013); Tai Kwun Contemporary, Hong Kong (2019); Fosun Foundation, Shanghai (2018); the 57th Venice Biennale (2017); New Museum Triennial, New York (2015); and the 10th Shanghai Biennale (2014). Lai’s work was exhibited at Para Site in the exhibition ‘A Hundred Years of Shame—Songs and Resistance and Scenarios for Chinese Nations’, which ran from 6 March–17 May 2015, as well as ‘Bicycle Thieves’, which ran from 29 June–1 September 2019.
Born in Weinan, Shaanxi, China, in 1963
Lives and works in Shaanxi, China
Xiyadie blends traditional papercut motifs of flowers and animals, symmetrical patterns, and the Chinese characters ‘double happiness’ with recurring personal iconographies such as butterflies, the kang bed-stove, and personified mythological characters to represent his homosexual fantasies. Cave captures the amorous union of two pairs of lovers intertwined into serpents’ tails. Together, the duos flank a face sweating feverishly from passion and desire. Xiyadie is a self-taught traditional Chinese papercut artist who started creating works with homoerotic themes to tell his narrative of transformation. Xiyadie means Siberian Butterfly—a northern creature surviving in the harshest conditions yet maintaining its vanity and pursuit of freedom in an environment that does not lend political agency or representation to queer-identifying people. Xiyadie is currently presenting his works in the Main Exhibition of the 60th Venice Biennale. His solo exhibitions have been held at The Drawing Center, New York (2023). Xiyadie’s works have also been included in group exhibitions at Institute of Contemporary Arts at NYU Shanghai (2023), Tai Kwun Contemporary, Hong Kong (2022); Haus der Kulturen der Welt, Berlin (2022); Bangkok Art and Culture Centre (2019), Museum of Contemporary Art, Taipei (2019); and Para Site, Hong Kong (2017). Xiyadie has also participated in the 33rd Ljubljana Biennial of Graphic Arts (2019) and the 12th Gwangju Biennale (2018). Work by Xiyadie will be included in the upcoming exhibition, ‘How to Be Happy Together’, opening at Para Site on 13 December 2024.
Papercut on coloured xuan paper
Unframed: 30 × 43 cm
Unique
Estimate: HK $ 30,000–40,000
Generously donated by Blindspot Gallery
Born in Guangzhou, China, in 1984
Lives and works in Hong Kong
2020
Acrylic on canvas
88.5 × 102.7 cm
Unique
Estimate: HK $ 110,000–160,000
Generously donated by the artist and Kiang Malingue
After graduating from the Guangzhou Academy of Fine Arts, Liu has developed a subversive artistic language over more than a decade featuring classic shōjo manga faces— characterised by exaggerated, shiny eyes—on widely circulated contemporary images; public figures from the academic, scientific and political worlds; and pop culture characters or inanimate beings. At once concealing their initial expressions and revealing deeply hidden characters—an inner self that is arguably feminine or innocent—Liu reconstructs the emotions,
feelings and narrative structures manifested in complex events. In My Thoughts, My Medicine, Liu Yin imagines someone who is absorbed in their own thoughts, hoping their thoughts might heal their own pain. Liu’s solo exhibitions include those at Arrow Factory, Beijing (2015); Chinese Culture Center of San Francisco (2011); and Observation Society, Guangzhou (2010). Group exhibitions include those at M WOODS Museum, Beijing (2015); Import Projects, Berlin (2014); Taikang Space, Beijing (2014); and Guangzhou Academy of Fine Arts (2011).
Born in Hirosaki, Japan, in 1959
Lives and works in Japan
Best known for his stylized images of solitary, child-like characters, Yoshitomo Nara’s subjects are often caught in complex mental states of rebellion, resistance, or even detachment. Characteristic of Yoshitomo Nara’s three-dimensional works, this piece gives familiar material new life through a meditative dialogue. The figures in Nara’s works are often borne out of a deeply reflective process, influenced by the artist’s memories, and the music, paintings, and literature he encountered organically. As an integral part of his practice, Nara has developed a significant body of ceramic works since 2007, after an artist residency in Shigaraki. Yoshitomo Nara completed a master’s degree at Aichi University of the Arts in 1987 before moving to Germany in 1988 to enrol at Kunstakademie Düsseldorf. After residing in Cologne, he repatriated to Japan in 2000. Nara has been the subject of solo exhibitions at Guggenheim Museum Bilbao (2024–2025); The Hayward Gallery, London (2024–2025); Aomori Museum of Art (2023–2024); Asia Society Hong Kong Center (2015); Reykjavik Art Museum (2009); and Museum of Contemporary Art, Chicago (2000). He has participated in group exhibitions at The Cleveland Museum of Art (2022); Mori Art Museum, Tokyo (2020–2021); The National Gallery of Art, Washington DC (2019); Kunsthalle Düsseldorf (2019); the 12th Gwangju Biennale (2018); Centre Pompidou-Metz (2017–2018); The Museum of Modern Art, New York (2012); Moscow Museum of Modern Art (2012); Queensland Art Gallery and Gallery of Modern Art (2009); and San Francisco Museum of Modern Art (2003).
2024
Acrylic on ceramic 10.7 × 12 × 9.6 cm
Unique
Estimate: HK $ 460,000–500,000
Generously donated by the artist, courtesy of the Yoshitomo Nara Foundation
Born in Shanghai, China, in 1985
Lives and works in Shanghai, China, and New York, New York, USA
2020
Cement, wood, iron wire, iron nail
33 × 23 × 20 cm
Edition 4 of 4 + 1 AP
Estimate: HK $ 90,000–120,000
Generously donated by the artist and Sadie Coles HQ, London
This wall-mounted sculpture forms a part of Yu Ji’s ongoing Flesh in Stone series which began in 2012. While creating the pieces in the series, Yu Ji requests her models to test the limits of their bodies to the point of physical and mental exhaustion. During these exchanges, the artist refrains from recording the models’ postures through drawing or moulding, rather creating clay models after the event from memory. The sculpture comprises materials typically used in the construction of post-brutalist architecture—once robust and durable, brittle and delicate, these materials allude to the rapid urbanisation China experienced over the last decades. Yu Ji has exhibited internationally with recent solo exhibitions including those at Centro Pecci, Prato (2024); ICA Institute of Contemporary Art, NYU Shanghai (2023); Orange County Museum of Art, Costa Mesa (2023); CCA Berlin – Centre for Contemporary Arts (2023); and Chisenhale Gallery, London (2021). Recent group exhibitions include those at Centre Pompidou, Paris (2024); M+, Hong Kong (2023); and Taikang Space, Beijing (2023). In 2021, Yu Ji’s first artist book, Wasted Mud, was published to accompany her solo exhibition at Chisenhale Gallery. In 2017, Yu Ji was shortlisted for the Hugo Boss Prize Asia, and in 2023 she was nominated for the Sigg Prize.
Born in Beijing, China, in 1997
Lives and works between Shanghai, China, and Paris, France
Influenced by an upbringing in close contact with the textile industry, Zhi Wei mobilises in their works a range of fabrics that completes and accompanies their painting practice. Each painting features numerous layers of fabric that either conceal the characters or act as a background, like the strata of tinted tulle that generate striking distortions within the pictorial surfaces of their pieces. The legacy of childhood permeates Zhi Wei’s work. The artist weaves through their works—mainly layering textile and painting—the symbology of this formative period, one tainted by the at once banal and intensely real trauma of learning, growing up, and assimilating into conventional, more normative social frameworks. It is, however, also a period of play and imagination that can conjure up something that skirts what might otherwise be possible. Zhi Wei reworks the fabrics of their family’s business, the familiar plaid patterns that coloured their early life—a pattern that is also gendered, normative—into their characters. As such, the fabrics become new models for living, substitutes for the artist that can themselves be nurtured and go on to live their own lives. Zhi Wei has participated in exhibitions at TANK Shanghai (2024); Hangar Y, Meudon (2024); 798CUBE Art Museum, Beijing (2023); and TAG Art Museum, Qingdao (2022).
2024
Acrylic on Jacquard, mesh, buttons and thread
200 × 120 cm
Unique
Estimate: HK $ 110,000–150,000
Generously donated by the artist
Born in China in 1986
Lives and works in Berlin, Germany, and Beijing, China
Sorry
Edition 2 of 3
Estimate: HK $ 230,000–300,000
Generously donated by Honus Tandijono
Emerging from a generation of artists who have experienced the radical changes in China’s society reverberated within the economy and international relations, He Xiangyu’s art practice is based on his unique cultural experience. Using a diverse range of media from painting, sculpture, installation, video to publication, his work contemplates and echoes the macro-geopolitical and historical turbulence, and the micro conflicts they manifest in the fates of individuals through a series of projects with immense time spans and physical volumes. In He’s works, the deliberate dislocation of materials, intimate perception of physical and mental experience, and the dispassionate historical perspective are brought into play—this very dynamic reflects the cognitive dissonance of a generation born at a historical faultline. He Xiangyu’s works have been shown in UCCA Center for Contemporary Art, Beijing; OCAT Institute, Shanghai; Para Site, Hong Kong; The Drawing Center, New York; Solomon R. Guggenheim Museum, New York; Kadist Foundation, San Francisco; Los Angeles County Museum of Art; KW Institute for Contemporary Art, Berlin; and Centre Pompidou, Paris. His work was also part of the 5th Ural Industrial Biennial of Contemporary Art, Yekaterinburg (2019); the 58th Venice Biennale (2019), 13th Biennale de Lyon (2015), 10th Shanghai Biennale (2014), 5th Yokohama Triennale (2014), and 8th Busan Biennale. His work was exhibited at Para Site in the exhibition ‘A Hundred Years of Shame — Songs and Resistance and Scenarios for Chinese Nations’, which ran from 6 March–17 May 2015.
Born in Shanghai, China, in 1961
Lives and works in San Francisco, California, USA
Systematically exploring and deconstructing figure, texture, space, geometry, gesture, materiality, Zheng Chongbin explores the notion of the world as always in flux, consisting of flows of matter and energy that repeatedly cohered and dissipated. Through the interactions of ink, acrylic, water, and xuan paper, Zheng’s paintings generate and record the processes that underlie the emergence of order. His paintings resemble natural structures ranging from neurons, blood vessels, and tree branches to mountains, rivers, and coastlines, but by instantiating their formation rather than by objective depiction. Zheng Chongbin was educated as a classical Chinese figurative painter at the China Academy of Art in Hangzhou. In 1989, Zheng received a fellowship from the San Francisco Art Institute and has been a resident of the San Francisco Bay Area for over three decades, being continuously inspired by the California light and space movement, and the region’s rich ecologies. Zheng’s work can be found in the collections, among others, of the British Museum, London; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Asian Art Museum of San Francisco; Philadelphia Museum of Art; Brooklyn Museum; Chicago Art Institute; and M+ Museum, Hong Kong. In 2025, Zheng Chongbin will be presenting a solo exhibition at the Los Angeles County Museum of Art, and a permanent installation at the Museum of East Asian Art in Cologne.
2024
Ink, acrylic and pigment on xuan paper 125 × 96 cm
Unique
Estimate: HK $ 200,000–300,000
Generously donated by the artist and Galerie du Monde
Born in Ho Chi Minh City, Vietnam, in 1979
Lives and works in Paris, France
2022
Silver print , alcohol, ink and rust
95 × 75 cm
Unique
Estimate: HK $ 90,000–120,000
Generously donated by the artist
From Green to Orange is a series of silver prints by Thu-Van Tran, immersed in a bath of dye and rust. While the perception of the subject is made difficult by the chemical reaction, vegetation becomes discernible at a closer look. Thu-Van Tran interferes in the depths of a mystery, in the density of a hallucinated dream. The impression that this jungle is burning is underscored by the title that refers to the defoliants dropped in Vietnam by the US military during the Vietnam war. The most used defoliants were Agent Orange, a stable, insoluble product that has lasting effects on its target. Thu-Van Tran grew up in the paradox of the dismantlement of the French colonial empire in Vietnam. Contextualised by literature, architecture, and history, the raw material of her practice is fiction with postcolonial-inspired narratives. She has had solo exhibitions at the Modern and Contemporary Art Museum, Nice (2023–2024); Kunsthaus Baselland, Basel (2020); Fondation Hermès, St Louis (2018); Vincom Center for Contemporary Art, Hanoi (2018); and Macleay Museum, Sydney (2016). Group exhibitions include those at Kunsthalle Trondheim (2024); La Bourse de Commerce - Fondation Pinault, Paris (2023); the 58th Carnegie International, Pittsburgh (2023); Palais de Tokyo, Paris (2022); and Centre Pompidou, Paris (2020, 2018). Her work is held in Pinault Collection, Paris; Centre Pompidou, Paris; Kadist, Paris and San Francisco; Louvre Abu-Dhabi, and Fondation Louis Vuitton, Paris, among others.
