“Levantamiento” by Marí­a Garcí­a Ibáñez at the Cultural Center of Spain in Mexico.

Exhibition Dates: 4 October 2018 – 20 January 2019

Marí­a Garcí­a Ibáñez opens a solo exhibition at the Cultural Center of Spain in Mexico, curated by Pamela DesJardins, the associate curator at Rufino Tamayo Museum in Mexico City. “Levantamiento” refers to architectural or topographical imprints to ready construction. Installations, watercolours, video art, ceramic pieces and wall interventions by the artist are laid as a topographical survey of her practice. The exhibition occupies two floors, the video projection room with a video installation and one of the terraces of the building, where she installed a 3.5 M mural.

For more information click here



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Exhibition images: Levantamiento, Marí­a Garcí­a Ibáñez, Cultural Center of Spain in Mexico, 2018


TRES at Bienal De La Habana and Infinite Cycle

Mexican TRES Collective has been selected by the Curatorial Team of the Wifredo Lam Center for Contemporary Art to be part of the 13th Bienal de La Habana from April 12 – May 12 2019.

They will also take part in Infinite Cycle, a group exhibition organised by the Chinese Culture Center, the Taiwan Bamboo Curtain Studio and Hong Kong . The exhibition explores how art practice and institutional models can be incorporated into environmental sustainability and how it informs and influence the community at large. Held from September – 21 October 2018



Puerta Roja is delighted to announce ‘Fernando Prats – Nature Paintings’

 Nature Paintings

 Fernando Prats

13.11.18 – 25.01.19

(right) Bird Painting, Fernando Prats, Smoke and bird-wing beat on canvas, 195 x 130 cm, 2016 | (left) Fernando Prats, Smoke and bird-wing beat on canvas, 195 x 130 cm


Hong Kong – 11 October 2018 – Puerta Roja is proud to announce Nature Paintings, a major solo exhibition by Chilean artist Fernando Prats, debuting the artist’s Paintings of Birds series in Hong Kong for the very first time. Since representing Chile at the 54th Venice Biennale, Prats has reached international acclaim for devising a brand new and deeply personal pictorial system. Far removed from the instruments of the painter, his process results in unconventional and unpredictable images generated by nature.

Prats records natural actions on smoked surfaces, ranging from movements of animals, to powerful waves, seismographic vibrations and even imprints of geysers shooting water from the ground (an intervention possible thanks to the Guggenheim Fellowship). French theorist Paul Ardenne describes Prats’ work as pioneering “a new way of painting,” exposing not only the invisible beauty of nature but also the violent and destructive reality of the fluctuating environment.

“We are excited to bring Fernando Prats to Hong Kong this November to debut his mesmerising series, Paintings of Birds” says Adriana Alvarez-Nichol, Puerta Roja Founder and Director.“I believe Fernando represents Puerta Roja’s philosophy, by marrying a profoundly intellectual and conceptual discourse with a very poetic and robust aesthetic. I feel that these works are especially pertinent to Asia given the deeply rooted Taoist beliefs in relation to the destructive and creative balance of nature, as well as an understanding of the invisible connections in our universe. Prats’ body of work is relevant now more than ever as we continue to be faced with serious environmental issues. We believe it is important to use art as a vehicle to address such matters and we hope that the work of Fernando Prats will unravel a new perspective on the relationship between human society and the ecosystem.”

In his renowned Paintings of Birds series, the artist’s hand gives way to the free and fleeting beating of the bird’s wings making a rhythmic and majestic imprint on the smoked surface. The motion of the bird is frozen in time through a process in-between abstraction and sequence photography, capturing a linear pattern of movement that is both controlled and random. The artist builds a structure around the canvas, allowing the birds to fly freely between a net and the flat surface of the support. While the marks themselves are produced erratically in a matter of minutes, the conditions in which the imprints are created are carefully orchestrated by the artist – a constant motif demonstrated in his many series of works and arduous creative expeditions. The exhibition will also include action paintings produced with wild Andean Condors that today are an endangered species.

Although Prats has been based in Barcelona since 1990, his work is deeply connected to the telluric conditions of Chile. At the 54th Venice Biennale, he presented three projects documenting his expeditions and ventures across the country, including the Antarctic and areas affected by earthquakes and volcanic eruptions, reflecting his focus on the study of environmental conditions.

Commenting on his debut in Hong Kong, Fernando Prats says “An important aspect of my work is the direct link to the territory. There is a symbolic relationship between my native Chile and Asia, and particularly Hong Kong, which arises from the ruggedness of the mountainous landscape and the forces of the sea, as well as from the impact of natural catastrophes and their correlation with the contemplation of time. Presenting my work for the first time at Puerta Roja in Hong Kong provides a continuity to my work, which reflects my understanding of nature as an active source of energy in constant movement.”

