JR exhibition in Hong Kong

Seoul, designated as World Design Capital 2010, is showcasing its commitment to design through various ambitious architectural projects and exhibitions. Among these, Tokujin Yoshioka's "Spectrum" show at the Museum Beyond Museum stands out. Yoshioka, a Japanese designer, views design as an experiential rather than a purely creative process, and his works often possess an ethereal quality. His installation for Kartell at Salone del Mobile and his "Tornado" creation for Design Miami in 2007 exemplify this unique approach. The current exhibition features a nine-meter-tall window composed of 500 crystal prisms, titled 'Rainbow Church,' which is a central and awe-inspiring piece. This project was inspired by Yoshioka's visit to Henri Matisse's Chepelle du Rosaire in his early twenties, where he was deeply affected by the vibrant light filtering through Matisse's stained glass. This experience sparked his long-held dream of designing architecture that allows individuals to perceive light with all their senses. The exhibition also highlights some of Yoshioka's significant works from the past decade. These include the innovative "Venus" chair, which was cultivated from crystals within an aquarium, and the "Honey-pop" chair, a honeycomb-like structure crafted from sheets of glassine paper. A previously unseen piece, "Waterfall," is also on display. This counter table is fashioned from a massive glass block, similar to those used in giant observatory telescopes, and was originally created for a private gallery in Tokyo in 2006. Its appearance evokes that of a colossal ice block. Yoshioka's work consistently aims to engage all senses, offering an immersive experience for viewers rather than a passive observation. The "Spectrum" show in Seoul continues this tradition, inviting visitors to deeply interact with his designs and the unique way he interprets and utilizes light and materials. The exhibition is hosted at the Museum Beyond Museum in Gangnam-gu Chungdam-dong, Seoul, South Korea. #TokujinYoshioka #SeoulDesign #MuseumBeyondMuseum #DesignExhibition #CrystalPrisms #RainbowChurch #VenusChair #WaterfallDesign #JapaneseDesign

Harbour North Hong Kong is hosting a summer-themed wisteria exhibition, named 'Purple Flower Galore,' designed to replicate the aesthetic of Japan's renowned Kawachi Fujien Wisteria Gardens in Fukuoka. This event, which continues until early October, features an extensive display spanning over 3,000 square feet, offering visitors an immersive floral experience reminiscent of Japanese travel. The exhibition includes a romantic walk through a sea of hydrangeas and a highly Instagrammable 20-meter-long wisteria tunnel, which are key attractions for photo opportunities. Beyond the outdoor floral displays, Harbour North has incorporated additional purple flower-themed installations indoors. These include a gigantic butterfly installation and a wisteria wishing tree, allowing visitors to engage with the theme in various settings. This event follows the success of Harbour North's previous 'Spring Sakura' exhibition, indicating a strategic effort to provide visually appealing and travel-inspired experiences for the public. To enhance the visitor experience, Harbour North is also offering promotional deals in conjunction with the exhibition. Discounts of up to 90 percent are available across selected stores on popular items such as the iPhone 11, Nintendo Switch, and the Dyson Supersonic hairdryer. Additionally, exclusive purple-themed goodie bags are being offered as part of the event's promotional activities. Access to the wisteria tunnel and hydrangea field is granted to members of 'The Point by SHKP' who sign up for free. Certain entry restrictions apply, including a limit of two people per attraction for a duration of five minutes, and mandatory mask-wearing at all times, in adherence to health and safety guidelines. The event aims to provide a unique local attraction that satisfies public interest in visually engaging experiences and offers retail incentives. Further details regarding the event can be found on the official Harbour North website. #HarbourNorth #WisteriaExhibition #HongKongEvents #FloralDisplay #KawachiFujien #TravelInspired #ShoppingDeals #InstagrammableSpots #CulturalExperience

