Para Site champions original developments in contemporary art by centering artistic voices and innovations. Collaborating closely with practitioners from both local and international contexts, Para Site enables new works, initiatives, and ideas to come into being. Placing an emphasis on inclusiveness and independent thought, Para Site has developed a strong reputation for giving milestone opportunities to a myriad of artists and curators, many of whom go on to develop significant careers in contemporary art. Through producing benchmark exhibitions, commissioning transformative works, and cultivating new talent, we emphasise contemporary art’s ability to reshape our understanding of society. Since its founding in 1996 by seven Hong Kong-based artists as an alternative space, Para Site has mounted over 300 exhibitions locally and globally, hosted over 87 international residents, and delivered over 1,000 public programmes.
All of Para Site’s programmes are free and accessible to the public.
001 About Para Site
003 Foreword
006 Acknowledgements
008 2025 Highlights
079 Patron Programme
083 Para Site Team
1 Ha Bik Chuen 夏碧泉
2 Mire
3 Shinro Ohtake 大竹伸朗
Pupityastaporn
Jaffa
Daniel Correa Mejía 8 Ser Serpas
9 Wawi Navarroza 10 Atsushi Kaga 加賀温
Wang Tuo 王拓
Duan Jianyu 段建宇
Maria Taniguchi 谷口瑪麗亞
Ed Ruscha 愛德華 .魯沙
15 Feng Guodong 馮國東
16 Qiu Zhijie 邱志杰
17 Shi Zhiying 石至瑩
18 Chow Chun Fai 周俊輝
19 Chen Wei 陳維 20 Tia-Thuy Nguyen
Rachel Kneebone
Nicole Coson
Banyan Tree Getaway 6 Chen Ching-Yuan 陳敬元
LIVE LOTS
Outside the Window
1980
Collagraphic relief print
79.5 × 61 cm
AP; Printed ed. 1-48 of 75, and 2 AP
Generously donated by the Ha Family and Rossi & Rossi
Estimate: HKD 50,000–75,000
Between 1974 and 2002, Ha Bik Chuen created over 3,000 editioned collagraphs using more than 150 collagraphic plates. These collagraphs—relief prints made by pressing layers of paper onto mixed media wooden boards—featured raised or depressed surfaces that transferred images onto paper. Often depicting natural elements, the motifs in Ha’s prints were deeply influenced by his experiences of living in To Kwa Wan, an industrial area in Kowloon that was home to light industry, livestock rearing, and mining. Reflecting his approach to art-making, Ha’s prints were created using materials that he often gathered on walks around his neighborhood, including leaves, hemp or jute cloth, and other found objects. A snapshot of Hong Kong during the later twentieth century, his prints became an integral part of his practice. Eventually collected by museums, submitted to international print biennales, and sold across Asia, Europe, and America, his prints are now housed in various public and private collections. This particular print was produced from a collagraph plate that now belongs to the public collection of the Hong Kong Heritage Museum.
Born in Guangdong, Ha Bik Chuen moved to Hong Kong via Macau in 1958. Apart from his oeuvre, Ha’s posthumous legacy as an artist who did not receive any academic training further includes a vast personal collection of visual materials that form a crucial part of Hong Kong’s cultural and art history. Ha and his materials have been featured in exhibitions such as ‘Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs’, Para Site, Hong Kong (2025); ‘Portals, Stories, and Other Journeys’, Tai Kwun Contemporary, Hong Kong (2021); Singapore Biennale (2019); and Shanghai Biennale (2016). His archives are held at M+, Asia Art Archive, and The University of Hong Kong.
b. 1925, Xinhui, Guangdong; d. 2009, Hong Kong
Ha Bik Chuen 夏碧泉
Untitled
(hanging burlap with many holes in cement and rubber #1)
2024
Burlap, unfired clay, and resin
38 × 119 × 8 cm
Unique
Generously donated by the artist and Tina Kim Gallery
Estimate: HKD 80,000–120,000
This hanging sculpture by Mire Lee powerfully embodies her ongoing exploration of intimacy, consumption, tactility, violence, and the female body. Its visual and sensory elements draw inspiration from ‘vore’ (vorarephilia), a fetish involving the consumption or swallowing of another person as an extreme expression of affection or desire for closeness. Defying categorisation, Lee’s idiosyncratic works exude an energy that is entropic, polarising, enticing, and nauseating. They challenge notions of selfhood, social acceptability, and cleanliness, obliterating societal conventions of aesthetics and desire. This work typifies Lee’s interest in the visual appearance of skin, a motif that has recurred throughout the artist’s practice since her first major solo institutional exhibition at ArtSonje (2021). Created from burlap dipped in slip clay, the work resembles skin, the main boundary between the inside and outside of our bodies. Appearing as though torn, or flayed, the work transgresses dichotomies of industrial and organic, interior and exterior, beautiful and grotesque.
b. 1988, Seoul, South Korea; lives and works in Seoul and Amsterdam, the Netherlands
b. 1955, Tokyo, Japan; lives and works in Uwajima and Tokyo, Japan
Shinro Ohtake
Lee’s sculptural vocabulary, situated between the realms of machinery and viscera, inhabits an ambiguous, eclectic environment that is free of inhibitions yet entirely cognizant of the unspoken boundaries at play. Her work has been the subject of several solo exhibitions, including her recent major commission as the awarded artist of the Hyundai Tate Turbine Hall Commission at Tate Modern, London (2024–2025); 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).
Indigo Forest is a series of lithographs by Shinro Ohtake inspired by his memories of the forests in Kassel, Germany, where he exhibited at Documenta 13 in 2012. Rendered in monochrome, these works move from depicting a specific place to evoking an abstracted landscape shaped by memory. Repetition of past imagery, filtered through recollection, is central to Ohtake’s practice, and printmaking’s multiplicity amplifies these recollections. This work was executed during Ohtake’s residency undertaken at STPI, where he embraced the challenge of creating images with papermaking techniques. During the residency, the artist created a series of works depicting forests and trees. Scenes of nature have been a recurring theme throughout the artist’s oeuvre, and they are captured here in wild, expressive, and monochromatic gestures.
Ohtake is a leading figure in Japanese contemporary art, known for his explorations of materiality, form, and chance. His diverse practice spans drawing, collage, painting, large-scale assemblages, architecture, and experimental music with bands like JUKE/19 and Puzzle Punks. At the heart of his oeuvre is the ongoing Scrapbooks series, begun in 1977, now comprising 68 unique books, which were prominently featured at the 2013 Venice Biennale. Ohtake has had solo surveys at the Museum of Contemporary Art Tokyo (2006), the Fukuoka Art Museum (2007, touring to Hiroshima City Museum of Contemporary Art), and the Takamatsu City Museum of Art (2013). His work is held in major collections, including the Museum of Contemporary Art Tokyo; the Museum of Modern Art, New York; M+, Hong Kong; and the Victoria & Albert Museum, London.
Indigo Forest 13
Lithograph on paper
B.
Pupityastaporn
The Time is Now
2023
Acrylic on canvas
110 ×
As its title implies, The Time is Now is a reflection on presence, ruminating on liminality, subjectivity, and the significance (or insignificance) of a single moment. Constantly drawing from her immediate surroundings, the artist first conceived this work as a direct observation of a familiar sea view. Yet, as an artist who always combines what is true to life and what is imagined, Pupityastaporn later introduced a small rock at the heart of her composition, subtly shifting scale and perspective.
In her paintings, Prae Pupityastaporn creates layered continuums of observation and memory. Drawing from the often-overlooked minutiae of daily life, she assembles an elusive catalogue of her material surroundings, transforming the latent and mundane into active vessels of emotional and environmental shifts.
Pupityastaporn offers dreamlike insights into the flux and fragility of memory— both personal and collective. Deeply influenced by her physical environments, she draws upon her experiences living in Germany and Thailand, her work responds in particular to the reinventions of landscape in early contemporary German art, which she encountered during her studies. Her paintings demonstrate the shifting possibilities of shared emotional fabrics, proving how each of our complex internal states can colour perceptions of the external world.
Pupityastaporn graduated from the Kunstakademie Düsseldorf (Germany). Her work has been collected by Dib Museum (Bangkok), and has been exhibited in multiple platforms across Asia and Europe over the past decade.
Windbreak Tree_ No. 1
《防風樹 _11號》
2025
Celadon glaze on mixed Longquan clay
43.5 × 5 × 5 cm
Unique
Generously donated by the artist and Axel Vervoordt Gallery
Estimate:
HKD 80,000–100,000
In 2024, Jaffa Lam embarked on a year-long residency dedicated to ceramics in Longquan, China. Best known for its long history of celadon (a type of green-glazed ceramics), Longquan allowed Lam to investigate the medium of ceramics and glazing in unprecedented ways. During her residency, Lam created Windbreak Tree, a new series of ceramic works. This particular work is a smaller version of a larger sculptural installation, which will be featured at the upcoming Shanghai Biennale in November 2025. Drawing from Lam’s own artistic interest in culture, history, and material memory, Windbreak Tree comprises a number of modular ceramic pieces—ranging in size from ten centimeters to over three metres—which can be put together as a series of sculptures. When separated, the modular pieces resemble domestic objects, such as candlesticks or vases. However, when assembled, the sculpture emulates the form of a stair rail which are often found in old Shanghai townhouses. For the artist, this form evokes a protective railing that withstands the wind. Each piece bears the marks of the firing process from its creation; although the work itself bears a slight backward bend, the piece appears to hold steady, seemingly in the face of an unseen force.
Hong Kong artist Jaffa Lam creates large-scale, site-specific mixed-media works from recycled materials, exploring local culture and current affairs through community-based practice. For nearly three decades, her art has highlighted disappearing craftsmanship and activated urban spaces for diverse voices. Since 2009, her socially engaged ‘Micro Economy’ project has collaborated with the Hong Kong Women’s Workers’ Association, empowering displaced garment factory workers with new skills, fostering a vibrant city ecosystem, and weaving personal stories in response to societal shifts. Her work has been collected by multiple public institutions, including the Hong Kong Museum of Art; Hong Kong Heritage Museum; the M+ Museum, Hong Kong; Centre Pompidou, Paris; and He Art Museum, China, amongst others.
b. 1984, Tainan; lives and works in Taipei
Chen frequently uses cropped scenes and symbolic gestures to hint at the unseen mechanisms of politics, economy, and moral authority.
Often depicting the nuances of human relationships through his subtle framing of various interactions, Chen’s paintings often present a glimpse into our interior worlds. In this painting, Chen depicts two men in suits, each holding a snake—one red, one green—poised in a mirrored confrontation. The image centers on their hands and the intertwined serpents, evoking a tension between oppositional forces, power dynamics, or perhaps a fateful entanglement. Here, the deliberate omission of the figures’ full faces draws focus to their gestures and symbols, inviting viewers to contemplate the larger, systemic structures these anonymous characters represent.
Chen Ching-Yuan’s artistic practice extends from painting as a mode of perception, portraying fragmented experiences and the complex, tension-filled scenes of contemporary society. His work frequently explores the intersections of personal and collective memory, uncovering subtle emotions and a sense of unease that lie beneath the surface of the everyday. Recent solo exhibitions have been held at TKG+, Taipei (2021–2022); and mor charpentier, Paris (2019). Chen has also been featured in group exhibitions at Kaohsiung Museum of Fine Art (2021); Alternative Space LOOP, Seoul (2019); and National Taiwan Museum of Art, Taichung (2018), among others. He received his MFA in 2013 from the School of Fine Arts of the Taipei National University of the Arts.
b. 1986, Medellín, Colombia; lives and works in Berlin, Germany
Daniel Correa Mejía
Soledad
2022
Oil on burlap
40 × 22 cm
Unique
Generously donated by the artist and mor charpentier
Estimate: HKD 40,000–60,000
Correa Mejía’s paintings are characterised by vivid hues of deep red and blue, carving out fanciful, dream-like worlds that dissolve into spirals and undulating celestial landscapes. Tracing out the forms of his own inner world, Soledad represents the vitality of the artist’s creative spiritual philosophy through the symbol of the pine tree. A powerful motif, it speaks to the rooted, vertical presence that bridges earth and sky. Like the moon and water, red and blue, and the dual figures that populate Correa Mejía’s world, the pine embodies both natural resilience and spiritual transcendence. Its upward thrust suggests progress and aspiration, while its evergreen quality evokes continuity, fertility, and renewal. Inhabiting this awareness and observing the world from a place of solitude are two of the key actions that illustrate his practice. In his works, Correa Mejía often depicts unknown landscapes that appear almost as an exploration of one’s inner world. These motifs draw from his wider personal biography, and the vulnerability and joy he finds in his homosexual male identity. While personal to him, these experiences allow Correa Mejía to speak to universal human feelings, such as connection to nature, to one’s own body, and the simple, primal ‘awareness of being alive’.
Mostly self taught, Correa Mejía is based in Berlin, and his most recent exhibitions include those at Museo de Arte Moderno de Medellin, Colombia (2021); Fortnight Institute, New York (2020–2021); and Mendes Wood DM, São Paulo (2021). His works are in the public collections of the Pérez Art Museum, Miami; Museu de Arte de São Paulo, Brazil; and the Thyssen-Bornemisza Art Contemporary Collection, Madrid, amongst others.
Generously donated by the artist and LC Queisser
Estimate: HKD 170,000–300,000
b. 1995, Los Angeles, USA; lives and works in New York, USA
b. 1979, Manila, Philippines; lives and works in Manila
In this untitled work from her solo exhibition of ‘my life’ at Kunsthalle Basel, Ser Serpas turns to painting as a site of fragility and transformation. The canvas presents the suggestion of a torso, its contours dissolving into washes of muted violets, yellows, and greys. Rather than fixing the body in clear representation, Serpas allows it to blur, drift, and reconfigure, as if caught between emergence and disappearance. The surface bears traces of accumulation and erasure, its layered pigments evoking the passing of time and the instability of memory. The figure here is less a subject than a presence—partial, uncertain, and fleeting. In resisting legibility, the work opens a space for projection, where form is both intimate and elusive.
Ser Serpas is an artist whose work unfolds at the intersection of sculpture, painting, writing, and performance. Known for her instinctive and process-driven approach, Serpas creates assemblages and installations that often exist in a state of flux—embracing impermanence, fragility, and the possibility of disappearance. Serpas paints canvases that combine abstraction with figuration, weaving together fragmented bodies, gestures, and atmospheres. Serpas has been the subject of numerous solo exhibitions, including at the Kunsthalle Basel (2025); Swiss Institute, New York (2023); LUMA Westbau, Zurich (2018), amongst others. Their works have also been exhibited internationally, including at the 2024 Whitney Biennale, New York; MoMA PS1, New York (2025); Bourse de Commerce, Pinault Collection (2021), and others.
In 2 Rocks (Atlantic, Pacific), Filipina artist Wawi Navarroza’s self-portrait features a black rock collected from the shores of Galicia and a white marble rock from the island of Romblon—rocks collected from either side of the Atlantic and Pacific oceans. Exploring relationships between apparent opposites, the work exemplifies themes that recur in the artist’s practice, which examines dualities, double portraits, and the reimagining of new perspectives. This work was also part of the artist’s recent comprehensive survey exhibitions, including at Fotografiska, Shanghai (2025), and at Silverlens, New York (2024). Navarroza’s studio-photography draws from folk memory, art history, and her own cross-cultural experiences, weaving together material histories of East and West to create a complex tapestry of identity. Often employing self-portraiture as a format, her works explore the intimate connection between women and art as witness. Navarroza employs multiple roles within a controlled studio setting, integrating lens-work, photographic lighting, and the deliberate arrangement of objects in tableaux vivant format. Her work illuminates the peaks and valleys of the female experience, creating a portrait of Woman as the threshold of a thousand rebirths.