The artist will be live-painting a new work from his Paintings of Birds series at the Hong Kong Art Gallery Association’s upcoming symposium Looking Up: Remapping Hong Kong’s Art Scene in the Era of New Connectivity and Ruptures, to be held on 16 November 2018 at Asia Society. In the spirit of Puerta Roja’s commitment to its Hong Kong roots and in recognition of Prats’ focus on raising awareness of human connection to the environment, the resulting work will be donated to The Nature Conservancy and auctioned by Sotheby’s at The Nature Conservancy Gala Dinner, taking place in March 2019.

By conducting a live painting in Hong Kong, Prats highlights the power and beauty of Hong Kong’s captive birds, hoping to make an imprint of the now waning Chinese tradition of song-bird keeping and Buddhist animal release. As these practices continue to decline through successful education, animal rights and environmental protection initiatives, the artist’s imprint will reference a past where birds were treasured as companions, giving way to a new and better appreciation of these animals in their natural environment. When commenting on his live action paintings, the artist states “The imprint of the birds is captured with the sensitivity of the smoke, turning the action into a receptacle of live energy. When you create a painting with the beating of the birds’ wings, what you see is the design of flight, a symbol, and an act of de-composition, where the birds’ action becomes a trace of memory, a record and a form of language.”

“We are honoured to have Puerta Roja supporting The Nature Conservancy with other leading galleries and artists taking part in The Nature Conservancy’s 2019 Gala Dinner for our conservation efforts in Asia Pacific to build a sustainable future for all. Covering more than a third of the world’s surface, the Asia Pacific region is home to some of the planet’s most unique ecosystems and endangered wildlife. However, a warming climate, a growing population, and our need for natural resources are threatening our environment as never before. We deeply appreciate that Fernando Prats is supporting our fund-raising initiative with his art that highlights the connection to the beauty and power of nature” says Moses Tsang, Global Board Member and Co-Chair of the Asia-Pacific Council of Directors of The Nature Conservancy.

Nature Paintings by Fernando Prats will be on view at Puerta Roja in Hong Kong from 14 November 2018 to 25 January 2019

Puerta Roja at KIAF 2018 with Five Artists Exploring Movement Through Various Forms of Abstraction

Puerta Roja Presents Movement in Abstract Art at KIAF 2018

Physichromie 1927, Carlos Cruz-Diez, Chromography on aluminium, 100 x 150 cm, Paris 2014


31 AUGUST, 2018 – HONG KONG – Puerta Roja returns to Korea International Art Fair (KIAF) for the fifth time on 4 to 7 October 2018, furthering the gallery’s continued commitment to the fair and the Korean art market. Curated by Adriana Alvarez-Nichol, Puerta Roja’s Founder and the Co-President of the Hong Kong Art Gallery Association, the booth reflects the gallery’s eight-year vision to introduce top Spanish and Latin American art to the Asia Pacific. This year the selection for the fair focuses on five artists who explore the concept of movement through various forms of abstract art.

The project presents works by 20th century Op and Kinetic Art master Carlos Cruz-Diez and introduces for the first time in Korea the work of Chilean artist Fernando Prats, leading up to the artist’s first solo show in Hong Kong opening at Puerta Roja’s space in SoHo 189 Art Lane, on 13 November 2018. Accompanying them, the booth will also feature bamboo mobile sculptures by Laurent Martin ‘Lo’, which have captured the imagination of Asian audiences over the last two years, alongside the rhythmic works on canvas and paper by younger artists María García Ibáñez and Javier León Pérez. The gallery has sold works by all four artists, now returning to the fair, to prominent collections in Korea.

Following the success of the gallery’s recent exhibition Movement (2018), a joint exhibition with the Parisian Galerie Denise René, Puerta Roja continues to explore the concept of movement through different approaches to abstract art. Movement presented a historical narrative of the socio-political context and personal relationships that generated the Op and Kinetic Art movement in the 20th century alongside its lasting legacy through works by following generations. Puerta Roja’s 2018 KIAF booth will further this dialogue by juxtaposing the Op and Kinetic genera with a variety of different artistic approaches, techniques and materials used when investigating the concept of movement.