The exhibition “Courtyard of Detachments” by Trevor Yeung is presented as a response to his earlier work, “Courtyard of Attachments,” and is showcased in Hong Kong. The exhibition explores themes of power dynamics, human relationality, and artificiality through mixed-media installations, drawing inspiration from Hong Kong's Mong Kok goldfish market. Historically, in the densely populated city of Hong Kong, fish have been popular pets due to limited living space. Yeung, having grown up in Hong Kong and cared for pet fish, finds the goldfish market a compelling subject, incorporating elements from it into his art. His artistic practice often choreographs animals, plants, and objects into staged scenes that subtly reveal intricate human relationships. This approach was previously seen at the 60th Venice Biennale, where Yeung’s installations featured flowing liquids and functional aquariums, notably without live fish. The 2024 exhibition, “Courtyard of Attachments,” combined cultural symbols with pet shop displays to highlight underlying artificial structures, building on the artist’s thematic interests. In contrast, “Courtyard of Detachments” in Hong Kong faces different contextual constraints, primarily the inability to incorporate large quantities of water due to the architectural design of the Herzog & de Meuron-designed gallery spaces. An installation titled *Pond of Never Enough (Under Construction)* (2025) in a bamboo-clad gallery, named the “Venetian Courtyard,” ironically alludes to this limitation. What was a working fountain in Venice is presented in Hong Kong as boarded up and dry, featuring seating that serves as a pedestal for sculptures made from found objects. Another significant piece, *Gate of Instant Love* (2024), is a metal sculpture that mimics the display structures found in Mong Kok fish shops, featuring mesh and S-hooks. Within its arch, a photograph titled *the stealth that doesn't hurt/the scratch that doesn't help* (2024) depicts wafer-thin clear plastic in a transparent acrylic frame. This image, appearing weightless and clinical from a distance, reveals subtle complexities through light refractions and scratches up close, echoing themes from the publication *Cruising Archaeology*, which documents flattened remnants from cruising sites. A separate room in the exhibition simulates an abandoned pet fish shop under neon-pink lighting. Here, *Little Comfy Tornado (After Typhoon)* (2025) consists of empty aquariums filled with filtration equipment necessary for sustaining fish in artificial environments. Wires, pipes, and pumps are arranged around a shattered glass tank on a plinth, serving as a "warning of the consequences of neglect." The exhibition’s use of textual descriptions often directs the interpretation of Yeung’s otherwise nuanced works. The aged appearance of the tanks, with clouded glass and lime-scarred rubber seams, transforms them into metaphors for societal systems that claim to provide care but also impose restrictions. The absence of water and life in these aquariums symbolizes a void, reflecting themes of longing or desire. This carefully constructed emptiness allows for the concept of attachment or detachment to be understood through the exhibition's infrastructure, turning the theme of animal husbandry into a broader examination of power dynamics, observation, and control, particularly evident with the inclusion of full-length mirrors in the room. #TrevorYeung #ArtExhibition #HongKong #MPlusMuseum #MixedMediaArt #CulturalSymbols #HumanRelationality #PowerDynamics #Artificiality

French artist duo Zim & Zou have unveiled their latest paper installation, "Flying Faubourg," for the Hermès window display in Tokyo’s Ginza Mitsukoshi. This intricate paper sculpture pays tribute to Hermès’ equestrian heritage by featuring a floating, hybrid creature, part horse and part machine, rendered in warm, sunset-inspired hues. The artwork integrates elements of Hermès' iconic Parisian storefront at 24 Faubourg Saint-Honoré, reimagining it as a structure soaring above the cityscape of Tokyo. Zim & Zou, who refer to themselves as "paper pirates," constructed this complex installation specifically for the opening of the Hermès Ginza Mitsukoshi store. The central sculpture represents their most elaborate creation to date, meticulously assembled in their studio in France before being transported and installed in Japan. The piece is innovatively held together by magnets, supporting both smaller vessels suspended above and miniature buildings below. The artists describe "Flying Faubourg" as a potent symbol of intellectual freedom and artistic expression. The installation features the horse-like figure gazing forward, its mane seemingly flowing in the wind, which evokes Hermès' foundational origins in saddlery and equestrianism. Below this fantastical flying structure, viewers can identify iconic landmarks of Tokyo, such as the Tokyo Skytree, the Rainbow Bridge, and the Tokyo