2024
Lenticular, framed
96.5 × 74.9 cm
Edition 2 of 3 + 2 APs
Estimate: HK $ 85,000–95,000
Generously donated by the artists and Perrotin
MSCHF is a conceptual collective developing elaborate interventions that expose and leverage the absurdity of our cultural, political, and monetary systems. MSCHF provokes widespread public response as a means of performance, directly within the environments it critiques. Ultimately, the collective itself represents an intricate subversion of corporate structure, that seeks to challenge every sphere with which it comes into contact. This work belongs to a series of lenticular paintings that the artist collective developed after being inspired by a childhood book series, ‘Animorphs’. These works appropriate images from art history; as the viewer encounters the work, the images change and shift in a fluid way, challenging what we perceive as ‘masterpieces’. A solo exhibition of their work was held in Daelim Museum, Seoul (2023), and their work has been included in group exhibitions at Spritmuseum, Stockholm (2024), and the Getty, Los Angeles (2024).
2023
Watercolour, vinyl paint, pastel, screen printing, rubber stamping, hot stamping and metal leaf on paper stretched over panel 101.6 × 88.9 cm
Unique
Estimate: HK $ 230,000–300,000
Generously donated by the artist
Born in San Francisco, California, USA, in 1984
Lives and works in Easton, Connecticut, USA
This painting features a Bernini statue and continues to work at geographically placing the Vatican in Purgatory in Tammy Nguyen’s interpretation of the cosmology of the Divine Comedy. Nguyen’s multidisciplinary practice as a storyteller takes two forms—her more traditional fine arts practice, which encompasses her lush, dense paintings, as well as her prints, drawings, and unique artist books, and her publishing practice, embodied through her imprint, Passenger Pigeon Press, which creates and distributes Martha’s Quarterly, a subscription of artist books and interdisciplinary collaborations. Across both domains Nguyen’s work aims to unsettle, and the tension between the artist’s elegant forms and harmonious aesthetics often belies the nature of her content. The confusion this dissonance creates becomes generative, opening space for reevaluation, radical thinking, and the dislodging of complacency. Recent solo exhibitions of Nguyen’s work have been organised by the Institute of Contemporary Art, Boston (2023); Brooklyn Public Library (2022); and The School of the Art Institute of Chicago (2017). Nguyen has been included in numerous group exhibitions, including at the 12th Berlin Biennale (2022); Metropolitan Museum of Art, New York (2022); MoMA PS1, Long Island City (2021); The Factory Contemporary Arts Centre, Ho Chi Minh City (2021); The Rubin Museum, New York (2018); and The Bronx Museum of the Arts (2015).
Born in Chengdu, China, in 1983
Lives and works in Beijing, China
Green Rainbow Cloud exemplifies the intricacy that characterises many of Hao Liang’s silk landscapes. In synthesising the traditional techniques, imagery, and symbolism of Chinese ink painting, Hao imbues his oeuvre with a contemporary, cosmopolitan sensibility. Influences as diverse as literature, film, and philosophy converge in his pieces to offer a unique perspective on temporality, distilling the mutability and ambiguity of time in the present, lived moment. Hao studied at the Sichuan Fine Arts Institute and received his BFA and MFA in Chinese painting. His recent solo exhibitions include those at Aurora Museum, Shanghai (2019); Mirrored Gardens, Guangzhou (2016); UCCA Center for Contemporary Art, Beijing (2016); and Bonnefantenmuseum, Maastricht (2016). He has participated in international exhibitions and biennials including at M+, Hong Kong (2021); the 10th Asia Pacific Triennial of Contemporary Art, Brisbane (2021); Para Site, Hong Kong (2020); 57th Venice Biennale (2017); The Metropolitan Museum of Art, New York (2017); Centre Pompidou, Paris (2017); and Fondation Louis Vuitton, Paris (2016). Hao’s work is featured in institutional collections worldwide, including the Metropolitan Museum of Art, New York; Kadist Art Foundation, San Francisco and Paris; Centre Pompidou, Paris; and M+, Hong Kong.
2024
Ink and colour on silk 13 × 14.9 cm
Unique
Estimate: HK $ 400,000–600,000
Generously donated by the artist and Vitamin Creative Space
Retail value: HK $ 97,000 + Priceless memories
Generously sponsored by Agnes Lew, PS, Astrea Caviar, and the Four Seasons at Beverly Hills
If you are planning an upcoming trip to Los Angeles, consider elevating your experience with this special Experience Lot! This package includes a private arrival and departure service, stay at the Four Seasons Beverly Hills, welcome caviar, and specially arranged trips to artist studios and museums:
This Experience Lot does not include flight tickets to Los Angeles, and some offerings listed are subject to availability. For the full conditions of sale, please refer to ‘Conditions of Sale’ at the back of this catalogue.
● Private arrival and departure experience, hosted by PS (Retail value: HK $ 76,000)
Enjoy a private arrival and departure experience hosted by PS when flying round-trip through LAX. Relax in your own sanctuary with dedicated staff, chef-prepared meals, unlimited amenities, and spa services. Your Private Suite includes a daybed, entertainment centre, fully stocked pantry, and a private chauffeur service to and from the aircraft. Includes up to four people.
● Two night stay in one Deluxe Balcony King Room, Four Seasons at the Beverly Hills. (Retail value: HK $ 16,500)
Gaze over Los Angeles from your personal balcony, or relax and refresh in your modern, full-marble bathroom.
● Welcome Caviar by Astrea Caviar (Retail value: HK $ 4,500)
Enjoy a set of Astrea Caviar’s premium caviar in the comfort of your hotel room, consisting of 30g tins of Premier Selection Oscietra, Premier Selection Kaluga Hybrid and Grand Selection Schrenkii (one each). Three mother of pearl caviar spoons, along with a matt gold caviar opener, are also included for a unique caviar experience.
● Artist studio visits with lunch and dinner hosted by Agnes Lew Join art aficionado and foodie Agnes Lew on studio visits to meet different artists living and working in Los Angeles. With the sprawling South California city being home to emerging, mid-career, and established artists alike, the Los Angeles art scene has done much to fuel the contemporary art boom. Dedicate a day to discovery—to both food and art—with Agnes, or her designate, through the city.
● Museum day!
Enjoy private curator-led walkthroughs of three landmark Los Angeles institutions: Museum of Contemporary Art, Los Angeles; LACMA; as well as The Broad.
Sarah Heller will host up to six guests for a private two-hour Italian wine tasting followed by dinner. So much more than a simple beverage, wine is the distillation of a culture into a rich multi-sensory experience. Visual artist and Master of Wine Sarah Heller will guide a small group through an intimate journey of the icon wines of Italy, including Brunello, Etna, Barolo and Barbaresco, her specialty since the start of her wine career. Delving into myth, culinary and aesthetic history, the session will leave participants with a deeper sense of why wine has played such a central role in the development of both western and eastern culture. Sarah Heller earned her BA in fine art from Yale University. Following graduation, she immersed herself in the wine world, becoming a Master of Wine in 2017. The third woman in Hong Kong to claim the title, Sarah is also an associate of the Institute of Wine and Spirits, a Society of Wine Educators certified specialist of wine, and a VIA Italian Wine Ambassador.
HK $ 70,000–100,000
Born in Guadalajara, Mexico, in 1989
Lives and works in Mexico City, Mexico
Inspired both by nature and our exploitation of it, Norwegian-Mexican artist Javier Barrios’s paintings and sculptures are the result of his exploration and research of mythology and colonial narratives. Addressing cultural, historical and scientific narratives, Barrios’s works reveal the fascinating relationship between humans and nature, where power plays, projected sexuality, and the desire to control are interrogated through his idiosyncratic and surrealist approach to representing flora and fauna and their often painful—or forgotten—histories. This work belongs to a series of drawings and watercolours on paper that represent figurative creatures drawn from the iconographies of pre-Hispanic Mexico. Often developing his drawings at night, Barrios’s depicted subjects are often melded with references to the orchid, a motif that he often employs as a signifier of hybridization, evolutionary theory, and syncretic religious practices. In this work, the head of a creature is terminated with organic forms that recall the shape of flower petals. Barrios has presented solo exhibitions at CLEARING, Brussels (2023); Museo de la Ciudad de Querétaro, Mexico (2022); and Pequod Co., Mexico City (2022). His work has also been included in group exhibitions at The Drawing Center, New York (2022); Fundación Casa Wabi, Oaxaca (2021); and Museo Tamayo Arte Contemporáneo, Mexico City (2020), amongst others. His work is part of the collection of Colección Isabel y Augustin Coppel; Fundación M and Phillips/Yuyito, Mexico City; By Art Matters, Hangzhou; Fondazione Bonollo, Vernona; and Fondazione Fiera Milano.
Dios
2023
Pastel and sanguine on paper 103 × 77.5 cm
Unique
Estimate: HK $ 60,000–70,000
Generously donated by the artist and Lodovico Corsini
Born in the UK in 1937 Lives and works in the UK
1987
Acrylic on canvas
Unframed: 131 × 143 cm
Unique
Estimate: HK $ 120,000–150,000
Generously donated by the artist and Ben Brown Fine Arts
Lantau I is a breathtaking portrayal of Lantau Island, capturing its stunning natural beauty and vibrant landscapes. The painting showcases the island’s lush, rugged mountains, all rendered in vivid acrylics that bring the scene to life. The composition draws the viewer’s eye across the canvas, highlighting the interplay of light and shadow as it dances over the hills and water. Brown first arrived in Hong Kong in 1964 and, upon her arrival, forged a bridge between Eastern and Western artists in Hong Kong, joining the local avant-garde, including artists Gaylord Chan, Cheung Yee, and Hon Chi-fun, collaborating on group exhibitions and exchanging ideas and artistic approaches. She held solo exhibitions in 1964 and 1966 at the Chatham Gallery, Hong Kong’s first permanent exhibition space for artists. In 1978, Brown had a solo exhibition at the British Embassy in Beijing, marking the first exhibition of contemporary Western art in post-Cultural Revolution China, drawing curious artists and dignitaries who were staggered by her semi-abstraction and loose-brushed painting techniques. Her work has been exhibited at the Hong Kong Arts Centre, Seoul Metropolitan Museum of Art, the Hong Kong Museum of Art, and Fukuoka Art Museum. Brown has also taught at Hong Kong University.
This painting is a homage to a tree the artist grew up around on Kent Road, Kowloon. Describing her works as ‘stolen realities’, Kristy M Chan traverses figuration and abstraction to form energetic, intuitive and autobiographical compositions. Her charged use of oil paints in contrast to delicate brushstrokes contemplates a culture of superfluity and excess that characterises contemporary urban life and behaviour. Her paintings serve as visual archives of intense personal interactions amid the transient dynamism of the city. Living between Hong Kong and London, Chan incorporates subject matters from an outsider’s perspective, exploring the interplay between identities shaped by her personal history, as well as influences from literature, music and films. She completed her BFA at UCL Slade School of Fine Art in 2019 and her MA in Contemporary Art at Sotheby’s Institute of Art. Chan was selected for Forbes 30 under 30 China (2023). She has participated in group exhibitions at Yuz Museum, Shanghai (2023); and Hong Kong Visual Art Centre (2019). Her works are included in significant private and public collections, including Danjuma Collection, London; Femmes Artistes du Musée de Mougins, France; Forbes China, Shanghai; Zabludowicz Collection, London; and X Museum, Beijing.
