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Tuesday 11:00 - 19:00 Wednesday 11:00 - 19:00 Thursday 11:00 - 19:00 Friday 11:00 - 19:00 Saturday 17:00 - 19:00

Empty Gallery

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Empty Gallery

Empty Gallery is a black-cube contemporary art space located in Tin Wan, Hong Kong.

13/08/2026

The Great Forgetting
Professor Shigehisa Kuriyama
Saturday, August 22, 3PM 18/F Grand Marine Center, 3 Yue Fung Street Walk-ins welcome, no registration required  In tandem with Ann Zhao’s exhibition Spillover, Empty Gallery is grateful to invite Professor Shigehisa Kuriyama for his first lecture in Hong Kong. “The Great Forgetting” will radically reimagine the single most decisive development in the history of medicine: the transition from traditional to modern medicine. Whereas prior histories have portrayed the transition as a shift from a pre-scientific to a scientific understanding of the body, this talk will spotlight the critical role of a entirely different, hitherto overlooked development: the forgetting of past intuitions of time.

It was above all these earlier intuitions of time, the talk will argue, that long made traditional medicine feel so compelling to people in the past; and it was the forgetting of these intuitions that now makes traditional medicine seem so strange and exotic. What were these intuitions? Unexpectedly, Spillover offers suggestive clues: Zhao’s evocation of her 本命年 Ben Ming Nian as well as her eye for the propensities shaping particular “moments” lets us glimpse obliquely, but insightfully into the temporal experiences at the heart of traditional medicine. Which is to say that that this past world is not truly past, but actually remains close at hand—though it is habitually overlooked and forgotten and waiting to be noticed and remembered. By bringing together Zhao’s artistic vision with a fresh perspective on the evolution of medicine, this lecture will try to illustrate how deeper reflection on the distant past can refresh and enliven our experience of the here and now.  Ann Zhao’s Spillover will be on view through September 5, 2026.   Poster design by 阿蕉   Please refer to our comments below for Professor Kuriyama’s full biography.

14/07/2026

We are pleased to announce that Doris Guo’s Alna Senter (2024) has been acquired by the Walker Art Center for their permanent collection.  Alna Senter (2024) references a bus stop in Oslo that traces the route from the city centre towards the outer suburbs. A passenger’s view during this ride consists of many forests behind fences. This scenery is reflected in the wooden exterior housing of this work, inside of which is a projector. The projector contains two egg holders, referencing domestic consumer objects that are familiar in European contexts.  Originally exhibited at our Art Basel 2024 presentation, the work has also been shown at Bent at the Window, Guo’s solo exhibition at Kunstverein Braunschweig Germany, from March through June 2025, as well as Calling the Lights, in .space Zurich, organised by Otto Bonnen, from December 2025 through February 2026.  We extend our utmost thanks to the curators and colleagues at Walker Art Center who made this possible. 
Walker Art Center Doris Guo

Photographs 1-2 at Kunstverein Braunschweig by Frank Sperling.

12/07/2026

Ann Zhao’s “Spillover” is now on view through September 5, 2026.  Zhao’s title references a passage from Zhuangzi which classifies and ranks different modes of speech according to their ability to communicate the Dao. In this rarefied context, the term “spillover” refers to the indeterminacy of everyday speech in contrast to more fixed or formal modes—a self-renewing flexibility which allows plain words to keep pace with an underlying reality that is never static, but always dynamically changing.1 However, the term might refer equally to the chaotic breach of containment between one category and another—the inevitable pollution (or collateral damage) which occurs when the innate messiness of the subject spills over—as when the dissolution of a single relationship threatens the social coherence of a larger group or when illness or injury (the state of the body) compromise the supposed purity of an intellectual position.

The heart of Zhao’s exhibition consists of Ben Ming Nian (本命年), an installation of twenty-four photographs on the gallery’s 19th floor. Alternating between shadowy black & white and muted color, this sequence of images presents a selection of moments from the stream of Zhao’s daily existence. As always in her practice, self-disclosure and artistic identity operate along a fluid line of ambivalence, erasure, and potential reversibility. Despite being nominally diaristic, many of these images remain deeply inscrutable. More atmosphere than evidence, they furnish something like an emotional weather report of Zhao’s life with the twelve year curse.2
 1 Chuang-Tzu, Chuang-Tzu: The Inner Chapters, trans. A.C. Graham, (Hackett Publishing, 2001), 26. 
2 本命年 Ben Ming Nian refers to the years that align with one’s personal Chinese zodiac, which occur every twelve years—one Zodiac cycle. One’s Ben Ming Nian is typically associated with misfortune and bad luck, due to the year corresponding with being in conflict with the corresponding Tai Sui 太岁general of the year. Tai Sui is a celestial deity in Chinese folk religion, and there are sixty Tai Sui generals, thus they rotate on a sixty-year cycle.
 Installation views by Felix S.C. Wong. 
Ann Zhao

10/07/2026

Cici Wu’s installation at Greater New York, MoMA PS1, on view till August 17th 2026.