Navarroza has received the Asian Cultural Council Fellowship Grant, Cultural Center of the Philippines’ Thirteen Artists Award, and Ateneo Art Awards. Her work has been exhibited internationally at museums including the National Gallery of Singapore; National Museum of Fine Arts, Taichung; and Fries Museum of Contemporary Art & Museum Belvedere, the Netherlands. Her work is held in collections such as Metropolitan Museum of the Philippines, Ateneo Art Gallery, Stora Enso Photography Museum Finland, and The Akeroyd Collection.
2 Rocks (Atlantic, Pacific)
2023
Archival pigment print, cold-mounted on Hahnemühle
Photo Lustre cold-mounted on acid-free aluminium; glazed, coloured frame with wrapped fabric on wooden mat board 99 × 78.7 cm
Generously donated by the artist and Silverlens (Manila/New York)
Estimate: HKD 60,000–90,000
Usacchi wading in the water
Acrylic on board
Generously donated by the artist and mother’s tankstation Dublin | London
Estimate: HKD 90,000–150,000
Atsushi Kaga’s Usacchi wading in the water, a prominent piece from his major panel series, is composed around Usacchi, his iconic bunny alter-ego. The invented, metaphorical character evokes the mythological Irish Pooka shapeshifter, existing both as a surreal and playful inhabitant of Kaga’s imagination and as an intricate, multi-faceted avatar for the artist himself. Usacchi is a vehicle for Kaga to both soften and facilitate his exploration of the surreal, dark emotional landscape the painting situates him within. By combining artistic and literary references of his home in Japan—manga and anime—and of his life in Ireland—Swift and Myles na gCopaleen—Kaga’s sharp wit and extraordinary imagination guides viewers through themes of politics, mental health, insecurity, and paranoia through the lens of ‘Otaku’ subculture. They wander with Ussacchi through this complex alternate universe, spanning the sadly poetic to the hilariously absurd.
b. 1978, Tokyo, Japan; lives and works between Dublin, Ireland, and Kyoto, Japan
b. 1984, Changchun, China; lives and works in Beijing, China
Kaga earned his Fine Art degree from the National College of Art & Design, Dublin (2005). His critically acclaimed first solo museum exhibition took place at the Butler Gallery, Kilkenny (2008). He has held notable solo exhibitions worldwide, including in Tokyo, New York, São Paolo, and Dublin. Kaga will also open a significant solo exhibition at The Douglas Hyde Gallery in Dublin (November 2025).
Sale of the work is subject to the condition that the final buyer agrees that for a period of ten (10) years from the date of this sale, the buyer will not sell, consign, or transfer ownership of the Artwork to a third party. Should the buyer wish to sell or consign the Artwork during this time, they will first inform mother’s tankstation, as the artist’s appointed representative gallery. Para Site shall share the name and contact information of the buyer of the Work with mother’s tankstation, and mother’s tankstation agrees to keep confidential the name and contact information of the buyer shared by Para Site.
Wang Tuo’s Tungus 3 derives from his extensive film project, the Northeast China Tetralogy (2017–).
Investigating significant moments within China’s modern history, the film series addresses broader gaps in Chinese society’s collective historical consciousness, whilst foregrounding local culture, spirituality, and history to offer a counter-narrative of the region. In Tungus, broader geopolitical moments of trauma—the 1919 May 4TH movement, the Chinese Civil War, and the Jeju Uprising—are woven into a single, speculative storyline, allowing broader geopolitical moments to be explored without offering any definitive conclusion. Tungus 3 similarly echoes the artist’s approach to art-making. A historical scene is painted with looser, gestural brushstrokes; refusing direct representation, the work appears to depict a military exercise, but specific historical markers remain indistinct. Echoing the multi-dimensional chronologies that he espouses in his practice, the work is a painterly reflection on how we collectively remember past histories.
Wang Tuo unifies disparate intellectual histories, political philosophies, and cultural mythologies through his overarching theory of ‘pan-shamanism’. His artworks consider humans as shamanic vessels for their own historical consciousness, allowing for the possibility of simultaneous experience of the past and present to address repressed historical traumas and reveal the hidden logic that underpins current social power structures. Wang obtained his MA in Painting from Tsinghua University in 2012, and his MFA in Painting from Boston University’s School of Visual Art in 2014. He has held solo exhibitions at K21, Düsseldorf (2024) and the UCCA Center for Contemporary Art, Beijing (2021). Wang has also completed an artist residency at the Queens Museum, New York (2015 to 2017) and was the recipient of the Sigg Prize (2023), the K21 Global Art Award (2024), and the OCAT × KADIST Media Artist Prize (2020).
Generously donated by the artist and WHITE SPACE
Estimate:
HKD 170,000–200,000
There Are Fish 2
Best known for her exploration of emerging tensions between urban development and rural environments during China’s modern industrialization, Duan Jianyu’s narrative-driven works are defined by their figurative style, humour, and references to everyday, ordinary life. Drawing from her personal experiences of growing up and living in China during an era of globalisation, her works defy easy categorisation, upending conventional rules of traditional Chinese painting. Often combining various painting techniques and influences within a single plane, and synthesising them into her own unique painting language, Duan’s works have been described as a “cacophonous reality” (Hu Fang and Weng Xiaoyu, 2016). Exploring various characters as her subjects, her works outline different modes of living within a painted reality, toeing the boundaries between abstraction and figuration. In this image, two cats perch above a fishtank. One has its gaze turned firmly outwards, as though gazing out towards the viewer. Three fish are depicted in an abstracted tank below, as though oblivious to the seeming danger above.
b. 1970, Zhengzhou, China; lives and works in Guangzhou, China
b. 1981, Dumaguete City, Philippines; lives and works in Manila, Philippines
Duan Jianyu graduated from the oil painting department at the Guangzhou Academy of Fine Art in 1995. She currently teaches at the South China Normal University of the Arts in Guangzhou. Her works have been featured in numerous international venues, including at the Solomon R. Guggenheim Museum, New York; Rockbund Art Museum, Shanghai; M+ Pavilion; 8th Asia Pacific Triennial of Contemporary Art; Ullens Center for Contemporary Art, Beijing; The Metropolitan Museum of Art, New York, amongst others. Her work belongs to the public collections of M+, Hong Kong; Guggenheim Museum, New York; Metropolitan Museum of Art, New York; Queensland Art Gallery and Gallery of Modern Art, Brisbane; amongst others.
Additional
1. Sale of the Work must be subject to the following conditions:
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 wish 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.
Maria Taniguchi’s artistic practice encompasses painting, video, sculpture, printmaking, drawing, and writing, all unified by her exploration of composing, constructing, and framing. This work, made specially for this year’s Benefit Auction, is an outstanding example of Taniguchi’s best- known series of work—her untitled, monochromatic ‘brick paintings’. Intimately connected to her broader artistic output, these paintings comprise hand-drawn outlines of bricks on a monochrome surface, each rectangle meticulously filled with black acrylic paint. Initiated in 2008, each of her brick paintings consists of seemingly countless rectangular cells, each one outlined by hand with graphite and filled with gray and black tones. The painstaking, labour-intensive process creates a subtle yet complex pattern on the surface. The artist has referred to her brick paintings as the fundamental root of her larger artistic practice. Despite the structured grid and seemingly mechanical production, the appearance of each painting varies considerably due to the artist’s varying ratios of paint and water, creating subtle, and beautiful gradations throughout the work. Taniguchi has linked these works to an external mechanisation of the body, as well as to the cellular structure of biological organisms. These brick paintings, though a small part, contribute to the larger, more complete matrix of her practice.
Untitled
Maria Taniguchi recently completed the first major institutional survey of her work at the Museum of Contemporary Art and Design, Manila (2024–2025). Her work is held in numerous public collections, including at M+, Hong Kong; Singapore Art Museum; Centre Pompidou, Paris; Tate, UK; Kadist Art Foundation, San Francisco/ Paris; QAGOMA, Brisbane; K11 Art Foundation, amongst others. Her work has been exhibited internationally, including at the 60TH Venice Biennale (2024), Taipei Fine Arts Museum (2021), and the 5th Dhaka Art Summit (2020), among others. Taniguchi’s work was exhibited at Para Site, in the exhibition ‘Afterwork’ (2016).
Conditions of Sale for Lot 12:
b. 1937, Omaha, Nebraska, USA; lives and works in California, USA
Final Say
2023
Hard ground etching printed in red and blue
23.2 × 25.1 × 3.8 cm (framed)
Edition 19 of 40
Generously donated by Gagosian
Estimate: HKD 50,000–70,000
In Final Say, Ed Ruscha presents the titular phrase on a steep downhill gradient, using lines of blue and red. Sparked by the artist’s long-standing interest in words and phrases that draw from the experiences of modern urban life, commercial activity, and mass-media, Ruscha has made American vernacular culture central to his practice since the 1960s. Best-known for his paintings and prints, his influence spans movements from Pop Art to Conceptual Art, making him a cornerstone of modern and contemporary art collections. Infusing his chosen subjects with a wry verbal and visual wit, Ruscha explores the frequent disjunction between ideas and their articulation to celebrate what he terms ‘everyday noise’.
Early in his career, Ruscha described himself as an ‘abstract artist…who deals with subject matter’. He moved away from the academic connotations of Abstract Expressionism, instead embracing advertising tropes and bringing words—as form, symbol, and material—to the forefront of painting. In 2023, ‘ED RUSCHA / NOW THEN’, the artist’s first comprehensive retrospective in over two decades, opened at the Museum of Modern Art, New York, and subsequently traveled to the Los Angeles County Museum of Art in 2024. This exhibition featured over 250 works from his more than six-decade career, highlighting both iconic and lesser-known facets of a practice that has influenced artists, designers, and writers globally. His works are held in numerous public collections internationally, including Tate Modern (UK); Centre Pompidou (France); the Museum of Modern Art, New York; Moderna Museet (Sweden), amongst others.
b. 1948, Hebei, China; d. 2005, Beijing, China
Immortality
1999
Carved wood
20 × 17 × 17 cm
Unique
Generously donated by Feng Xi and SPURS Gallery
Estimate: HKD 170,000–300,000
Feng Guodong was one of the most idiosyncratic artists of the generation active during the later half of the twentieth century. Although considered an outsider from professional Chinese artistic circles, Feng eventually became an established name in post-Cultural Revolution contemporary visual art. Having been born into a revolutionary family with both parents serving the People’s Liberation Army, he began to learn painting by himself in 1964 while working in a textile factory. By the mid-1970s, he had enrolled in the art training class at the Beijing Working People’s Cultural Palace, where he met Zhong Ming and other artists from the Wuming (No Name) Painting Collective and Star Painting Association. Best known for his pursuit of individual artistic expression, and resistance to the ideals of official state-approved art during the Cultural Revolution, Feng eventually became known for his pursuit of art in multiple mediums, including oil painting, drawings, sculpture, and readymades.
By the 1980s, he had become part of the Beijing Abstractionist movement, and exhibited paintings which were influenced by traditional Chinese ink painting. Leaving behind different manners of post-impressionist, post-cubist, and symbolist styles, his work became fully abstract, influenced by traditional Chinese ink painting. Alongside his painting practice was his growing interest in wood sculptures, which he began creating in the mid-1980s. In the landmark ‘China/Avant-Garde Exhibition’ in 1989, he exhibited his sculptures and readymades. Throughout the 1990s, he continued to develop his series of figurative wood sculptures, which he freely based on the form of the human body. This piece in particular typifies his practice during his mature period, and was created during his time in Beigao Village (Beijing) from 1997 to 1999 shortly before his death. During those three years, Feng devoted himself entirely to wood sculpture, producing a large number of works which— while diverse in form and material—all reflect his distinct artistic style. He passed away in 2005.
Feng’s works are held in multiple major collections, including M+, Hong Kong; the Whitworth Art Gallery at the University of Manchester, UK; Long Museum, Shanghai; Minsheng Art Museum, Beijing; amongst others.
Qiu Zhijie 邱志杰
The Form of Meditation
《冥想的形式》
Generously donated by the artist
Estimate: HKD 150,000–300,000
This artwork by Qiu Zhijie is part of a series that employs traditional Chinese ink painting techniques to create geometric spaces, evoking a strong sense of form and optical illusion. The artist’s use of ink and radiating brushstrokes in The Form of Meditation necessitates regulated breathing and precise hand control, as any deviation would be apparent in the painting. Inducing a trace-like, meditative state in its methodical creation process and undulating appearance, the subtle interactions between each line create a sense of depth and form—abstractly resembling the topographical landscape motif Qiu has explored in recent series. By drawing from a diverse range of influences in his practice, spanning calligraphy, ink painting, photography, video, installation, and theatre, Qiu’s work represents a contemporary effort to bridge Chinese literati tradition with modern art, social concerns, and the liberating potential of art.
B. 1969, Zhangzhou, China; lives and works in Beijing, China
B. 1979, Shanghai, China; lives and works in Shanghai
Qiu graduated from the Zhejiang Academy of Fine Arts, Hangzhou in 1992, and was a prominent figure in the contemporary conceptual and new media scene of Chinese art in the ‘90s. He serves as the dean and professor of the School of Experimental Art at the Central Academy of Fine Arts, Beijing, and as a professor in the School of Inter-media Art at the China Academy of Art. He has been nominated for the Hugo Boss Award (2012), and his works are featured in prominent collections, including the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the Louis Vuitton Foundation, Paris; the Dior Foundation, Paris; the Ullens Foundation, Switzerland; and the White Rabbit Collection, Sydney.
Best known for her paintings depicting natural formations, including the ocean, sand, rock crystals, and grass, Shi Zhiying captures the quality of transience, appearance, and disappearance within her paintings. Drawing inspiration from both Eastern and Western art history, her work reflects a unique blend of influences that enrich her artistic vision. A beautiful example of the artist’s Sea series, this work is an exploration of the ocean not just as a landscape—but as a state of spiritual existence, explored through the artist’s unique visual language and philosophical reflection. In 2006, while overlooking the Pacific Ocean at a lighthouse in San Francisco, Shi first experienced a state of ‘self-disappearance’, where the body seemed to merge with the air, leaving only consciousness to converse with the sea. This experience inspired her poignant seascapes, which led her to shift away from depicting the historical events that defined her earlier works. Expressing a sense of universal spirituality, Shi’s works capture the essence of her subject’s state of existence within each painting’s surface.
Shi Zhiying’s recent solo exhibitions include those at Axel Vervoordt Gallery, Antwerp (2025); Yuz Museum, Shanghai (2024); SPSI Art Museum, Shanghai (2023); and Orange County Museum of Art, California (2017). Work by the artist is held in significant museum collections, including the Power Station of Art, Shanghai; Orange County Museum of Art; Shanghai Art Museum; Chengdu Art Museum; Art Gallery of New South Wales, Sydney; Yuz Foundation, Hong Kong; White Rabbit Gallery, Sydney; and X Museum, Beijing; among others.