2024 Oil on linen
90 × 180 × 4.5 cm
Unique
Estimate: HK $ 120,000–160,000
Generously donated by the artist
Born in Hong Kong in 1959
Lives and works in Hong Kong
2022
Acrylic on canvas
Unframed: 102 × 76 cm
Unique
Estimate: HK $ 50,000–70,000
Generously donated by the artist and
Contemporary by Angela Li
Regarded as a prominent figure in the Hong Kong contemporary art scene since the 1990s, Kurt Chan’s multimedia practice spans installation, mixed media, and painting. He earned his BA from the Chinese University of Hong Kong (1983), before obtaining an MFA from the Cranbrook Academy of Art, Michigan (1988). For Kurt Chan, painting words is an act of amending, re-writing a word within the same space repeatedly. By restructuring Chinese characters and experimenting the use of forms and colours, Chan manages to break through the classical notions of yin and yang, light and shadow, in both Eastern and Western painting practices. Simultaneously, he brings forth the spontaneity that lies in traditional Chinese calligraphy and modern art to the sublime in his process of painting words. As his act of word-painting weaves a complex, multilayered web of aesthetic and literary ideology, he endows his works with a metaphysical spirit of traversing between the visual and the metaphorical. Often zeroing in on the juxtaposition between Chinese and Western cultures, Chan’s practice often explores the restrictions of various artistic rhetorics and mediums. In 2016, Chan retired from his 27-year teaching career at CUHK and later became the Acting Director of Hong Kong Art School. Chan participated in more than eighty exhibitions, including the 51st Venice Biennale (2005) and the 3rd Asia Pacific Triennial of Contemporary Art (1999). Chan’s artistic development was the subject of the research-based exhibition ‘A Specimen Collection of Chan Yuk Keung’, which ran from 23 August–28 September 2003 at Para Site.
Born in Hong Kong in 1993
in Hong Kong
2024
Found folding screen, filler, industrial pigment, spray paint, and oil pastel
46 × 25.6 × 7; Unique
Estimate: HK $ 30,000–40,000
Generously donated by the artist and PHD Group
Each of Chan Ting’s artworks begins as a process of conservation. Discarded vessels, containers and other objects—empty and in disrepair—are salvaged and brought back to the artist’s studio for restoration. Drawing on her background as a hypnotherapist and energy healer, Chan Ting then communes with these objects to fill their voids, adding layers of construction plaster and pigment that are gradually drilled, sanded, and polished with heavy industrial tools. Chan Ting’s treatment of these fillings resembles the practices of ancient alchemy, which attempted to transform common materials into noble metals. Here, hardware store materials typically considered crude and cheap are burnished until glossy, evoking the museum sheen
of oil paintings. This process transmutes the rejected or abandoned object, rendering an item of lost utilitarian use into an artwork of care and attention. Chan Ting holds an MFA in Fine Arts from the Chinese University of Hong Kong. She has exhibited works in Tai Kwun Contemporary and HART Haus, among other venues, and participated in a residency at Foo Tak building from 2019 to 2022, during which she co-founded the nonprofit project Negative Space. She was one of the grantees of the Para Site NoExit Grant for Unpaid Artistic Labour and was the artist-inresidence at Para Site’s tenth-floor space in 2023. Her solo exhibition, ‘Moss Wonders’, was presented at Para Site from 27 January–8 February 2024.
Born in Hong Kong in 1988 Lives and works in Hong Kong
2024
Glass mosaic tiles
43.5 × 43.5 × 4 cm
Unique
Estimate: HK $ 25,000–35,000
Generously donated by the artist and Gallery EXIT
The Shards of a Star is a series of mosaic fragments that originated from the public art installation Some of Us are Looking at the Stars created by Chan Wai Lap and commissioned by the Hong Kong Museum of Art (HKMoA) in 2023. The installation, resembling a swimming pool in an open crate, was situated in the centre of Tsim Sha Tsui and transformed the Art Square in front of HKMoA into an imaginative and inviting setting with its playful sculptural objects and graphic elements. Displayed from 2023 to 2024, the installation was later dismantled, and during this process, Chan salvaged pieces of the swimming pool mosaic wall. These salvaged fragments hold the collective memories of the public and private interactions during the exhibition period and have been transformed into standalone artworks. They serve as a testament to the artist’s sensitivity to colour, texture, and the social significance of space. Hong Kong-based visual artist Chan Wai Lap’s creative practice primarily involves painting and drawing, while he also explores making artist books and installations. Chan’s works are often inspired by his personal experience, memories, and everyday happenings, investigating the concept of power dynamics—between public and private, self and others, and the inter-relationships of these notions. In recent years, Chan has participated in artist residencies including at Tai Kwun Contemporary (2020) and School of Visual Arts, New York (2018).
The Shards of a Star—Pollux
2024
Glass mosaic tiles
43.5 × 43.5 × 4 cm
Unique
Estimate: HK $ 25,000–35,000
Generously donated by the artist and Gallery EXIT
Born in Xiamen, China, in 1994
Lives and works in Oslo, Norway
Estimate: HK $ 40,000–60,000
Generously donated by the artist and THE SHOPHOUSE
Jinbin Chen’s delicate colour palettes create environments that house his male subjects in themes of vulnerability, fragility, honesty, and comfort. Compassion evokes the scene of the Virgin Mary mourning Jesus Christ. It explores the intricate relationship between the perception and consumption of images in the digital era by appropriating fragments from the shared visual language of a series of paintings. This fragmented relationship invites various interpretations and potential misunderstandings, influenced by factors such as culture, context, time, and the intentions of the viewer. The work also explores the dynamics of intimacy and distance, and fluidity and stillness that constantly shift in human relationships. These spaces seek to uncover a language of intimacy that excludes the sexually explicit, and rather, paints a new vocabulary of desire: a vernacular that absorbs a viewer’s gaze. In Chen’s portraiture, the masculine traverses a terrain of liminal gender dispositions that embrace the freedom of becoming. In its essence, Chen’s work depicts the encounter of bodies, both the significant and the seemingly insignificant, that have the potential to impact the trajectory of one’s life. Their work resides in the collections of the Dallas Museum of Art; the Institute of Contemporary Art, Miami; Denver Museum of Art; and X Museum, Beijing, amongst others.
Struggling with undiagnosed dyslexia, Chen turned to painting as a means of communication. His paintings often explore his queer Asian identity and his experiences living in a conservative culture. Characterised by warm shades, isolated characters, and allegorical objects, the detached and static figures in Chen’s paintings are specific to our time, yet they can also be perceived as timeless, conveying one of the greatest contemporary feelings: aloneness. This work is inspired by Donatello’s Renaissance sculpture Attis Amorino. Depicting a boy wearing a poppy flower in his hair and on his belt, the work references a modern-day experience of music festivals, where people gather in a shared realm of intoxication and bliss. The background of this piece features a traditional woodcut with a watercolour collage reminiscent of traditional Chinese paper cuts. Chen’s practice seamlessly blends classicism and modernity, creating intimate and occasionally provocative scenes that juxtapose contemporary desires with classical aesthetics. His works are held in public collections including X Museum, Beijing; George Economou Collection, Athens; SUNPRIDE FOUNDATION, Hong Kong; and Forbes Collection, New York.
2024
Watercolour/woodcuts on paper
Unframed: 30 × 40 cm
Unique
Estimate: HK $ 40,000–45,000
Generously donated by the artist and MASSIMODECARLO
Born in Weidong, China, in 1988
Lives and works in Melbourne, Australia
2023
Oil on linen
24.2 × 20.5 cm
Unique
Estimate: HK $ 30,000–42,000
Generously donated by the artist and Rossi & Rossi
Hong Kong-based artist Szelit Cheung is best known for his meticulous spatial compositions on canvas that draw from architectural spaces and minimalist interiors. His works resemble the essence of void through which he explores the connection between presence and emptiness by utilising simple forms, light and colours as a means to echo and amplify intangible yet powerful sentiments and expressions. In Cut VII, Cheung continues his practice of capturing the essence of emptiness in his paintings through depiction of light within simple architectural spaces. The artist’s deliberate exclusion of signs and figures pull viewers into the painting, as they project their own feelings and emotions into the work. Szelit Cheung is an artist whose cross-disciplinary practice spans painting, drawing and photography. Cheung has participated in the 11th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery and Gallery of Modern Art (2024). In 2023, he was the artist-in-residence of Schoeni Projects, London, and THE SHOPHOUSE, Hong Kong.
Born in Shandong, China, in 1981
Lives and works in Beijing, China
In Chi Qun’s work, the creation of ‘lines’ is a nuanced process, involving layers of paint, meticulous scraping, and a quest for depth and texture. Her paintings carry multiple layers of oil paint, with each stroke carefully considered. By overlaying colours and textures, she achieves a unique depth through a complex interplay of light and shadow. Chi Qun’s technique involves a meticulous approach, where she delicately scrapes off layers to reveal underlying hues, creating a sense of emergence from the canvas. These repetitive yet minimalistic lines convey a sense of purity, establishing an ideal order within her work. Chi Qun is a skilled artist who holds Bachelor’s and Master’s degrees in Mural Painting from the Central Academy of Fine Arts in Beijing. Qun views creation as a form of introspective thought, a means to elucidate and distil diverse emotions. Her artistic expression is a dialogue with herself, a process of self-discovery and emotional clarification. Influenced by both traditional Chinese painting techniques and contemporary Western trends, Qun’s art reflects a unique blend of cultural influences and artistic philosophies, creating a bridge between Eastern and Western artistic traditions.
2017 Oil on canvas
Unframed: 150 × 100 cm
Unique
Estimate: HK $ 98,000–120,000
Generously donated by the artist
Born in Hong Kong in 1987
Lives and works in Hong Kong
Acrylic on upcycled pew
42.5 cm diameter
Unique
Estimate: HK $ 28,000–32,000
Generously donated by the artist
The Portal is part of the ongoing project ‘Here and There’, which interweaves ‘place’ with emotional identifications and interpretations at different points in time. The upcycled teak pews, originating from a church in Kowloon, have been crafted into hexagonal panels—while it can serve as a window when standing alone, while in a group, it creates a hive-like structure. The artist envisions this project to extend beyond her lifetime, and that these scattered panels will reunite one day to rebuild a place nominally known as ‘home’ in all its iterations. Capturing the urban absurdity and threads of identity that connect humanity, Bouie Choi navigates between Eastern and Western approaches through wooden paintings with delicate brushwork, splashes, and flowing pigments. From her community and heritage preservation experience from 2013–2019, Choi has familiarised herself with wood, imbuing the material with her state of mind and layered temporalities through repetitive preserving, pouring, sanding and washing. Choi holds a BA in Fine Art from the Chinese University of Hong Kong (2009), and an MA in Fine Art from the Chelsea College of Art and Design, University of London (2012). She had a recent solo exhibition at PF25, Basel (2023). She recently participated in the group exhibition ‘Shifting Fields: Contemporary Chinese Painting’ (2024) at Stanford University. 2022
Born
A Filipino-born, London-based artist, Nicole Coson’s printed canvases oscillate delicately between surface and depth as they transform concrete material culture into analog, indexical images through negative imprint. This imagistic oscillation between pattern, image, and object is embraced by Coson to tell stories of family, society, and coloniality, but never in straight-forward ways: rather, the artist is deeply committed to the aesthetic politics of opacity and by extension, privacy, secrecy, and intimacy. For this work, venetian blinds are coated with an oil-based ink and run through the crushing force of a printing press, leaving its detailed impression on raw linen. This process is then repeated a number of times, and although the resulting paintings bear witness to the breakdown of an object, one might not immediately think of an object under duress. The resulting works are quiet, almost minimal—and invite the viewer’s contemplation. Although the blinds imply access to some other place, such access is thwarted by the canvas. Instead, the viewer stays in a space where the vagaries of light and shade define minute details such as a tangled fallen string, or a misshapen blade. Rather than alluding to a hidden meaning behind her barrier motifs, Coson invites us to study them as such— barriers—and the critical potential of visual obfuscation. She holds an MFA in Painting from the Royal College of Art London. She has exhibited internationally, including at the Metropolitan Museum of Manila; South London Gallery; FOST Gallery, Singapore; Silverlens (Manila/New York); amongst others.