Tower, inviting an imaginative exploration of the city. The artists conveyed that the "Flying Faubourg" is momentarily static within the window display, yet it perpetually invites bold exploration of both the real world and the boundless realm of imagination. The artwork showcases Zim & Zou's signature use of paper as a primary medium, demonstrating their expertise in transforming two-dimensional sheets into detailed, three-dimensional forms. Their previous collaborations with Hermès and other notable brands highlight their unique approach to art and design, which often involves crafting entire fantastical worlds from paper. The choice of paper for such an elaborate installation also emphasizes the artists' commitment to a material that is both versatile and environmentally conscious, aligning with contemporary interests in sustainable art practices. The installation serves not only as a promotional display for Hermès but also as a significant artistic statement, merging luxury branding with imaginative craftsmanship and cultural storytelling. #PaperArt #Hermes #ZimAndZou #WindowDisplay #PaperSculpture #TokyoArt #EquestrianSpirit #InstallationArt #GinzaMitsukoshi

The article details a new exhibition by Takahiro Iwasaki, the artist-in-residence at the Portland Japanese Garden, focusing on his installations that challenge perception and integrate Japanese cultural concepts. Iwasaki, born and based in Hiroshima, received his Ph.D. from Hiroshima City University and an MFA from Edinburgh College of Art. His work, often categorized into 'Reflection Model' and 'Out of Disorder,' has gained international recognition, including exhibitions at the NGV in Melbourne and representing Japan at the Venice Biennial in 2017. The exhibition at the Portland Japanese Garden, titled 'Takahiro Iwasaki: Nature of Perception,' features a new 'Reflection Model' in the Pavilion and an 'Out of Disorder' installation in the Calvin and Mayho Tanabe Gallery. The 'Reflection Model' at the Pavilion is a detailed, handmade wooden re-creation of the Rashomon Gate, a historical structure at the entrance of Kyoto and central to Akira Kurosawa’s 1950 film of the same name. Iwasaki meticulously crafted the model, with the exception of the laser-cut 'Rashomon' sign, from historical drawings and the film’s set design. This model includes a 3-D mirror inversion, simulating a reflection in water, which creates a perceptual illusion. The physical solidity of the model, combined with its seemingly suspended, inverted twin, challenges viewers’ understanding of reflection and reality. The wood used is untreated cypress, intended to fade to a silver color, a detail that hints at the ephemeral nature of things. The installation connects to the Japanese concept of _mono no aware_, which refers to the understanding of the ephemeral nature of things, but can also be interpreted as a feeling of emptiness or a lack of resolution. This concept is particularly relevant to the Rashomon Gate, which no longer exists historically and was recreated for the film, emphasizing its transient existence. The article discusses how both Kurosawa and Iwasaki use the gate to address historical impacts, including war and nuclear destruction, and the ravages of time and human actions. The film _Rashomon_ itself is known for its exploration of subjective truths and unreliable narratives, with different characters providing contradictory accounts of a crime. The Portland Japanese Garden provided a cautionary note regarding the film's portrayal of women, although the artist intended his work as a cultural metaphor rather than an endorsement of the film's specific content. The author delves into the film's narrative concerning a rape and murder, highlighting the varied, self-serving testimonies, and connects this to contemporary discussions around the 'Me Too' movement and the challenges of discerning truth in biased accounts. A second Japanese concept, _mitate_ (seeing things with fresh eyes or radical re-contextualization), informs Iwasaki’s other installations. These include miniature cranes made from discarded threads, glued into books related to Kurosawa, displayed in acrylic containers. These miniature works, reminiscent of traditional Japanese _netsuke_, use reflections to multiply their images, reinforcing the theme of multiple perspectives. The author notes that understanding these cultural references, such as the film _Rashomon_ and historical poetry, enhances the appreciation of Iwasaki's art. Another installation, 'Out of Disorder (Thread through Time),' features miniature landscapes of Portland bridges and landmarks fashioned from glue-stiffened threads pulled from discarded fabrics, prompting familiarity and recognition for local viewers. The use of everyday materials and miniatures is a recurring theme in Iwasaki’s work, encouraging reflection on perception and the re-contextualization of the ordinary. The article concludes by emphasizing Iwasaki's inspirational invitation to view the world with fresh eyes, drawing parallels between his art and the renewed beauty of the rain-splashed Japanese Garden. #TakahiroIwasaki #PortlandJapaneseGarden #ArtExhibition #JapaneseArt #RashomonGate #ReflectionModel #MonoNoAware #Mitate #PerceptionArt #ContemporaryArt

