Galerie du Monde

Galerie du Monde The spacious gallery offers a relaxing environment in which to appreciate and contemplate work by some of China’s finest young artists.

Located in the heart of Central, Galerie du Monde, established in 1974, specializes in Modern and Contemporary works of art by internationally established Chinese artists. The gallery also nurtures and promotes emerging talent from the Mainland with exciting and innovative solo and group exhibitions throughout the year with a strong focus on works of art on canvas, paper, sculpture and photography. The gallery also offers a full range of art-related services such as their renowned quality custom framing and restoration of works of art on canvas and on paper.

     Adia Millett’s “Power Unearthed”, her third solo exhibition with gdm, examines how power navigates through the eart...
11/09/2026



Adia Millett’s “Power Unearthed”, her third solo exhibition with gdm, examines how power navigates through the earth, the body, the spirit, and our creative connection with each other. Her paintings, textiles, and installations expose systems of exploitation while reclaiming visibility for women, Black communities, and marginalized voices. At the core of this body of work is the recognition that all life moves in cycles: the extraction of power and resources cannot be one‑sided. What is taken from the earth will return, and societies must face this the consequences of our own consumption.

Millett’s practice moves fluidly across painting, African American quilt traditions, sound art, and installation. Her paintings on wood panels, radiant with saturated color and glitter, extend African aesthetics of visibility and endurance. Her textiles, rooted in quilting and collective craft, transform repurposed fabrics into radical acts of reclamation. Through sound and installation, Millett creates immersive environments that summon ancestral presence and contemporary struggle, inviting audiences to inhabit cycles of rupture and renewal. Taken together, her work insists that art is a living archive of survival, resistance, and collective imagination.



Adia Millett: Power Unearthed

17 September to 7 November 2026
Opening reception: 17 September, 17:00 – 20:00
Artist guided tour: 19 September, 15:00

#展覽預告 #爍樂台北

「源起源歸」是艾迪亞・米勒在爍樂畫廊的第三次個展,探問權力如何穿行於大地、身體、精神,以及人與人之間的共創連結。她的繪畫、紡織與裝置創作,不僅揭露了系統性的剝削,更致力於為女性、非裔社群及邊緣群體之聲重奪可見性。本次展覽的核心,植基於對生命循環的深切體認:權力與資源的汲取絕非單向之行,凡取自大地的,終將回返,而社會必須直面其無度消費所招致的後果。

米勒的創作實踐,游移於繪畫、非裔美國拼布傳統、聲音藝術與裝置之間,呈現出一種流動而充滿生命力的藝術語言。她在木板上運用飽和明亮的色彩與閃粉,延續非裔文化中美學作為存在與韌性見證的傳統。她的織品作品深植於拼布與集體工藝的脈絡,將回收布料轉化為一種重新奪回主權的行動。透過聲音與裝置,米勒打造出沉浸式的空間,召喚祖先的靈光與當代的抵抗意識,引領觀者走入碎裂與再生的循環之中。她的藝術是一部活生生的檔案,記錄著生存、抵抗,以及集體想像的不斷生成。



艾迪亞・米勒「源起源歸」

展期:2026年9月17日11月7日
開幕:2026年9月17日17:00 – 20:00
藝術家導覽:2026年 9月19日15:00

Chiu Wei-Hsiang 邱瑋祥 邱瑋祥 Toil and Soil《日日耕》gdm Hong Kong 爍樂畫廊・香港Artist Tour 藝術家導覽 12 September 2026 (Sat) 2:30 PMChiu Wei...
11/09/2026

Chiu Wei-Hsiang 邱瑋祥 邱瑋祥
Toil and Soil《日日耕》

gdm Hong Kong 爍樂畫廊・香港

Artist Tour 藝術家導覽
12 September 2026 (Sat) 2:30 PM

Chiu Wei-Hsiang’s Toil and Soil is currently on view at gdm Hong Kong from 10 September to 31 October 2026. The artist will be present this Saturday for an Artist Tour on 12 September 2026 at 2:30 PM. The tour will be given in Mandarin.