“At the center of the installation, a softly flickering soundless projection transmits the fluctuations in luminosity of Cha’s unedited location footage, transforming her disjointed cinema into abstract sensory data. Overlaid in the corner of the projection frame, a second smaller film spools through images of items and documents in Cha’s archive from 1976, the year she studied in Paris where the idea for White Dust took hold, perhaps inspired by her secondary dislocation in France. This allusive yet precise object history annotates the absent picture: a memo with lines of script, typewritten notes, unsent postcards, a love letter, poems. By carefully parsing the material of Cha’s muted reflections, Wu invents a circumspect form of peripheral documentary, her perspective framing another dimension.” – Kari Rittenbach

Upon Leaving the White Dust (go go she and not come back said go and don’t come back), 2018/2025, ink, rice paper, bamboo wire, wheat glue, handmade glass, LED lights, electronics, 16mm film transferred to HD video (black and white, silent; 19:40 min.), video (light data collected from the screening of unfinished film footage from Theresa Hak Kyung Cha, White Dust from Mongolia,1980; 30 min.). Dimensions variable.

Courtesy of the artist and 47 Canal, New York.

MoMA PS1

Installation views by Kyle Knodell.

Upon Leaving the White Dust (go go she and not come back said go and don’t come back), 2018/2025, ink, rice paper, bamboo wire, wheat glue, handmade glass, LED lights, electronics, 16mm film transferred to HD video (black and white, silent; 19:40 min.), video (light data collected from the screening of unfinished film footage from Theresa Hak Kyung Cha, White Dust from Mongolia,1980; 30 min.). Dimensions variable.

Courtesy of the artist and 47 Canal, New York.

Theresa Hak Kyung Cha, Untitled (poems) 1976, typewritten text on paper; White Dust from Mongolia - Notes, Sketches 1980, pencil and black pen on white paper; Empreinte 1976, typewritten text on paper.

Exhibition copies courtesy the University of California, Berkeley art Museum and Pacific Fil

09/07/2026

Cosmological Critique opens tonight (July 9, 7pm) at Badischer Kunstverein in Karlsruhe, Germany.  Cosmological Critique showcases the complex work of Catherine Christer Hennix (1948– 2023), whose five decades of artistic activity involved the amalgamation of music, mathematics, language and spirituality into a singular space of thought. Hennix conceived her works as ‘semiotical objects’ – such as signs, diagrams and texts, as well as sound and light compositions – through which she sought to investigate and to transform perception and the processes of meaning generation.

Beginning in the late 1960s, and with points of departure in the experimental music scenes of Stockholm and New York, Hennix developed an approach that shifted between minimalist composition, mathematical research and metaphysical speculation. Formative for her development were encounters with La Monte Young, Marian Zazeela and Pandit Pran Nath, whose ideas about time, sound and continuity had a lasting influence. In parallel, she was intensively preoccupied with the philosophical, logical and linguistic bases of mathematics, and was, among other things, a guest professor at the first lab for artificial intelligence at MIT.

Cosmological Critique is the most extensive presentation of this artist to date, and ranges from early graphic scores and immersive installations to poetry, paintings and sculptures, as well as questions of transfeminist aesthetics and politics.

Curated by Anja Casser, Lawrence Kumpf and Moritz Nebenführ  The exhibition is produced in collaboration with Malmö Konsthall, The Etymon Foundation (New York) and Empty Gallery (Hong Kong) as well as Marcus Pal as artistic advisor.  Photograph of Catherine Christer Hennix by Ari Marcopoulos.  Courtesy of Blank Forms; New York, Catherine Christer Hennix.

Badischer Kunstverein Blank Forms

27/06/2026

Empty Gallery is pleased to present our first solo show with Shanghai based artist Ann Zhao. Both intimate meditation and trenchant diagnosis, Zhao’s exhibition attempts to grapple with what might be called the use and abuse of art for life.  Opening reception: Saturday, July 4, 6–8PM with a performance by MAI Mai at 7PM  Ann Zhao | Spillover July 4 - August 29, 2026

19/06/2026

We’re at Art Basel L10 through Sunday, June 21, with works by: Chan Hau Chun Doris Guo Doris Guo
Tishan Hsu Tishan Hsu
Taro Masushio Cici Wu
Ann Zhao Ann Zhao  Ann Zhao, Little Girl Blues, 2024
Oil on linen  Taro Masushio, Remove the Eye #7, 2026
Photogravure 
Doris Guo, Without title, 2022
lacquer paint, PVC

18/06/2026

This is the last week to catch our Jutta Koether exhibition, rEceNt WoRkS, which will close on Saturday June 20.

We are closed on June 19 for Dragon Boat Festival, so Thursday and Saturday are your last chance.  Jutta Koether, iNsEpErAbLe II, 2026
133 parts, black gesso, acrylic, acrylic paste on canvas

Jutta Koether, Rhythm Review I (je te veux), 2026
3 parts, acrylic on canvas

16/06/2026

Art Basel opens today, through Sunday, June 22. Find us at Booth L10, in hall 2.2.   We are exhibiting works by: Chan Hau Chun Doris Guo Doris Guo
Tishan Hsu Tishan Hsu
Taro Masushio Cici Wu
Ann Zhao

Photography by Jack Elliot Edwards

Address

18 & 19/F Grand Marine Center, 3 Yue Fung Street
Tin Wan

Opening Hours

Tuesday	11:00 - 19:00
Wednesday	11:00 - 19:00
Thursday	11:00 - 19:00
Friday	11:00 - 19:00
Saturday	17:00 - 19:00

Telephone

+85225633396

Website

http://www.emptygallery.com/

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