2022 Oil on linen 145 × 100 × 2.4 cm
Unique
Estimate: HK $ 120,000–150,000
Generously donated by the artist and Silverlens (Manila/New York)
2023
Ink on paper
58 × 4 × 42.5 cm
Unique
Estimate: HK $ 40,000–60,000
Generously donated by the artist and kurimanzutto
Born in Mexico City, Mexico, in 1968
Lives and works in Mexico City, Mexico
With an artistic practice deeply influenced by his own surroundings, Abraham Cruzvillegas has a longstanding engagement with primates in his art, using them as symbols with significant political meaning in Mexico. His work reflects the tradition of Latin American political satire, where apes and monkeys often embody humour and a playful critique of seriousness. His latest series, Autorretrato oponible actual, builds on his previous work featuring primates. This new collection blends abstract gestures with bold, quick brushstrokes in complementary secondary colours—orange, purple, and green—outlined by contemplative black ink and acrylic lines that depict primate faces and hands. Cruzvillegas views these drawings as self-portraits, continuing his exploration of identity and humour through the lens of primate imagery. Abraham Cruzvillegas’s art is shaped by his surroundings and the concept of ‘autoconstrucción’, inspired by the innovative building practices of his childhood neighbourhood in Mexico City. His work transcends specific mediums, emphasising improvisation and the idea of change as a constant in life. Past solo exhibitions include those at The Contemporary Austin, Texas; Aspen Art Museum, Colorado (2019); and Ginza Maison Hermès Le Forum, Tokyo (2017), among others. Past group exhibitions include those at San Francisco Museum of Modern Art (2024); Ming Contemporary Art Museum, Shanghai (2017); Tate Modern, London (2011); 6th SeMA Biennale Mediacity Seoul (2010); and the 54th Venice Biennial (2003). Cruzvillegas was an artist-in-residence at Para Site from 1–24 July 2019. Work by the artist will be included in the upcoming exhibition, ‘How to Be Happy Together’, opening at Para Site on 12 December 2024.
Doris Guo, born in San Francisco, California, USA, in 1992
Lives and works in Oslo, Norway
Monroe Studio Model, 风景 Landscape is a work from Doris Guo’s collaborative project of material care which Guo and her mother, Weili Wang, have undertaken to organise and conserve the latter’s artwork. Formerly lodged undisturbed around her Seattle home, Wang’s oil paintings and sketches—mostly executed between 1980 and 1990 around the Yangtze River Delta—bear witness to an artistic life partially abridged by circumstance. These works are presented as diptychs together with Guo’s pinhole photographs depicting the suburban interior of Wang’s study—replete with cardboard boxes, filing folders, and other marginalia. Utilising the formal grammar of the diptych, Guo not only manages to create novel juxtapositions between works of radically different means and eras, but more importantly, to create a space of charged potentiality between the individual components of each pairing. Doris Guo received her BFA in Painting from Pratt Institute in 2014 and recently graduated from the Oslo National Academy of the Arts in 2023. Solo exhibitions include those at Veronica, Seattle (2023); and Éclair, Berlin (2019). Recent group exhibitions include those at Hulias, Oslo (2024); Plymouth Rock, Zurich (2020); and Artists Space, New York (2014).
2023 / 1987
Giclée print on Arches 310 gsm / watercolour and mineral pigment on rice paper 83.8 × 55.9 cm (left); 57.6 × 57.6 cm (right)
Unique
Estimate: HK $ 50,000–70,000
Generously donated by the artist and Empty Gallery
2024
Acrylic, gold leaf and adhesive on golden paper
Unframed: 37 × 24.5 cm
Unique
Estimate: HK $ 40,000–60,000
Generously donated by the artist
Born in Wuhan, China, in 1989 Lives and works in London, UK
Inspired by the visual configuration of medieval illuminated manuscripts, Han Mengyun turns the spotlight onto the marginalia of the manuscript pages, often decorated with floral motifs. Merit of the Periphery celebrates ornamental or so-called ‘low art’, which in the artist’s mind teems with beauty and collective, vernacular wisdom. Han Mengyun was initially trained in the Western tradition of oil painting but diverted from the singular viewpoint of art production towards the complexity of historical ties in the profoundly intercultural context of the Eurasian continent’s past and present. The broad focus of her research covers interdisciplinary manifestations of cultural dialogue and polyvocal aesthetic conversations—from religion, philosophy, and mythologies to trade, vernacular craftsmanship, and bookmaking. Recently, she has been researching Indian and Persian manuscript traditions and woodblock printing in China and Japan. Han Mengyun received a BA in Studio Art from Bard College and has pursued the study of Sanskrit at various institutions such as Kyoto University before she completed her MFA at the University of Oxford with a research focus on Classical Indology and Indian aesthetic theories. Han has exhibited extensively internationally, including at Busan Biennale (2024); Delfina Foundation, London (2024); SONGEUN, Seoul (2023); UCCA Edge, Shanghai (2023); Yuz Museum, Shanghai (2023); and Diriyah Biennale, Saudi Arabia (2021).
Born in Hong Kong in 1988
Lives and works in Hong Kong, USA, UK, and Italy
This piece from Heller’s Italian Icons series is a love letter to the country as well as the region that marked a dramatic change in her life—Piemonte in Italy’s northwest, where she was first exposed to the rich culture of wine. While representing first the sensuous experience—aromas, flavours and textures—of a specific wine, the iconic Barolo Gran Bussia of Aldo Conterno, the image also reflects the region’s recent history. The coarse rope texture refers to the impoverishment and abandonment of the Langhe in the mid-20th century, having once been the playground of the Italian kings. The floral motifs that rise through the middle of the image evoke the way wine culture has brought life, prosperity and beauty back to the region. Finally, 2010 was a turning point for the artist, marking the year she returned home to Hong Kong and began a formal career in wine after earning her BA in fine art from Yale University, where she won the Ethel Childe Walker Prize. Following graduation, she immersed herself in the wine world, becoming a Master of Wine in 2017.
2020
Giclée print on Hahnemühle paper
38 × 38 cm
Edition of 12
Estimate: HK $ 25,000–35,000
Generously donated by the artist and Molde Fine Art
Born in Minnesota, USA, in 1970
Lives and works in Taipei
2023
Fibre-reinforced plastic shell, water based paint, styrofoam, bayonet
36 × 33 × 27 cm
Unique
Estimate: HK $ 55,000–75,000
Generously donated by the artist and Empty Gallery
Hong’s Stabbed In The Back series is part of a larger body of work exploring historical revisionism and the rise of nationalisms in contemporary East Asia. Taking inspiration from that foundational workhorse of British nationalism, the Arthurian legend of the sword in the stone, Hong deploys evidence of real historical trauma—a used bayonet from the Second Sino-Japanese war procured from a Chinese victim of war atrocities—to juxtapose the weight of this sanguinary ‘sword’ with the paradoxical lightness of the chintzy trompe l’oeil stone. These two elements—the ready-made bayonet and the theatrical fake stone—articulate a dialectic between the authentic and the inauthentic, the direct and the mediated, fact and fiction. James T. Hong is a Taiwanese-American artist and filmmaker whose research-based practice interrogates the metaphysics of truth, navigating the intersection of epistemological, ethical, and socio-political questions. While best known for his experimental and essayistic films, his practice has recently expanded into sculpture. His work has been the subject of solo exhibitions at the Jewish Museum of Vienna (2022) and Ikon Gallery, Birmingham (2021). Recent group exhibitions include those at Bonner Kunstverein (2024); the Haus der Kulturen der Welt, Berlin (2022, 2017); Centre Pompidou-Metz (2021); 12th Taipei Biennial (2020); and the Museum of Contemporary Art, Belgrade (2018). Hong was an artist-in-residence at Para Site in May 2013. His work was exhibited at Para Site in the exhibition ‘Soil and Stones, Souls and Songs’, which ran from 18 March–11 June 2017; ‘Creative Operational Solutions’, which ran from 10 December 2016–5 March 2017; and ‘A Hundred Years of Shame—Songs and Resistance and Scenarios for Chinese Nations’, which ran from 6 March–17 May 2015.
Born in Tokyo, Japan, in 1974
Lives and works in Tokyo, Japan
Often humorous in his address of social taboos, Kagami’s works appropriates cultural icons, usually depicting them in funny and yet unsettling ways. This work is an exemplary piece from Kagami’s ongoing, untitled series of drawings depicting beloved characters Charlie Brown and Snoopy in compromising and humorous situations. Kagami’s minimal approach reinterprets Peanuts characters with whimsical results, juxtaposing innocence and absurdity. Drawing upon pop culture iconography, Kagami’s practice often presents the viewer with tongue-in-cheek scenarios that question identity and masculinity. Kagami has had a solo exhibition at PARCO Museum Ikebukuro, Tokyo (2018). Notable group presentations include ‘GOOD GRIEF, CHARLIE BROWN! CELEBRATING SNOOPY AND THE ENDURING POWER OF PEANUTS’ at Somerset House, London (2019). Kagami has also performed live improvisational drawing sessions on various occasions, such as Art Basel Hong Kong (2024), Art Copenhagen (2016), and Frieze London (2015).
2023
Ink on paper
29.7 × 21 cm
Unique
Estimate: HK $ 15,000–25,000
Generously donated by the artist and MISAKO & ROSEN
Born in Mumbai, India, in 1989
Lives and works between Tāmaki Makaurau Auckland, Aotearoa New Zealand, and Mumbai, India
Fragment 5: A fish in the net is a reed in the sun
2022
Cotton embroidery on khadi handkerchief
40.6 × 36.8 cm
Unique
Estimate: HK $ 25,000–35,000
Generously donated by the artist and TARQ
Born in Mumbai and raised in Auckland, Katki’s frequent relocations between two distinct landscapes immersively pose questions around the lived experiences of hybridity. Fragment 5, from a series of five works, features symbols from Sumerian cuneiform which were studied and chosen by Areez Katki to compose a suite of trans-literary phrasings. Being one of the more complex compositions, this panel features four intersecting symbols from the Sumerian cuneiform lexicon: the fish, the net, the sun, and the reeds. The composition juxtaposes notions of dependency and enrapturement that occur when one species or entity dominates another. Areez Katki (he/they) is an artist and writer whose practice dwells on conceptual and material-based intersections which survey the phenomenology of postcolonial identities. In 2022, Katki was invited to present a body of work for the 7th edition of Colomboscope in Colombo, Sri Lanka. A survey of his practice was exhibited at the Govett-Brewster Art Gallery, New Plymouth, New Zealand, with Khadim Ali. Katki was the artist-in-residence of Sarjeant Gallery, Whanganui, New Zealand, in 2023. In 2024 Katki was invited to present a significant new body of work in ‘Personal Structures: Beyond Boundaries’ at the 60th Venice Biennale. Katki was recently appointed the Aotearoa New Zealand visual artist-in-residence at Künstlerhaus Bethanien, Berlin, for a twelve-month period (2024–2025).
Born in Low Moor, Virginia, USA, in 1993
Lives and works in Brooklyn, New York, USA
2024
Oil on Masonite panel
30.5 × 35.5 cm
Claudia Keep’s small, meditative tableaux of everyday scenes are often referred to as little jewels. Like gems, they seem to radiate bursts of colour, catching our eye and luring us in. Their vibrant pigments applied alla prima refract light off their textured brush-stroked surfaces. In the case of her diurnal and nocturnal vistas of rippling bodies of water, they literally twinkle. Their constellations of irregular white dabs unfurl across the picture plane, and like the cropped views of flowering shrubs, come to resemble the repetitive, abstracted motif of a patterned textile meant to tease the eye around the form it drapes. Claudia Keep’s paintings reveal the intimate complexity of everyday moments. Composed of soft lines and shapes, they convey impressions of the ordinary that are curiously lucid. Ranging from scenes passing by like the sombre warmth of a bedroom light, crumpled sheets rippled in the form of an avalanche, or the mesmerising glare of a butterfly’s wings—Keep renders these moments sacred. This record of detail rescues the humblest of beauty from invisibility, by its nature an invitation to look more closely.