邱瑋祥《日日耕》現於爍樂畫廊・香港展出,展期為 2026 年 9 月 10 日至 10 月 31 日。藝術家將於 2026 年 9 月 12 日星期六下午 2:30 在畫廊進行導覽。導覽將以國語進行。

Installation view of Chiu Wei-Hsiang, Toil and Soil, gdm Hong Kong (2026). Photography by Felix SC Wong
邱瑋祥《日日耕》展覽現場,爍樂畫廊・香港,2026。攝影:王思聰。

Alison Nguyen Co-commissioned by High Line Art and CHANEL Culture Fund for 5th High Line Originals Film The High Line Hi...
09/09/2026

Alison Nguyen Co-commissioned by High Line Art and CHANEL Culture Fund for 5th High Line Originals Film The High Line High Line Art

Alison Nguyen 艾莉森·阮 Alison Nguyen
Prior Occupants
High Line Originals Film
8 September - 16 November 2026

Alison Nguyen’s new film Prior Occupants, commissioned by the High Line and CHANEL Culture Fund, will screen at the High Line Channel from 10am to 10pm daily from 8 September through 16 November. Following the premiere on 8 September at 7pm, High Line Art will host a special screening and public artist talk.

“Prior Occupants explores the obscure nuclear history of Westbeth Artist Housing’s building—the former headquarters for Bell Laboratories, a research facility tied to the development of communication technologies and, later, the atomic bomb. Inspired by a severed fragment of the original High Line freight rail left embedded in Westbeth’s facade, and the High Line’s own history of transformation, Nguyen reflects on the historical narratives that persist—and those quietly erased—within sites of adaptive reuse.”

Screens daily: 8 September - 16 November, 10am - 10pm
Location: High Line at 14th Street, New York City

Major support for High Line Originals is provided by CHANEL Culture Fund.

Film stills, Prior Occupants, 2026.
(1) Young Westbeth resident playing near the Reception Lobby, Westbeth Artist Housing
(2) Classified tube diagram from Bell Laboratories files at Columbia University’s Rare Books and Manuscripts
(3) Westbeth Artist Housing from Washington Street
(4) Containing a Westbeth Artist Housing fire-escape balcony
(5) Screening view of Prior Occupants, High Line Art, 2026. Photography by Timothy Schenck (Rendering)

Image courtesy Alison Nguyen.

  📣    Chiu Wei-Hsiang: Toil and Soil10 September – 31 October 2026gdm, 1/F, 11 Duddell Street, Central, Hong Kong Openi...
09/09/2026

📣


Chiu Wei-Hsiang: Toil and Soil
10 September – 31 October 2026
gdm, 1/F, 11 Duddell Street, Central, Hong Kong

Opening: Thursday, 10 September, 17:00–19:00
Artist Guided Tour: Saturday, 12 September, 14:30

gdm Hong Kong presents “Toil and Soil”, the debut solo exhibition of Taiwanese artist Chiu Wei-Hsiang.

Born in Taoyuan in 1997, Chiu witnessed the demolition of his childhood home under the Aerotropolis project, scattering kin and uprooting bonds. By day, he manages a nursing institution, confronting systemic invisibility; by night, he paints — cultivating memory, dignity, and identity through image.

This exhibition is the testimony of a 29‑year‑old surviving in rupture, forging selfhood against erasure. His brushstrokes are not merely aesthetic gestures but acts of defiance: refusing to reduce elders to cases, refusing to let land and memory vanish. Demolition and caregiving enact parallel violences — one uproots geography in the name of development, the other predetermines existence in the name of efficiency. Painting resists both.

“Toil and Soil” is daily cultivation — fragile yet unyielding, on the wasteland of memory, in the exhaustion of labor, in the invisibility of care, at the threshold of life and death. It is survival at its most minimal, yet most defiant. In guarding roots and forging silent connections, Chiu insists on identity as resistance, and art as ground.

Chiu Wei‑Hsiang graduated in 2020 from the National Taiwan University of Arts, and is now based in Taipei.

邱瑋祥

#展覽預告 #邱瑋祥 爍樂畫廊 📣

邱瑋祥《日日耕》
2026年9月10日 – 10月31日
香港中環都爹利街11號一樓 爍樂畫廊

開幕:9月10日(週四)17:00–19:00
藝術家導覽:9月12日(週六)14:30

  📣    Chiu Wei-Hsiang: Toil and Soil10 September – 31 October 2026gdm, 1/F, 11 Duddell Street, Central, Hong Kong Openi...
06/09/2026

📣


Chiu Wei-Hsiang: Toil and Soil
10 September – 31 October 2026
gdm, 1/F, 11 Duddell Street, Central, Hong Kong

Opening: Thursday, 10 September, 17:00–19:00
Artist Guided Tour: Saturday, 12 September, 14:30



gdm Hong Kong presents “Toil and Soil”, the debut solo exhibition of Taiwanese artist Chiu Wei-Hsiang.

