paintings and works on paper in Anstis’s first presentation with the gallery - “Anstis’ otherworldly scenes - where figures, often nude, commune amongst themselves and in the company of animals - present a dreamlike logic” - James Casey

an immersive environment with signature psychologically-charged clay-animation films alongside sculptural works, from the Swedish duo in their first exhibition at the gallery in Beijing

an exhibition highlighting Shawky’s pivotal early video works which used profound, playful and unexpected approaches to look at themes of East-West dichotomies and religious conflict

Müller’s first solo exhibition in Asia - “paintings, imbued with tranquility and nostalgia, explore the things we deeply yearn for: what we wish to hold on to, what we struggle to remember, and what we fear losing”

“an aspiring manga professional turned rising star painter, Kuraya creates an oeuvre that revives the classic role of figure painting” - Shinyoung Chung

a group exhibition which examines the work of female abstract artists across different eras through the lens of Japanese women artists

“stepping into Miyake’s artistic world is like venturing into a jungle where myth and adventure merge, where fantasy and danger collide” - Lin Ye, translated by Lingxuan Tang

“using a delicate dry-brush technique, Nakara brings to life the rich textures of the desert landscape that she has called home for a lifetime”

with an installation, photograms, and video, this exhibition examines existence and extinction through spatial constructions and a multilayered perspective across various materials and media

in a densely filled exhibition space, over fifty works including new and previously unseen pieces, in which Ahn explores the uncertainties of painting - between representation and abstraction, chance and inevitability, stimulation and receptivity

an immersive fabric installation, work on paper, paintings, and cut-out paintings in Mourad’s debut exhibition in Asia - “his quick strokes carry a sense of augury, a cartomancy in paint”

“the paintings in Dusk are veiled in a glaucous, furtive sheen, as if illuminated by a sun long past the curvature of sight” - Paige Haran

new experimental vessel sculptures alongside intricate mosaic tablet works in the Japanese sculptor’s first solo exhibition in China

“Kim Keetae’s paintings remind us that what makes life genuinely ‘enchanting’ is our relationship to the unreachable, the incalculable, the unmanageable, the unpredictable”

presenting Salz’s medium- and large-scale creations for the first time, an exhibition which explores the “essence of light and color, taking viewers into a realm between the tangible and the ethereal”

Dilg’s first solo exhibition in Korea - “there is a peculiar sense of timelessness, which allows a viewer to reflect on the age when the nature was wild and unknowable” - Yuki Higashino

nearly 100 works by over fifteen prominent artists from the East and the West, in an exhibition which explores the technical heritage and contemporary possibilities of printmaking and drawing

“Naito explores moments when mind, hands, fingers, paper, paint, water, and brush become one”

“the incarnation of his relentless experiments with light and cultural symbols ... in Pim’s hallucinatory space, the known world slowly dissolves, and for one suspended breath, the soul touches the unspeakable” - Jialing Sun

new large-scale mixed-media paintings and a new series of hanging sculptures in Sze’s first solo exhibition in Asia

“Chingltu’s creations go beyond mere depictions of grassland landscapes or nomadic culture. They inspire audiences to explore, with poetic romanticism, the harmonious relationship between humanity and nature, tradition and modernity”

“Tang approaches her process with a time-oriented perspective, using pierced paper as a highly original language to manifest time and space on the surface of paper, ultimately probing the deeper meaning of existence”

“our feet are the contact point, the place where we connect to the earth. In these sculptures, there is both joy and trepidation at this contact point. The summit of joy tends not to arrive without traversing risk” - Armstrong

organized with The Easton Foundation, works from the 1960s to 2008 including rarely exhibited sculptures and works on paper as well as a three-meter-long fountain installation and a steel and marble sculpture both shown in Asia for the first time

paintings of ethereal, empty landscapes imbued with an unsettling, atmospheric calm in Webster's debut solo exhibition in Hong Kong