(Left) Affatus 2, Fernando Prats, Smoke and bird-wing beat on canvas, 195 x 130 x cm, 2018 | (Right) What a Small World, Laurent Lo Martin, Smoked Bamboo, Taiwanese lacquer, titan braid thread, leads, ceramic balls, steel base, 295 x 165 x 130 cm, 2018


From Carlos Cruz-Diez, the booth presents new works from the Physichromie series developed in 1959. The three-dimensional works feature a flat surface of vertical bands rendered in a contrasting palette and arranged with mathematical regularity into multiple geometric planes. Each structure creates a “light trap” where colours transform when seen from different angles. As the viewer moves, colour dissolves and oscillates from one chromatic range to another, generating virtual colours not present in the support.

The artist’s work has been well-received across the Asia Pacific since 1988 when Physichromie Double Face was installed in the Olympic Park in South Korea. The artist, now aged 95 and who continues actively working, has been widely honoured around the world. Puerta Roja has been representing the work of Cruz-Diez in Asia since 2016. In 2017 to great acclaim, the gallery presented Carlos Cruz-Diez: Mastering Colour, his first gallery solo exhibition in the region. Puerta Roja also prides itself in having placed the artist’s works in important Hong Kong, Indonesian and Korean collections during various Asia Pacific art fairs, including the private collection of Higgin Kim at KIAF 2017.

In contrast to the works of Cruz-Diez, the booth presents monochrome Bird Paintings by Fernando Prats, never-before exhibited in Korea. The works record a bird’s flight on smoked canvas. Uncontrolled wingbeats mark the surface, depicting the bird’s movement through a process in between abstraction and sequence photography. Prats is internationally renowned for devising unique pictorial systems, far removed from the instruments of a painter, in order to generate images that record fleeting natural actions, exposing not only the beauty of nature but also the violent and destructive reality of our fluctuating environment. Prats represented Chile at the 54th Venice Biennale and was awarded the John Simon Guggenheim Scholarship in 2006, among other achievements. Puerta Roja began representing Prats earlier this year and will open his first solo-exhibition titled Nature Paintings in Hong Kong on 13 November, 2018.

After the incredible success of Laurent Martin ‘Lo’s bamboo mobiles in KIAF last year, with prominent private Korean collections, including the Koo House Museum, acquiring seven works during the fair, the artist returns with new works, including the outstanding large-scale piece What a Small World. His sculptures rely on perfect gravitational balance to rotate gracefully, drawing curves of harmony like the gracious strokes of Chinese calligraphy to immerse the viewer in the physical and sensorial virtues of the organic material. The artist’s practice has developed around Eastern philosophical and spiritual beliefs he has encountered during his travels across Asia, which inspired his first solo-exhibition in Asia, Zhu Qi [竹氣], held by Puerta Roja in 2018. Concurrently the gallery highlighted his works in Art Central, presenting Floating Tea House (2017), a large dome-like bamboo installation originally produced for the Wu Yuan Arts and Culture Centre in Taiwan. The artist will be present at KIAF 2018 and available for interviews.

Two younger artists explore the movement of the hand in relation to patterns in nature: Javier León Pérez’s discourse creates oscillating abstract landscapes through the process of detailed repetition, invoking the philosophical idea of Li (理), referring to the underlying geometry in the natural world. María García Ibáñez  also explores organic geometry through drawing, which lies at the core of her very experimental practice. Most recently, her painstakingly detailed drawings are then laser cut to generate movement through the play of shadows. In a span of a few years, both artists’ work has become part of collections in Hong Kong, Taiwan, Indonesia, the Philippines and Korea.

Adriana Alvarez-Nichol, Founder of Puerta Roja and Co-President of the Hong Kong Art Gallery Association says: “We are honored to be invited back to KIAF to participate in the fair for the fifth time this year, given the quality of the Korean contemporary art scene. We find collectors to be very knowledgeable and demand the highest standards, particularly when it comes to conceptual integrity and technical execution. We believe our carefully curated selection of works advocate for the diversity and universalism in Spanish and Latin American art while relating to the sophistication of the Korean audience.”

Puerta Roja Celebrates Eight Years of Cross-Cultural Collaborations

Puerta Roja Celebrates Eighth Anniversary with Reflections,
a Group Exhibition in Collaboration with Local and International Galleries


(left) Leiunare #07, Estratum Series, Javier León Pérez, Japanese paper on board, acrylic case, 2018 | (right) Whorl, Kate MccGwire, Mixed media with Magpie feathers in antique dome, 2013

To mark Puerta Roja’s eighth anniversary, the gallery curates a group exhibition dedicated to cross-cultural conversations and creative collaborations. Reflections presents outstanding painting and sculptural works by twelve artists that create a visible and invisible dialogue between Puerta Roja’s stable of artists and the talent brought together by six partnerships from Hong Kong, Indonesia, Singapore, Chile, Korea and Belgium.

