Galerie du Monde

24/06/2026

爍樂畫廊·香港將於今年秋天推出邱偉祥的個展項目，敬請期待！

#上青 #爍樂台北

gdm Taipei presents Chiu Wei-Hsiang’s “Sprouting Here” as the fourth instalment of our Sīong Tshinn program.

爍樂台北上青項目呈現邱瑋祥《這裡長出來的》系列

ChiuWeiHsiang 邱瑋祥 邱瑋祥

Chiu Wei-Hsiang deliberately employs seemingly “naïve” and fragmented lines and compositions to summon the lingering shadows of past life experiences in the most direct and grounded manner. He consciously sheds the rigorous training of academic painting and calligraphy, opting instead for a “child-like” purity of vision to express the most sincere “kau-pue” (social bonding and hospitality) between people.

Born in Dayuan, Taoyuan, Chiu’s creative nourishment stems from the vibrant, salt-of-the-earth daily life of farming communities and a distinctly Taiwanese sensibility. In recent years, facing the expropriation and demolition of his home due to the Taoyuan Aerotropolis Project, he has turned to his brushes, transforming painting into a silent form of resistance. The works on view not only safeguard the fading warmth of kinship but also illuminate his ongoing journey through the night, where art sustains him and keeps him moving forward.

邱瑋祥刻意以看似拙劣、不完整的線條與構圖，用最直接且接地氣的方式，召喚過往生命經驗的殘影。他有意識地拋開學院傳統書畫的嚴謹訓練，轉而以一種如同「小孩」般的純粹視角，表達人與人之間最真摯的交陪情感。

出生於桃園大園的邱瑋祥，其創作養分源於充滿煙火氣、農家熱情與臺式感性的常民生活。近年面對桃園航空城計畫帶來的家園徵收與拆遷，他拾起畫筆，將繪畫轉化為一場無聲的對抗。展出的作品既保存了逐漸消散的親情溫度，也映照出他在夜晚中持續前行的狀態。

Photographer: Anpis Wang

24/06/2026

On view till 27 June

Wesley Tongson Wesley Tongson 唐家偉 (1957-2012) (1957–2012) transformed ink painting into a fearless act of experimentation and expression. From his early splash‑ink works—pigments cascading in ecstatic rhythms—to his radical abandonment of the brush, painting instead with fingers, fingernails, and hands, Tongson made the body itself the brush. Each gesture was a performative outpouring of emotion, each mark a whisper that swelled into powerful resonance.

Whispers of Myriad Valleys unveils Tongson’s art as a voice from the margins—a whisper that became bold resonance. His valleys of ink remind us that painting can be liberation, performance can be voice, and that those once unheard can speak with extraordinary force.

This marks Wesley Tongson’s first solo exhibition in Taiwan, a landmark in the recognition of his experimental practice. His calligraphy was previously included in the 2023 Hengshan Calligraphy Biennial. A forthcoming retrospective at Asia Society Hong Kong opening in July 2026, curated by Julia White and Rosaline Kyo, will further affirm Tongson’s place within the global history of contemporary ink art.

Photographer: Anpis Wang

11/06/2026

11/06/2026

Step into Tang Chang: Into the Heart-Mind

From over 8,800 works across four decades, Tang Chang’s prismatic landscapes of memory reveal how fields, alleyways, and riverscapes become mirror‑images of the inner world.

At the heart lies the Chinese xin (心) — the heart‑mind — a still lens reflecting the myriad things of existence. For Tang Chang, painting was never mere representation. It was a way of being.

Tang Chang: Into the Heart-Mind
Curated by Sheryl Gwee
gdm Hong Kong
4 June – 29 August 2026

《心鏡之景》凝視中泰詩人兼畫家陳壯斑斕幻彩的「在世」視野——田野、小巷、河景，不僅是地景，更是心境的鏡像。

在心鏡之中，世界萬象皆得以映照。對陳壯而言，繪畫從來不只是再現，而是一種存在方式。

陳壯《心鏡之景》現正於 gdm 爍樂畫廊香港空間展出，展期至 2026 年 8 月 29 日。

Tang Chang : จ่าง แซ่ตั้ง Nawapooh Sae-tang Sheryl GNawapooh Sae-tangtSheryl GweeYang

#陳壯

02/06/2026

#美術館典藏 #張逸斌

爍樂畫廊欣然宣布藝術家張逸斌的重要作品《Trembling Sunrise》（中譯：顫抖的日出）被香港 M+ 視覺文化博物館納入館藏。

《顫抖的日出》以金融報紙的股票行情為畫面基底，將資本主義的語言直接嵌入自然景觀之中，揭示了人類文明與自然環境之間的緊密糾纏。作品中的日出本是更新與希望的象徵，卻因文明賴以維繫的體系充滿不確定性而顯得顫抖不安。張逸斌透過這種視覺隱喻，批判性地呈現了資本邏輯如何深刻塑造並威脅著自然與人類進程的平衡。

