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.

📣 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

Kongkee Spiritual Practitioner 33, 2025 Lenticular, Lightbox 90 x 55.5 x 5.5 cm Edition of 3 plus 2 AP Kongkee (b. 197...
31/08/2026

Kongkee
Spiritual Practitioner 33, 2025
Lenticular, Lightbox
90 x 55.5 x 5.5 cm
Edition of 3 plus 2 AP

Kongkee (b. 1977, Malaysia; raised in Hong Kong) is an animation director and visual artist whose work reflects on relationships between people, and between people and their environments, drawing on history, everyday life, and speculative science fiction.

Rendered in a vibrant palette of greens, yellows, and magenta, Kongkee’s lenticular lightbox works elaborate on his rendition of a cyberpunk cityscape. The vivid colors in Kongkee’s creative output also represents desires in Buddhist ideology.

“Spiritual Practitioner 33” draws inspiration from the Kannon statues from the Sanjusangendo Temple in Kyoto, Japan. The temple is famous for its 1,001 statues of Kannon, the goddess of compassion in her thousand-armed incarnation. The thousand-armed Kannon is said to have eleven heads to better see the suffering of mankind, and one thousand arms to save everyone in need. It is said that among the Kannon statues you will find one that resembles the person you long to meet.

Kongkee 江記 will be a part of gdm A11 at Frieze Seoul from 2-5 September.



江記
Spiritual Practitioner 33, 2025
光柵、燈箱
90 x 55.5 x 5.5 cm
版數3版加2藝術家自存版

江記（江康泉，1977年生於馬來西亞，香港長大）是動畫導演及視覺藝術家，作品思考人與人之間、以及人與環境之間的關係，取材自歷史、日常生活與科幻想像。

在這件光柵燈箱作品中，江記以綠色、黃色與洋紅交織的鮮明色調，延續了賽博龐克城市景象。作品中濃烈的色彩，也呼應著佛教思想裡的「欲望」概念。

《Spiritual Practitioner 33》的靈感來自京都三十三間堂的觀音像。這座寺廟以殿內千手觀音像聞名——一千零一尊觀音，沿著長達三十三間（寺名由此而來）的大殿一字排開。千手觀音據說有十一張面孔，以便更好地看見世間的苦難，以及一千隻手臂，以救助所有需要幫助的人。相傳，在眾多觀音像中，人們能找到渴望重逢的面容。

9月2至5日，Kongkee 江記 將於爍樂畫廊 Frieze首爾弗里茲藝博會展位 A11呈現。

#江記 #爍樂畫廊

Text in the Room, DeferredGroup exhibition curated by Wang Jinggdm Taipei - On view till 5 SeptemberWu Lao Bai is a cont...
29/08/2026

Text in the Room, Deferred
Group exhibition curated by Wang Jing
gdm Taipei - On view till 5 September

Wu Lao Bai is a contemporary artist, independent filmmaker, and social activist whose practice often takes the form of artistic intervention in public life. Through these actions, Wu seeks to reintroduce obscured and neglected social issues into the public sphere.

Wu’s earlier project “The Lover” (2019) was co‑initiated with Lin He, a gay police officer, as a protest against LGBTQ+ conversion therapy. Collaborating with rights organizations, psychiatrists, and other professionals, they distilled three statements on conversion therapy from CCMD‑3 and WHO guidelines, emblazoning them across three red trucks. These trucks toured six cities and conducted undercover visits to nine medical institutions. The resulting film documents the obstacles encountered, the varied psychiatric perspectives on conversion therapy, and the artist’s strategies for confronting social issues within constrained public space. It poses a central question: when connection becomes possible, can it generate deeper change?

武老白為當代藝術家、獨立影像創作者與社會行動實踐者。其創作常以藝術行動介入公共生活，將日常生活中被遮蔽與忽視的社會問題重新帶回公共視野。

《戀人》（2019）是武老白與同志員警林壑共同發起的抗議 「同性戀扭轉治療」藝術專案。他們與多個平權組織、精神科醫師及相關從業者合作，依據 CCMD-3 與 WHO 聲明提煉出三句指向扭轉治療的話語，並印製於三輛紅色卡車上。項目期間，卡車巡行六城，並暗訪九家醫療機構。影片紀錄巡遊過程中遭遇的現實阻礙與部分醫師對扭轉治療的看法，並展現藝術家在受限公共空間中面對社會議題的方法與策略：當聯結成為可能，能否帶來更深遠的改變？

#武老白


#武老白


#武老白


#武老白


#武老白


#武老白


《平方》（2026），由武老白與劉洋共同執導。影片聚焦兩位跨越不同代際的女工，在遭遇非法解僱後各自踏上維權之路。正如女工小平所言：「我們倆像是在這片孤獨的沙漠中，相互攙扶的兩個人。」作品以細膩的影像語言，呈現出女性勞動者在制度性困境中彼此支撐的力量。