Opening to the public on 12 September at Puerta Roja’s gallery space in SOHO 189 Art Lane, Reflections is curated to highlight the growing dialogue and interconnectedness across regions, generations as well as diverse artistic genres. The striking relationships in the exhibition bring to light a global collective consciousness no longer defined by distance, nationality or medium.

(left) Induction du Jaune Denise, Carlos Cruz-Diez Chromography on aluminium, 180 x 80 cm Paris 2007 | (right) Conditional Planes 8304, Choi Myoung Young, Oriental ink on Korean paper, 74 x 139 cm, 1983

From the post war masters’ generation, the show presents two representatives of the Op & Kinetic and Dansaekhwa art movements: Franco-Venezuelan Carlos Cruz-Diez alongside Korean Choi Myoung-young in collaboration with The Page Gallery (Korea) and Soluna Fine Art (Hong Kong). Choi Myoung-Young is one of the most respected artists from the Dansaekhwa movement, his monochrome work exploring spiritual undertones is juxtaposed with the multi-chrome scientific based work of the master of colour Cruz-Diez.

The meditative Japanese paper works by Spanish artist Javier León Pérez resonate with the coiled feather sculptures by the British artist Kate MccGwire, recently awarded the Jack Goldhill Award for sculpture presented by The Royal Academy of Arts (Galerie Huit, Hong Kong). Both artworks of Pérez and McGwire speak of an obsession with the geometry of nature. Looms, the painstakingly detailed pencil drawings by María García-Ibáñez, explore memory and intimacy through everyday objects as much as the intuitive acrylic on canvas works by the emerging Indonesian artist Wayan Novi (Art Porters, Singapore). Volume, light and three-dimensionality are called into play through the geometric forms of the Argentinean collective Ventoso along with the organically unfolding works by Italian artist Paola Pezzi (Art’Loft, Lee Bauwens Gallery, Belgium).

(left) Marisa, Héctor Velázquez, Cotton yarn and plaster, 50 x 48 cm, 2002 | (right) Symbiosis 09, Liquen, Juana Gómez, Hand Embroidery, drawing and photography on canvas, 80 x 65 cm, 2018

Introspection coupled with the emotional charge of self and family portraiture, come to light in the yarn-covered sculptures by Héctor Velázquez and the hand-embroidered family photographs by the Chilean artist Juana Gómez (Isabel Croxatto Galeria, Chile). A poetic and alluring juxtaposition is the pairing of the gravity-defying bamboo sculptures by Laurent Martin “Lo” with the brightly-coloured geometric abstractions on canvas by British-Indonesian artist Sinta Tantra’s (ISA Art Advisory, Indonesia). The perfect balance of simplicity of line and use of negative space in both works are amplified by the evident contrast of technique and material.


(left) Tabuh Tabuhan II in Prussian, Sinta Tantra, Tempera on linen, 120 x 100 cm, 2018 | (right) Geometric balance 01, Laurent Martin ‘Lo’, Weathered bamboo, titan braid thread, lead, steel base, 32 x 98 x 18 cm, 98 cm rotation diameter, 2018

Over the past eight years, Puerta Roja has continued its mission to expand the appreciation of Latin American and Spanish art across Asia Pacific as well as increase the awareness of the region’s rich contribution to the global art landscape. Through its regional focus and carefully selected artists, the gallery has advocated for untold narratives and universal social perspectives relevant to Asian audiences, with artworks often executed in Asia or created in the spirit of Asian philosophies. Beneath the concentrated programme of exhibitions, talks and community engagement initiatives, lies a deep desire to create cultural bridges and promote universal ideals that go far beyond the national context. Through this underlying philosophy, Puerta Roja displays its commitment towards enriching Hong Kong’s cultural scene and reflecting its hybrid nature. The exhibition is not only a celebration of the gallery’s success but also an accolade to the close professional and personal relationships that have been a determinant factor along the way.

Puerta Roja is proud to represent Fernando Prats

Fernando Prats is now represented by Puerta Roja with his first show in Hong Kong to take place in November, 2018

Puerta Roja is delighted to announce that it now represents the work of Chilean Artist Fernando Prats. Since representing Chile at the 54th Venice Biennale, he has reached international acclaim for devising a pictorial system, far removed from the instruments of the painter, in order to generate images that activate the pictorial process in unforeseen ways.