Toyin Ojih Odutola, a Nigerian-born, New York-based artist, is presenting her fourth solo show in four years at New York’s Jack Shainman Gallery, titled *Of Context and Without*. The exhibition, which opens on December 11th and runs until January 30th, delves into themes of race and identity through her distinctive figurative drawings. Ojih Odutola is known for her hypnotic works created with ballpoint pen ink and charcoal, which have garnered her recognition in various art surveys and solo exhibitions, including those at the Studio Museum in Harlem, Contemporary Art Museum St. Louis, and the Indianapolis Museum of Contemporary Art. Despite her success, Ojih Odutola felt that previous interpretations of her work sometimes missed the intended narrative, leading to what she describes as “quick reads.” She aims to challenge these preconceived notions, particularly the expectation that a black woman artist's work must conform to specific themes. Her intention with *Of Context and Without* is to “confuse people” and make them question their assumptions about identity and representation. The exhibition marks a deliberate shift in her artistic approach to address the complexities of blackness and societal perceptions. The show begins with a series of works executed in white charcoal on blackboard, a technique that introduces a sense of ambiguity and slipperiness. By using white as a demarcating tool instead of black, Ojih Odutola creates an environment where viewers struggle to delineate clear meanings, making the concept of context suspect and the content unreliable. An example includes a portrayal of a black runway model rendered in white charcoal, giving it an almost otherworldly appearance. Further unsettling the viewer are grayscale figures with shimmering, seemingly pupil-less eyes, which blur the lines between form and image, pushing the discussion of race and blackness beyond conventional representation. Ojih Odutola emphasizes that her work is not merely about depicting black individuals but about addressing the societal inability to properly address the image of blackness. This perspective was deeply influenced by a commentator on CNN who discussed the dehumanization of figures like Michael Brown, who were reduced to concepts rather than seen as individuals. For Ojih Odutola, “blackness is an obfuscating element that obstructs anything that’s behind,” preventing true recognition of the person. To counteract this, she developed a series called *The Treatment*, featuring drawings of famous white men with black faces, their identities obscured by simple pencil outlines for hair and clothes, transforming them into anonymous figures. This intentional evasiveness aims to prevent singular, superficial interpretations, highlighting the multifaceted nature of people and situations. The exhibition also includes self-portraits, such as *Subway Selfie (Or be Thankful to Exist)*, a white charcoal piece reflecting the contemporary impulse for self-documentation. Another significant self-portrait is a larger-than-life marker drawing of a nude Ojih Odutola, initially titled *What’s on offer* and later renamed *The Object is the Technique + The Technique is the Object*, inspired by a Francis Bacon quote. This title underscores her desire for the marks themselves to be the subject, inviting viewers into her creative process and revealing the intricate layers often hidden in the final product. Through these diverse works, Ojih Odutola seeks to challenge viewers' perceptions, encouraging a deeper engagement with the complexities of identity, race, and artistic representation. #ToyinOjihOdutola #ArtExhibition #JackShainmanGallery #FigurativeArt #RaceAndIdentity #ContemporaryArt #CharcoalDrawing #NewYorkArt

