HONG KONG (Taiwan News) — As Hong Kong Art Month winds down, the city’s gallery district remains active with a series of major Asian solo debuts.
Anchored by H Queen’s, several international galleries are sustaining the city’s momentum with a slate of major exhibitions this April. Solo presentations by Taiwanese pioneer Chen Hui-chiao (陳慧嶠) and American contemporary artist Nicole Eisenman reflect the ongoing dialogue between Asian and Western aesthetics.
At David Zwirner, artist Walter Price presents "Pearl Lines," his first solo exhibition in Asia. Price’s vivid canvases move between figuration and abstraction, using color and line to construct open-ended narratives.
Tang Contemporary Art has unveiled "Crab," a 30-year retrospective of the career of Yue Minjun. The exhibition traces Yue’s evolution across diverse media, echoing the lateral movement suggested by its title.
Within this international lineup, the presence of Taiwanese art is especially notable. Galerie du Monde (gdm) marks its 50th anniversary with "Under One Sky," Chen Hui-chiao’s debut solo exhibition in Hong Kong.
A co-founder of Taipei’s influential IT Park, Chen transforms needles, thread, cotton, and LEDs into works that examine the militarization of the sky.
Spanning works from 1997 to 2025, the exhibition uses the dual nature of the needle — both a piercing instrument and a tool for repair — to examine global instability.
By selecting a female Taiwanese artist for this flagship presentation, gdm highlights the depth of Taiwanese contemporary art and a tension between softness and resistance.
Nearby at Hauser and Wirth, Nicole Eisenman presents "Fallen Angels." The exhibition focuses on more domestic and grounded subject matter than much of her earlier work.
Comprising 11 recent paintings and three sculptures, the show moves through three familiar middle-class settings: the home, the office, and the beach. Smaller in scale and quieter in tone than Eisenman’s more crowded satires, these works instead capture a sense of hesitation within familiar spaces.
Themes of creative struggle and physical toll run through the show. In "Self-Portrait With Deadline," the red marks on the artist’s knuckles raise the question of whether they are pigment or blood.
The exhibition also contains layers of revision and mediation, seen in works such as "Edie and Hope Street with Freddy and George," which reflect Eisenman’s habit of reworking her process. "Banandelier" similarly turns dried banana peels into a symbol of both decay and optimism.
Beach-themed works reveal the paradox of escapism. Eisenman portrays her "angel of history" facing away from the future as a giant wave approaches the shore, turning the scene into a reminder of time running out.
Other galleries in Central reflect different forms of cultural exchange. Gagosian is hosting "Persephone," the first Asian solo exhibition for Mary Weatherford.
Working with flashe on linen and incorporating colored neon tubes and shells, Weatherford explores light and color. Drawing on the Greek myth of Persephone’s return to the mortal world, she echoes Hong Kong’s neon legacy while connecting modernist invention with the natural world.