Prats creates ‘natural paintings’ by recording on smoked surfaces fleeting natural actions, from the movements of animals, powerful waves, seismographic vibrations and even imprints of geysers shooting water from the ground (an action made possible through the Guggenheim Fellowship). French theorist Paul Ardenne, describes Prats work as initiating “a new way of painting”, exposing not only the beauty of nature, but also the violent and destructive reality of our fluctuating environment.

For his Paintings of Birds series, to be presented for the first time in Hong Kong, the artist’s hand gives way to the free and fleeting beating of the bird’s wings making a rhythmic and majestic imprint on the smoked surface.

Pintura de pajaro para una habitacion privada 16, 2016

Bird painting for a private room 16, Fernando Prats, oil, smoke and bird wing-beat on paper, 178 x 261 cm, 2016

For the Chilean Pavilion at Venice in 2011, Prats presented three projects; Gran Sur(2011), 03:34:17 (2010) and Acción Chaité (2009).  Gran Sur documented his expedition to Elephant Island in the Antarctic where he installed a neon-sign with the words: “Men wanted for hazardous journey. Small wages. Bitter cold. Long months of complete darkness. Constant danger. Safe return doubtful. Honour and recognition in case of success”.  In the two accompanying works, Prats ventures to areas recently effected by natural disasters. In the piece 03:34:17 he collected traces in the aftermath of earthquake in Chile. Similarly, in Acción Chaitén he focused on the impact of the 2008 volcanic eruption.


Gan Sur, 2011 neon, aluminum, wood structure and power generator, variable measures, Elephant Island and Arturo Prat Antarctic Base, Greenwich Island

Carlos Cruz-Diez at Art Basel 2018

UBS Lounge dedicated to Carlos Cruz-Diez works from 1979 architectural intervention

Carlos Cruz-Diez, Physichromie UBS Vert, 1975 Acrylic paint on aluminium and coated plexiglass elements on aluminium back and frame, 277 x 560 cm, UBS Art Collection, © 2018, ProLitteris, Zürich

UBS Group AG, 29 May 2018 – This year’s Art Basel in Basel opens its doors from 14 -17 June and UBS will be celebrating 25 years as Lead Partner of the show with a dedicated presentation of work by Carlos Cruz-Diez from the UBS Art Collection. Cruz-Diez believes that color evolves, changing in real time and space as you interact with it. One of the 20th century’s key visual thinkers, he has been called a master of color, light and line, and is adept at creating participatory visual experiences.

The presentation in the UBS Lounge will feature works from the UBS Art Collection that were part of an architectural intervention by the artist from the 1970s at the former Union Bank of Switzerland building in Zurich. This group of artworks has not been seen together since the building closed in 2011. The UBS Art Collection worked with the studio on the removal and restoration of the works, a number of which were since displayed in UBS flagship buildings in London, Hong Kong and Panama. Some of the works have been recently restored by the studio for display at Art Basel.

Carlos Cruz-Diez said: “The Environment Chromatique of the Union Bank of Switzerland (UBS) headquarters, on which I worked over 4 years, is one of my integrations of art in architecture I have the fondest memories about. Art is a complex structure of communication, expression, discovery and invention. Every work of art, every human production, is important when it modifies a former way of thinking.”

The relationship between the UBS Art Collection and Carlos Cruz-Diez exemplifies the Collection’s approach of close collaboration with living artists over many years. Ambitious site-specific artworks, created in collaboration with a diverse group of international artists, is one of the defining legacies of the collection.

Click here for full UBS Press Release.

“Movement” opens on May 10th

Puerta Roja Presents an Exhibition with Galerie Denise René
Celebrating Historic Op and Kinetic Art Masters
Alongside Contemporary Artists

Carlos Cruz-Diez, Chromointerférence Spatiale Décembre, Chromography on aluminium, 40 x 60 cm, Ed. 8, Paris 1964/2017

Hong Kong – 18 April 2018 – Building on the major success of the first Asia solo show by Op and Kinetic art master Carlos Cruz-Diez held in May 2017, Puerta Roja is proud to present works by the acclaimed artist once again, and this time in a group exhibition celebrating the genre. Titled Movement, the show is organised together with the iconic Galerie Denise René from Paris, and features works by Cruz-Diez alongside his Op and Kinetic art contemporaries, whose careers were all catapulted by the renowned gallerist Denise René during the 1950s. On from 10 May to 21 July 2018, the exhibition displays both historical and more recent works by artists who have worked within the legacy of the historical movement into the 21st century, and presenting both an homage and ongoing outlook to the visionary spirit of Denise René.