Yuko Mohri’s new exhibition, ‘Entanglements,’ at Milan’s Pirelli HangarBicocca, features seven existing works across a 4,000 sq m space. The exhibition explores the concept of interconnectedness, examining how seemingly disparate elements interact within a shared environment and reflecting broader invisible links between living and inanimate objects. Mohri's artistic approach is characterized by innovation, drawing inspiration from everyday occurrences, such as the improvised water-catching systems found in Tokyo's subway. Her work, including 'Compose' at the 2024 Venice Biennale, often incorporates kinetic sculpture, natural elements like rotting fruit, and intricate systems of vessels to create immersive sensory experiences. The artist's creative process is significantly influenced by historical figures and movements. Marcel Duchamp, a French Dadaist, is cited as a key inspiration, particularly 'The Large Glass,' which Mohri found surprisingly handmade and felt a strong connection to. She also acknowledges the impact of South Korean artist Nam June Paik, known for his foresight into the digital age, and the experimental Fluxus movement. Mohri appreciates the Fluxus emphasis on process over polished results and the raw assembly of novel ideas using simple, familiar materials, which aligns with her own practice of embracing imperfection and unexpected developments in her work. Mohri's installations are highly responsive to their immediate surroundings. She often sources materials locally, adapting her creations to the specific architecture and context of the exhibition space. Her pieces are dynamic and evolve throughout their display, with elements undergoing decomposition or accumulation, allowing for unforeseen changes that enrich her artistic perspective. She views these unplanned transformations not as failures but as opportunities for meaningful evolution within her work. This adaptive and intuitive approach ensures that each exhibition is a unique interaction with its environment. A central aspect of Mohri’s exhibitions is the encouragement of a direct, bodily response from viewers. For a previous show at the Artizon Museum in Tokyo, she deliberately omitted extensive explanatory texts, urging visitors to engage their senses and focus on the visual, auditory, and tactile experiences. She hopes this approach fosters a sense of familiarity, as people recognize the everyday objects and sensations presented in her art. Mohri observes that children and pets often engage with her work without needing additional context, highlighting the universal appeal of her sensory-driven installations. The ‘Entanglements’ exhibition at Pirelli HangarBicocca is designed to offer a cacophony of sights, sounds, and smells. Mohri anticipates that while the space may initially appear chaotic, viewers will eventually perceive a hidden order or a moment of profound chemistry, akin to a 'tear in the world.' Her ultimate goal is for visitors to leave with an understanding that the sensations they experience are deeply connected to the complexities of language, matter, and life, and to inspire them to imagine alternative ways of perceiving the world beyond their existing frameworks. The exhibition runs until 11 January 2026. #YukoMohri #ArtExhibition #MilanArt #PirelliHangarBicocca #ContemporaryArt #InstallationArt #MarcelDuchamp #SensoryExperience #JapaneseArt

Japanese design studio Nendo presented their solo exhibition titled “Dancing Squares” at the Art Stage gallery in Singapore, which ran from January 13th to January 16th, 2011. The exhibition showcased a collection of furniture pieces including a bookshelf, a lamp, a stool, and a table, all characterized by a design aesthetic that gives the illusion of distorted or tumbling squares. This collection aims to imbue a sense of motion into static objects. The core concept behind the “Dancing Squares” series involves assembling square elements in a way that suggests dynamic movement. For instance, the bookshelf in the collection features a design where a part of its structure appears to be frozen in a cascade of tumbling planes. This creative approach introduces variation in how books can be stacked and displayed, moving beyond traditional linear arrangements. Another piece, the stool, is designed with a distinctive twist, providing it with a visually playful appearance. This design choice contributes to the overall theme of dynamic forms within the collection. The lamps in the exhibition are engineered to roll and remain stable, thanks to their carefully arranged planes, which also allow them to cast light in multiple directions, enhancing their functional and aesthetic versatility. Perhaps one of the most striking pieces is the table, which gives the impression of leaning or falling away. Despite this precarious visual effect, the table maintains its full functionality. The design also