Unique
Estimate: HK $ 50,000–70,000
Generously donated by the artist
Born in Hong Kong in 1976
Lives and works in London, UK
2022
Mixed media, paint and pencil on canvas
Unframed: 61 × 73 × 5 cm
Unique
Estimate: HK $ 48,000–60,000
Generously donated by the artist
In Amidst the Debris, Claire Lee reassembles broken materials, highlighting both pain and beauty within flaws and vulnerabilities. Through textures and shades of white, she reveals moments of human progress left behind, seeking unity and commonality. As an immigrant, she reflects on personal challenges, exploring togetherness imaginatively. Twisted lines and seamless patterns symbolise connections and unity, bridging divides. In a world of instability, imagination becomes vital. Lee delves into transformation amid uncertainty, starting from brokenness to foster humility and change. Claire Lee, a visual artist from Hong Kong residing in both Hong Kong and London, engages with research-based art projects. She draws from the contrasts and beauty of vulnerability within human conditions, showcasing themes like fragility and strength in raw tofu, dimensions of pain and suffering, symbolic bison representations, and energising waste materials. Her diverse creations span objects, paintings, drawings, poetry, and photography, exhibited in solo and group shows globally. Lee’s meditative and poetic approach infuses her work with deep meaning, exploring topics like politics, violence, and reconciliation. Currently, she focuses on transforming mourning costumes into artistic responses to conflict and war.
Born in Chengdu, China, in 1994
Lives and works in Hong Kong
Itch is from Liao Wen’s Sensation series. Inspired by ancient Roman anatomical votive statues, the series of sculptures materialises easily neglected bodily experiences such as breathing, vomiting and an itch through Liao’s poetic sculptural language. Liao Wen’s humanoid sculptures exude both a sense of primordiality and futurism, teetering on the edge of rules and taboo-breaking. She draws inspiration from puppetry, anthropology of ritual and myth, medicine, art history, and everyday norms. Through provocative language, she contemplates social order, technology, and the discipline projected onto the body while simultaneously imagining the possibilities of the future body. She has participated in group exhibitions including at the First Trans-Southeast Asia Triennial, Guangzhou (2023); Cassina Projects, Milan (2023); OCAT Biennale, Shenzhen (2021); the 2nd Women Artists International Biennial of Macau (2020); and Chengdu Contemporary Image Museum (2019). She was one of the finalists of the Ducato Prize 2023 and was awarded the Frieze New York Stand Prize in 2023. Her works have been featured in publications such as The New York Times, Art in America, The Art Newspaper China, and ArtReview. She has been selected to be the resident of Pro Helvetia in Switzerland in 2025.
2022
Lime wood, stainless steel spring, yellow crystal, feather 33 × 38 × 9 cm
Unique
Estimate: HK $ 42,000–50,000
Generously donated by the artist and Capsule Shanghai
The rock carries the sun and arriving days, both bitter and sweet, poppy and remembrance. (Boat)
2024
27.9 × 35.6 × 3.8 cm
Unique
Estimate: HK $ 45,000–60,000
Generously donated by the artist and Herald St
Melding historical and literary references with poignant personal experiences, Lu’s work tells stories of dissonance and longing through twirling odysseys of ancient mythologies that carry the echoes of trauma, transformation, and regeneration. His sculptures and paintings are made of burnt wood panels, linen, engraved metal, and concrete, with elaborate scenes of a mythological retelling. Through pyrography (writing with fire) and the use of extensive and subversive titles for his works, Lu returns to the poetic origins of storytelling that liberate his work from established linear hierarchies of thought and form. The profound meditative and laborious repetition of his burning spans greatly in scale, from intimate to immersive, and allows Lu to build worlds where the mythological and autobiographical come together to be reborn. Lu’s work has been exhibited at The Drawing Center, New York; the Institute of Contemporary Art, Philadelphia; the Contemporary Art Museum, St. Louis; La Casa Encendida, Madrid; and the Pulitzer Arts Foundation, St. Louis, among others. His publication Smells Like Content (Endless Editions, 2015) is in the artists’ book collection of the Museum of Modern Art Library, New York.
Born in Osaka, Japan, in 1937
Lives and works in Paris, France
From the early 1960s until the 1970s Matsutani was a key member of the ‘second generation’ of the influential post war Japanese art collective, the Gutai Art Association. Over five decades Matsutani has developed a unique visual language of form and materials. Propagation 67-R is a print made during Matsutani’s first year working as an assistant to Stanley William Hayter at his renowned Atelier 17 in Paris. During this period, Matsutani explored various techniques including etching, aquatint and silkscreen. This important body of work offers a fascinating counterpoint to his paintings and is acknowledged by the artist as fundamental to the development of his practice. A line can be traced from the imagery Matsutani first saw when looking at cells of the body, through his use of vinyl glue, to the prints—always investigating the cycle of life, death and rebirth, and a universal truth that resides in the state of flux. In 1966, Matsutani received a grant from the French government after winning first prize in the 1st Mainichi Art Competition and subsequently moved to Paris, where he established his base. A solo exhibition of Matsutani’s work has been held at Centre Pompidou, Paris (2019). He has participated in group exhibitions at the Fondazione Prada, Milan (2023); the 57th Venice Biennale (2017); and Solomon R. Guggenheim Museum, New York (2013).
1967
Aquatint and burin on BFK paper 72.9 × 57.4 × 4.3 cm
Edition 8 of 30
Estimate: HK $ 38,000–70,000
Generously donated by Hauser & Wirth
Born in Castleford, UK, in 1898
Died in Perry Green, UK, in 1986
1984
Lithograph
Unframed: 44.9 × 56 cm
Edition 4 of 50 (MOORE 1984.0016)
Estimate: HK $ 30,000–50,000
Generously donated by Gagosian
A giant of modernism, Henry Moore engaged the abstract, the surreal, the ancient, and the classical in corporeal forms and organic images that are at once accessible and avant-garde. Moore’s oeuvre celebrated humanist themes at a time when traditional representation was largely eschewed by the vanguard art establishment. After fighting in the First World War, he won a scholarship to study at the Royal College of Art, London, from 1921 to 1924. In 1940, Moore began drawing people sheltering in the London Underground during the Blitz, creating a body of work that bolstered the city’s morale and led to his appointment as an official war artist. Moore’s international reputation grew following a retrospective at New York’s Museum of Modern Art in 1946, and after winning the International Sculpture Prize at the Biennale di Venezia in 1948. By this time, he had become one of Britain’s most celebrated artists, with a highly diverse output that encompassed graphics and textiles in addition to sculptures and drawings. Today, Moore’s public sculptures occupy university campuses, rural sites, and major urban centres in thirty-eight countries around the world, and his work has been the subject of numerous museum and gallery exhibitions and retrospectives. Moore established the Henry Moore Foundation with his family in 1977, and died in Perry Green in 1986.
2024
Oil on canvas
Unframed: 40 × 50 × 5 cm
Unique
Estimate: HK $ 40,000–60,000
Generously donated by the artist and Tang Contemporary Art
Ng often depicts the fragility of a physically intimate relationship between herself and others. By reinterpreting traditional symbolism, her work creates an ambiguous and obscure fiction. Shell is a piece that explores the exterior and interior relationship between body and nature. They imitate, simulate one another and coexist. It is reflecting the process of attachment and detachment of this relationship. The idea of ‘open’ or ‘split’ creates one half but also generates two units that originate from one. The figure submerges into the curve-like scallop with her 1930s Shanghai scallop hairstyle. It is a play on disembodiment in which the body is carved in half and extended into intangible form, her mutated silhouette like a nostalgic shell. Ng obtained her BA at Slade School of Fine Art in 2016 and MA at Royal College of Art in 2018. She is a recipient of the Cass Art Painting Prize in 2016 and the Travers Smith Art Award in 2018. She was awarded the Abbey Major Painting Scholarship by the British School in Rome in 2018. Her work has been exhibited at Nassima Landau Art Foundation, Tel Aviv; K11 Musea, Hong Kong; Assembly Point, London; The Horse Hospital, London; and Accademia di Romania a Roma.
Born in Surakarta, Indonesia, in 1978
Lives and works in Surakarta, Indonesia
42,8
2017
Clear coat, plexiglass, wood and multiboard 61 × 46 × 8 cm each (2 panels)
Unique Estimate: HK $ 50,000–70,000
Generously donated by the artist and ROH Projects
Aditya Novali works with a variety of materials, often first conceiving an idea and then finding the right medium to transcribe his vision. His background in architecture influences his sensitivity to structure, space, and knowledge of construction—key elements of his approach and aesthetic. Addressing themes such as boundaries, identities, materialism, and urban life, Novali’s work interacts with the viewer and transforms with each viewing. Novali received his Bachelor of Engineering in Architecture from Parahyangan Catholic University, Bandung, Indonesia, in 2002; and an IM Master of Conceptual Design from the Design Academy Eindhoven, the Netherlands, in 2008. Novali’s work has been exhibited in numerous international institutions and biennials, including at Taipei Biennial (2023); Dhaka Art Summit (2023, 2020); the 9th Asia Pacific Triennial of Contemporary Art, Brisbane (2018); MAIIAM Contemporary Art Museum, Chiang Mai (2018); National Gallery of Indonesia, Jakarta (2015, 2013); and Museo d’Arte Contemporanea, Rome (2014). Novali was nominated for Best Emerging Artist Using Installation at the 2016 Prudential Eye Awards in Singapore, a finalist in the 2010 Sovereign Asian Art Prize, and awarded Best Artwork in the Bandung Contemporary Art Awards (BaCAA) in the same year.
Born in Bogotá, Colombia, in 1985
Lives and works in Paris, France
This series of benevolent characters, inspired by people close to the artist, has accompanied him in his studio for some time, and there is in them a protective nature, halfway between idols, shamans and deities of a domestic pantheon. In a certain sense, they are the material manifestation of an expanded idea of family not bound by blood but by affection, friendship and care. The multidisciplinary work of Daniel Otero Torres encompasses sculpture, installation, ceramics, a pictorial practice, as well as drawing. Many of his works stand out because of a unique technique that explores the frontier between drawing and sculpture, marked by a virtuous photorealistic trait applied on monumental cut-out steel structures. This process manages to create a dislocation of materials and contexts. His works have been exhibited internationally including at the 60th Venice Biennale (2024); the Currier Museum of Art, Manchester, New Hampshire (2024); Les Aba!oirs, Toulouse (2024); the 5th Kyiv Biennale, Vienna (2023); C3A, Cordoba (2023); the 16th Lyon Biennial (2022); Jameel Arts Centre, Dubai (2022); Kestner Gesellscha, Hanover (2022); Palais de Tokyo, Paris (2021); MACAAL, Marrakech (2020); the Espacio 23 of the Jorge Perez Collection, Miami (2019); La Tôlerie, Clermont-Ferrand (2019); FLAX Foundation, Los Angeles (2019); IAC de Villeurbanne (2016); Kunstverein Sparkasse, Leipzig (2014); Heidelberg Kunstverein (2011); and the Bullukian Foundation, Lyon (2010).