Sea No.10
《海 10》
Unique
Generously donated by the artist and Axel Vervoordt Gallery
Estimate: HKD 80,000–100,000
Chow Chun Fai
b. 1980, Hong Kong; lives and works in Hong Kong
V for Vendetta,
“He used to say artists used lies to tell the truth”
2020
Oil on canvas
20 × 30 cm; Unique
Generously donated by the artist
Estimate: HKD 50,000–80,000
One of Chow Chun Fai’s many studies of cinema stills from his ‘Painting of Movie’ series, this work depicts an emotionally climactic moment from the iconic movie “V for Vendetta.” Film and photography act as both theme and medium in Chow’s practice, painting scenes from local New Wave, classic, contemporary international cinema, and utilising collaged photo-installations to break down and re-create artworks from the cannon. By approaching the two most powerful mediums shaping contemporary mass-culture with irony, sarcasm, and humour, Chow is able to simultaneously combine “high” and “low” culture to interrogate local cultural memories and the processes by which they are constructed. The quote “he used to say artists used lies to tell the truth” exists as an incisive commentary on the political state of “truth” in V’s world, but when contextually isolated in paint, also offers a kind of meta-commentary on Chow’s own position as an artist shaping the landscape of art and media.
Chow Chun Fai graduated from the Chinese University of Hong Kong, the Department of Fine Arts’s BA and MFA program in 2003 and 2006. Most recently, his work has been featured in exhibitions at Tang Contemporary Art, Hong Kong (2024); Gallery Exit, Hong Kong (2020); Eli Klein Gallery, New York (2018); Klein Sun Gallery, New York (2016); Saatchi Gallery, London (2012); and the Liverpool Biennial (2012).
b. 1980, Zhejiang, China; lives and works in Beijing, China and Tokyo, Japan
Chen Wei’s Tree (2016) features discarded satellite dishes from abandoned construction sites, symbolising their obsolescence in the digital age dominated by cellular data-driven entertainment. These dishes, in their discard, acquire a clandestine second life, contributing to a curious post-urban ecology that reflects the flux and transition experienced by city dwellers, with non-human subjects serving as metonyms for societal change. Through this work, Chen highlights the aftermath of rapid industrialisation and economic growth, where waste and excess proliferate. His practice involves constructing personal narratives with fabricated props and staged scenes, meticulously assembled in his studio to reveal the psychological and socio-political dimensions of contemporary China. In addition to photography, Chen integrates multi-media installations—LED sculptures and videos—that evoke urban living experiences.
Archival inkjet print
190.5 × 153 × 5 cm (framed) Edition 3 of 6 + 2 APs
Generously donated by Blindspot Gallery
Estimate: HKD 170,000–200,000
Chen Wei’s recent solo exhibitions include Blindspot Gallery, Hong Kong (2025); Fotografiska Shanghai (2024); West Bund Art Museum, Shanghai (2021); and Centre for Contemporary Photography, Melbourne (2017). His work has also been shown at M+, Hong Kong (2025); Centre Pompidou, Paris (2024); Tokyo Photographic Art Museum (2024); Yuz Museum, Shanghai (2023); White Rabbit Gallery, Sydney (2023); and Tai Kwun Contemporary, Hong Kong (2019).
b. 1981, Hanoi, Vietnam; lives and works in Ho Chi Minh City, Vietnam
suns
(Ngàn
30 × 30
Unique
Generously donated by the artist and Almine Rech
Estimate: HKD 90,000–140,000
Tia-Thuy Nguyen’s Thousand Splendid Suns from her ‘Burdening Dream’ series showcases a vibrant inner landscape, capturing in its composition of fantastic, melting colours and refracted light. Drawing its title from the Khaled Hosseini book of the same name, the novel’s universal themes of love, transformation and inner strength are symbolically recalled in Nguyen’s use of quartz and recycled glass. Creating a textured surface out of imperfect yet precious materials, the shining, multidimensional surface of the work creates a space for light, inner emotion, and memories to intermingle. Nguyen draws her inspiration from her numerous trips between Asia and Europe. From the plane, her sketches and photographs of the sky still constitute a kind of visual diary and are intimately linked to the artist’s history; her father having been a pilot during the Vietnam war. In 2019, the artist inaugurated a permanent installation of her work at the historic Château La Coste, entitled Silver Room.
Gaining her PhD in Fine Arts at the National Academy of Fine Arts and Architecture, Kyiv in 2014, Nguyen’s works are exhibited and collected internationally, including at Almine Rech, Monaco (2024); Art Basel, Hong Kong (2024); and The Armory Show, New York (2024).
She is also a keen supporter of Vietnamese cultural development, founding The Factory Contemporary Arts Centre and Thuy Design House in Ho Chi Minh City.
b. 1973, Oxfordshire, UK; lives and works in London, UK
Rachel Kneebone
Yaw II
2021
Porcelain
55 × 13 cm
Unique
Generously donated by the artist and White Cube
Estimate: HKD 210,000–315,000
Rachel Kneebone has been working with porcelain for more than twenty years, testing the limits of this material by delicately layering maquettes of misshapen human forms and abstract shreds of clay until the work threatens to collapse or crack when fired. Freezing her material in this state of potential damage, both figures and porcelain captured in a moment of flux, results in sculptures imbued with a sense of exuberant excess and movement. The title of this work, ‘Yaw,’ alludes to the movement of water twisting along a vertical axis, describing the naturalistic whirling shapes that cradle the ceramic ball in the top of the composition. Attempting to capture in her recent work a sense of watery, liquid motion, Kneebone’s work captures in clay a kind of transformative sublimation of the solid and liquid, organic and abstract, and of movement and stillness.
Kneebone was born in 1973 in Oxfordshire and lives and works in London. Recent solo exhibitions include Yorkshire Sculpture Park, Wakefield (2021); White Cube, London (2021); the Victoria & Albert Museum, London (2017); Brooklyn Museum, New York (2012). Selected group exhibitions include Spiral Garden, Tokyo (2024); Freud Museum, London (2024); Bangkok Art Biennale, Thailand (2022); and the 1st Kyiv Biennale, Ukraine (2012), among others. In 2005, Kneebone was also nominated for the MaxMara Art Prize.
Photo: Ngo
Working in printmaking, video, and sculpture, Coson’s work explores the process of image-making as it pertains to personal memory, history, and material culture. Coson’s printed canvases oscillate delicately between surface and depth: by integrating symbolically loaded found objects into the etching press, concrete material culture transforms into analog, indexical images through its negative imprint. The standard plastic shipping crate has been an ongoing object of interest for the artist, culminating in the ongoing series Circuits. In a significant deviation from standard printmaking technique, Coson hand-presses large, unstretched pieces of canvas onto crates, effectively imprinting them in dense arrangements. When stretched, they resemble circuit boards or aerial views of cities, the negative space between each mark suggesting roads, alleyways, and passages. As such, the totalising modularity of the crate design analogises city planning, but only in its emphasis on inherent imperfection and variability. 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. Rather than alluding to a hidden meaning behind her barrier motifs (camouflage patterns, window blinds, woven baskets, food crates), Coson invites us to study them as such—barriers—and consider the critical potential of visual obfuscation.
Nicole Coson holds a BA in Fine Art from Central Saint Martins and an MFA in Painting from the Royal College of Art, London. She has presented solo exhibitions including Membranes at Silverlens Galleries, Manila (2025); Uncurrents at Ben Hunter Gallery, London (2024); Fortress at Ben Hunter Gallery, London (2021); and Camouflage at Silverlens Galleries, Manila (2017). In 2020, she was selected for Bloomberg New Contemporaries. Coson’s work has been shown internationally at Hauser & Wirth, Hong Kong; ROH, Jakarta; and South London Gallery, London, among others.
Dinner with an artist!
With Mire Lee
Generously sponsored by JIA Group Date: Between Feb 2-4, 2026 (subject to the availability of the artist)
Estimated retail value: Priceless memories
Starting bid: HKD 20,000
One lucky gala attendee and their guest will get to enjoy a private dinner with Seoul-born, Berlin-based artist Mire Lee (b. 1988) and Interim Director of Para Site, Junni Chen, in early February 2026. Lee is known for her unsightly yet inexplicably sensational kinetic works, which challenge notions of selfhood, social acceptability, and cleanliness. Her works have been exhibited in international venues, including the 58TH Carnegie International, 59TH Venice Biennale, and most recently, the 2024 Hyundai Commission at the Tate Modern Turbine Hall.
Mire and Junni will host the dinner at Duddell’s, with a Premier Tasting Menu and Signature Wine Pairing, taking place in their refreshed dining room designed by André Fu Studio. Join us for dinner to learn more about her practice, the process behind her installations, and her plans for the future.
St. John’s Apartment, London
Two-Bedroom Private Apartment
(occupancy: 4 persons)
Four-Bedroom Private Villa with Pool
(occupancy: 8 persons)
Banyan Tree Lăng Cô
Three-Bedroom Seaview Pool Villa
(occupancy: 6 persons)
Banyan Tree Phuket
Two-Bedroom Double Pool Villa
(occupancy: 4 persons)
Please note that Banyan Tree Phuket is not available for booking between 5 December, 2025 and 10 January, 2026.
The Ultimate
Banyan Tree™ Global Getaway
Banyan Tree Vabbinfaru
Beachfront Sunset View
Pool Villa
(occupancy: 2 persons)
Imagine a luxury vacation, surrounded by friends and family in some of the most exquisite locations worldwide. This exclusive gift voucher offers a three-night stay at one of five stunning properties from Banyan Group’s exclusive membership program, the Banyan Tree Private Collection. Will it be the sun-drenched serenity of a private Italian villa, the vibrant pulse of a London apartment, or the legendary, award-winning luxury of a Banyan Tree resort in Phuket, Vietnam, or the Maldives?
This exclusive offer is redeemable for a stay in any of the following properties:
Casa Lucardo, Tuscany
St. John’s Apartment, London
Banyan Tree Phuket
Banyan Tree Lăng Cô
Banyan Tree Vabbinfaru
Create unforgettable memories with family or friends whilst supporting
Para Site’s artistic programmes. The voucher is redeemable from now through September 30, 2026.
Bid now for your slice of paradise!
Estimated retail value: HKD 48,000
Starting bid: HKD 20,000
Generously donated by the Michael & Saniza Collection
Casa Lucardo, Tuscany
SILENT LOTS
Belly Button exemplifies the surreal, childlike, and playful aesthetic that the artist’s works embodies. Open about her experiences with neurodivergence, her sculptural practice—which she debuted in Hong Kong with a 2025 solo show at Carl Kostyál— resonates with the squishy, soft, and irresistibly tactile, bringing to mind ASMR toys, In speaking about her practice, Rong Bao notes that she is ‘fascinated by how materials can evoke bodily or emotional responses, and how absurd mechanisms can embody human contradictions.’ Created through industrial materials, including PVC, nylon, and silicone, Belly Button nevertheless relentlessly evokes the slow rising and falling of a belly button, heaving with the rhythm of one’s breathing. Viewing Rong Bao’s work, thus, is an experience that straddles between the enigmatic, yet familiar, as the industrial and bodily is melded into a singular form.
Belly Button
《肚臍眼》 2025 Mixed media 131 × 126 × 122 cm
Unique
Generously donated by the artist and Carl Kostyál, London | Hong Kong | Stockholm Estimate: HKD 70,000–110,000
Bao Rong, known for her energetically subversive aesthetic, creates sculptures and introspective self-portraits that blur the boundaries between the organic and synthetic, the intimate and alien. Her practice is an ongoing rebellion against conformity. Drawing from her childhood experiences with neurodiversity and the playful irreverence of youth, Bao crafts tactile, joyous forms that deeply resonate with a generation embracing fluid, layered, and constantly evolving identities. Born in China, Bao received her training at the China Academy of Art, the School of the Art Institute of Chicago (BFA, 2021), and the Royal College of Art (MA, 2023). She has rapidly emerged as a key sculptor of the post-digital generation. Bao has exhibited at numerous institutions, including at Saatchi Gallery, London (2024) and Kunstmuseum Den Haag, Netherlands (2024). In addition, she has also completed several public commissions for Selfridges, London (2025), and Harper’s Bazaar China (2025), Tate Collective (2024); and theColab (2024).
Additional Conditions of Sale for Lot 25:
1. Sale of the Work must be subject to the following conditions:
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 wish 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.
b. 1985, Paris, France; lives and works in Montreuil and Paris, France
BOLOHO is the Cantonese romanisation for ‘jackfruit core’, which, though usually discarded, can be a delicacy on its own. Initiated in 2019 by BUBU (Liu Jiawen) and CAT (Huang Wanshan), the project later welcomed Zhu Jianlin, Li Zhiyong, Fong Waiking, and He Cong. Initially, BOLOHO was a business venture for BUBU and CAT, two family women seeking a respite from their daily routines. Over six years, it has evolved into a ‘company’ grounded in principles of self-discipline, equality, and mutual aid. This structure offers a deeper understanding of communal living and working, providing a space to reflect on, discern, and resolve shared challenges.
BOLOHO’s collective drawings, which are created with colour gel pen on paper, often appear abstract and non-representational, embodying the collaborative process through which each of the paintings are created. Multiple members of BOLOHO work on the drawing concurrently, entwining their pen strokes with those of others. In Performance No. 13, floating images of cocktails, roast goose, flower arrangements, and Western foods can be gleaned, evoking the shifting landscapes of the border between Shekou and Hong Kong. A nod to the ever-changing interplay between the two regions, these depictions of urban life blend with the colourful and carnivalesque narratives of diverse incarnations and identities in Asia. In BOLOHO’s work, Hong Kong’s unique pop culture references—emerging as parodies of global consumerism and trends in the 1980s and 90s— are key points of departure for their practice. Images often find their way into their works, becoming part of these abstract, beautiful, and yet ambiguous paintings that form a delicate, yet quietly powerful vision.
Franco-Algerian artist Neïl Beloufa’s Secured Wall series (2014–2018) is an incisive exploration of fortification, power, and fragility in contemporary society. Crafted from polyurethane foam, pigments, and metal, these expansive low-reliefs bridge sculpture and architecture, evoking the stark aesthetics of concrete barriers—border walls, bunkers, or surveillance structures—while their lightweight, delicate material undermines their apparent solidity. Informed by Beloufa’s postcolonial perspective, the series reflects on global issues like immigration barriers and cyber firewalls, highlighting their performative contradictions as artificial boundaries that shape our physical and digital worlds. The installations invite viewers to engage with these ambiguous structures, revealing how symbols of control often mask vulnerability.
Beloufa attended the École Nationale Supérieure des Beaux-Arts in 2007, and most recently studied at Le Fresnoy Art Center in 2010. Drawing from video games, reality TV, and propaganda aesthetics, has exhibited his boundary-breaking practice spanning video, sculpture, installation, and digital elements at MoMA PS1 (2016), Schirn Kunsthalle Frankfurt (2018), and Kunsthalle Basel (2024), alongside Venice Biennale appearances (2013, 2019). Nominated for the Prix Marcel Duchamp (2015) and Artes Mundi (2016), he continues to dismantle belief systems, urging us to rethink the stories we tell ourselves in an algorithm-driven age.