The short documentary “Ping & Fang: Squared” (2026), co‑directed with Liu Yang, follows two female workers from different generations who, after experiencing illegal dismissal, embark on parallel journeys of rights defense. As one of the workers, Xiaoping, reflects: “The two of us are like two people supporting each other in this lonely desert.” The film captures the resilience and solidarity of women

Text in the Room, DeferredGroup exhibition curated by Wang Jinggdm Taipei - On view till 5 SeptemberXu Tan, a core membe...
29/08/2026

Text in the Room, Deferred
Group exhibition curated by Wang Jing
gdm Taipei - On view till 5 September

Xu Tan, a core member of the Guangzhou‑based artist collective Big Tail Elephant Group since 1993, has long pursued an artistic practice rooted in language, social research, and collective discourse. Beginning in 2005, his ongoing project “Keywords” has employed interviews, fieldwork, and data collection across China to compile and recontextualize “keywords” that emerge from everyday life. In 2008, this initiative expanded into Keywords School, extending linguistic practice into public space through collaborative discussion and participatory exchange.

In his recent work “Village Women’s Hearts” (2026), Xu turns to the figure of the “new Xianglin” — a contemporary reimagining of Lu Xun’s tragic character Xianglin’s Wife, as a lens through which to examine the lived experiences and psychological states of working women in Shunde, Guangdong. Through video interviews and sustained fieldwork, the project documents women’s negotiations with domestic labor divisions, village elections, and the persistent stigma surrounding divorce. In doing so, Xu constructs a contemporary “Xianglin narrative,” situating individual voices within broader structures of social change and cultural memory.

The third section, “Mother, We Seem to Have Met Before”, introduces the perspective of an artist raised in the countryside, reflecting on her mother’s life as a farmer. She recalls: “Through decades of relentless labor she showed no obvious signs of depression… Yet once she left the fields and entered the quieter domestic life of children and grandchildren, her psychological distress surfaced quickly.” This testimony underscores the paradox of labor and rest, revealing how the transition from agrarian toil to domestic quietude can expose latent psychological fragilities. Xu’s work here not only records but reframes these narratives, offering a poignant meditation on resilience, vulnerability, and the shifting conditions of rural womanhood in contemporary China.

徐坦自1993年加入大尾象工作組，成為該廣州藝術家群體的核心成員之一。他的創作始終植根於語言、社會研究與集體討論。自2005年起，他展開長期計畫 《關鍵詞》，透過訪談、田野與資料採集，持續整理並生成社會語彙，再置入新的語境中進行再生產與再討論。20

Text in the Room, DeferredGroup exhibition curated by Wang Jinggdm Taipei - On view till 5 SeptemberLiu Wei Wei’s practi...
29/08/2026

Text in the Room, Deferred
Group exhibition curated by Wang Jing
gdm Taipei - On view till 5 September

Liu Wei Wei’s practice focuses on identifying unfamiliar spaces and tracing the presence of absent events, intervening in reality through urgent, complex, and highly action-based methods. Through creative incidents and actions, Liu constructs a “chain of evidence,” positioning art as a form of site-based intervention. In 2017, he was one of the initiators of Residents, a project included in the Hyundai Blue Prize “Creativity” exhibition at Hyundai Motorstudio Beijing, bringing wider international attention to his practice.

Liu’s work The Invisible People (Events) (2026), filmed at a factory in Shenzhen, was withdrawn from display before the exhibition’s opening and is currently covered in white cloth. The work exposes the structural conditions under which certain lives become administratively invisible and politically unprotected—it confronts the mechanisms through which state and corporate systems manage the visibility of laboring bodies.

劉偉偉的實踐持續指向陌生空間與缺席事件的辨識與追索，並以緊迫、複雜且高度行動性的方式介入現實。他以創造性的事件與行動搭建出一條「證據鏈」,使藝術成為一種現場介入的方法論。2017年,他作為發起人之一參與的《居民》項目入選現代汽車文化中心Hyundai Blue Prize「Creativity」獎項展覽,受到國際關注。

此次劉偉偉在「房間裡沒有文本」展出的作品《不被聚焦的人(事件)》（2026）拍攝於深圳某工廠，因故於開展前終止展出，最終披上白布。作品直面當代中國勞動現場中被制度性抹去的生命與敘事，劉偉偉將此事件轉化為一個反紀錄的現場，質詢誰能被看見、誰被迫消失，以及誰掌握影像與真相的生產權。

#劉偉偉


#劉偉偉


#劉偉偉

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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