Nosotros (III)
2020
Ceramic 23 × 15 × 14 cm
Unique
Estimate: HK $ 50,000–60,000
Generously donated by the artist
Born in Fujian, China, in 1977
Lives and works in Hong Kong
Generously donated by the artist Reunion
Newspaper: Ming Pao
(Publication Date: 2015-12-20)
57.8 × 35.1cm
Edition 4 of 6
Note: Includes signatures of Pak Sheung Chuen and Mr. Bus on the newspaper
Estimate: HK $ 10,000–20,000
Pak Sheung Chuen’s playful work slyly alters the experience of everyday life. He explores, on the one hand, the mental and social ‘space’ between everything that is structured, routine, and stable in our world, and on the other, he investigates coincidence, chance encounters, the arbitrary, and the imaginative. In so doing, he reveals artistic moments in everyday life and brings to the fore the interwoven nature of reality and the imaginary. He prefers to use himself and his writings as a medium, conceiving his works as actions or subtle manipulations of the regular course of events. In most cases these performative actions have no audience; rather, they consist of journeys and
self-experiments that engage with ever-changing environments. Pak’s solo exhibitions include those at Para Site, Hong Kong (2017); Mirrored Garden, Guangzhou (2016); and Artpace San Antonio (2013). Pak represented Hong Kong at the 53rd Venice Biennale in 2009. Other international exhibitions and biennials he has participated in include those at the Busan Biennale (2016, 2006); Liverpool Biennial (2012); Taipei Biennial (2010); Yokohama Triennale (2008); Guangzhou Triennial (2008); and Astrup Fearnley Museum of Modern Art, Oslo (2007). Pak’s work was the subject of an eponymous solo exhibition at Para Site that ran from 23 September–3 December 2017.
Born in Ho Chi Minh City, Vietnam, in 1987
Lives and works in Ho Chi Minh City, Vietnam
Watercolour and digital print on paper
44.5 × 36 cm
Unique
Estimate: HK $ 12,000–18,000
Generously donated by the artist
Thao Nguyen Phan’s watercolour drawings act as a fictive interpretation to Jacques Dournes’s ethnographic studies. The artwork titles are inspired by Dournes’s book Foret, femme, folie: une traversée de l’imaginaire jorai (1993), in which Phan is particularly intrigued by the metamorphic possibilities of the tiger and the mythical woman in folklore of the Jrai people, an ethnic minority inhabiting Vietnam’s Central Highlands. The in-between condition of becoming a tiger and becoming a woman seductively represents the Jrai’s ways of living, dreaming and breathing the jungle. Trained as a painter, Phan is a multimedia artist whose practice encompasses video, painting and installation. Drawing from literature, philosophy and daily life, Phan observes ambiguous issues in social conventions and history.
Phan exhibits internationally, with solo and group exhibitions at Para Site, Hong Kong (2024, 2018); Pirelli HangarBicocca, Milan (2023); Venice Biennale (2022); Tate St Ives (2022); Rockbund Art Museum, Shanghai (2019); Sharjah Biennial (2019); Dhaka Art Summit (2018); and Factory Contemporary Art Centre, Ho Chi Minh City (2017). She was shortlisted for the Hugo Boss Asia Art Award (2019) and was granted the Han Nefkens Foundation — LOOP Barcelona Video Art Production Award (2018) in collaboration with Fundaciò Joan Miró. In addition to her work as a multimedia artist, she is co-founder of the collective Art Labor. Phan’s work was exhibited at Para Site in the exhibition ‘Cloud Chamber’, which ran from 17 August–24 November 2024.
2024
Watercolour and digital print on paper
44.5 × 36 cm
Unique
Estimate: HK $ 12,000–18,000
Generously donated by the artist
Born in Manila, Philippines, in 1980
Lives and works in Manila, Philippines
2024
Acrylic, collage, jute string on paper
Unframed: 15 × 10 cm
Unique
Estimate: HK $ 8,000–11,000
Generously donated by the artist
Part of a series the artist produced while filming and making his presentation for the Philippine Pavilion at the 60th Venice Biennale, Banahaw Study is based on the artist’s ongoing research on Mt. Banahaw, a mystical mountain from his hometown, Lucban, Quezon, in the Philippines. For his presentation at this year’s edition of the Biennale, Salvatus focused on his long-standing interest in the active volcano that occupies a central status in the rich cultural life of its surrounding communities. Defining his practice as one of ‘salvage’ (coincidentally also the meaning of his family name), Salvatus notes that his work is ‘an ongoing process of articulating new ways of viewing and appreciating objects’ (Artforum, July 2024). The collage work combines images of the mountain with found images, weaving together a multilayered, ambiguous narrative. Mark Salvatus is an intermedia artist at the forefront of critical discourse on the subject of urbanisation and the socio-economic underpinnings that are made manifest in densely populated areas. Significantly influenced by the Internet, advertising, and pop culture, his oeuvre spans a varied range of media, from a series of defaced city maps, sculptural installations, to multi-channel video work. He has been a part of numerous international exhibitions including the Jakarta Biennale (2015, 2011), Honolulu Biennial (2014), Manifesta 9, Hasselt (2012); 4th Guangzhou Triennale (2011), and the 3rd Singapore Biennale (2011). Mark Salvatus is a recipient of the 13 Artists Award from the Cultural Center of the Philippines (2012); Sovereign-Schoeni Art Prize, Hong Kong (2012) and Ateneo Art Awards (2010).
Born in South Korea in 1985 Lives and works in South Korea
2024 Paper, pencil
7 × 21 × 7 cm; 7 × 20 × 7 cm; box: 23 × 26.5 × 13 cm
Unique
Estimate: HK $ 15,000–30,000
Generously donated by the artist and P21
Shin’s practice unravels labour, gender, and class issues. These smaller prototype sculptures, titled Mijin, Yujin, are inspired by Shin Min’s large-scale works created for an exhibition at the Museum of Contemporary Art Busan. Originally designed for labour protests, these larger sculptures were created to directly engage viewers with pressing labour issues. The two female figures in the work, named Mijin and Yujin, evoke the Four Heavenly Kings sculptures at temple entrances while wearing black ribbon hair nets, which are required to be worn by women at their own expense in various service jobs across South Korea. These black hair nets are used by the artist as a potent symbol for the struggles of these female service workers under capitalism. This work comes in a custom-made box by the artist, complete with drawings related to the personal stories of the workers they represent. Drawing from her background in mechanical engineering, she applies a methodical thought process, meticulously planning and developing her ideas. This engineering foundation instilled in her a preference for clear, reasoned concepts over unconscious inspiration, enabling her to present reality in a more tangible and impactful way. Notable exhibitions of Shin’s work include those at Changwon Sculpture Biennale (2024), Seoul Museum of Contemporary Art (2024, 2022), Jeonbuk Museum of Art (2024), and Museum of Contemporary Art Busan (2024).
Born in Seoul, South Korea, in 1989
Lives and works in Berlin, Germany
2024
Lenticular print, dibond, wood
22.5 × 40 × 2.5 cm
Edition 1 of 4 + 1 AP
Estimate: HK $ 20,000–30,000
Generously donated by the artist and COMA, Sydney
This lenticular print transforms according to the viewer’s position, revealing a new image each time it’s viewed from a different perspective. The pictures are captured from Tak’s first video work, titled Wish You a Lovely Sunday (2021) from his ongoing choreographic film series. Young-jun Tak examines sociocultural and psychological mechanisms that shape belief systems, ranging from simple worshipped objects to sophisticated forms of religion. Mixing media, techniques and subject matter, Tak pursues obfuscation as a mode of critique. In his sculptures, installations and films, Tak often exposes human bodies in the context of polarising norms and conventions, and tries to dissolve fossilised coded aesthetics— byproducts of polarisations and exclusions—for example, found in religious icons, propaganda tools, protest materials, gender symbols and so on. Tak has participated in biennials worldwide including the 5th Chicago Architecture Biennial (2023), 16th Lyon Biennale (2022), 11th Berlin Biennale (2020), and 15th Istanbul Biennial (2017). He is the recipient of numerous awards including ‘Love at First Sight’ Prize at the 3rd St.Moritz Art Film Festival (2024), TOY Berlin Masters Award (2021), and was selected for Arts Council Korea’s International Exchange Program in 2021, 2020 and 2016–2017.
Born in Hong Kong in 1997
Lives and works in London, UK, and Paris, France
2024
Tempera, ink and paper on linen
35 × 25 cm
Unique
Estimate: HK $ 10,000–30,000
Generously donated by the artist and Balice Hertling Gallery
Minh-Lan Tran treats her paintings like skin scratched, opened and washed, with references ranging from poetry to dance to theology. Her multiple influences are embodied in her paintings to create an oeuvre that grows organically into something the artist might not be familiar with herself. By carefully choreographing different intensities, Tran creates compositions that incarnate fluidity. The concept of incarnation or embodiment, rather than representation, further guides her practice that traverses painting, writing, and performance, exploring the connections between language, movement, and material. Drawing from diverse traditions and histories, she often addresses themes of social and spiritual protest. She has exhibited at Harlesden High Street, the Museum of the Home, and the Royal College of Art in London. A graduate of the École du Louvre, she holds an MA in Byzantine Studies and an MA in Painting from the Royal College of Art (2023).
Born in Dalian, China, in 1986
Lives and works in New York, New York, USA
2022
Soapstone, metal wire, rock, glue
11.43 × 13.97 × 6.03 cm
Unique
Estimate: HK $ 38,000–62,000
Generously donated by the artist and 47 Canal, New York if, if
This work is part of a series of sculptures that emerge from the artist’s experience of confinement and restive movement. When quarantine eased, the artist travelled across China collecting soapstones and sculpting animal figures, carrying these in his suitcase as he went and noticing other rovers who, like him, were experiencing ‘that animal feeling’. The artist’s inquiry into how empathy, or being for the other, might enable our relationships subtends this work. Wang’s animal forms resemble their real world counterparts; however, exactitude in figuration isn’t the emphasis. The touch that has formed their surfaces is deft and exacting while tender, attuned to softness and humour. Wrested from rationality or the performance of virtuosity, Wang’s works form an invitation to play. For the artist, it is through play that we experiment with how we might be, speak, or interact in and with the world. Wang Xu received his BFA in sculpture from Central Academy of Fine Arts, Beijing, before pursuing an MFA at Columbia University in New York City. He has had exhibitions at the Vincent Price Art Museum, Los Angeles (2018); Shanghai Project (2017); Jewish Museum, New York (2015); and SculptureCenter, New York (2015). He is a 2018 resident of The Skowhegan School of Painting and Sculpture, and The Socrates Sculpture Park, New York.
by Joerg Lohse
Born in New York, New York, USA, in 1942 Died in New York, New York, USA, in 2021
This piece was produced on the occasion of Lawrence Weiner’s solo exhibition at Para Site in 2007, the artist’s first in Hong Kong and China. This life preserver was among many that bear Weiner’s epigrammatic statements in English, Traditional, and Simplified Chinese, commissioned for the exhibition and displayed at Para Site as well as installed at Central Star Ferry Terminal’s Queen’s Pier, then slated to be demolished. Like many Conceptual artists who gained international recognition in the late 1960s and early 1970s, Weiner has investigated new forms of display and distribution that challenge our traditional assumptions about the nature of the art object and its relationship to the viewer. Although his works focus on the potential for language to serve as an art form, the subjects of his epigrammatic statements are often directly related to the physical arrangement of the letters or to the viewer’s experience of reading these statements. A retrospective of Weiner’s nearly 50-year career was organised by the Museum of Contemporary Art, Los Angeles and the Whitney Museum of American Art, New York (2007–2008). Major solo exhibitions of Weiner’s work include those at Tate Modern, London (2006); Museo Tamayo Arte Contemporáneo, Mexico City (2004); Deutsche Guggenheim in Berlin (2000); Walker Art Center, Minneapolis (1994); and San Francisco Museum of Modern Art (1992).
2007
Screenprint on Hong Kong Standard Life Preserver
80 × 80 × 16 cm
Edition of 12 (signed, numbered)
Estimate: HK $ 80,000–120,000
Generously donated by the artist
Born in Hong Kong in 1998
Lives and works in Hong Kong
After we look at each other for few seconds.