Secured Wall
Nice Buenaventura
b. 1984, Manila, Philippines; lives and works in Manila
Thrashing Palm Tree (Maria, Puerto Rico, 2017) (Documentation)
Originally presented as a durational installation at the Cultural Centre of the Philippines’ Thirteen Artists Awards exhibition (2022), Thrashing Palm Tree depicts a palm caught in the wind of Typhoon Maria in Puerto Rico. This high-resolution photograph captures in high detail the textures of water and wood on Buenaventura’s tree silhouette, traced from found footage of the event. It was originally formed using water and a hydrophobic solution applied onto recycled plywood. This photographic document of a temporary moment (which itself references another recording of a temporary weather event) simultaneously creates a permanent yet ephemeral record – creating tension between the temporality of the weather event itself and its ongoing impact. Following her sustained focus on tropical, post-colonial culture, particularly that of the Philippines in her project Tropikalye, Thrashing Palm Tree exemplifies Buenaventura’s generative artistic practice, tracing links between seemingly disparate issues using the logics of the archipelago.
Buenaventura holds an MSc from Queen Mary, University of London (2020) and is an alumni and lecturer at the Ateneo de Manila University. She has held exhibitions in Artinformal, Makati City (2019-); the Bangkok Biennale (2021); Nuit de l’Imagination, Columbia Institute for Ideas and Imagination, Paris (2023); among others. In 2021, she received the Cultural Centre of the Philippines – Thirteen Artists Award, and the Ateneo Art Awards – Fernando Zóbel Prize for Visual Art.
b. 1980, Magdeburg, Germany; lives and works in Leipzig, Germany
Sebastian Burger
Sebastian Burger’s paintings skillfully blend representative and abstract elements. He crafts his work using stylised imagery, often arranged like a collage, where meticulously rendered illusionism meets two-dimensional forms. His art is deeply influenced by surrealism, magic realism, and the metaphysical painting of Giorgio de Chirico. This work, Page from a Cold Island (RB), is an assemblage that explores the complex relationship between industrial, utilitarian, and organic elements, as well as humanity’s persistent yet ultimately vain attempts at repair. The artist created this piece by meticulously dissecting a previous artwork with a table saw, reassembling the parts into a new composition. The work skillfully combines the influence of Tom Wesselmann’s interiors with an abstract landscape, using the artistic convention of revealing and concealing within painting to draw viewers into a space of projections.
Burger studied fine arts in Vienna and Leipzig. After completing his undergrad degree, he studied with Prof. Neo Rauch and received his MFA in 2012 from the Academy of Visual Arts. He has held solo exhibitions at THE SHOPHOUSE, Hong Kong (2024); Brandenburgisches Landesmuseum für moderne Kunst – Packhof, Frankfurt (Oder) (2022); G2 Kunsthalle, Leipzig; Kunstverein Tiergarten, Berlin (2016). His work has also been included in group exhibitions at LINSEED, Shanghai (2022); Galerie Eigen+Art, Leipzig (2022); Kunstverein Braunschweig (2012); and Georg-Kolbe-Museum, Berlin (2011), amongst others.
Cao
b. 1990, Guangzhou, China; lives and works in New York, USA
Cao explores alchemical approaches to material, matter, and knowledge osmosis. Through archeological speculation and ecological fiction, she examines the porous relations among science, technoculture, mythology, and cosmology. Her multi-medium sculptures and installations synthesize organic and inorganic materials, natural and artificial processes, to portray queer kinships among networked life forms. This work belongs to her glazed stoneware sculpture series as they folded in and breached out. Its form transcends biological classifications and binaries—appearing almost at once animal, vegetal, fungal, and even mineral. In addition, the tentacular structure of the work recalls a boundless, rhizomatic web of relationships, symbolising a highly permeable and boundless biosphere that defies any binary structures. This work was presented in Para Site, as part of the exhibition Strange Strangers (2023).
b. 1997, Hong Kong; lives and works in Hong Kong
Chan King Long, Ken 陳景朗
as they folded in and breached out (tentacular)
《當它們摺疊並滲漏時（觸）》
2023
Glazed stoneware
43 × 25 × 28 cm
Unique
Generously donated by the artist and PODIUM, Hong Kong
Estimate: HKD 45,000–55,000
Cao Shuyi’s work has been internationally exhibited, including a recent duo exhibition at UCCA Clay Museum, China (2025), solo presentation at the 11TH Biennale nationale de sculpture contemporaine, Quebec (2024); and group exhibitions at Orange County Museum of Art, California (2025), He Art Museum, Foshan (2023), Aranya Art Centre, Beidaihe (2023), Ming Contemporary Art Museum, Shanghai (2021), among others.
Chan King Long’s highly atmospheric oil paintings work to explore various states of being, inspired by historical events, social issues, global suffering, personal experiences, and the human condition. In Red Sky and Dark Clouds he treads the line between abstraction and realism, Chan’s careful rendering of light and shade highlighting the dissolution of the figure’s face into a soft mass of brushstrokes. He believes ‘a painting reflects a kind of subconscious, yet it also echoes reality,’ manifesting in an uncanny sense of familiarity with the contents of his works. By relying on semiotic theory, hybridity, and superimposition, his art distills the feelings and lessons learned from life’s experiences. While Chan’s creations may not conform to an ideal of flawless beauty, their moody focus reveals the inherent beauty found in fragile moments.
Chan received an Associate of Visual Arts from Hong Kong Baptist University in 2018, and a Bachelor of Arts (Fine Art) degree from RMIT University and Hong Kong Art School’s joint programme in 2021. Chan has held solo exhibitions at Contemporary by Angela Li, Hong Kong (2025, 2023); and Art Central, Hong Kong (2024). He has also participated in group exhibitions at 1a Space, Hong Kong (2022); Hong Kong Arts Centre (2022); and Zhongshan Museum of Art (2018). He was the recipient of the Dean’s List Award (2021), Boon Lee Award (2021/22) and 1a space Award (2021/22).
Red Sky and Dark Clouds
《烽火》
2023
Oil on canvas
133 × 100 cm
Unique
Generously donated by the artist and
Contemporary by Angela Li
Estimate: HKD 40,000–60,000
solace in the bench
b. 1996, Yichang, China; lives and works in Shanghai, China
Chen Ruofan’s art explores subtle, persistent forms of harm that gradually deteriorate bodies, environments, and societal structures over time. Rather than sudden acts of destruction, her practice investigates everyday structures that grind at human life and energy. Often developing her works through in-depth research into her chosen locale or subject, Chen employs a creative process that she describes as “cyclical.” It begins from a physical encounter, or an initial sensory moment which sparks an intense period of research, where she gathers material and embarks on studio experimentations, before finally culminating in the finished work.
b. 1987, Zhejiang, China; lives and works in Shanghai, China
This piece, which was created as part of a residency she undertook in Wuhan, China, recreates an improvised typical roadside dining stall seats frequented by Wuhan labourers. A small stool perches atop a larger one, forcing the body into a forward hunch where rest and labour nearly merge. Functionality is prioritised over comfort, reflecting the demanding conditions in which they live and work. Chen salvaged the stools from various noodle shops and factories, allowing the wood to retain its grease and wear. To signify ‘residual warmth,’ parts of the surface are covered in hair: the larger bench embodying the heat of food, and the smaller bench holding the warmth of bodies. The work ultimately questions, within a system driven by acceleration and utility—who can receive care? and who is compelled to live according to the conditions of labour?
Chen’s work has been exhibited at several solo and group exhibitions, including at the Powerlong Art Center, Xiamen; Aranya Art Center, Beijing; Yuan Art Museum, Beijing, 2021; West Bund Art Center, Shanghai, 2020, amongst others. She was awarded as “ranran” Young Artist Prize by UCCA x XINTIANDI, Shanghai, China (2023) and Honor award of Galerie Biesenbach “ART MATTERS 2”, Cologne, Germany (2020), shortlisted by Royal Academy Summer exhibition, London, UK (2023), New Contemporaries, London, UK (2022).
Multidisciplinary artist Chen Zhou primarily works with painting, video, and performance art, focusing on the nature and absurdity of the human experience. Presenting a grotto-like landscape that recedes from luminous, abstract darkness towards a bright and peaceful day, Untitled could be interpreted as a metaphor for enlightenment in line with Chen’s study of Buddhist thought. Chen’s practice, however, goes further than reproducing these familiar concepts to find new, contemporary ways of capturing them, seen in the brightly-colored spheres and energetically coiling lines that float through the space like wisps from another plane of existence. Grounded equally in artistic tradition and graphic, graffiti-esq irreverence, this piece anticipates the hallmark sensitive and rebellious artistic language Chen utilises today.
Chen is a BFA graduate of the China Central Academy of Fine Arts Media Art Lab Department (2009), and has exhibited internationally, including at West Bund Museum, Shanghai (2024); the Museum of Contemporary Art, Toronto (2019); UCCA, Beijing (2017, 2013); White Cube, Hong Kong (2018), as well as the 2ND Asian Film and Video Art Forum, National Museum of Modern and Contemporary Art, Seoul (2017), and others.
b.
Crossing towards Openness of Nature
《深夜走進無邊的自然》
2024
Charcoal, soft pastel, pencil, Musou
Black, pigment paste on canvas
30 × 40 cm
Unique
Generously donated by the artist and Gallery EXIT
Estimate: HKD 25,000–35,000
Dony Cheng channels Hong Kong’s man-made environment into her restrained geometric compositions, capturing feelings of alienation within an urban metropolis. Her multidisciplinary practice explores the interplay of light, shapes, and space. Crossing towards Openness of Nature exemplifies this approach, depicting a momentary glimpse of a clear, expansive landscape offered in the roofless room. Here, the tension between rigid lines and flowing organic forms reconcile into an order that invites viewers to a quiet midnight space, allowing the mind to rest, wander, or expand. Cheng’s practice incorporates 3D models based on AI-generated landscapes, and the technical capabilities of airbrushing and the characteristics of her pigment choice.
The effect is an impossibly uniform, velvety application of mineral blue and Musou Black, evoking a poetic, sensory view of the urban landscape that questions the relationship between humans, nature, and built environments.
Cheng received her Bachelor of Fine Arts in 2017 and Master of Fine Arts in 2023 from the Chinese University of Hong Kong. She has participated in numerous solo and group exhibitions, including at Gallery EXIT, Hong Kong (2024, 2022); Tai Kwun Contemporary, Hong Kong (2022); Yen Ben Contemporary, Tainan (2021); and a.m.space, Hong Kong (2020). Cheng received the Tai Kwun Contemporary commission for ’55 Squared’ (Unfurling the Scroll of Space and Time, 2020), the Fresh Trend Art Award and Grotto Fine Art’s Creative Award in 2017, and the Award for Young Artist (Visual Arts) at the Hong Kong Arts Development Awards in 2025. She also completed an artist residency at Treasure Hill Artist Village in 2018.
b. 1994, Malaysia; lives and works in Malaysia and Taiwan
Untitled–Rumah Attap draws from an archival photograph depicting a man standing outside a traditional stilted bamboo and palm-thatch hut, known as rumah attap in Malay—once common in 19th-century rural Malaysia. Woven with cotton and vibrant polyester yarn using a traditional Southeast Asian weaving technique, the work echoes the improvised shelters of plantation labourers who endured harsh, frugal conditions. The delicacy of the yarn contrasts with the weight of the subject, evoking both the fragility and quiet resilience of lives shaped by displacement and labour. This work exemplifies the artist’s practice, which focuses on the material culture, and agricultural heritage of Malaysia as one steeped in the legacies of colonialism, capitalism, and extractive practice. Both the artist’s grandmother and mother worked on pineapple farms in Johor, Malaysia. Deeply influenced by her upbringing and personal history, her intricately woven pieces, crafted from pineapple leaf fibers, hold deep personal significance for Cheong.
Cheong See Min is a fibre artist and her practice is informed by research—both archival and anecdotal—into the colonial history of plantations in Malaysia. She holds an MA from Tainan National University of Art in Taiwan (2020). She has had solo exhibitions at Warin Lab, Bangkok (2025); Tina Kim Gallery, New York (2025); Art SG, Singapore (2025); Appetite, Singapore (2024); Institutum, Singapore (2023); esea contemporary, Manchester (2023); and Balai Seni Maybank, Kuala Lumpur (2023). In 2023, she was an artist-in-residence at Gasworks, London.
Untitled— Rumah Attap
2025
Gold foil, bamboo cord, pineapple fibre, polyester, and cotton yarn
55 × 29 cm
Unique
Generously donated by the artist
Estimate: HKD 15,000–30,000
Monster Chetwynd
b. 1973, London, UK; lives and works in Zürich, Switzerland
Collage and watercolours on
27.2 × 35 × 3 cm (framed)
Generously donated by the artist and MASSIMODECARLO
Estimate: HKD 30,000–60,000
Zurich-based, British-born artist Monster Chetwynd’s Lanternfly Ballet pays homage to Hong Kong’s native lantern bug and rich biodiversity. Chetwynd’s practice of re-fashioning common and readily available materials into new, surprising forms appears thematically in her collage of influences, drawing on her childhood memories of living on Lamma Island, her extended Entomological and Zoological research, and the joyful, exuberant atmosphere of mid-20TH century cinema—culminating in a series of collages, dance performance and site-specific lantern bug installation for Art Basel Hong Kong’s ‘Encounters’ last March. Setting dancers and lantern bugs together in a background of melting crayon and ink-washed colors, viewers are invited to view the misnamed, non-glowing bug with child-like wonder: the curve of its prominent nose and brightly colored wings resemble the dancers’ arabesques and costumes, capturing in miniature the spirit of the performance duet Chetwynd choreographed to ‘activate’ her lantern bug installation, taking place in Pacific Place. The series asks viewers to see the magic in the day to day, inviting viewers into the performance themselves by reflecting on their own memories to embed the work in a wider collective development of artistic culture.
Chetwynd graduated from the Royal College of Art with an MA in painting in 2004, following a BA in Fine Art at the Slade School of Art completed in 2000. Known for her exuberant performance pieces, featuring handmade costumes, props and sets, she has exhibited in institutions across the world and is collected by the Arts Council Collection, London; the Migros Museum fur Gegenwartskunst, Zurich; Musée des Beaux-Arts de Dijon, Dijon; and the Tate Collection, London.
b. 1977, Muar, Malaysia; lives and works in Singapore
Beginning in 2009 and consisting of more than 500 paintings to date, Cover (Versions) represents the core of Heman Chong’s painting practice. For the 2025 Para Site Benefit Auction, Chong has created a new work in this series after J.G. Ballard’s dystopian novel, ‘High-Rise’. These abstracted covers, exploring painting and graphic design vocabularies, highlight textual and nontextual forms rather than interpreting literary titles, reflecting an aesthetics of obsessiveness. The series maintains formal consistency: a graphic element or layout and a single typeface for titles, echoing Chong’s graphic design training where repeated layouts lead to a ‘fugue state’.
