David Zwirner is pleased to present Parallax, a group exhibition curated by Leo Xu that will feature work by gallery artists Francis Alÿs, Dan Flavin, Gordon Matta-Clark, Fred Sandback, and Diana Thater.

On view at the gallery’s Hong Kong location, the show takes its inspiration from the classical Chinese idiom 移步換形 yí bù huàn xíng, which translates as “the view before you will transform with every step you take,” suggesting an understanding of the experience of space as contingent and infinitely changing as one moves through it. A fundamental idea in Chinese garden design, the meaning of the term has been explored in literary travel memoirs and nature writings as well as in the traditions of landscape painting. The exhibition will feature immersive installations and video and film works by these five artists, all of which engage with this concept by highlighting and directly confronting how space is perceived and experienced by the viewer.

de Sarthe is pleased to announce Shifting Landscapes, a presentation of artwork by the contemporary Hong Kong-based artist Andrew Luk (b.1988) and the Post-war master Chu Teh-Chun (1920-2014). The artworks were respectively intended for the Encounters sector and Galleries sector at the canceled Art Basel Hong Kong 2020. In Shifting Landscapes, these works are reconsidered within the gallery’s own context during the Covid-19 crisis.

De Sarthe is pleased to announce Contemporary Show Off, a one-week-long showcase of new and existing monumental artwork from our roster of contemporary artists. Several of the paintings in the exhibition are the largest artworks our artists have ever produced. We asked seven of our artists to either create new work or choose one of their most impressive existing pieces. The exhibition is the result of this collective effort and embodies the communal spirit of our gallery, the quality of our artists, and the boundary pushing nature of our program.

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Galerie KOO is pleased to present “Hong Kong Home Kong” by three Hong Kong artists – Pen So, Wai Wai and Ringo Ma. With their unique view and sensations, and together with their favourite distinct medium and technique, the 3 artists personalize Hong Kong cityscapes in their individual acclaimed style. Each artwork allows the viewer to enjoy a special excitement, hence, ferment a personal feeling stemming from the imagination immersed.

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We are delighted to announce the Hong Kong gallery is now open by appointment. On view are works by Günther Förg, Louise Bourgeois, Rita Ackermann, Larry Bell, Takesada Matsutani and others.

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Best known for her seductive candy-colored history paintings, Rosson Crow presents a new body of lush interior and landscape works for Smoke and Mirrors at Over the Influence, Hong Kong. The exhibition is marked by sickly-sweet acid-toned washes over layered photo transfers, oil paint, and spray paint with images bleeding in and out of one another like a melted amassment of mementos. Crow’s palette of corrosive colors twists her compositions toward abstraction, heightening their hallucinatory perspectives. The commanding presence of her works is emphasized by not only the physical scale but also the theatricality of the compositions. Both draw the viewer into the frame as if becoming part of the scene, but the closer the viewer comes the more the illusion is disrupted by the painterly presence of Crow’s surfaces – the drips and splashes which jolt the viewer back into the gallery.

Smoke and Mirrors is an extension of previous bodies of work by Crow rooted in histories latent with nostalgia and anxiety. The hostile, distressed, and unequivocally apocalyptic mood she summons in her new paintings suggests that the anxieties of history have only been exacerbated today. This year of the pandemic, economic collapse, political strife, and environmental disaster are equally glossed over and accentuated in Crow’s psychological scenes – luxury juxtaposed with austerity, emptiness with excess. In Fire Begets Fire, a pristine garden lagoon is trashed and burned, a roman bust floating in the polluted water as acid-colored smoke plumes into the sky. Adjacent, an empty desert-scape surrounds a red pool, the clouds of a coming storm forming in the background. In one of Crow’s signature interior compositions titled Clairvoyance, a deserted high-end restaurant garnished with an opulent chandelier looms from a privileged post over a firework/lightening/inferno-engulfed cityscape. The question of whether the city is amid celebration or destruction is enhanced by Crow’s layering of colors and glitched photographic images which serve to both obscure and embellish reality. The emptiness of each scene cultivates an equal sense of tranquility and disaster,an element of exuberance with a dark undercurrent. Crow is interested in the dark psychologies that drive us as people. This darkness is present throughout even the most ebullient works such as the explosive still-lives which expose the gluttony of consumer society and the seduction of overabundance.

or Royal Jarmon’s first exhibition with Over the Influence, the Brooklyn-based painter presents a series of seemingly flattened, birds-eye view of cars. Abstracting perspective and movement, he reconfigures the vehicles appearance, taking on a curious position, as if a child dissecting the objects around them.

Reminiscing on his rural upbringing, where watching NASCAR was a staple form of entertainment, Jarmon rediscovers the action of the bright, logo-filled car collisions as metaphors for turbulent times in his life. The car crashes are humorous, but dark, conveying the beauty that can accompany life’s difficulties.

More recently his interest in this subject segued into other automobiles pulled from specific memories – the taxis that drained his wallet, being new in NYC and missing the train; the wood-grained caravan he traveled the country in after wrecking his own first car. He unfolds each artwork as if creating a texture map of the vehicle, a full 3-D covering for each memory.