Born in Taoyuan in 1997, Chiu witnessed the demolition of his childhood home under the Aerotropolis project, scattering kin and uprooting bonds. By day, he manages a nursing institution, confronting systemic invisibility; by night, he paints — cultivating memory, dignity, and identity through image.

This exhibition is the testimony of a 29‑year‑old surviving in rupture, forging selfhood against erasure. His brushstrokes are not merely aesthetic gestures but acts of defiance: refusing to reduce elders to cases, refusing to let land and memory vanish. Demolition and caregiving enact parallel violences — one uproots geography in the name of development, the other predetermines existence in the name of efficiency. Painting resists both.

“Toil and Soil” is daily cultivation — fragile yet unyielding, on the wasteland of memory, in the exhaustion of labor, in the invisibility of care, at the threshold of life and death. It is survival at its most minimal, yet most defiant. In guarding roots and forging silent connections, Chiu insists on identity as resistance, and art as ground.

Chiu Wei‑Hsiang graduated in 2020 from the National Taiwan University of Arts, and is now based in Taipei.

邱瑋祥

#展覽預告 #邱瑋祥 爍樂畫廊 📣

邱瑋祥《日日耕》
2026年9月10日 – 10月31日
香港中環都爹利街11號一樓 爍樂畫廊

開幕:9月10日(週四)17:00–19:00
藝術家導覽:9月12日(週六)14:30



爍樂畫廊香港空間欣然呈現台灣藝術家邱瑋祥的個展《日日耕》。

1997年生於桃園,邱瑋祥的童年家園因航空城計畫而被徵收拆除,家族隨之離散。白天,他在看護機構承受制度性忽視的勞動;夜晚,他以繪畫耕種記憶與自我。

早年的拆遷與今日的照護勞動共享同一種暴力邏輯 —— 前者以發展之名剷除人的地理根源,後者以效率之名過早定義人的存在。邱瑋祥穿梭於這兩種暴力之間,以繪畫抵抗。

《日日耕》是一場日復一日的耕作:在記憶的荒原上,在勞動的疲憊中,在被體制隱形的照護現場,在生與死的交界處,一種最低限度卻最頑強的存在實踐。

在守護根源與人際的默然連接中,邱瑋祥為自己在縫隙中找到立足之地。

邱瑋祥於 2020 年畢業於台灣藝術大學,現居台北。

Chiu Wei-HsiangWind Seeps In This Afternoon 風吹進下午, 2026Acrylic on paper, 79 × 55 cmChiu Wei-Hsiang’s still lifes emerge ...
01/09/2026

Chiu Wei-Hsiang

Wind Seeps In This Afternoon 風吹進下午, 2026
Acrylic on paper, 79 × 55 cm

Chiu Wei-Hsiang’s still lifes emerge from memory rather than direct observation, carrying with them the textures of soil, harvest, and communal exchange. Even after relocating to the city, his gaze continues to rest on fruits, vegetables, and flowers — forms that, though inanimate, pulse with vitality through his vibrant palette. These painted objects are not meditations on decay but impressions of presence: gestures of care, sustenance, and shared living.

Rooted in his childhood experiences of countryside markets and the bonds they fostered, Chiu’s compositions extend those formative rhythms into the present. Produce becomes more than nourishment; it is a token of reciprocity, a reminder of human closeness.

邱瑋祥 will be a part of gdm A11 at Frieze Seoul from 2-5 September. Stand A11.

Chiu Wei-Hsiang’s solo exhibition “Soil and Toil” will be presented at gdm Hong Kong this autumn, opening 10 September!

#邱瑋祥 #爍樂畫廊

Adia Millett ADIA MILLETT Wisdom of the Wind, 2024–2026Glass-tile mosaic, façade installationCommissioned for UCSF Benio...
01/09/2026

Adia Millett ADIA MILLETT

Wisdom of the Wind, 2024–2026
Glass-tile mosaic, façade installation
Commissioned for UCSF Benioff Children’s Hospital Oakland, Temescal Hall
Fabricated in collaboration with Mayer of Munich

Adia Millett’s Wisdom of the Wind transforms the façade of UCSF Benioff Children’s Hospital Oakland’s new Temescal Hall into a radiant threshold of care and possibility. Composed of luminous chromatic geometries in glass mosaic, the work traces the invisible currents of wind as rhythm, passage, and transformation. Its shifting fields of color and light evoke Oakland’s layered cultural landscape: ancestral lineages, everyday celebrations, and collective resilience, while offering a space for joy, play, and hope.