High Rise (5)/ J.G. Ballard
2025
Acrylic on canvas
46 × 61 × 3.5 cm
Unique
Generously donated by the artist, Amanda Wilkinson Gallery and STPI
Estimate: HKD 55,000–80,000
Chong’s art, characterised by acerbic wit, sits at the intersection of image, performance, situations, and writing, addressing contemporary geopolitics and the ironies of our data-driven society, often intervening in infrastructure as a political medium. He has participated in numerous international biennales, including Sharjah Biennale (2025), Lahore Biennale 3 (2024), 20th Sydney Biennale (2016), 1st Yichuan Biennale (2016), 10th Gwangju Biennale (2014), Asia Pacific Triennale (2012), among others, and represented Singapore in the 50th Venice Biennale (2003). His work has been featured in solo exhibitions at institutions globally, including Singapore Art Museum, UCCA Dune, STPI, Het Nieuwe Instituut, Jameel Arts Center, Swiss Institute New York, Rockbund Art Museum, South London Gallery, and NUS Museum. Chong is also co-director and founder (with Renée Staal) of The Library of Unread Books, recently installed at the Serpentine Pavilion 2024.
Alice dos Reis Michele Chu
b. 1994, USA; lives and works in Hong Kong
he hums a lullaby iii
2024
Emulsion lift on window glass, butterfly wings in resin, freshwater pearls, solder, chain
15.6 × 17.5 cm
Unique
Generously donated by the artist and PHD Group, Hong Kong
Estimate: HKD 35,000–50,000
Michele Chu’s multidisciplinary practice attempts to quietly and delicately draw out themes of intimacy, ritual, and the physical manifestation of feelings. Her practice of experimenting with different materials, including cigarettes, salt, and food, is manifested in he hums a lullaby iii’s idiosyncratic collage of butterfly wings, necklace-like chains, and an emulsion-lift photograph portraying two hands in a soft embrace. These materials evoke the nature, beauty, and power of memory: the draping chain recalls inherited jewelry, and the butterfly wings represent in Chinese and Korean culture messengers between worlds and the souls of passed loved ones. Drawing from her personal experiences of loss and grief, Chu externalises and makes tangible these universal feelings, investigating how the human body manifests and adapts in situations of public tension or private introspection.
Chu’s work has been shown at Aranya Art Center, Beidaihe (2025); Para Site, Hong Kong (2024); Tai Kwun Contemporary, Hong Kong (2022); Delfina Foundation at Young Space (2023), amongst others. Her debut solo exhibition at PHD Group, ‘you, trickling’, was featured in The New York Times, Artforum, ArtReview Asia, Frieze, Ocula, and other publications. She also was a recipient of soundpocket’s Artist Support Programme from 2020–21 and the HART Studio Grant in 2021 and completed a residency at London’s Delfina Foundation as part of their ‘Performance as Process’ program in 2023.
b. 1995, Lisbon, Portugal; lives and works in Hong Kong
Hand-embroidered on a linen canvas, Alice dos Reis captures a UFO flying in a blur of stop-motion energy. Executed in warm, earthy tones of brown, red, and orange, the piece uses traditional needlepoint to subvert the cold, metallic, futurism typically associated with UFOs. Drawing on Jung’s study of UFO sightings by alienated soldiers in the wake of WWII, and the recurring alien sightings around her family home in Serra da Gardunha, dos Reis’ textile UFOs become a deeply human symbol of transcendence: simultaneously evoking man’s fear and awe of future technological advancements, while also capturing an ancient desire for a transcendental vision from another world. In the same way visions of religious saints were culturally ubiquitous yet personally meaningful, UFOs can function as a symbolic spiritual apparition for the new age.
UFO stop motion #1
2025
Needlepoint embroidery
42.5 x 30 cm (framed)
Unique
Generously donated by the artist and Lehmann Gallery
Estimate: HKD 20,000–35,000
Alice dos Reis has exhibited her textile and film work in the BFI London Film Festival (2024), Palais de Tokyo, Paris (2022); Canal Projects, New York (2023); Botín Foundation, Santander; Serralves Museum of Contemporary Art, Porto (2019); among others. In 2025 she was the winner of the EDP New Artists Award, and is currently pursuing a PhD at the School of Creative Media, City University of Hong Kong.
Gu Benchi
b. 1979, Shanghai, China; lives and works in Shanghai
Gu Benchi’s Endless Lines No. 2017-14 intertwine and overlap to the point the and the end become indistinguishable.
Drawing from Piet Mondrian’s geometric compositions, Gu overlaps high-strength polyester thread over a background grid to give a powerful illusionary effect of depth and perspective—creating an off-kilter sense of underlying order that aligns with Chinese philosophical understandings of the universe’s inherent order and disorder. The artist begins with fundamental shapes like squares, rectangles and triangles that develop into stars, diamonds, or pure abstraction via interwoven strands of thread, resembling the ceilings of ancient Chinese architecture or the altar structures in Buddhist paintings. Playing with balance, harmony, symmetry, perspective, Gu’s work captures a world in which the universe is cyclical, and there is no definite beginning or end.
b. 1991, Baoding, China; lives and works in Baoding
Gu Yingcan
Whispering
Oil on canvas
100 × 100 cm
Unique
Generously donated by Raimondo Romani
Estimate: HKD 25,000–40,000
Gu’s solo exhibitions include Endless Lines, Fabrik Gallery, Hong Kong (2014), and his group exhibitions include ISGO Gallery, Shanghai (2017); Hive Center for Contemporary Art, Beijing (2017); Greenland Art Gallery, Shanghai (2017); Mount Qiyun Art Field, Mount Huang (2017); and the Korean Cultural Institution, Shanghai (2017).
Based in Baoding, Hebei, Gu Yingcan draws from everyday life to develop his oil painting practice. Works such as Whispering imbue overlooked, mundane moments such as enjoying a cup of coffee or listening to a piano with a deep sense of personal emotion, while hinting at the unique narrative playing out around these frozen vignettes.
Depicting an interaction between an anonymous man and woman at a social gathering, Gu reveals slight tensions that complicate a surface level reading of the scene—the woman’s leg is slightly raised, and both people appear to lean towards the other, possibly sharing a conversation, a dance or a moment of intimacy. In the foreground, the cats, the witnesses of this momentary interaction stretch and play, giving the entire composition a sense of repose. By reproducing imagined scenarios, Gu allows viewers a glimpse into his inner world.
Sarah Heller
Tenuta San Guido Sassicaia 1985
2020
Giclée print on Hahnemühle Fine Art Paper
38 × 38 cm (framed)
Edition 2 of 6
Generously donated by the artist and Molde Fine Art
Estimate: HKD 25,000–35,000
b. 1988, Hong Kong; lives and works in Hong Kong, USA, UK, and Italy
Sarah Heller, a Master of Wine since 2017, translates her sensory experiences of wine and food into vibrant, abstract-figurative compositions. Her work explores the connections between gastronomy, language, memory, and culture, often taking the form of surreal still lifes. Heller, who earned her BA in fine art from Yale University and received the Ethel Childe Walker prize in 2010, is known for her Visual Tasting Notes series. This series captures the sensory and emotional experience of wines, layering flavour and texture with historical and personal context to link distinct moments in time.
Tenuta San Guido Sassicaia 1985, a piece from this series, exemplifies Heller’s approach. Like the wine itself, the artwork unfolds with a dignified sweetness and a nearly architectural structure. The experience of engaging with the piece mirrors that of tasting a masterpiece wine: a subtle, self-contained brilliance emerges, revealing a quiet power and sophisticated elegance born from an impeccable harmony of balance, depth, and masterful restraint.
b. 1985, Toronto, Canada; lives and works in New York, USA
Hanna Hur
Mother
2025
Copper
8.89 × 45 cm
Unique
Generously donated by the artist and Antenna Space
Estimate: HKD 15,000–35,000
Hanna Hur’s practice builds transcendent visual fields through precise geometric forms across painting, drawing, and sculpture, within which her chainmail works play a pivotal role. A craft she has honed for over 10 years, the copper Mother chainmail series encapsulates a core tenet of Hur’s artistic development – the transformative power of repetitive action. The hypnotic, hallucinatory repeated motifs of grids, curves and circles in Hur’s paintings are powerfully recalled in the physical motion of shaping, cutting, and attaching links together within these three-dimensional works. The undulating rhythms and irregularities induce a trance-like state within the artist and viewers alike. The chainmail works evoke the elusive in-between state Hur seeks out—unified yet separate, rigid yet flexible, intricate yet fleeting—the works taking on through these contradictions their own kind of self-possession. Comfortably reconciling conceptual dualities through process, time and the sanctity of creation, Mother envelopes viewers into Hur’s vision of ‘rational mysticism’.
Hur obtained her BFA from Concordia University, Montreal (2008), and her MFA from University of California Los Angeles (2019). Recent solo exhibitions include those at Doosan Art Center, Seoul (2024); Dracula’s Revenge, New York (2024); Kristina Kite, Los Angeles (2023, 2021); Feuilleton, Los Angeles (2020); and Bel Ami, Los Angeles (2019). She has participated in group exhibitions at various venues, including Hammer Museum, Los Angeles (2025, 2022), CAPC Bordeaux (2024), Aspen Art Museum (2022), and Institute of Contemporary Art, Los Angeles (2021). Hur’s work is held in the permanent collections of Museum of Modern Art, New York; The Hammer Museum, Los Angeles; the Museum of Contemporary Art, Los Angeles, among others.
Kueh
b. 1995, Malaysia; lives and works in the Hague, the Netherlands
An artist from Sarawak, Borneo, Marcos Kueh is best known for his lush, richly coloured, and vibrant textile works that draw from Borneo’s ancestral weaving traditions. Often drawing on his own personal biography, his practice uses textiles as a medium for storytelling, and investigates themes of labour, globalisation, and identity. This work, Kerbau Ditangkap Harimau, was inspired by a formative childhood memory of being encouraged to ‘work like a buffalo’. Buffaloes appear in certain Southeast Asian cultures as a symbol of diligence and arduous labour; yet, Kueh discovered that in Malay literary traditions, buffalo actually stood for obstinacy and foolishness. Throughout his practice, buffalo feature as a recurring motif across several textile works, speaking to the artist’s consideration of labour and the value that Asian cultures give to the notion of ‘getting ahead’ through one’s hard work. In the work, a tiger—considered an apex predator—appears to maul the buffalo, leaving the fate of the animals to hang in the air.
Marcos Kueh, trained in graphic design and advertising, developed a profound interest in his native visual languages and their material qualities after a journey through Borneo documenting traditional weaving methods. Historically, Borneo’s indigenous communities preserved their myths and stories within textiles, predating the use of painting tools. Kueh’s current work explores how this tradition of ‘myth weaving’ might manifest today—questioning which contemporary stories we choose to encapsulate and why. Through his practice, Kueh aims to encourage other Southeast Asians to reconsider the significance and strength of their own identities. Kueh graduated from the Royal Academy of Art, The Hague in 2022. His work is in the collections of the Museum Voorlinden (NL), as well as the Stedelijk Museum (NL). His work has been exhibited internationally, including at Framer Framed, Amsterdam (2023); The Back Room, Kuala Lumpur (2017); and Esea Contemporary, Manchester (2025-2026).
b. 1980, Osaka, Japan; lives and works in New York, USA
Hiroya Kurata倉田裕也
Hiroya Kurata’s depictions of realistic landscapes and cartoon figures feature in Last Light’s vista of the apartment building situated opposite his window in Brooklyn. Kurata’s work draws from a keen awareness of the power of history and memories, given his occupation as an artwork conservator and his frequent use of childhood and personal memories as subjects. Therefore, this work’s injection of contemporary vitality—with a small, stylised figure—into a grounded, urban scene that has remained unchanged for over a century, emblematic of the vitality, nostalgia and warmth of Kurata’s practice.
Drawing from the expressive faces of manga and cartoon characters, as well as the soft, evocative American landscapes of Charles Burchfield and John Marin, Kurata’s evocative landscapes and cityscapes forge an artistic link between one’s past experiences and one’s recollections of these events. He presents viewers with something both familiar and strange through his use of vibrant colours, meticulous paint application, and use of found images. By manipulating perspective and colour, Kurata aims to provide fresh interpretations of the familiar, revealing new perspectives on what was assumed to be known. Kurata received his BFA from the Parsons School of Design, New York. Recent solo exhibitions include those at Long Story Short, New York (2024); Over the Influence, Los Angeles (2023, 2021, 2020); The Mass, Tokyo (2022); KOKI ARTS, Tokyo (2019); and Monya Rowe Gallery, New York (2019). Group exhibitions include those at Carl Kostyál (Seoul, 2024; Ibiza, 2023; Milan, 2023); Kantor Gallery, Los Angeles (2023); The Hole, New York (2022); and Volery Gallery, Dubai (2021); among others.
Kostyál, London |
b. 1964, Hong Kong; lives and works in Hong Kong and London, UK
Hong Kong artist Kary Kwok’s self-portrait series I only want you to love me consists of eleven photographs that interrogate queer subjectivity and desire. Shot at Metro Cinema, an underground theatre in London where the artist worked as an usher from 1992 to 1994, Kwok reflects on his identity as a gay Chinese man living in London at the height of the HIV/AIDS epidemic. Referencing the eponymous 1976 film by German director Rainer Werner Fassbinder about a bricklayer whose ardent yearning for affection leads him to self-destruction, Kwok presents himself as a naked and vulnerable character to interrogate the entanglement of danger and desirability in that precarious moment. Pressured to conform to societal ideals from both outside and inside queer circles, the artist’s body becomes a vessel of transformation, self-examination, healing, and resistance. In I only want you to love me #7, Kwok, runs up the stairs of an empty cinema, looking back at the camera in a fleeting moment of boyish jubilance, a reminder that there are small joys to be found amidst the pain we inherit. Kwok works between photography, installation, and fashion.
Since receiving his MA in photography from the Royal College of Arts in London, his work has dealt with marginalised bodies in normative societies, has been associated with the Black Arts Movement, and has collaborated with Sonia Boyce, Hiram To, and Franko B, among others. He was a prize winner of the 1994 Southbank Photo Show in London and was the artist-in-residence at Leube Foundation, Salzburg, and solo exhibitor at the Rupertinum of Museum der Moderne Salzburg. He has recently exhibited at Eaton HK (2023), Square Street Gallery (2023), Hong Kong Arts Centre (2022), and Tai Kwun Contemporary (2022).
b. 1994, Chengdu, China; lives and works in Hong Kong
In her first ever video work, Hong Kong based multi-disciplinary artist Liao Wen calls attention to the unexamined notions of justice and violence in society. This single-channel work was inspired by the story of Odysseus blinding the cannibalistic cyclops Polyphemos, a visceral scene that justly punishes Polyphemos’ crimes, leaves him cruelly disfigured, and necessarily drives the ‘Odyssey’ forward. The multiple interpretations of this scene and the questions it raises regarding possible interpretations of violence resonated with the physically demanding and aggressive nature of Liao’s wood carving practice—where chainsaws, sanders, and rasps forcibly shape organic material. Liao extrapolates this human physical domination to a macro and micro scales, juxtaposing images of massive heavy industry with footage of interpersonal interactions and drawings of physical anatomy. Her background in figurative puppet-making allows Liao to pass her meditations on the effect of technologies and power in daily life onto her viewers, the effect of the video’s onion motif being to recall the eye-watering experience of the cyclops.