Movement celebrates the collaboration between the two pioneering galleries, the Parisian Galerie Denise René and Hong Kong’s Puerta Roja. The title pays tribute to Denise René’s history-making exhibition Le Mouvement (1955) while referring to the osculating colours and forms that invite the viewer to be a part of the artwork as an active participant. The exhibition highlights the evolution of the movement in modern and contemporary art history, showcasing 15 works of art by the masters Carlos Cruz-Diez, Yaacov Agam, Jesús Rafael Soto and Victor Vasarely, together with contemporary artists Gladys Nistor, Gruppo MID, Ventoso, Mariano Ferrante, Hans Kooi, Pe Lang and Olivier Ratsi. 

“It is an honour for Puerta Roja to host this collaborative exhibition with Galerie Denise René. I founded Puerta Roja in 2010, two years before Denise René’s passing at the age of 99. An icon in the art world for her innovative spirit and distinctive programme, Denise René always said that art must invent new paths in order to exist. With this exhibition, I trust that we are referencing her vision by opening new routes of Op and Kinetic art to Asian audiences, presenting masterpieces and artists previously unseen in the region, as well as introducing emerging talent side by side with the great masters. By bringing together both our stable of artists, we hope to highlight the connections between legacy and contemporaneity through the deeply universal, and still relevant, ideals of Op and Kinetic art,” said Adriana Alvarez-Nichol, Founder of Puerta Roja and Co-President of Hong Kong Art Gallery Association.


Denise René at Vasarely, Galerie Denise René Rue de la Boétie, Paris, 1966 © Morain


Denise René opened her Parisian gallery after WWII with the first solo show by Victor Vasarely. After the chaos of the war, artists were fuelled by idealist notions of progress, inspired by science and mathematics they looked to change the world through reason and order. With the use of optical illusion and geometric patterns, the effect to confuse and stimulate the eye was produced. The incorporation of the viewer as a key component of the work, and the straightforward unpretentious representations, made the art inclusive, ultimately seeking to democratise the art experience. With a vision to spearhead ground-breaking exhibitions and support the careers of then unrecognised talent, Denise René ascertained her place in modern art history books with the 1955 exhibition Le Mouvement by featuring younger artists and showcasing them alongside already established ones such as Alexander Calder and Marcel Duchamp.

It was at Le Mouvement that Carlos Cruz-Diez was introduced to Denise René by his fellow Venezuelan contemporary, Jesús Rafael Soto. The two artists are prominently featured by Puerta Roja in the group exhibition Movement; Cruz-Diez’s Physichromie series (1959), and Chromointerference Spatiale Décembre (1964), use contrast and harmonization to generate virtual colours that change depending upon the viewers point of perception. El Ovalo Escarlata (2002), by Soto, features his iconic linear, kinetic construction with suspended metal rods in front of detailed patterns on wooden relief. The finely balanced, perpetually moving rods create ‘vibrations’ that extend into the surrounding space, connecting to the environment and breaking free from fixities of traditional painting.

Soon after the ground-breaking Le Mouvement show, Denise René’s position as the champion of Op and Kinetic art were cemented, and by 1965, the Museum of Modern Art (MoMA) solicited her help in assembling the historical exhibition, The Responsive Eye, where the term “Op and Kinetic Art” was first formally recognised.   

The strength of the philosophical ideals at the heart of the artists’ intent has ensured the movement’s lasting legacy and current revival. A myriad of retrospectives on the artists, the art movement and the gallery itself have taken place in the last 20 years, including The Intrepid Denise René, a Gallery in the Adventure of Abstract Art organised by the National Museum of Modern Art and held at the Centre Pompidou in 2001.

Today Op and Kinetic art continues to develop with the next generation of young artists. With strong roots in South America, the tradition is brought forward by important artists such as Argentinian artists Mariano Ferrante, Gladys Nistor and artist collective Ventoso. The contemporary continuation of the movement also travels across the borders, with French artist Oliver Ratsi, Dutch Hans Kooi and Swiss artist Pe Lang, who employ innovative materials and technology as well as contemporary advancements in computer sciences respectively to create new works in the spirit of Op and Kinetic art.

Running concurrently with Movement presented at Puerta Roja in Hong Kong, Galerie Denise René will showcase Moving Beauty: A View on International Kinetic Art at Shanghai Himalayas Museum in China from 16 June to 10 September 2018. Although the history of the Op and Kinetic art movement occurred in the Western art world, the content is highly relevant to Asian audiences and its presence continues to increase.