2023
Oil on canvas
100 × 70 cm
Unique
Estimate: HK $ 20,000–30,000
Generously donated by the artist and THE SHOPHOUSE
Nocturnal scenery created by Wong Hiu Ching is tender, poignant, and often interrupted by sudden bursts of luminosity. These elements annotate the ephemerality that immortalises fleeting glimpses of time. In this work, the winding roads and transient trees stand in quiet contrast to the bright traffic lights. The luminous effect captivates viewers’ attention, accentuating timeless moments within everyday life. This piece explores embedded meanings and resonances that evoke a sense of familiarity in one’s experiences. It is this ambiguity that allows nuances to reveal hidden emotions within one’s mind. Wong Hiu Ching delves into a mysterious realm that often eludes our perception. The delicate ambiguity between reality and illusion gives rise to a complex interplay of emotions and the tangible world. One perceives the illusion of black through the intricate layering and stacking of various shades of colour. As humans are particularly attuned to red, blue, and green—colours that form the very foundation of our understanding of primary hues—the existence of a fourth primary colour remains unacknowledged despite its subtle presence. This oversight accentuates enigmatic emotions that evade capture within Wong’s artwork.
Born in Hong Kong in 1986
Lives and works in Hong Kong
2023
Watercolour on paper
Unframed: 18.2 × 25.5 cm
Unique
Estimate: HK $ 60,000–80,000 Generously donated by the artist
Sensitive and delicate, this watercolour work was developed by Hong Kong artist Stephen Wong Chun Hei. Best known for his landscape paintings, this work reveals a different side of the artist’s practice, one that is deeply introspective and highly personal. Made during his artist residency at Jesus College, Oxford, the drawing captures a hotel room in London from multiple angles, including the artist himself, as well as his reflection in two different mirrors. Drawing, thus, forms a diaristic mode of recording of his own travels, as he often develops them in-situ as quick sketches, before fully realising them as paintings. Wong graduated from the Fine Art Department at the Chinese University of Hong Kong in 2008. Landscape is always the keyword in Wong’s paintings. His early works were sourced from the landscapes of video games, in order to highlight the visual impact of the virtual world. In recent years, Wong has been hiking in different parts of Hong Kong and painting en plein air. Based on sketches, memories and his own imagination, Wong’s works convey a sense of wanderlust and reveal the relationship between mankind and nature. Wong’s paintings are collected by local and overseas private collectors, and institutions such as Jesus College, Oxford; Hong Kong Museum of Art, Hong Kong Land, and Swire.
Born in Guangdong, China, in 1992
Lives and works in Hong Kong
2023
Oil on reflective fabric
50 × 40 × 4.7 cm
Unique
Estimate: HK $ 30,000–40,000
Generously donated by the artist and Flowers Gallery Hong Kong
This series draws inspiration from Wu’s research on immigration history and her observations of the birds in Chinatown during her residency in New York. In Cantonese, the word for ‘bird’ sounds similar to the English word ‘new’, which led to the early translation of New York as ‘Bird York (鳥約 )’ in Cantonese. In this work, Wu uses oil paint on reflective fabric to mimic the style of an ink painting. Viewers are encouraged to capture the piece using their phones or cameras with flash in order to see an effect that closely resembles a ‘traditional ink painting’. Wu Jiaru is a multidisciplinary artist who works across painting, installation, and moving image. Her work delves into mythology, cultural traditions, historical memory, and contemporary realities. Wu has participated in exhibitions at Para Site, Hong Kong (2021, 2018); Tai Kwun, Hong Kong (2019); Hong Kong Arts Centre (2018); and UCCA Center for Contemporary Art (2016). Wu was awarded the Asian Cultural Council New York Fellowship in 2022, and her works are in the collections of Burger Collection, M+ Museum, among others.
Pomp depicts a blindfolded figure in extreme close-up, and tantalizingly denies the viewer the full picture, allowing the viewer free association: a torture chamber, a kinbaku performance, or a glimpse of an occult ritual. The use of chiaroscuro often characterises Wang Pei’s repertoire, and in his hands it manifests David Young Kim’s observation that ‘darkness does not equal either representation or lack thereof, it is rather an evasion, a coupling of interrogation and longing.’ The work is exemplary of Wang’s technique and use of motif: the elusive play of light and shadow akin to that of the Old Masters, the mysterious subject matter, and the lustrously gleaming paint surface. Having received his MA in oil painting from China Academy of Art, and a PhD in Medieval Studies from University of Barcelona, Wang Pei draws on this education and experience to combine and confound the boundaries between Eastern and Western painting traditions, and between modernity and antiquity.
2024
Oil on linen
50 × 50 cm
Unique
Estimate: HK $ 40,000–50,000
Generously donated by the artist and Gallery Vacancy, Shanghai
2021
Ten-colour lithograph on Somerset
Soft White 300 gsm paper
88.3 × 76 × 3.8 cm
Edition 30 of 40 + 15 APs + 3 PPs
Estimate: HK $ 12,000–25,000
Generously donated by the artist and David Zwirner
Born in Kent, UK, in 1934
Lives and works in Kent, UK
Wylie frequently returns to motifs found in her earlier works, and the present lithograph makes use of imagery from her 2016 painting Julieta (Film Notes). The Irish Valentine card which Wylie revisits in this print, was inspired by an early 20th century image from a series of postcards created by the British company Raphael Tuck & Sons entitled ‘Cupid in Different Climes’. Drawing from such wide-ranging cultural arenas as film, fashion photography, literature, mythology, history, news images, and sports, British artist Rose Wylie paints colourful and exuberant compositions that are uniquely recognisable. Frequently using images as a prompt, the artist works primarily from memory, resulting in paintings and drawings that are replete with associative afterimages that remain only loosely tethered to their original referents, but tightly connected to the memories as they have developed over time. She has had solo exhibitions at Aspen Art Museum (2020), Centro de Arte Contemporáneo de Málaga (2018), Serpentine Gallery, London (2017); and Tate Britain, London (2013). In 2015, she received the Royal Academy of Arts’s Charles Wollaston Award. Wylie’s work can be found in prominent collections including Arario Museum, Seoul; Hammer Museum, Los Angeles; National Museum of Women in the Arts, Washington, DC; Space K, Seoul; Städtische Galerie Wolfsburg, Germany; Tate, United Kingdom; and the Walker Art Gallery, Liverpool.
Born in Hunan, China, in 1990
Lives and works in Beijing, China
Working primarily in watercolour and mineral pigment on paper, Xi Jiu engages in acts of visual translation and interpretation, her sources drawn from the intimacies of daily life, the subconscious, and literary fables. Most of her paintings, often executed in miniature, are original compositions for books. Her relationship to the written word marks a broader interaction with narrative storytelling. In examining constructions of society and people, she reveals portraits and scenes that embody the movements, and stillness, of contemporary life. Xi Jiu graduated from the Beijing Film Academy’s Department of Animation in 2012.
2019
Watercolour and mineral pigment on paper 15.3 × 22.7 cm
Unique
Estimate: HK $ 30,000–45,000
Generously donated by the artist and PHD Group
Date: Wednesday, 22 January 2025*
Restaurant LINGLONG Shanghai has settled in Waldorf Astoria Shanghai on the Bund. Continuing the epicurean tale of ‘Re-fine Dining’, a fusion of modern and Chinese aesthetics, guests are treated to a nine-course menu that features modern Chinese creations melded with European culinary techniques in three hours. In an interior setting that draws from the aesthetics of Confucianism and Taoism aesthetics, alongside contemporary artworks derived from Chinese calligraphy, the experience of dining at LINGLONG Shanghai is one of elegance and discovery.
One lucky bidder gets to experience the Classic Menu, which features the essence of Chinese cuisine in a modern context, with three of their invited guests at this table for four! The experience includes the Classical Menu featuring beef as the main course. In addition, LINGLONG will also be providing a complementary course— created in collaboration with The World United Philanthropy Foundation, a charity organisation providing lunch for children from Yunnan and Gansu.
Retail value:
HK $ 15,880 + priceless memories
Generously donated by LINGLONG Shanghai
*Please kindly note change of date is not allowed due to the restaurant being fully reserved three months in advance. Changes in dates may not be easily accommodated. Your understanding is appreciated!
The Para Site Limited Editions are created by local and international artists specially for Para Site. Available year-round, the Limited Editions generate proceeds that directly fund our exhibitions, public programmes, and publications.
Sometimes, I Feel I Think Too Much About 1997
2024
Edition of 28 + 10 AP
59.4 × 42 cm
Retail price:
Unframed | HK $ 18,000
Framed | HK $ 19,000
Spanning installation, painting, performance, photography, and writing, Heman Chong’s practice is largely concerned with interrogating the everyday mediums of politics through language, seriality, infrastructure and exchanges of information. Often striking in their potential to address collective visions of futuristic utopias, Chong’s works have been described as a means of drawing out the ‘inevitably mnemonic nature of the conceptual object’. Chong created this limited edition print for the 2024 edition of the Para Site Benefit Auction. In this work, the image of a vintage postcard depicting a waterfall is repeated. Although the postcard represents an actual landmark, Chong’s work reads into the utopian, fantastical tendencies of travel images, asking its viewers to detect a quality of wistful, almost nostalgic yearning that accompanies such representations. Chong’s works can be found in public and private collections internationally, including M+, Hong Kong; Kadist Foundation, San Francisco/Paris; Singapore Art Museum; Art Sonje Center, Seoul; The National Museum of Art Osaka, amongst others.
谷口瑪麗亞
Untitled 2017
Screenprint
76 × 112 cm
Edition of 30
Retail price:
Unframed: HK $ 18,500
Framed: HK $ 22,000
One of the most celebrated artists from the younger generation in Asia, Taniguchi was bestowed the Hugo Boss Asia Art Award in 2015 and the Ateneo Art Award in 2011 and 2012. In her brick paintings, Taniguchi works and plays with the possibilities of form, engaging time and labour-intensive processes in seemingly neutral surfaces. Taniguchi is best known for her monumental brick paintings, which she began developing in 2007. In these works, the meticulous arrangements of bricks become a testament to the passage of time, but also as a reference to individual elements that make up a coherent whole. This special new edition for Para Site revisits one of the artist’s earlier series of works. Maria Taniguchi’s edition is printed with the support of Hong Kong Open Printshop.
On the occasion of Trevor Yeung’s first solo exhibition ‘Soft breath’ at Para Site, the artist has created a photograph of the ‘Fuck Tree’. The ‘fuck tree’ is an infamous natural landmark for a historic cruising area in London’s Hampstead Heath. Differing from the other trees of this ancient heath, the tree has cultivated a particularly intimate relationship with humans as the centre of nocturnal gatherings since the nineteenth century. Trevor Yeung uses botanic ecology, horticulture, and aquarium systems as metaphors for emancipation from the expectations inherent in human relationships. Yeung draws inspiration from intimate and personal experiences, culminating in works that range from image-based works to large-scale installations.
Torso (Fuck Tree)
2024
Archival print
60 × 40 cm
Edition of 30
Retail price: Edition 11–20: HK $ 8,000
Framing + HK $ 2,500
Signed certificate of authenticity provided Born in Guangdong, China, in 1988
The properties offered in this sale are donated by the artists and galleries to be auctioned at the 2024 Para Site Benefit Auction held from November 6, 2024 to November 20, 2024, Hong Kong time. Proceeds from the sale of the properties will be used to support Para Site’s programming and initiatives worldwide. Please read carefully the following terms and conditions which govern the fundraising auction. They may be amended by posted notices or oral announcements made during the auction. By bidding at the fundraising auction the bidder agrees to be bound by these terms.
1
(a) Para Site does not assume any risk, liability, or responsibility for the authenticity of the authorship of any property offered at this auction (that is, the identity of the creator or the period, culture, source, or origin, as the case may be, with which the creation of any property is identified).
(b) All property is sold “as is”, and the donors of the properties and Para Site do not make any representations or warranties of any kind or nature, expressed or implied, with respect to the property, and in no event shall it be responsible for the correctness of any catalogue or notices or descriptions of property, nor be deemed to have made any representations or warranty of physical condition, size, quality, rarity, importance, genuineness, attribution, authenticity, provenance, or historical relevance of the property. No statement in any catalogue, notice, or description, or made at the sale, in any bill of sale invoice or elsewhere, shall be deemed such a representation or warranty or any assumption of liability. Para Site does not make any representation or warranty, expressed or implied, as to whether the purchaser acquires any reproduction rights in the property. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored.