Liao obtained her MFA from the Central Academy of Fine Arts, Beijing (2019). She was recently the subject of solo exhibitions at MACA Art Center, Beijing (2025); Capsule, Venice (2024) and Shanghai (2021); and Cai Jin Space, Beijing (2021). She has participated in group exhibitions at The British Council, Hong Kong (2025), and the First Trans-Southeast Asia Triennial, Guangzhou (2023), and she was awarded the Frieze New York Stand Prize in 2023. She was also selected as the resident of Pro Helvetia, Switzerland for 2025.
b. 1933, Taipei; d. 2020, Lugano, Switzerland
Untitled (LI69)
In 1960, Li Fang (1933–2020) entered the École des Beaux-Arts in Paris upon recommendation from her teacher Chu Teh-Chun, where she went on to become one of the pioneering artistic figures within the 20th century Chinese Diaspora. Her work was part of the first artistic wave where classical Chinese ink techniques and aesthetics were combined with the innovations of Western modernism, within which she distinguished herself for her distinctive and resonant pictorial language and as the sole female co-founder of the Fifth Moon Group, alongside Liu Kuo-Song and Chu Teh-Chun. Playing a vital role in advancing modern art in Taiwan, she emigrated in 1959 to France, where her practice shifted from figuration to abstraction with bold and dense oils, and later to Switzerland where she refined palette and explored greater luminosity in her work. Able to both powerfully capture the interplay of form and spirit and balance a sketch-like spontaneity that revealed a profound meditation on nature and existence, Untitled (LI69) represented her early transition of her practice to her life in Switzerland. Constrained by circumstance, she often turned to simple materials—here, her painting on a potato sack transforms scarcity into quiet poetry. The textured surface infuses the composition with intimacy and an everyday resonance. Her works from this period are distinguished by dense colouration and richly layered structures, where cunfa-like washes dissolve into calligraphic strokes, embodying the Fifth Moon Group’s pursuit of an Eastern spirit through Western modernism. Her work negotiated between tradition and innovation, East and West, with a singular lyrical force.
b. 1990, Fujian, China; lives and works in Berlin, Germany and Geneva, Switzerland
In addition to the Beaux-Arts, Li was a graduate of the Department of Art at Taiwan Provincial Normal College (now National Taiwan Normal University) (1955) and co-founded the Fifth Moon group soon after her graduation in 1957. She experienced and impacted many critical moments in the development of Taiwanese painting in the 20th century, captured in her forceful abstractions and intimate, lyrical landscapes of oil, watercolor, and ink. Today, her works are housed in major international collections, including M+, Hong Kong, Taipei Fine Arts Museum, Taipei, National Taiwan Museum of Fine Arts, Taipei, Kaohsiung Museum of Fine Arts, Kaohsiung, Kunsthalle Bielefeld, Germany and FAMM (Female Artists of the Mougins Museum), France.
Untitled (Muscle Suit) explores masculinity in today’s highly mediated world, crafted from children’s Halloween costumes encased in transparent Plexiglass. Li’s diverse body of work, encompassing performance, interactive websites, sculpture, and moving image installations, often draws from ideas originating and amplified in online culture, giving the panes of plexiglass that flatten the exaggerated, padded muscles a screen-like appearance. Drawing from globalized communication systems, various localities, and the uneven flow of information, Li investigates the various mediums and trends that constitute the contemporary digital landscape. With the humor and intimate understanding of a digital native, Li’s symbol of hyper-masculinity not only examines an increasingly topical theme that breaches cracks in the ‘screen’ to enter into reality, but also speaks to the genuine feelings that exist and inspire such constructed facades.
Li earned her MA in media studies from New York University in 2014. Recent solo exhibitions include I’m Not (Aspen Art Museum; Swiss Institute, New York, 2024), and Distance of the Moon (Prada Rong Zhai, Shanghai, 2024). Her work has also been presented at Fondazione Prada (Milan, 2023), Berlinische Galerie (2022), and Tai Kwun Contemporary (Hong Kong, 2022). She participated in major biennials such as the Whitney Biennial (2024), Biennale de l’Image en Mouvement Geneve(2024), Kunsthal Charlottenborg Biennale (2023), and the Venice Biennale (2022).
Untitled (Muscle Suit)
Children’s costume, plexiglass, metal screws 60 × 40 cm Unique
Generously donated by the artist and Antenna Space, Shanghai
Estimate: HKD 70,000–100,000
A milk a day 027
A series of thirty-one small paintings, A milk a day (2022) exemplifies Hong Kong-based artist Ticko Liu’s characteristic marriage of the prosaic and the magical. Painted over a calendar month, Liu frames each scene, unique to the artist’s state of mind on the day of its creation, within the silhouette of a milk carton. This graphic, painterly compositional device highlights Liu’s attempts to reject fixed perspectives in his practice, incorporating pictorial elements such as unusual framing devices and bright, wavy bushstrokes to depict flames, clouds, plants, and landscapes—serving as visual metaphors for the mutability of past and present and to record of the ever-shifting material life of his native Hong Kong. The nostalgic and easily recognisable carton shape may remind viewers of the simple snacks enjoyed as a child or the circadian rhythm of family life, adding to its personal significance to the artist for the aphorism imparted to him by his mother: ‘to have good dreams, drink a warm glass of milk.’ Each edition within this series archives a specific attempt to discard the mundane, and to escape into an imaginative new world through familiar objects. (→)
Liu received a BFA in Visual Arts from the Hong Kong Baptist University in 2019. His works have been widely exhibited, including at Gallery Exit (2023), Square Street Gallery (2022, 2023), Hong Kong; JPS Gallery, Tokyo (2023); and Kunstraum Kreuzberg/Bethanien in Berlin, Germany (2020). Liu has received several awards, including the Sovereign Art Foundation Student Prize in 2018 and being shortlisted for the Hong Kong Human Rights Art Prize in 2020.
A milk a day 009
× 25 cm
Generously donated by the artist and Square Street Gallery Estimate: HKD
Something older than words (SUN)
donated by the artist
Estimate: HKD 20,000-50,000
LOUSY’s Something Older Than Words is an inquiry into the primordial visual language that predates and underlies human civilisation. Evolving out of LOUSY’s street art, this series examines other methods of communal images, drawing from paleolithic cave paintings, Hong Kong’s ancient rock carvings, and the foundational strokes of Chinese oracle bone script. These disparate elements were combined in the immediate and clear language of a flag, subject to a three-month ‘marination’ process at Current Plans, where they were exposed to the elements to serve as a material dialogue between intentional mark-making and the uncontrollable forces of nature. The resulting patina can be seen as a collaboration with time itself, echoing the artist’s roots in the ephemeral, weather-beaten nature of street graffiti. The work is an effort to tap into the collective subconscious and reactivate a grand, shared narrative—a ‘source code’ of human expression.
Hong Kong native LOUSY’s work is part of the visual language of the city itself, appearing on surfaces across all spaces and districts, taking cues from the proactive and spontaneous energy of the streets. Stripping down his visual language to symbolic, gestural, rhythmic lines. LOUSY investigates the universal symbols that form a connective tissue across cultures and epochs. In an era obsessed with the future and technology, LOUSY proposes a crucial counter-perspective: to look back is to rediscover the essential qualities that make us human. His works have been showcased in different galleries and institutions in Hong Kong and overseas, including M+ (2024); Para Site (2022); THE SHOPHOUSE (2021); Parallel Space (2023); among others.
Masushio reworks his retired father’s travel photographs from ‘exotic locales’, printing romanticised images of various destinations onto scavenged cardboard. Spanning the typical tourist fare of lightshows, sunsets, and temples, Untitled (CB #3) features a screenshot of google maps, as if trying to record a route or intended destination along the Chobe River. Superimposed over a typical cardboard box used to deliver goods, the depiction of a digital interface allows viewers to feel a sense of closeness with the traveller, situating them alongside Masushio’s father within a specific time, location, and battery life, juxtaposing the rough analog texture of the cardboard. The creases and tears, along with graphic printed logotypes and slogans, disrupt a clear reading of the work as entirely critical or entirely conciliatory. In addition, the overlaid images of leisure, commerce, and natural wear-and-tear evoke the feeling of examining an informal archive of ephemera gathered on one’s own travels, while speaking to the deceptive idea of the circulatory nature of tourism and the global art world. These layered compositions create a powerful conversation that asks questions about the possibility of images to expand our perspectives and understandings, and the recycled nature of certain experiences.
Taro Masushio received his BA from UC Berkeley and MFA from New York University and has taught at both institutions. He has held solo exhibitions at Empty Gallery (2020, 2024), Hong Kong and Ulrik, New York (2023). He has also exhibited at 47 Canal, Capsule Shanghai, Immanence, Pacific Film Archive, amongst others. He was the 2022/23 City Artist in Residence at Internationales Atelier-stipendium Mönchengladbach. In fall 2024, he joined Cooper Union, New York, as the Henry Wolf Chair in Photography.
Jonathan Meese
b. 1970, Tokyo, Japan; lives and works in Berlin and Ahrensburg, Germany
Edmond Dantès
and Galerie Templon
In Jonathan Meese’s Edmond Dantès, the German provocateur channels the spectral fury of Alexandre Dumas’s character in The Count of Monte Cristo, who, after experiencing a deep betrayal, transforms himself into a chaotic symbol of justice and retribution. Jagged forms—inspired by German Expressionist and Dadaist flux sensibilities—morph into grotesque, amorphous hybrid shapes, at once representing the Count’s hooded silhouette or twisted Château d’If bars, while also evoking a portrait of Dantès, or indeed of Meese himself. The vital, irrepressible raw acrylic streaks collide in the composition like storm clouds, confusing the point at which the character’s sense of justice festers into mania, corrupting and blending his human desire with a monstrosity of mythical proportions. This work is emblematic of Meese’s vigorous, enthusiastic, lifelong goal of overthrowing the ‘dictatorship of art’. His anarchic visual language makes no distinction between classic novels and his scribbled neologisms and graffiti-like incantations, unifying the forces of power and identity, love and hate, to capture an almost erotic frenzy—daring viewers to embrace the delicious venom of revenge. Beyond literary homage, Meese weaponises the ‘ghosts’ of history to mock pre-existing rational order, creating on his canvases a totemic emperor of chaos who fulfils his mantra: ‘Art is total power.’
Meese’s provocative and multifaceted practice— spanning painting, sculpture, performance, and installation— defies conventional categorisation and challenges cultural, political, and artistic norms. His work is rooted in a fascination with history, mythology, and pop culture, and is held in the collections of the Louisiana Museum of Modern Art, Humlebæk; Centre national des arts plastiques, Paris; and Museum of Contemporary Art, Miami, among others.
b. 1999, Bangkok, Thailand; lives and works in Bangkok and London, UK
Natalie Sasi Organ
Natalie Sasi Organ examines fragmented historiographies, informed by her experience growing up between Thai and British culture as a biracial woman. The interior study of Slipstream utilises specific, familiar details juxtaposed in composite, fragmented scenes that bridge different memories and territories. The organically patterned curtain background and structured foreground chandelier appear to phase in and out of one another, existing in a liminal space mirroring Sasi Organ’s real-world experiences of cultural tensions, migration, displacement, and assimilation. Forming a practice of recollection and recontextualization, the artist’s still lives highlight the ephemeral and overlooked, challenging the subjectivities and ambiguities of identity and memory, cultural hybridity, and an artistic style that revels in the ‘in-betweens’.
Slipstream
Sasi Organ graduated from Central St Martins, University of London in 2022, and has since participated in numerous group exhibitions including ‘from here to here’, Nova Contemporary, Thailand (2023); ‘Hell: Arts of Asian Underworlds & Bernice Bing Open Call’, Asian Art Museum, San Francisco, U.S (2023); and ‘Friends and Family: Part II’, Pi Artworks, London, UK (2023).
b. 1982, USA; lives and works in Milwaukee, USA
b. 1994, South Korea; lives and works in Seoul, South Korea
Yaerim Ryu John Riepenhoff
Riepenhoff’s sky paintings capture the essence of his prolonged observation of the night sky, meticulously distilling and mediating his experience through an intuitive, systematic arrangement of patterns and colours. Upon viewing, Skies evokes a sense of expansive calm through its soft colour palette and repeated pattern of mark-making, becoming smaller and more distinct towards the bottom of the composition, as if conveying the clarity of light breaking over the horizon at dawn. This series, originally conceived as a relaxing activity in Riepenhoff’s free moments during his travels as an international gallerist and curator, evolved into a deliberate practice centering the creative potential found in leisure—specifically, sky-gazing—and the profound human experiences that emerge from a conscious immersion in time.
Milwaukee-based artist John Riepenhoff is also the proprietor of the exhibition space The Green Gallery, Milwaukee, as well as the Executive Director of Sculpture Milwaukee, a non-profit organisation responsible for an annual exhibition of public sculpture in downtown Milwaukee. Riepenhoff has taken part in exhibitions at institutions including La Maison de Rendez-Vous, Saint-Gilles; the Whitney Museum of American Art, New York (2017); and the Crystal Bridges Museum of American Art, Bentonville (2014).
Happy Birthday
Seoul-based visual artist Yaerim Ryu’s work bridges language and visual art, translating imagined narratives—constructed from words and sentences—into images that reside at the intersection of painting and illustration. The title of this work, the common phrase “Happy Birthday,” is removed from its typical presentation and placed within an alternate narrative framework, creating a tense distance between the phrase itself and its visual presentation. Ryu’s open-ended visual narrative invites infinite expansion or reduction: rather than focusing on Birthday celebrations she instead centers the egg, a motif existing between life and death. Not quite an object nor an animal, its undefined nature unsettles the artist just as her open-ended works unsettle viewers’ expectations—each time she cracks one open, she fears finding a surprising, half-formed being inside. By subverting viewers’ preconceived understanding in her paintings, Ryu positions herself as an “unreliable narrator,” prompting viewers to engage with her pieces through their own interpretations.
Ryu earned a BFA in Painting from Hongik University and an MFA from the Korea National University of Arts. She has exhibited internationally, including at Art Space Boan 3, Seoul (2025); Palm Gallery, Taipei (2025); the Korean Cultural Centre in Hong Kong (2023); and Doosan Gallery, Seoul (2022). Ryu gained further recognition after being selected for the “Now & Next” project organized by Frieze and Chanel Korea. Her works are part of the Longlati Foundation, Shanghai, amongst others.
Citra Sasmita
Shin
Figur Pagi (Morning Figure)
Figure Pagi (Morning Figure) is a key work from Citra Sasmita’s 2018 solo exhibition, ‘Under the Skin’. This piece was developed during her residency at RedBase Foundation, Jogjakarta. During this period, Sasmita immersed herself in Javanese culture, observing the impact of a patriarchal philosophy that has historically confined married women to roles centered on domestic duties, sex, and procreation. Through this series, Sasmita also draws parallels between the patriarchal cultural structures evident in both Java and Bali. A contemporary Balinese artist whose work often challenges prevalent myths and misconceptions within Balinese art and culture, Sasmita is a self-taught artist who is best known for her use of Kamasan, a painting technique from eastern Bali used to narrate Hindu epics. Kamasan used to be practiced exclusively by men; in Sasmita’s practice, which challenges patriarchies and reinvents mythologies, Kamasan becomes a means of dismantling misconceptions of Balinese cultures and its violent colonial past. Her works often feature women as powerful protagonists in a post-patriarchal world.