creates an optical illusion where objects placed on its surface appear to sink into its folds and sways, challenging perceptions of stability and form. These various movements and distortions are intended to create a fascinating interplay between balance and unbalance, making the planes of the furniture seem to dance. Nendo’s exhibition at Art Stage, located at Basement 2, Hall D at Marina Bay Sands, Singapore, was open to the public without an admission fee. The photographs of the collection were captured by Masayuki Hayashi. This exhibition provided insight into Nendo’s innovative approach to design, where everyday objects are reimagined with a fluid and dynamic sensibility, transforming conventional furniture into artful expressions of motion and form. #Nendo #FurnitureDesign #Exhibition #ProductDesign #ArtStageSingapore #SquareMotif #InnovativeDesign #InteriorDesign #JapaneseDesign

In Situ & Partners, an international architectural and interior design firm, developed a sophisticated pied-à-terre in Hong Kong Central, featuring panoramic city views. The project integrates Japanese design principles with contemporary elegance, emphasizing a minimalist aesthetic. Yacine Bensalem, Principal at In Situ & Partners, highlighted that the "less is more" philosophy of Japanese design guided the project, resulting in a space defined by clean lines, natural materials, and a calming neutral color palette. The 2000-square-foot apartment offers a tranquil atmosphere from the moment of entry. The residence's primary living area is an expansive T-shaped space, thoughtfully divided into a dining room, living room, and a traditional tatami tea room. This layout facilitates distinct functional zones while maintaining an open feel. Light parquet flooring and warm wood cabinetry establish a cohesive backdrop, complemented by European design objects. To introduce fluidity, a custom rug with a wavy pattern, evoking Zen garden sand designs, was incorporated. All technological components are discreetly concealed within the ceiling to maintain an uncluttered aesthetic. Bensalem expressed appreciation for the interior's elegant rigor, noting its simplicity and strong connection to nature. Each element is harmoniously integrated to uphold the home’s aesthetic coherence. Adjacent to the living area, a studio space separated by a glass and wood screen provides a communal desk with city views, continuing the theme of natural elements. The kitchen features sleek, custom-made cabinetry in matte lacquer, aligning with the apartment's overall minimalist design. The primary bedroom is designed as a sanctuary, utilizing soft textiles and tranquil colors. Adhering to feng shui principles, a Japanese landscape silk painting is displayed above a custom-made fabric headboard, and the window ledge is upholstered in brown leather. The en-suite his and hers walk-in closets feature checkered glass doors and traditional washi paper accents, adding a refined touch. A highlight of the residence is the authentic Japanese-style primary bathroom, which features original fixtures and materials. A circular bathtub, crafted by Japanese artisans, is the focal point, surrounded by fragrant wood fluted panels and Italian Ceppo di Gre stone. This design element underscores the blend of traditional Japanese craftsmanship with modern luxurious materials, creating a unique and serene bathing experience. The overall design prioritizes harmony, functionality, and a seamless integration of cultural influences. #JapaneseDesign #HongKongApartment #PiedATerre #MinimalistInterior #InSituAndPartners #TatamiTeaRoom #ZenGardenInspired #NaturalMaterials #FengShui

The China Pavilion at Epcot's World Showcase offers guests a journey through Chinese culture, history, and landscapes, inspired by ancient poet Li Bai. The pavilion's architecture is notably majestic, featuring a one-half scale reproduction of the Hall of Prayer for Good Harvest from Beijing. This iconic structure incorporates significant architectural details, such as 12 outer columns symbolizing the months and the Chinese calendar's 12-year cycle, and four central columns representing the seasons, supporting beams that signify Earth and Heaven. Key attractions include the 'Reflections of China,' a CircleVision 360 movie presentation that ran until 2019 and was slated to be replaced by 'Wondrous China.' The House of Whispering Willows Gallery currently provides insights into the Shanghai Disney Resort. For dining, guests can experience full-service Chinese cuisine at Nine Dragons, quick-service stir-fry and egg rolls at Lotus Blossom Cafe, and a variety of hot and iced teas