(c) Any property may be withdrawn by Para Site at any time before the actual sale without any liability thereof.
2 Absentee bids will only be accepted via Para Site absentee bid form by November 19, 2024, noon (12 p.m.) Hong Kong time. Para Site confirms absentee bids only by email and will confirm receipt of absentee bids by email. Para Site reserves the right to reject a bid from any bidder. The highest bidder acknowledged by Para Site shall be the purchaser. In the event of any dispute between bidders, Para Site shall have the sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, Para Site’s sale records shall be conclusive in all respects. The successful bidder assumes full responsibility for the lot and payment of the lot.
3 All lots without a reserve will be sold to the highest bidder, regardless of the pre-auction estimate printed in this program. No buyer’s premium will be charged for any of the lots. If the auctioneer determines that any opening bid is not commensurate with the value of the property offered, s/he may reject the same and withdraw the property from sale, and if, having acknowledged an opening bid, s/he decides that any advance thereafter is insufficient, s/he may reject the advance.
4 At the auction’s end, the highest bidder shall be deemed to have purchased the offered lot subject to all of the conditions set forth herein and thereupon (a) assumes the risk and responsibility thereof (including without limitation damage to frames or glass covering artworks), (b) will sign a confirmation of purchase thereof, and (c) will pay the full purchase price as well as a transaction fee therefor, including without limitation any taxes where applicable. All property will be sent to a public professional art warehouse for the account and risk of the purchaser. Para Site will allow the purchaser to arrange the transportation of the property from the warehouse within 30 calendar days, and the purchaser is expected to cover any expenses related to the transportation of the property from the warehouse to the purchaser’s desired destination. If the foregoing conditions and other applicable conditions are not complied with, in addition to other remedies available to Para Site by law, including, without limitation, the right to hold the purchaser liable for the bid price, Para Site at its option, may either (a) cancel the sale or (b) resell the property on three days’ notice to the purchaser and for the account and risk of the purchaser, either publicly or privately, and in such event the purchaser shall be liable for payment of any deficiency, all other charges due hereunder and incidental damages.
5 Payment made by a purchaser will be accepted via credit card, PayPal, bank transfer, or cheque. Payment will not be deemed to have been made in full until Para Site has collected good funds, including those charges made by credit card. Any cheques should be made payable to Para Site.
All proceeds from the 2024 Para Site Benefit Auction will support Para Site programming and initiatives worldwide.
● Lot 12, Lot 23 conditions of sale:
Donated Work information (hereinafter “the Work):
Title: Currents
Year: 2024
Materials: Watercolor on paper Dimensions: 31 × 41 cm
The Artist: Firenze Lai (hereinafter “the Artist)
The Donor: Firenze Lai and Vitamin Creative Space (hereinafter “the Donor)
Title: Green Rainbow Cloud Year: 2024
Materials: Ink and color on silk Image: 13 × 14.9 cm
The Artist: Hao Liang (hereinafter “the Artist)
The Donor: Hao Liang and Vitamin Creative Space (hereinafter “the Donor)
1 Sale of the Work must be subject to a condition:
a. The buyer of the Work shall agree to (a) loan the Work to the Donor upon its request from time to time at the cost of the Donor and (b) obtain the Donor’s written consent should the buyer wishes to loan the Work to any party other than the Donor.
b. The buyer being obliged to first offer the Work to the Donor should it intend to sell or otherwise dispose of the Work.
2 The buyer of the Work shall agree to be bound by the terms of the license of copyright in relation to the Work granted in this agreement.
3 The copyright and moral right to the Work remains with the Artist.
● Additional conditions of sale for Lot 24: The Ultimate LA Experience
1 The lucky bidder of the lot will be able to redeem the Two Night Stay in a Deluxe Balcony King Room through presentation of a physical gift certificate. Certificate can only be redeemed at Four Seasons Hotel Los Angeles. The certificate is valid until November 30th, 2025, and redemption is based on hotel availability and reservations are required. Expired certificates will not be honoured, expiration dates will not be extended, and certificates will not be replaced if lost or stolen. Certificate is non-transferable, non-redeemable for cash, and cancelled if re-sold.
2 Private arrival and departure service by PS is redeemable through presentation of a physical gift certificate and is subject to availability and peak travel dates. Nontransferable. Includes up to four (4) travelers.
3 The type of Astrea Caviar’s caviar offerings will be subject to availability.
4 In case Agnes is out of town, she will have her designate to host.
Artists
A.A.Murakami
Pio Abad
Ali Banisadr
Javier Barrios
Rosamond Brown
Kristy M Chan 陳惠琳
Kurt Chan 陳育強
Chan Ting 陳 庭
Chan Wai Lap 陳惠立
Chen Jinbin 陳錦彬
Skyler Chen 陳柏豪
Szelit Cheung 張施烈
Chi Qun 遲 群
Bouie Choi Yuk Kuen 蔡鈺娟
Nicole Coson
Abraham Cruzvillegas
Owen Fu
Antony Gormley
Doris Guo 郭凱 & Weili Wang 王偉黎
Han Mengyun 韓夢雲
Hao Liang 郝 量
He Xiangyu 何翔宇
Sarah Heller
James T. Hong 洪子健
Chris Huen Sin-Kan 禤善勤
Ken Kagami 加賀美健
Areez Katki
Claudia Keep
Firenze Lai 黎清妍
Jaffa Lam 林 嵐
Claire Lee
Mire Lee 李美來
Liao Wen 廖 雯
Liu Yin 劉 茵
Cole Lu
Takesada Matsutani 松谷武判
Henry Moore
MSCHF
Yoshitomo Nara 奈良美智
Jade Ching-yuk Ng 吳晶玉
Tammy Nguyen
Aditya Novali
Daniel Otero Torres
Pak Sheung Chuen 白雙全
Thao Nguyen Phan 潘濤阮
James Prapaithong
Mark Salvatus
Aki Sasamoto 笹本晃
Shin Min
Young-jun Tak 卓永俊
Wolfgang Tillmans
Minh-Lan Tran
Thu-Van Tran 陳凡秋
Wang Pei 王 霈
Wang Xu 王 旭
Lawrence Weiner
Wong Hiu Ching 黃曉程
Stephen Wong Chun Hei 黃進曦
Wu Jiaru 吳佳儒
Rose Wylie
Xi Jiu 昔 酒
Xiyadie 西亞蝶
Yu Ji 于 吉
Zheng Chongbin 鄭重賓
Zhi Wei 志 韋
With gratitude to our gala hosts
Yan Du and Juno Capital Management Limited
Galleries
10 Chancery Lane Gallery
47 Canal, New York
Almine Rech Galleny
Antenna Space
Axel Vervoordt Gallery
Balice Hertling Gallery
Ben Brown Fine Arts
Blindspot Gallery
Capsule Shanghai
COMA, Sydney
Contemporary by Angela Li
David Zwirner
Empty Gallery
Flowers Gallery Hong Kong
Gagosian
Galerie du Monde
Galerie Marguo, Paris
Gallery EXIT
Gallery Vacancy, Shanghai
Grotto Fine Art
Hauser & Wirth
Herald St
Kiang Malingue
kurimanzutto
Lehmann Maupin
Lodovico Corsini
MASSIMODECARLO
Molde Fine Art
mor charpentier
MISAKO & ROSEN
Nova Contemporary P21
Pearl Lam Galleries
Perrotin
PHD Group
Ota Fine Arts
ROH Projects
Rossi & Rossi
Sadie Coles HQ, London
Silverlens (Manila / New York)
Tabula Rasa Gallery
Take Ninagawa
Tang Contemporary Art
TARQ
THE SHOPHOUSE
Vitamin Creative Space
Special thanks to
Joel Austin
Stephanie Bailey 白慧怡
Chan Ming Ping 陳銘平
Cheng Hiu Wai 鄭曉蔚
Cheung Wing Yin 張穎賢
Michele Chu
Jonathan Crockett
Mark Goh
Sadie Granberg
Ho Chi Wing 何知穎
Mavis Kwok
Lam Hiu Suet 林曉雪
Lee Adrienne Ching Kiu 李清翹
Ken Leong
Li Chuqi 李楚琪
Lin Ka Ching 連家晴
Zabrina Lo
Mok Ka Man 莫嘉文
Ng Ching Yee 吳靜而
Pang To 彭 慆
Sin Karl Ho 冼嘉浩
Tara Sobti
Jerome Sozzi
Tam Sze Yan 譚詩茵
Tang Hoi Ying 鄧海盈
To Wing Nam 杜泳嵐
Wang Chuyi 王楚怡
Jono Warren 華仁威
Alice Wong 黃嘉淇
Jian Yang 楊 堅
Shane Akeroyd
ART021 Group
Jean-Marc Bottazzi
Mimi Brown
Mimi Chun & Chris Gradel
Yan Du
Dina Shin
Honus Tandijono
White Cube
Virginia Yee
Stephen Cheng
COLLECTIVE Studio
David Kordansky Gallery
David Zwirner Gallery
Alan Lau
Wendy Lee
Edouard & Lorraine Malingue
Elia Mourtzanou
Schoeni Projects
SUNPRIDE FOUNDATION
Yuki Terase
Nick & Cordula Adamus-Voegtle
Almine Rech Gallery
Nicolas & Delphine Canard-Moreau
Lawrence & Natalie Chu
Jane DeBevoise
Hawk He
Reimi Imaizumi
Angelle Siyang-Le
Jina Lee & Jae Won Chang
Jeff Li & Chuanwoei Lim
William & Lavinia Lim
Alan Lo
Magician Space
Elaine W. Ng
Justin Ng
Stefan Rihs
Fabio Rossi
T:>Works
Tabula Rasa Gallery
Bonnie & Darrin Woo
Dayea Yeon
Junjun Cai
Kee Foong & Andres Vejarano
Mariko Kawashima
Bernhard and Cordula Kotanko
Jane Lombard Gallery
HG Masters
Doreen Merkel & Akshay Bajaj
Mubarak Ali Foundation
Tina Pang
Roman Ruan & Freda Yang
ALAN LAU KA MING
劉家明
Chair
MIMI CHUN MEI-LOR
秦美娜 Vice Chair
ANTONY DAPIRAN
戴安通 Treasurer
SARA WONG CHI HANG
黃志恒
Secretary
NICK ADAMUS
SHANE AKEROYD
安定山
BONNIE CHAN WOO TAK CHI
胡陳德姿
DR. YEEWAN KOON
官綺雲博士
ALAN Y LO
羅揚傑
ADELINE OOI
黃雅君
FEDERICO TAN
陳奕明
HONUS TANDIJONO
陳松正
YUKI TERASE
寺瀨由紀
YOUNG KAR FAI SAMSON
楊嘉輝
BILLY TANG
曾明俊 Executive Director and Curator
JUNNI CHEN
陳君妮 Deputy Director
CELIA HO
何思穎 Curator
JESSIE KWOK
郭芷凝 Assistant Curator
YUANYU LI
李沅鈺 Assistant Curator
MIKI HUI
許彥彤 Exhibition Manager
JASON CHEN
陳子岳 Communications Manager
KELLY CHAN
陳憶文 Development Manager
HOLLY LEUNG
梁皓涵 Gallery Manager
STEFAN LUK
陸其叡 Project Coordinator
LYNNA LAM
林 珊
Development Intern (2023/24 the Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council)
MUI CHENG
鄭泳昕
Project Assistant
(2024/25 the Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council)
TOBIAS BERGER
MIMI BROWN
DAMIAN CHANDLER
REINA CHAU
周譚蕙菁
DAVID CLARKE
祈大衛
DEBORAH EHRLICH
艾心玫
PATRICK FORET
ANSELM FRANKE
CLAIRE HSU
徐文玠
HU FANG
胡 昉
TIM LI MAN-WAI
李民偉
KAI-YIN LO
羅啟妍
JESSICA MORGAN
MAGNUS RENFREW
DECEMBER 15TH, 2024
22/F & 10B
Wing Wah Industrial Building
677 King’s Road, Quarry Bay Hong Kong
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Closed on Monday, Tuesday, and Public Holidays
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