She holds a Literature Diploma from Udayana University (2008) and studied physics at the Faculty of Mathematics and Sciences, Ganesha University of Education (2009). She originally worked as an illustrator for The Bali Post before expanding her artistic practice. Her work has been extensively shown in international platforms, including the Sharjah Biennale (2025); Toronto Biennial of Art (2024); the 24TH Biennale of Sydney (2024); 35TH São Paulo Biennale (2023), amongst others.
Kyungmi Shin’s Invisible Women series first emerged over 20 years ago from a found family photo album documenting the lives of five Chinese-born sisters in America. Centering real personal archives within dominant historical narratives, Shin uses the intriguing, isolated glimpses into these sisters’ lives as a vehicle to interrogate visual perception, personal identity, and global forces. Their authentic moments are re-presented alongside diverse global cultural imagery, including reductive 18TH -century chinoiserie designs of Asian women and gardens adapted to European decorative tastes, and motifs from Korean mythology such as the silver line drawing of Sanzuwu or Samjok-o, the three-legged crow. By re-presenting these authentic images of Asian women’s lives and folkloric traditions in opposition to exoticized visions, The Invisible Woman #9 critically examines the enduring legacy of the imperialist and post-colonial gaze, and the aestheticization of otherness.
Shin was awarded a Guggenheim Fellowship in 2025. Her work has been exhibited at the Berkeley Art Museum, Berkeley (2007); Sonje Art Centre, Seoul (2000); and the Japanese American National Museum, Los Angeles (2008). She has been commissioned for over twenty public artworks, including a recent site-specific work at the new Clippers Stadium in Los Angeles. Her work is part of the permanent collections at the Berkeley Art Museum and Pacific Film Archive, J. Paul Getty Museum, Los Angeles County Museum of Art and The Newark Museum of Art, Newark, NJ.
Nibha Sikander
Snout Tiger Study
Generously donated by the artist and TARQ
Estimate: HKD 30,000–45,000
b. 1983, Mumbai, India; lives and works in Murud-Janjira and Mumbai, India
Through in-depth research, documentation, and observation, Mumbai-based artist Nibha Sikander has studied the biodiversity and plenteous species of insects and birds of her home, the region of Murud-Janjira, which adjoins the Phansad wildlife sanctuary on the Konkan coast of India. With introspection and dedication to her artistic practice, her most recent works are an extension of this preoccupation, where insects and other species are recorded in minute detail to understand their textures, patterns and forms. Sikander began this series of works after her own observations of how nature was impacted by development, hoping to form an archive that can capture species that may one day disappear. Orange Underwing Snout Tiger Study examines a specific moth species of the same name for the viewers to admire. Each part of the work goes through a process of keen abstraction, and yet adheres to scientific accuracy.
Nibha Sikander earned her Bachelors and Masters in Visual Arts from the Maharaja Sayajirao University, Vadodara (2006, 2008), where she was awarded the Nasreen Mohamedi Scholarship (2004–2005). Sikander’s first solo exhibition was presented at TARQ, Mumbai (2019). She has participated in group exhibitions at TARQ (2025, 2023); HH Art Spaces, Goa (2023); Anant Art, New Delhi, and JNAF, Mumbai (2023). Her works are a part of the collection of the Durjoy Bangladesh Foundation; Ark Foundation for the Arts, Vadodara; and the Kiran Nadar Museum of Art, New Delhi. Sikandar also exhibited at Para Site, as part of signals… here and there. (2023)
b. 1992, Hong Kong; lives and works in Hong Kong
Tang Kwong San’s multidisciplinary practice spans painting, graphite drawing, video and photography, utilising each medium’s unique qualities to capture facets of the Hong Kong cultural identity, and to record elements of personal identity in a quickly changing world. Moving away from his birthplace of Dongguan at age five, Tang experienced two concurrent changes that influenced his artistic desire to freeze moments: assimilating to his new home and muse of Hong Kong, and a five-year separation from his mother, who remained in Dongguan for another five years. This desire to capture the present, to freeze a moment in time, is seen both in Specimen’s laboriously applied strokes of opaque oils, but also in the subject of a moth pinned to a board. The shining artificial smoothness of the plastic-topped pin contrasts the natural crinkles and textures of the overturned bug. ‘Moth’ (ngo) in Cantonese is a homonym for ‘I’ or ‘me’ in addition to referencing the artist’s mother’s name, making it an ultimate symbol of Tang’s artistic goals for his practice.
Specimen
Tang holds a Bachelor’s in Fine Arts from Hong Kong Art School and the Royal Melbourne Institute of Technology, completed in 2019. He has exhibited work in & Seen Fifteen Gallery (2021), Peckham 24 Festival (2021), London; SC Gallery, Hong Kong (2022); as well as holding solo shows at GDM (2024) and Gallery Exit (2021), Hong Kong.
Natsuko Uchino
b. 1983, Kumamoto, Japan; lives and works in Belvézet, France
b. 1987, Bangkok, Thailand; lives and works in Bangkok
Okinawa
2024
Cotton, gallo-ferric dyeing
142 × 133 cm
Unique
Generously donated by the artist and Galerie Allen, Paris
Estimate: HKD 35,000–50,000
Japanese artist Natsuko Uchino captures her impression of the Okinawan landscape on a woven piece of cotton coloured with a ferro-gallic dye handmade by the artist herself. The soft brown hue imbues the fabric with a sense of time, simulating evidence of touch and use, ageing and patina. Using techniques studied during her recent residency in South-West France with expert dyer Sandrine Rozier, Natsuko harvests the raw materials needed for dyeing directly from her local area. This location-specific material practice is part of her desire to honour the natural world and connect the provenance of her creations directly to the natural permaculture of her subject, drawing a thread from the very dirt of a place to her work. The abstract patterns running through the textile fibres are part of the artist’s own abstract pictorial language, seen also in her ceramic works. The ecological framing of her subsistence style of creation raises questions about alternative modes of artistic production, display, use and arrangement.
Natusko completed a 2013 Research Program at the Center for Contemporary Art Kitakyushu, Japan, following her 2007 graduation from Cooper Union’s BFA program in New York. She has exhibited at Villa Médicis, Rome (2025); Galerie Allen, Paris (2024); Taka Ishii Gallery, Tokyo (2021), among others. Her work is also held by institutions like Centre National des Arts Plastiques and Musée d’Art Moderne de la Ville de Paris, France.
Kawita Vatanajyankur
Lady Papaya
2023
Diasec print
150 × 100 cm
AP1, Edition of 4 + 2 APs
Generously donated by the artist and Nova Contemporary Estimate: HKD 35,000–50,000
Kawita Vatanajyankur’s works delves into the typical roles contemporary Asian women frequently inhabit—textile factory workers and housewives. Lady Papaya captures in print a record of Kawita’s repetitive and strenuous video performances, where humor and horror merge as the unnatural and bizarre movements she carries out contrast their candy-colored visual presentation. Initially appearing humorous in their absurdity, the movements become a display of exhausted endurance as the artist’s body visibly deteriorates—casting the artist not as a symbol or a metaphor but a living, breathing human. The visceral, brutal imagery hidden by the work’s ‘feminine’ and playful aesthetic reflects the reality of women in conservative and patriarchal societies as silent individuals subjected to repetitive oppression and objectification, exploited through low- or unpaid physical labor at work and at home. Kawita Vatanajyankur uses her body to interrogate and challenge the intersections of womanhood, labour, and consumerism, becoming dehumanised, a cyborg, through the limiting scope of her role. Alluring videos bear semblance to bold and colourful commercial advertisements. Yet, her arduous works are difficult to witness, forming a testament to human capability and female resilience.
Graduating from RMIT University’s BFA program in 2015, Kawita has held solo exhibitions at Nova Contemporary, Bangkok (2017), and Museo Novecento, Florence (2022). Her work has been included in group exhibitions at Kunstmuseum Basel, Basel (2019,2022); Hamburger Bahnhof, Berlin (2022, 2021); Museum of Modern and Contemporary Art in Nusantara (MACAN), Jakarta (2021-2022). Her works are collected by institutions such as the Museum of Contemporary Art (MOCA), Bangkok; M Woods Museum, Beijing; and the Akeroyd Collection.
Xingyun
Cosmic Embrace of Sour Shadow
Drawing from her early training in Chinese calligraphy, Wang Xingyun’s paper compositions emerge through a process of meticulously layering various weights and textures of paper on top of one another. Through hairline pleats and folds, paint drips, perforations, as well as glass shards, Wang creates tactile, textured landscapes. Paper, conceived as insubstantial and ordinary, is revealed as an adaptable and enduring medium. A testament to survival and renewal, Wang’s practice utilises paper as a means of expressing memory and metamorphosis. In Cosmic Embrace of Sour Shadow, washes of coloured, pigmented glue are also applied, recalling the artist’s thematic exploration of upheaval, danger, resilience, and transformation that she broadly addresses within her practice. These draw from her experience of liminal identities as a queer woman living between China and the United States. Ultimately, the work reflects the interior world of the artist, serving as a means of expressing her own journey from fear and vulnerability to quiet strength through her materials.
Wang Xingyun obtained her MFA from the Hunter College School of Art and Design, New York, in 2025, and has recently exhibited at ZIAN Gallery in Shanghai, Beijing, and Hangzhou (2025); Lyles & King, New York (2025); Xinjiang Museum, Urumqi (2024); Studio 9D, New York (2024); Shanghai Bund Art Center (2024); 54 Stone St, New York (2023); and Pierogi Gallery, New York (2022), among others.
David Wojnarowicz
David Wojnarowicz’s Democracy at Work represents the communal resentment from the artists against the establishment who were destroying their neighbourhoods and communities at the time of its creation. An important figure in New York’s East Village art scene of the 1980s, Wojnarowicz was primarily known for his several volumes of fiction and memoirs, and for his art work in most media, including painting, photography, installation, sculpture, film and performance. After being diagnosed as HIV-positive in the late 1980s, Wojnarowicz engaged in widely publicised debates over medical research and funding, censorship in the arts and politically-sanctioned homophobia, creating deeply political art even as he became a target for the right-wing. Channelling a vast accumulation of raw images, sounds, memories and lived experiences, Wojnarowicz became well known for his spray-painted iconographies, blunt semiotics and graphic illustrations that deftly conveyed his cultural critiques.
Democracy at Work
Silkscreen
An incredibly important artist for the later half of the twentieth century, his work has been collected by numerous permanent collections of major museums nationally and internationally. In addition, his life and work has been the subject of significant scholarly studies, with a major retrospective taking place at the Whitney Museum (2018), entitled ‘David Wojnarowicz: History Keeps Me Awake at Night’. The retrospective also travelled to the Museo Reina Sofia, Madrid in May 2019, and the Musee d/Art Moderne Grand-Due Jean, Luxembourg City, which closed in February 2020. To date, three retrospectives have been held of the artist’s work, including at the New Museum (1999), and Illinois State University (1990). Wojnarowicz’s work has been exhibited worldwide, including at The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; The American Center, Paris; The Busan Museum of Modern Art; Centro Galego de Art Contemporanea, Santiago de Compostela, Spain; The Barbican Art Gallery, London; and the Museum Ludwig, Cologne, amongst others.
Wong
In this series, Hong Kong poet and artist Nicholas Wong worked with the language of rejection from editors of literary magazines after they turned down his submissions. Such rejection notes were often copied from a standard editorial template. Using traditional carbon transfer paper, Wong copied rejection notes—which were often automatically produced—by hand, then texturized the surface with white watercolour mixed with lubricant gel as a way to queer and counter the language of literary failure.
Born and raised in Hong Kong, Wong deftly explores themes of desire, gender, body, and sociocultural issues through his work. Wong’s recent contributed writing was commissioned by ‘Masquerade’ (2025) at M+, Hong Kong, an exhibition highlighting photography works by Cindy Sherman and Yasumasa Morimura. In fall 2024, he was a resident under the International Writing Program (IWP) at the University of Iowa, where he received the title Honorary Fellow in Writing. He has contributed writings to projects by the Solomon R. Guggenheim Museum and Manchester International Festival. Wong is also the author of Crevasse (Kaya Press, 2015), the winner of the Lambda Literary Award for Gay Poetry, and Besiege Me (Noemi Press, 2021). He is the recipient of the Australian Book Review’s Peter Porter Poetry Prize. Wong currently teaches at the Education University of Hong Kong.
2024
Digital colour print, acrylic drawing, artificial flowers and gems, plastic beads, polypropylene butterflies, glitters and resin on canvas
44 × 60 cm
Unique
Generously donated by the artist and Square Street Gallery
Estimate: HKD 18,000–30,000
b. 1990, Hong Kong; lives and works in Hong Kong
Wong Ka Ying
2024
Digital colour print, acrylic drawing, artificial flowers and gems, plastic beads, polypropylene butterflies, glitters and resin on canvas 44 × 60 cm
Unique
Generously donated by the artist and Square Street Gallery
Estimate: HKD 18,000–30,000
Wong Ka Ying is an artist, curator and writer based in Hong Kong, whose wholehearted embrace, examination, and exaltation of kitsch is demonstrated in the mass-produced imagery of Romance and Baby. Leaning into her recognisable visual language, combining generic stock images of pets with a cocktail of glitters, gems, trinkets, and plastic knick-knacks, Wong combines superfluous, space-filler items into a single canvas – displaying the surplus of our industrial age. Images of pedigree pets are paired with widely-used phrases such as ‘Relationship’, ‘Baby’, and ‘Romance’, which often end up as empty signifiers in our media-saturated environments of today. This saccharine, candified aesthetic points towards the obsessive tendency in our contemporary society to turn the superficial and meaningless into our wildest fantasies, which can only be fulfilled on the surface. Wong has previously exhibited at Para Site in the 2019 exhibition, Café do Brasil
Receiving her BFA from the Chinese University of Hong Kong in 2013, her M.Phil. Visual Arts from Hong Kong Baptist University in 2021, Wong’s multi-disciplinary practice spanning performance to social media, critically reflects on social, cultural, and gender issues. She is currently a PhD candidate in Cultural Studies at the Chinese University of Hong Kong, and has exhibited at M+ (2023), Tai Kwun Contemporary (2022-3),and Square Street Gallery (2024), Hong Kong, in addition to participating in Shanghai Biennale (2019) and the Dhaka Art Summit (2020).
b. 1994, the Philippines; lives and works in Hong Kong
Red Land and Night Pond
《紅地和夜池》
2025
Paper, engraved acrylic boards, screws
60 × 34 × 2.4 cm
Edition 1 of 1 + 1 AP
Generously donated by the artist
Estimate: HKD 15,000–30,000
Red Land and the Night Pond traces two distant yet intertwined landscapes through memories—the red earth of northern Vietnam and a hidden pond in a Hong Kong village. During a hike that Wong Winsome Dumalagan took through Vietnam, she observed how the raw, red soil revealed land marked by simultaneous erosion and development. Meanwhile, the night pond near the artist’s former home remains largely unseen and unchanged, protected from restless urban life by a circle of small hills. The surface of the work reflects the artist’s impression of faint city lights amidst the passage of seasons, juxtaposed against the constant flux of the red earth. These two disparate, momentary reflections, when drawn together, work towards the same function of revealing the differences and similarities of two differing cultural contexts—one patiently reflecting its surroundings like a quiet mirror, and another transforming again and again as a neutral witness to its own transformations. Wong Winsome Dumalagan was the nominated artist for the Fog & Mist Residency (Fogo Island, Canada), which was conducted in partnership between Fogo Island Arts and Para Site (2024).