張逸斌（1975 年生於倫敦，現居香港）畢業於中央聖馬丁藝術與設計學院，他的創作以跨媒介的實驗性著稱，涵蓋繪畫、版畫與多媒體，常將傳統山水畫的美學與數位工藝和當代材料結合，形成獨特的視覺語言。自 2000 年代初期嶄露頭角以來，他的作品持續探討全球化、科技與金融體系對文明與自然的深遠影響。

02/06/2026

gdm is delighted to announce Gordon Cheung’s “Trembling Sunrise” has been acquired by M+ Museum, Hong Kong.




Gordon Cheung’s “Trembling Sunrise” is a vision of nature and human civilization locked in a fragile embrace. The rising sun, a symbol of renewal, is rendered unstable; trembling, the systems that sustain our civilization are themselves precarious. Cheung makes this instability visible by embedding the language of capitalism directly into the landscape: financial newspaper stock listings form the ground of the image, reminding us that the natural world and human progress are now inseparably bound to the logic of markets.

Gordon Cheung (b. 1975, London; based in Hong Kong) is a British-born Chinese artist known for his innovative fusion of traditional landscape painting with contemporary materials and digital processes. Educated at Central Saint Martins, he emerged in the early 2000s as part of a generation interrogating globalization, technology, and finance. His practice spans painting, printmaking, and multimedia.

31/05/2026

Opening 4 June

Tang Chang: Into the Heart-Mind — the artist’s first solo exhibition in Hong Kong — brings together a rare constellation of works where landscape becomes language, and the natural world becomes a site of inner transformation. Curated by Sheryl Gwee, former head researcher of The Tang Chang Private Museum.

Across his practice, Tang Chang (1934–1990) reimagined landscape not as scenery but as movement, breath, and consciousness. Born in Bangkok to a Chinese immigrant family, he drew deeply from Daoist and Buddhist thought, translating rivers, mountains, and cosmic rhythms into gestural fields of ink, color, and fingertip marks. His landscapes are not observed; they are felt — unfolding from the body outward.

The exhibition traces four pathways through his evolving vision:

• True Forms: ink works that distill riverscapes into flowing, calligraphic currents.
• Writing the Cosmos: landscapes of the sky — expanding, multiplying, vibrating with cosmic order.
• Wilderness Colors: vivid terrains built from fluorescent washes and dragged fingerprints, where color becomes terrain.
• Living Traces: landscapes of the heart-mind, where gesture becomes a record of presence.

Through these works, Chang dissolves the boundary between inner and outer worlds. Landscape becomes a mirror — a way of seeing the self, the cosmos, and the pulse that connects them.

📍 11 Duddell St, Central, Hong Kong
🗓 4 June – 29 August 2026
Curated by Sheryl Gwee


#陳壯

29/05/2026

Irene Chou (1924–2011) — a pioneering voice in Hong Kong’s New Ink Painting movement. She redefined modern ink art with her explosive splash ink and meditative one-stroke techniques, blending centuries-old traditions with the bold energy of modern abstraction.

On view now in a specially curated booth “Archipelago of Art Histories” at ARCOlisboa 2026, curated by Cosmin Costinas, at booth I05 from 28-31 May — Irene Chou’s art stands as a vital chapter in the history of contemporary ink painting.

28/05/2026

The stillness of a sage’s mind is a looking glass for heaven and earth, a mirror for the ten thousand things. — Zhuangzi

Tang Chang: Into the Heart-Mind
Curated by Sheryl Gwee
4 June – 29 August 2026
gdm Hong Kong

Daoism, Buddhism, and Chinese painting were cornerstones in Tang Chang’s worldview—he translated classics such as the Daodejing and Sh*tao’s Treatise on Painting into Thai. At the heart of his practice lies the heart-mind as a mirror, reflecting in its stillness the myriad things of the cosmos. To achieve the clarity of a sage is to attune one’s heart-mind to the Dao—the universal structure and flow that underpins everything in existence.

Revisiting Tang Chang’s works through this lens reveals how he saw painting as a transformative practice of mental, spiritual, and ethical cultivation. Beyond scenic representations of an exterior reality, could we consider Tang Chang’s paintings mirror images of his own interiority—his heart and mind?

#心鏡之景

25/05/2026