Adriana Alvarez-Nichol Appointed Co-President Alongside Angela Li



Hong Kong, 17 March 2018 – The Hong Kong Art Gallery Association (HKAGA) is pleased to announce new appointments within its Board of Directors. After five years of contributing as a founding Board member of HKAGA, former Vice-president of the Association, Adriana Alvarez-Nichol of Puerta Roja, has been appointed Co-President alongside Angela Li of Contemporary by Angela Li. The appointment comes as our former Co-President, Katie de Tilly of 10 Chancery Lane gallery, moves on to contribute to our strategic direction as Honorary Chair, President Emeritus.

Alvarez-Nichol founded Puerta Roja in 2010, the only gallery in Asia Pacific to specialize in Latin American and Spanish Art. She was one of the Board founding members since its foundation in 2012, contributing in several roles, most recently representing Hong Kong at the Asia Pacific Art Gallery Alliance. Adriana is a standing judge for the Women of Influence Awards in the Masters of the Arts category and an avid contributor and supporter of Hong Kong art organizations such as Para Site, Neptune and the Sovereign Art Foundation as well as other social charities. Under her guidance, Puerta Roja has become an influencing gallery in the local Hong Kong art scene and participates in the top international art fairs across Asia Pacific.

Alvarez-Nichol states: “I am honoured to take this new leadership responsibility at the Association after five years of serving on its Board. I have always been a staunch believer on the strength that comes from working together to expand the reach of art, our industry and the impact we can have in the community. I think the Association has achieved a lot in the last five years, firmly establishing the essential role that galleries play in the art ecology and building strong partnerships with other art organisations in Hong Kong and across Asia Pacific. We have engaged the collector and local community through an amazing programme of events that has grown every year. I look forward to working closely with Angela and the rest of our amazing Board to set the vision for the next five years and continuing to raise the bar for what we can achieve by working together. Our Board reflects the strength and diversity of the Hong Kong art gallery scene, and I am privileged to work with colleagues of such high professional standard in the industry”.

Catherine Kwai of Kwai Fung Hin Art Gallery and Fabio Rossi of Rossi & Rossi will take up the positions of Vice-Presidents with Vincent Chan of Leo Gallery, continuing his duty as Director to responsible for Member Relations, Faina Derman of Sundaram Tagore Gallery as Programme Director, and Yas Mostashari Chang of Galerie Huit expanding her responsibility to become our Treasurer & Director for Community Engagement.

Fitted to the next stage for the Association, HKAGA’s new logo was designed by Stanley Wong/ 84000 Communications Limited. He is also known as “Another mountain man” (又一山人) and is one of the most dynamic and influential artist in Hong Kong. Stanley is well known for his Red White Blue series. The series of artwork based on the red-white-blue bags, which are commonplace in Hong Kong. The new logo that he designed for HKAGA reflects the vibrancy and identity of Hong Kong art galleries. The logo and branding will be rolled out first in our 2018 Art Gallery Guide released on 21 March 2018.

To view full press release, please find it here.

Adriana Alvarez-Nichol’s personal guide to Hong Kong Art Week Events


Friday, 23rd March

(In)tangible Reminiscence |「觸到的回憶」Iwasaki Takahiro, Jung Yeondoo and Sarah Lai Exhibition | Opening Reception

6:30 – 8:30 pm
The Annex
2/F, Nan Fung Place, 173 Des Voeux Road Central

Textile and clothing mediate between past and present, transmitting sunken memories through texture. Revisiting personal and collective memories of Hong Kong’s textile and fashion industry, three artists recall the obsolete process of modernisation of the industry by stimulating sensuous and emotional appreciation of fabric of memories through their new works.

Saturday, 24th March

Guanzhou and Shenzen Art Guided Tour | Organized by Times Museum
Saturday – Sunday
*log in as Art Basel VIP for details

A two-day art trip in Guangzhou and Shenzhen. Guided tours of leading contemporary arts institutions including Design Society, Frank F. Yang Art and Education Foundation, Guangdong Times Museum, Mirrored Gardens, OCT Art & Design Gallery, and OCAT Shenzhen.


Monday, 26th March

Harbour Arts Sculpture Park
All day
Harbour front/ Tamar Park
Download the app for a sound guided tour

Art Central 
VIP Private Preview: 2 – 5 pm
First Night: 5 – 9 pm
Central Harbour Front

Art Gallery Night
by the Hong Kong Art Gallery Association
6 – 8 pm
Across Town. Click here for a map of participating Sheung Wan/Soho/Central galleries and look for the purple moon

Kick off the week at Hong Kong’s Harbourfront by discovering the first Hong Kong Sculpture park before heading to Art Central VIP preview.  Don’t miss Hong Kong’s Kacey Wong “Asteroids & Comets” right in-front of the fair. Visit Puerta Roja and our neighbours at the fair Contemporary by Angela Li and Sundaram Tagore. Finish your day with many gallery openings during Art Gallery Night. See map below for directions and taxi rank locations.