Created in partnership with Mayer of Munich, a historic studio renowned for its collaborations with artists on stained glass and mosaic, Millett’s large-scale composition is oriented toward children as its primary audience. The mosaic reframes the hospital’s architecture as a beacon: a site where healing and imagination converge.

“My hope is that people who are not just walking by but also patients will be able to use it as a beacon of hope and possibility.” — Adia Millett

Adia Millett’s new solo exhibition “Power Unearthed” will be presented at gdm Taipei this autumn, opening 17 September!

#爍樂畫廊

Wu Chi-Tsung Cyano-Collage 273, 2026 Cyanotype, Xuan Paper, Acrylic Gel, Acrylic, Mounted on Aluminum Board 90 x 90 cmWu...
01/09/2026

Wu Chi-Tsung
Cyano-Collage 273, 2026
Cyanotype, Xuan Paper, Acrylic Gel, Acrylic, Mounted on Aluminum Board
90 x 90 cm

Wu Chi-Tsung (b. 1981, Taiwan) is a multi-disciplinary artist whose work seamlessly weaves Western and Chinese arts both on a technical and philosophical level. In 2012, Wu began the Wrinkled Texture series with the intention to reinterpret cun fa, the traditional texturing method of Chinese landscape painting — using cyanotype, one of the oldest photographic processes, in place of ink and brush. Xuan paper is soaked in photosensitive solution, crumpled and molded by hand, then exposed under the sun; folds and the interplay of light and shadow replace ink, and the results resemble shanshui landscapes. These experiments evolved into the large-scale collaged Cyano-Collage series.

In this work, the crumpled folds of Xuan paper, once exposed under the sun, become the peaks and ravines of an imagined mountain range — light and shadow standing in for brushstroke and ink. Wu’s process embraces the unpredictability of the medium: each fold and each hour of sunlight leaves its own trace, so that no two works can ever be repeated.

Visit gdm’s booth at Frieze Seoul from 2-5 September to discover Chi-tsung Wu’s latest work. Stand A11.

#吳季璁 #爍樂畫廊

Wu Jiaru docile_body_I_iv, 2026 Oil on linen 150 x 110 x 4 cm  Wu Jiaru (b. 1992, Guangdong; lives in Hong Kong) is a mu...
31/08/2026

Wu Jiaru
docile_body_I_iv, 2026
Oil on linen
150 x 110 x 4 cm

Wu Jiaru (b. 1992, Guangdong; lives in Hong Kong) is a multidisciplinary artist whose practice spans painting, moving image, sculpture, and installation. Her work investigates infrastructures of perception and memory, engaging cultural mythology, diaspora, and urban imagination. Through reflective surfaces, hand-drawn film, found objects, and sound, she creates environments that unsettle viewing and implicate audiences in questions of identity, displacement, and translation.

Her ongoing series draws on Foucault’s “docile body” — a body shaped by disciplinary systems. Figures rarely appear stable; human and animal forms merge, dissolve, and proliferate into hybrid presences that resist fixed identity. The body becomes a site where social forces, instinct, and collective memory converge.

Through “automatic painting,” Wu follows intuition rather than predetermined narrative. Figures emerge via layered, gestural brushwork and colour, reflecting her interest in “unlearning” fixed visual habits. She recombines fragments of visual memory to build a contemporary mythology written through the body’s posture. With deformed bodies, fluid objects, and everyday materials, Wu rethinks identity, class, consumption, migration, memory, and power.

Wu Jiaru latest work will debut at Frieze Seoul from 2-5 September, gdm booth A11.