at Joy of Tea. Entertainment at the pavilion features energetic performances by the Dragon Legend Acrobats, young students from the Pu Yang Academy of Acrobatics, showcasing agility, strength, and balance. Additionally, Si Xian musicians perform traditional folk music from the Shanghai region in the Temple of Heaven. Touring tips for visitors include experiencing the acoustically perfect center of the round room in the temple, where one can hear their true voice, and standing at the back for the 360-degree movie to avoid dizziness. The pavilion also participates in various Epcot festivals, such as the International Flower and Garden Festival, featuring a bamboo garden, exotic water garden, Feng Shui area, and a panda topiary. During the International Festival of the Holidays, storytellers and the Chinese Lion Dance are featured. For younger visitors, there are 'KIDCOT' areas where children can interact with cast members from China and get their Epcot Passports stamped. Mulan is also available for character meet-and-greets. Shopping opportunities abound at the House of Good Fortune, a multi-room store offering furniture, kitchenware, rugs, clothing, silk, paper fans, cloisonné, and more. Kiosks nearby also sell collectibles like umbrellas and hats. Further interesting facts highlight the meticulously designed gardens that mimic traditional Chinese landscapes, emphasizing quiet, passive contemplation with sparingly used plants and several fruit trees. The weeping mulberry tree, despite its Chinese resemblance, is over 100 years old and sourced from New Jersey. The intricate tile work patterns of the Hall of Prayer were reproduced using screen printing to capture the detail of the original Temple of Heaven. The 'Tomb Warriors' exhibit, a past attraction, closed in March 2016. The China Pavilion at Epcot offers a comprehensive and culturally rich experience for all guests, blending education, entertainment, and authentic atmosphere. #Epcot #ChinaPavilion #WorldShowcase #WaltDisneyWorld #ThemePark #ChineseCulture #DisneyDining #DisneyEntertainment #DisneyAttractions

The annual deTour design festival returns to Hong Kong from November 28 to December 7, 2025, transforming the creative hub of PMQ into a dynamic showcase of design and art. Curated by Adonian Chan and organized by PMQ with support from the Cultural and Creative Industries Development Agency (CCIDA), this year's edition, titled 'The Shape of Yearning,' invites visitors to delve into the intricate relationship between desire and design. The festival is structured around a 'Design Trichotomy' framework, encouraging a multifaceted interpretation of objects based on their aesthetics and materiality, their sociocultural and historical contexts, and their speculative, value-driven meanings. The program features 17 installations and exhibits from designers across Hong Kong, Mainland China, and international participants, including a significant international commission by Switzerland’s Encor Studio. At its core, deTour functions as a platform for creative exchange, highlighting innovative ideas from both local and global design talents. PMQ, a former police married quarters revitalized into a creative hub in 2014, serves as the central venue, hosting over 100 emerging designers and fostering a vibrant environment for design, cultural, and artistic events. The 'Design Trichotomy' approach prompts a deeper inquiry into the significance of everyday objects, questioning how they reflect personal and collective aspirations. Curator Adonian Chan emphasizes that despite being constantly surrounded by design, there's often a lack of introspection regarding its deeper implications and how it shapes our lives. A key highlight of deTour 2025 is the debut of Swiss collective Encor Studio in Hong Kong. Renowned for their kinetic sculptures and sound visualization, Encor Studio's commissioned installation, 'ALCOVE IN SITU,' will transform the Qube space into an immersive and responsive environment. This installation utilizes light, electrochromic films, and resonant sound compositions to explore themes of presence, absence, memory, and perception, creating a sensory choreography where visitors become integral to the experience. Beyond this major commission, four feature exhibitions further explore 'The Shape of Yearning' through diverse material and conceptual lenses. Among these exhibitions, Hong Kong art furniture studio TOUN (Renee Neoh and Samuel Choi) presents 'Home Ecology – The Philo Modular System,' an adaptable aluminum home ecosystem designed to meet the demands of urban living. Graphic designer Shunta Sakamoto offers a