Tuesday, 27th March

Art Basel
Private View2 – 8 pm
Hong Kong Convention and Exhibition Centre

Women Make Art History
The Guerrilla Girls
Asia Art Archive
Booth P7

Emerald City
K11 Arts Foundation
VIP Opening Reception6 – 8:30 pm
Ground Level, Cosco Tower, 33 Wing Lok Street, Sheung Wan

During Art Basel’s VIP opening make sure to visit the Asia Art Archive booth. For their first new project in East Asia, the Guerrilla Girls examine the status of women at Art Basel itself and in the Hong Kong art world. Their installation at the deploys their signature blend of humour, bold graphics, and statistics culled from online and published sources to call viewers to action, and invites them to contribute with their own observations.
From our stable of artists, you know how much we love Geometric Abstraction, so I’m looking forward to ‘Emerald City’ a group exhibition of more than 40 works bringing to life a cross-section of artistic approaches to rethink and provide an exploration into how geometry influences our imagination.

 Wed, 28th March

Artist Talk: Huang Rui
VIP Talk9:30 – 11am
10 Chancery Lane
Central*log in as Art Basel VIP for details

Since meeting him in Beijing, and together with Wan Keping, Huang Rui is one of my favorite Chinese Avant Garde artists. A leader of the Stars group in the Post Mao area, the talk will be led by the author of The Phoenix Years, Madeleine O’Dea at 10 Chancery Lane.

Museum Talk: The Collecting Institution: Acquisitions and Representations
Agustín Pérez Rubio, Frances Morris, Michael Govan, Juan Andrés Gaitán, Eve Tam and András Szántó3
4 pm Art Basel

This panel discusses how an institution should maintain, build and edit its collection, asking what guidelines exist and how these respond to the demands that arise from specific contexts and needs. Agustín Pérez Rubio, Artistic Director of Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires and Juan Andrés Gaitán, Director, Museo Tamayo Arte Contemporáneo, Mexico City join the Directors of  Tate Modern, Los Angeles County Museum of Art, and the Hong Kong Museum of Art.

Thursday, 29th March

A beast, a god and a line
VIP Brunch
10 am – 1 pm
Para Site 艺术空间
22F 667 King’s Road, Quarry Bay

Duddell’s | Performance and Party
9 – 11 pm
Level 3, 1 Duddell Street ,Central
*log in as Art Basel VIP for details

Visit Para Site in the morning. Curated by Cosmin Costinas, this expansive travelling exhibition of 40 works from South and South East Asian artists is woven through the connections and circulations of ideas and forms across a geography commonly called Asia-Pacific. After a revisit to one of the art fairs visit Duddell’s for ‘I Was Not Invited’ by Berlin-based artist Leila Hekmat. A site-specific musical performance, and a development from the initial piece performed at Le Zèbre, Paris and Ballhaus, Berlin. Co-presented by Galerie Isabella Bortolozzi.


Friday, 30th March

Art Brunch
by the Hong Kong Art Gallery Association
6 – 8 pm
Across Town
Click here for a map of participating galleries and look for the pink sun

Artist Talk: Mexican artist Gabriel Orozco, in conversation with Doryun Chong, Chief Curator, M+
Art Basel11 am – 12 pm
Hong Kong Convention and Exhibition Centre
Room N101B

One of the most influential contemporary artists in the world, Orozco has mined values from his nomadic engagement in life. Orozco will narrate his experience of inhabiting in Asia and other parts of the world across varying medium. You can view his work at Mexican gallery kurimanzutto as part of Art Basel’s Kabinett sector.

Saturday, 31st Mach

Art After Party | LOVE Long: Robert Indiana and Asia
6:30 – 10:30 pm
Asia Society
Hong Kong Center, 9 Justice Drive, Admiralty

If you haven’t seen the fantastic Robert Indiana exhibition at Asia Society, this is your chance to discover it whilst partying the night away with live music, an
Asian food night market and Mumm champagne.

 Sunday, 1st April

SCAD Tours and Children Workshops
Art CentralSeveral timings.
Booking essential.
 Art Central prides itself for its friendly and welcoming approach. In addition to amazing art, the fair organises activities for adults and children throughout. Have a great last Sunday lunch at some pretty amazing restaurants including Le Marche by Philippe Orrico and two of my Hong Kong favourites Beef Liberty and Limewood.