#吳佳儒 #爍樂畫廊

#吳佳儒 #爍樂畫廊

#吳佳儒 #爍樂畫廊

吳佳儒
docile_body_I_iv, 2026
亞麻布面油畫
150 x 110 x 4 cm

吳佳儒(1992年生於廣東,現居香港)的創作涵蓋繪畫、動態影像、雕塑及裝置。她的實踐探討文化記憶、離散經驗與城市想像。透過不同的實驗性媒材如反射性塗料、手繪底片、現成物與聲音等,建構出打破慣常觀看機制的環境,引領觀者通過神話、文學、親密關係的視角去思考身份、邊界與歷史的個體化實踐等議題。

她持續發展的系列名稱取自福柯的「馴順的身體」,意指被規訓機制塑造的身體。畫中人體少見穩定的形象,他們形體交融並增生;人與動物輪廓重疊,形成抗拒固定身分的混雜存在。身體成為社會力量、本能與集體記憶交匯的場域。

吳佳儒以「自動繪畫」創作,依直覺而非預設敘事,讓形象在層層手勢筆觸與色塊中浮現。此方法刻意放開理性控制,呼應她對「逆學習」既定視覺習慣的關注。她拼貼視覺記憶碎片,以身體姿態書寫當代神話體系。透過扭曲的身體與日常材料,她重新思考身分、階級、消費、遷徙、記憶與權力的關係。

Wu Jiaru最新的作品將於Frieze首爾弗里茲藝博會爍樂畫廊展位A11亮相,展期9月2日至5日。

#吳佳儒 #爍樂畫廊

Tang Kwong San Darwin’s Orchid I & II, 2026 Brown glass, aluminum, wood and graphite on paper in artist frame 68 x 100.5...
31/08/2026

Tang Kwong San
Darwin’s Orchid I & II, 2026
Brown glass, aluminum, wood and graphite on paper in artist frame
68 x 100.5 x 12.5 cm

Tang Kwong San (b. 1992, Dongguan; based in Hong Kong) transforms fragments of memory into ”specimens“ — graphite, oil, photography, and found objects reassembled as living archives of diaspora. His practice crystallizes the paradox of migration: uprooted yet preserved, fragile yet enduring. The specimen, recurring throughout his oeuvre, is both metaphor and method: evidence preserved against time, carriers of intergenerational histories suspended between life and archive.

His graphite drawing of Darwin‘s orchid crystallizes survival and adaptation. The orchid’s improbable nectar spur, once Darwin‘s emblem of coevolution, becomes Tang’s metaphor for Hong Kong — grafted, hybrid, fragile yet persistent. In Cantonese, ”moth“ (ngor) echoes ”me,“ collapsing pollinator into artist. Pinned into specimen boxes, his drawings echo the orchid‘s improbable survival: suspended between archive and life.

Visit gdm’s booth at Frieze Seoul from 2-5 September to discover details in 廣燊’s graphite markings. Stand A11. 



#鄧廣燊 #爍樂畫廊

#鄧廣燊 #爍樂畫廊

鄧廣燊
達爾文蘭 I & II, 2026
茶色玻璃、鋁、木、石墨紙本、藝術家裝裱
68 x 100.5 x 12.5厘米

鄧廣燊(1992年生於東莞,現居香港)把記憶的碎片轉化為「標本」——石墨、油畫、攝影與現成物,被重新組構為離散經驗的活體檔案。他的創作凝結了遷徙本身的悖論:連根拔起,卻又被小心保存;脆弱,卻也持久存續。「標本」這個意象貫穿他的創作,既是隱喻,也是方法——是對抗時間留下的證據,是懸置於生命與檔案之間、承載著世代記憶的容器。

這件石墨素描凝結了生存與適應的命題。達爾文蘭那根難以置信的花距,曾是達爾文用以論證協同演化的著名例證,在此轉化為鄧廣燊筆下香港的隱喻。它們嫁接而生,混種共存,脆弱卻持久不滅。粵語裡,「蛾」與「我」諧音,讓傳粉者與藝術家的身分彼此疊合。這些被釘入標本盒的素描,呼應著蘭花那近乎奇蹟的存續方式:懸置於檔案與生命之間。

9月2日至5日,歡迎蒞臨Frieze首爾弗里茲藝博會gdm 展位 A11,細賞廣燊石墨筆跡中的細節。

#鄧廣燊 #爍樂畫廊

#鄧廣燊 #爍樂畫廊

Address

390 Ruiguang Road, Neihu, Taipei; 11 Duddell Street, Central
Hong Kong

Opening Hours

Monday 10:00 - 19:00
Tuesday 10:00 - 19:00
Wednesday 10:00 - 19:00
Thursday 10:00 - 19:00
Friday 10:00 - 19:00
Saturday 10:00 - 19:00

Telephone

+85225250529

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