multisensory experience with 'Instrument.Play.Graphics,' a modular graphic synthesizer that merges physical gestures with visual and sonic compositions. Italian designer Lucia Massari reinterprets Venetian glass traditions in her 'primavera' series, drawing inspiration from Arcimboldo’s floral portraits to craft lamps that redefine memory and heritage through ornamentation. Additionally, London/Hong Kong studio Nopqrst showcases 'Trueform,' an installation of graphics and sand-cast aluminum sculptures that fossilize glue traces from removed street posters, extending these urban artifacts into an interactive augmented reality environment where digital and material forms converge. The festival also incorporates 12 selected entries from an open call, chosen from over 200 submissions. These exhibits explore various themes through robotics, 3D printing, innovative materials, and identity explorations. Notable entries include GROOVIDO’s 'A Battle of Beasts,' which uses ceramic-printed bricks for Chinese board games, blending tradition with play; Architecture and All | AAA’s 'Becoming: Aerated Identities,' a participatory installation of inflated PVC masks exploring performative identity; and Embracefloral × Arfalization’s 'BloomDentity,' which translates MBTI personality data into bespoke 3D-printed vases. The festival extends its reach through public programs, offering over 10 workshops and 40 sessions covering art-tech, craft, sound, and wellness, including an AI design workshop and a visual diary workshop. Guided tours, Creative Voices talks, and live performances by artists like Encor Studio and Hector Chan's Design Club further enrich the experience. deTour Kids, in collaboration with birdintree, also returns with hands-on parent-child design activities, aiming to foster creativity and imagination in young visitors and highlight design's role in early development. #deTour2025 #HongKongDesignFestival #PMQ #DesignTrichotomy #EncorStudio #HomeEcology #InteractiveInstallations #UrbanLiving #CreativeExchange

The traveling exhibition platform Object & Thing is currently showcasing its latest iteration, 'A Summer Arrangement: Object & Thing at LongHouse,' at LongHouse in East Hampton. LongHouse is the former home and sculpture garden of the renowned textile designer John Lenor Larsen. The exhibition, co-curated by Object & Thing founder Abby Bangser and LongHouse curator-at-large Glenn Adamson, and featuring installation design by Colin King, runs until September 3, 2023. It occupies the summer living room, gallery, and guest level of the residence. The exhibition is inspired by Larsen's philosophy of integrating art into everyday living spaces, believing it makes art more relevant than in a traditional museum setting. Larsen, influenced by the 7th-century Shinto shrine at Ise, Japan, collaborated with architect Charles Forberg to complete LongHouse in 1992. As an avid collector, Larsen filled his home with a diverse array of objects from around the world, arranging them alongside simple, local items, creating a unique and personal aesthetic. Following his passing in 2020, LongHouse was bequeathed as a public space, encouraging artistic collaboration and organic evolution. 'A Summer Arrangement' adopts Larsen's non-hierarchical approach to objects, presenting a collection of contemporary art and design pieces, including several site-specific commissions. The featured works are crafted from materials that Larsen himself frequently utilized and collected, such as ceramic, fiber, glass, metal, and wood. The exhibition includes works by textile artist Megumi Shauna Arai, sculptures by Wyatt Kahn and Alma Allen, and ceramics by Frances Palmer. These contemporary pieces are displayed alongside Larsen’s personal collection of Wharton Esherick furniture, notably a dining table that was showcased at the 1939 World’s Fair, adding historical depth and context to the evocative setting. Glenn Adamson notes that Larsen was a master of subtle arrangement, constantly recontextualizing the objects in his collection. He states that this project continues Larsen's practice by exploring what the designer might be interested in collecting and displaying if he were still alive today. The exhibition serves as a tribute to Larsen's enduring legacy and his innovative approach to design and art display. Admission to LongHouse is $20, with discounts for seniors and guests with disabilities, and complimentary entry for children, students, veterans, and active personnel. #LongHouse #ObjectAndThing #Exhibition #JohnLenorLarsen #DesignExhibition #EastHampton #ContemporaryArt #TextileDesign #ArtAndDesign