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CENTRAL
Yang Jiechang: The Last Tree
22 May – 14 Sep, 2024
Alisan Fine Art (Central)
CENTRAL
Celestial Equilibrium
23 May – 12 Sep, 2024
10 Chancery Lane Gallery
CENTRAL
The Evanescent
20 Jun – 31 Oct, 2024
Pearl Lam Galleries Hong Kong
SOUTHERN
"If I Were.." Exhibition
4 Jul – 27 Oct, 2024
Artspace K
CENTRAL
Generative Canvas
15 Aug – 26 Sep, 2024
Ora-Ora
KWAI TSING
Summer Stroll
17 Aug – 14 Sep, 2024
The Stroll Gallery
CENTRAL
Summer-Scape
21 Aug – 13 Sep, 2024
3812 Gallery
SHEUNG WAN
The Way Home: Group Show Curated by Shirky Chan
22 Aug – 28 Sep, 2024
Soluna Fine Art
SOUTHERN
A Brush with Nature: Recent Works by Stephen King
22 Aug – 19 Oct, 2024
Alisan Fine Arts (Aberdeen)
CENTRAL
Bridging Horizons: Ting and the New Wave
27 Aug – 20 Sep, 2024
Sansiao Gallery HK
SOUTHERN
Old Master Q's 60th Anniversary – Manuscript Exhibition
28 Aug – 8 Sep, 2024
Lucie Chang Fine Arts
CENTRAL
Clement Chan: New Sixteen Views of Seclusion
28 Aug – 5 Oct, 2024
Art of Nature Contemporary (Central)
CENTRAL
To Everything That Moves
29 Aug – 4 Oct, 2024
MASSIMODECARLO
SOUTHERN
Jacky Tao Solo : Have A Nice Day
29 Aug – 5 Oct, 2024
SC Gallery
SOUTHERN
Melting Suns on the Screens
31 Aug – 28 Sep, 2024
DE SARTHE
SOUTHERN
Megumi Shinozaki: Meridiem
31 Aug – 12 Oct, 2024
WKM Gallery
SHEUNG WAN
SANTIAGO EVANS CANALES | PRECIOUSLY PROFANE POSSESSIONS
31 Aug – 12 Oct, 2024
Double Q Gallery
CENTRAL
In Motion
31 Aug – 14 Oct, 2024
WOAW Gallery
SOUTHERN
Ding Zhi: Secretly, Inwardly, Dimly
31 Aug – 19 Oct, 2024
MOU PROJECTS
CENTRAL
Social Abstraction | Curated by Antwaun Sargent
10 Sep – 2 Nov, 2024
Gagosian
SHEUNG WAN
TIME CAPSULE - LUKA YUANYUAN YANG
12 Sep – 12 Oct, 2024
Flowers Gallery
SHEUNG WAN
I like expensive shxt
12 Sep – 12 Oct, 2024
Contemporary by Angela Li
CENTRAL
ZAO WOU-KI: Art without Border
12 Sep – 21 Oct, 2024
VILLEPIN
CENTRAL
Tang Kwong San: Rootstock
12 Sep – 9 Nov, 2024
gdm (Galerie du Monde)
CENTRAL
Hannah Rollings: See, Feel, Mark - A Journey of Exploration Painting in Hong Kong
13 Sep – 5 Oct, 2024
Seefood Room
SHEUNG WAN
zam1 m4 gat1 dou3 juk6
13 Sep – 10 Oct, 2024
Novalis Art Design
SOUTHERN
Tales of Women
14 Sep – 14 Oct, 2024
Tang Contemporary Art (Wong Chuk Hang)
SOUTHERN
Jen Liu: I Am Cloud
17 Sep – 2 Nov, 2024
Blindspot Gallery
SHEUNG WAN
Hong Kong: Cinematic Set & Viewing Platform
19 Sep – 22 Nov, 2024
Leo Gallery
CENTRAL
HKFOREWORD24
20 Sep – 5 Oct, 2024
10 Chancery Lane Gallery
CENTRAL
Kaleidoscope of Abstraction
21 Sep – 26 Oct, 2024
Karin Weber Gallery
SOUTHERN
Pass: Taro Masushio
21 Sep – 30 Nov, 2024
Empty Gallery
CENTRAL
Dusk Upon the Hush: Liu Guofu Works on Paper Exhibition
23 Sep – 29 Nov, 2024
3812 Gallery
SHEUNG WAN
Unmasked
26 Sep – 13 Oct, 2024
Young Soy Gallery
CENTRAL
Mark Bradford. Exotica
26 Sep – 1 Mar, 2025
Hauser & Wirth
SOUTHERN
Chances Are You’ll Like It All Ways
28 Sep – 9 Nov, 2024
Ben Brown Fine Arts
SOUTHERN
Lain Bangdel
28 Sep – 16 Nov, 2024
Rossi & Rossi
CENTRAL
That Summer We All Saw Them
2 Oct – 30 Oct, 2024
WOAW Gallery
SHEUNG WAN
Pneuma 숨결
3 Oct – 9 Nov, 2024
Soluna Fine Art
CENTRAL
A Wider Horizon
3 Oct – 16 Nov, 2024
Ora-Ora
SOUTHERN
HEIAN - Seiju Toda First Solo Exhibition in Hong Kong
5 Oct – 25 Jan, 2025
wamono art
CENTRAL
Ferrari Sheppard: Modality
9 Oct – 15 Nov, 2024
MASSIMODECARLO
CENTRAL
Forms and Fields: Takeo Yamaguchi X Sadamasa Motonaga
10 Oct – 16 Nov, 2024
Whitestone Gallery
SOUTHERN
In Stranger Lands: Cocoa’s Journeys To Asia
17 Oct – 14 Nov, 2024
Tang Contemporary Art (Wong Chuk Hang)
SOUTHERN
Jun Takahashi: Peaceable Kingdom
25 Oct – 14 Dec, 2024
WKM Gallery
Pass: Taro Masushio
21 Sep – 30 Nov, 2024
Empty Gallery