Multimedia artist Wong gained her Bachelor of Arts (Hons) at the School of Creative Media, City University of Hong Kong in 2018, and is a member of the Floating Projects Collective. Her works have been exhibited in Rencontres Internationales Traverse, Toulouse (2020); Diana Cheung Experimental Gallery, Hong Kong (2023); and Busan International Video Art Festival Busan (2025), among others.
No Fields Fallow
the Four Seas Over
b. 1976, Maoming, China; lives and works in Guangzhou, China
Unique
Generously donated by the artist and Flowers Gallery
Estimate: HKD 20,000–35,000
No Fields Fallow the Four Seas Over transforms the quaint landscapes of southern China into uncanny scenes, reflecting the rapid cultural, social and economic change that has taken hold of much of rural areas. In the foreground, a single, lone figure is portrayed overlooking agricultural fields, his back turned towards us. Depicted in sombre colours, the artwork reflects a sense of helplessness and alienation. Through evoking a sense of eerie stillness, it espouses a broader sense of defamiliarisation, as though a once-familiar scene has now become strange and foreign to its viewer. Often addressing issues resulting from the economic boom of the later twentieth century in mainland China, Wu’s artistic practice is inspired by daily scenes in the artist’s hometown, giving voice to the tensions between tradition and modernity with poetry and poignancy.
Wu Sibo was born in southern China and graduated from the Guangzhou Academy of Fine Arts in 2005. His work has been exhibited at Times Art Center, Berlin (2020), Flowers Gallery, Hong Kong (2025), and are held in private collections globally, including The Burger Collection, Hong Kong/Switzerland.
b. 1987, Prague, Czech Republic; lives and works in Prague
Monika Žáková
Echoes of Memory XI
2025
Cotton and acrylic on canvas
90 × 70 cm
Unique
Generously donated by the artist and Double Q Gallery
Estimate: HKD 25,000–40,000
Echoes of Memory is one of Monika Žáková’s most recent series, focusing on recording the traces and imprints of time and the pressure on canvas. She captures, in sophisticated and sensitive detail, an illusionary sense of three-dimensional depth on her two-dimensional works—first by crumpling, pressing, stretching, and ironing the raw, unprimed canvas to her desired pattern, and then by precisely rendering upon it her observations of the falling light in soft acrylic gradients that involve up to a dozen individual shades. Once stretched back into shape, the resulting work is an extremely subtle recording of the interplay of light, form, and shadow on an exceptionally smooth textile—capturing time and gesture in an eternally fixed moment. This tension between the artwork’s appearance and real nature, evokes the way the precise structural proportions of a fleeting moment can be recorded so permanently. It resembles the way the brain stores, constructs, and eventually reconstructs memory. This relationship is further blurred by Žáková’s presentation of her expertly rendered compositions within a sewn frame of canvas strips, complicating where the recalled illusion ends and actual reality begins.
Graduating from the Academy of Fine Arts in Prague in 2012, Žáková’s practice strives to ‘push the boundaries between surface, space, image, and object through the act of creation.’ Her work is included in key private and public collections across Europe and Asia, including the Kunsthalle Praha, Prague; the Pudil Family Foundation; and the Robert Runták Collection.
Miranda Fengyuan Zhang
b. 1993, Shanghai, China; lives and works in New York, USA
b. 1993, Beijing, China; lives and works in Beijing
Zhang Ji 張季
and Two Bottles
Estimate: HKD 10,000–25,000 Three Ripples
In her handwoven ‘paintings,’ Miranda Fengyuan Zhang explores shapeshifting forms of ripples and bottles that dance between abstraction and figuration, playing with negative space, shape and pattern through textiles. Zhang, whose work deliberately resists summation in its medium and subject, is interested in how images can be stripped down and reconstituted from their barest essentials. This work leads primarily with colour, shape and atmosphere, distillations of formal artistic conventions to denote the artist’s recollection of overlooked scenes from daily life from the isolated tranquillity of her loom. These range from views glimpsed on the metro, to 20TH century abstraction, Chinese ink paintings, classical music and Zhang’s family history of textiles. Her titular Ripple describes the lasting impressions such simple moments or artistic compositions create; one may be left in a self-reflective or melancholy mood more profound than the literal action that inspired it, just as the effect of tiny stone dropped into water sends waves radiating outwards.
Graduating with a BFA in Studio Art from New York University, New York, in 2016, Zhang has had solo shows at Capsule Shanghai, Shanghai (2021); Mendes Wood DM, São Paulo (2022); and Halsey McKay Gallery, New York(2020); and Chambers Fine Art Gallery, New York (2017), among others. She has been the recipient of the La Maison de l’Art Contemporain residency in Asilah, Morocco (2018) and the Arquetopia Foundation in Oaxaca, Mexico (2021).
幸免以後發現前世有第三隻眼
2020
Acrylic on paper
31 × 23 cm
Unique
Generously donated by Junjun Cai
For Zhang Ji, working on paper is his longest-standing creative medium, an instinctive impulse and natural ability developed without formal guidance from a young age. These works are guided by unconscious creation, pairing his free mixing of conflicting and vibrant colors with strong gestural strokes, and imagery of distorted body parts and exposed organs – casting both the human body and Zhang’s painted world as unsettled and unstable. Through this evocative, fractured atmosphere Zhang’s work goes beyond the visual, capturing metaphysical understandings of the body’s function as a public medium of sociality, where the individual and society clash. In its kaleidoscopic appearance,《幸免以後發現前世有第三隻眼》reveals the structural and social properties of the body when obscured by the conventions of modern civilization.
Obtaining his BFA from the School of the Art Institute of Chicago in 2013, and his MFA from the Maryland Institute College of Art in 2020, Zhang Ji’s expressive drawings and paintings have been exhibited in Hive Center for Contemporary Art, Shanghai (2023); West Bund Art & Design, Beijing(2021); Almine Rech, NYC (2021), among others.
Pattern
2022
Graphite pencil on felt stretched on panel
33 × 24 cm
Unique
Generously donated by the artist and Don Gallery
Estimate: HKD 35,000–45,000
b. 1985, Shanghai, China; lives and works in Paris, France
Best known for his large-scale works that are developed in graphite and pastel on felt, Zhang Yunyao’s works are defined by their intensely intricate detail. Appearing almost soft and almost hazy, his works oscillate between representation and abstraction. In many of the artist’s works, the body is often abstracted from specific identities, often focusing instead on the surface of skin, the presence of hair, and the tactile sensations that they evoke. The result of a slow process of drafting and rubbing, the works are defined by their visual depth and richness, hearkening back to a pre-digital age by resisting the cold and flat qualities of the computer generated image. This work was exhibited at the 16TH Lyon Biennale of Contemporary Art in France (2022).
Zhang graduated from the Department of Oil Painting at the Academy of Fine Arts of Shanghai Normal University in 2011, and his works have been widely exhibited in institutions including Musée des beaux-arts de Caen (2023); The Guimet Museum, Lyon (2023); Qingdao Art Museum (2021), Zeno X Gallery, Antwerp (2021); and Musée Fenaille, Rodez (2021), among others.
b. 1993, Shenzhen, China; lives and works in New York, USA
Stella Zhong
Bullish 07
《看漲 07》
2025
Epoxy clay, wire, string, beads 158.5 × 7 × 71 cm
Unique
Generously donated by the artist and Antenna Space
Estimate: HKD 50,000–80,000
Known for her idiosyncratic sculptural practice, Zhong engages with physics, architecture, and geometry to produce works that at once negotiate space, distance, and form. Many of her works combine unexpected elements together, forging playful relationships between various forms into a cohesive whole. Small, minute, units are combined with larger objects, creating a seeming landscape of ‘worlds/things’ within these structures. In Bullish 07, a parabolic, vector-like sculpture intersects the wall, revealing its intricate details only upon close inspection.
Zhong holds a MFA in Sculpture from Yale University, and a BFA in Glass from Rhode Island School of Design. She has exhibited internationally, including at the SculptureCenter, New York (2022); Leeum Museum of Art, Seoul (2024); The Aldrich Contemporary Art Museum, Connecticut (2022); Hive Center for Contemporary Art, Beijing (2021); among others. Her work has been reviewed in ArtForum, Flash Art, ArtAsiaPacific, Mousse Magazine, Texte zur Kunst, The New York Times, and Art in America
b. 1981, Chongqing, China; lives and works in Shanghai, China
Framed Glass 02
2014
Ink
76
Generously
Framed Glass 03
2014
Ink on paper
76 × 57 cm
Unique
Generously donated by the Chu Foundation
Estimate: HKD 25,000–50,000
As a multimedia artist, Zhou Siwei’s approach is shaped by medium and colour—his paper-based works, like Framed Glass 02 and Framed Glass 03, solely use unmixed inks to guarantee a visual ‘purity’ in his art. Intentionally distancing himself from the structured Realist style still dominating art academies, Zhou instead pursues a non-figurative practice based on formal concepts: color, shape, line, and tone. Even adding white to his colour inks would alter their nature under the principles of optic science. Therefore, to create an unadulterated visual experience, Zhou limits himself in this work to the original properties of primary colours, subtly building layer after layer of red, yellow and blue to unlock the sparking energy inherent to the shades, and the vast depth of their dark, overlaid washes. The nature of colour and viewer’s reception of it illustrates Zhou’s ongoing focus on the interrelation between people’s understanding of art and culture, and the effect of culture on people. In this work, static ideas are intertwined and juxtaposed to develop a new dynamic visual language of intentions and suggestions, open for individual reception.
Zhou completed his BA in Oil Painting from Sichuan Fine Arts Institute in 2005, and has held solo exhibitions at Antenna Space, Shanghai (2025, 2020, 2017); Secession, Vienna (2024); Kraupa-Tuskany Zeidler, Berlin, Germany (2019); Galerie Urs Meile, Lucerne (2015); Aike-Dellarco, Shanghai (2014); and 82 Republic, Hong Kong (2007); among others.
Black Box
Black Box represents the collective effort of sixteen Hong Kong artists who came together in 2019 to empower each other and to navigate through tough times in the city. Each Black Box is a collection of 16 limited edition prints, all signed and numbered by the artists. In their visual and thematic variety, ranging from drawing to photography, and spirit of artistic collaboration, each box is a cross-section of a critical moment in Hong Kong’s contemporary art history.
Black Box Collection
2020
UV inkjet-print on Antalis Wove Diamond White, 220 gsm, acid-free, FSC-certified paper
Edition of 44 + 16 AP 42 × 59.4 cm each
Generously donated by the artists
Estimate: HKD 30,000-60,000
1. Too Much Happiness《太多幸福》 2. C(r)Y 3. Temporary Storage (video still)《臨時儲存》 4. 2014 & 2019 5. Strangers《陌生人》 6. Your skin 7. Lily (distance)《百合花，距離。》 8. Celebration of the National Liberation Day of Korea on the top floor of the Mandarin Hotel on August 15, 1969, 《1969年 8月 15日於文華酒店頂樓慶祝韓國 國慶紀念日》 9. The Afterlife of Rosy Leavers (video still),《Rosy Leavers 的前世今生》 10. P180310- TTCI-L3- P 11. Either / Or 12. Signs 13. In between the regular intervals《等距之間》 14. Shadow of Mr. Butterflies (Causeway Bay)《蝴蝶先生的陰影（銅鑼 灣）》 15. Protect Yourself 16. Choose your revolt and its shadow
PATRON PROGRA AMME
As an independent nonprofit, Para Site is largely self-supporting. By joining today, your support helps keep Para Site’s exhibitions and programming free and accessible for all, and enables us to continue to facilitate international connections between Hong Kong, Asia-Pacific, and the rest of the world through our exhibitions, residencies and other exchanges.
Our Patrons form a vibrant group of friends and supporters who share a passion for exploring and shaping the contemporary art of our times. All donations towards our Patrons’ Circles are tax-deductible. As a member, you are invited to enjoy events centered around Para Site and its programme. To join our circle, please email Junni Chen, Interim Director, at junni@para-site.art
Patrons’ Circles
Membership Benefits
Para Site
Founding Friends
Para Site Friends
HKD 70,000 | Single-membership
Comprising not more than ten members at a time, Founding Friends form a close group of supporters.
• Invitations to our Annual Gala and Benefit Auction
• Invitations to Founding Friends-only events with the Executive Director and visiting artists
• Priority invitations to overseas patron trips and events
• Prominent named acknowledgement on our physical patron board, dedicated benefactor page on our website, and Annual Report
• All benefits of the Friends Circle as listed below are also included in your benefits HKD 30,000 | Dual-membership HKD 18,000 | Single-membership
Join to enjoy previews of our exhibitions, and general patron events programmed just for our circle of friends.
• Invitation(s) to our Annual Gala and Benefit Auction
• Invitation(s) to exhibition preview evenings, and general patrons’ circle events, including gallery walks, studio visits, and talks
• Named acknowledgement on our physical patron board, dedicated benefactor page on our website, and Annual Report
• 10% discount on all Para Site shop items
• Welcome Gift for new members
Membership is conducted on an annual basis, lasting from the month of your donation until the same month of the consecutive year.
Ha Bik Chuen Talk and Private Viewing at Rossi & Rossi Gallery
20 February 2025
Leading up to Reframing Strangeness: Ha Bik Chuen’s Motherboards and Collagraphs, curator and art historian Michelle Wun-Ting Wong shared her research into Ha’s motherboards and his contribution to printmaking in a private viewing and talk.
Para Site Art Basel Hong Kong: Kawita Vatanajyankur
24 March 2025
Thai artist Kawita Vatanajyankur (b. 1987, lives and works in Bangkok, Thailand) is known for her vivid, performance-based video works that examine labor, gender, and consumption. During the week of Art Basel Hong Kong 2025, Para Site organised an exclusive gathering with Vatanajyankur. The intimate evening comprised an installation of Vatanajyankur’s video works in the restaurant as well as a dinner, where the artist shared reflections on her practice and upcoming projects. The event was generously sponsored by East West Bank.
An
evening with Bagus Pandega
17 April 2025
Bagus Pandega (b. 1985, Jakarta, Indonesia) is an Indonesian contemporary artist known for his innovative and interdisciplinary approach to art, blending sound, kinetic elements, and technology to create immersive installations. On the heels of his presentations with Kunsthalle Basel and Swiss Institute, Pandega shared an evening with our patrons taking them through a number of his projects that he has recently completed, including ‘Lingkaran’, which he completed at ROH Projects, Jakarta; Stomata, at the Esplanade, Singapore; as well as his installations at the recent Bangkok Art Biennale.
Studio Visit with Liao Jiaming and Samuel Swope
26 June 2025
Over the course of an afternoon, our patrons visited the studios of Hong Kong-based artists Liao Jiaming (b. 1992, Guangdong, China) and Samuel Swope (b. 1984, Missouri, USA) whose practices are engaged with ways in which we use technology to make sense of the world around us. Samuel Swope’s practice is most recognized for his research and development of flight and air as medium while Liao Jiaming’s practice investigates the physical and bodily manifestations of identity vis-à-vis gender and technology.