Taro Masushio, Untitled (CB #22), 2024, UV print on found cardboard. Photo: Felix SC Wong


Empty Gallery is pleased to present Pass, New York-based artist Taro Masushio’s second solo exhibition with the gallery. Masushio’s practice positions photography as a kind of ontological research or speculative machine within a nexus which also includes video, drawing, and sculpture. Often departing from an engagement with informal (or imaginary) archives, Masushio investigates the capacity of images, not to document an underlying reality, but to manipulate, enframe, and ultimately, extend our own perception. 


Pass originates from Masushio’s intimate engagement with the touristic travel photography of his own father––a retired Japanese school teacher with a penchant for excursions to far-flung and exotic locales. He appropriates and transforms these superficially unremarkable vacation images––which mingle conventional romanticism with a certain hazy coloniality––printing them on scavenged cardboard used for the bulk shipment of Japanese consumer goods. Richly colored snapshots are attenuated by scores and creases, tears and abrasions, graphic logotypes and fragmentary slogans erupt into the artificial space-time of the image. These boxes can be read as references to the spurious circulatory mechanics at work in tourism, (and its conjoined twin, the global art world) as well as winking acknowledgements of the exhibition’s recycled nature—its conjuration of a kind of instant intertextuality. However, these humble boxes are also imbued with an indefinable pathos, a peculiar tenderness which is amplified by Masushio’s choice of imagery. Interspersing these new cardboard prints with a series of still-lifes––a form which he repeatedly returns to––Masushio assembles a kind of synthetic travelogue-cum-diary speculating on the entangled nature of voyages both spiritual and terrestrial, the masculine exploratory impulse, and the interminable paradigm of filiation.


Early in the exhibition, the viewer encounters Untitled 37, a color still-life of a small book belonging to Masushio’s father–––Rimbaud’s collected poetry in Japanese translation. As photographed by his son, this appropriated object becomes one potential portal into the conceptual and affective movements which animate Pass. Speaking through the nexus of associations surrounding the merchant-poet, Untitled 37 motions towards both the continual oscillation between realism and romanticism and the incestuous generativity of the paternal relation which thematically define the exhibition.


Elsewhere, Masushio’s video Untitled (Dear Dante) depicts twin sparklers hovering in front of a blurry horizon. They billow vaporous fumes across the frame, obscuring our vision. A moment of shared leisure between father and son is simultaneously captured and elided, subjected to a promiscuous logic. A voice recites a letter to a former lover, guiding us along a narrative of erotic longing and self-annihilating desire. Accompanied by this soundtrack, the images in video gradually rearrange themselves. We see anew the chemical reactions of the flames, the powdered strontium mingling with nitrate: spurts of burning metal ejected, arcing into the empty air––oxygen spent in a perpetual forging. Towards the end of the film, speaking of a possible reunion with his lover, the voice asks, “Doesn’t the fact that the earth is round seem enough reason that this should happen?” This invocation of a polytemporal homecoming, of a return which is both progression and continuation of an existing loop infects the show with an image: the tracing of a sphere which is at once the earthly globe and the circular gesture of asphyxiation. Representation too, can be a form of asphyxiation, one which can only be passed through by navigating the fecundity of images––their charged and self-generating simultaneity. The structural antinomies which define the exhibition––father/son, self/other, physical/spiritual, straight/queer––are revealed to be aspects of the same unknowable object, collapsing into one another with the most minute change in perspective. Autobiography is here both hermeneutic game and philosophical proposition. The circle becomes the Möbius strip.

Empty Gallery

Address: 18–19/F, Grand Marine Center, 3 Yue Fung Street, Tin Wan, Aberdeen

Opening Hours: Tue–Sat 11am–7pm

Phone: +852 2563 3396

Email: contact@emptygallery.com

Website: emptygallery.com