Popular Events in February 2024(May Updated)

The Gwangalli M Drone Light Show decorates the night sky of Gwangalli with new and diverse content every Saturday night. "M" means "amazing, surprising", and the lights from the drones combined with the night view of the Gwangalli Bridge will bring surprise and mystery to visitors to Gwangalli.

The Gwangalli M Drone Light Show decorates the night sky of Gwangalli with new and diverse content every Saturday night. "M" means "amazing, surprising", and the lights from the drones combined with the night view of the Gwangalli Bridge will bring surprise and mystery to visitors to Gwangalli.

聖花藝術課程| 粉彩仿玻璃|透光藝術是一項在香港舉辦的精彩活動。該課程旨在向參與者展示粉彩仿玻璃和透光藝術的美妙之處。活動將於香港尖沙咀漆咸圍的金時商業大廈1302室舉行。該場所交通便利，方便參與者前往。活動的時間從2023年4月30日至2027年5月30日，為期一段時間，讓參與者有充足的時間參與和體驗。票價為HK$ 2400，這是一個非常具有價值的課程，參與者將可以學習到獨特的藝術技巧和技巧，並且在創作過程中獲得實踐和指導。無論是對藝術愛好者還是對藝術新手來說，這個活動都是一個難得的學習和交流的機會。現在就加入我們的活動，一起探索聖花藝術課程| 粉彩仿玻璃|透光藝術的魅力吧！

Artificial lights have become such a common nighttime fixture that we take them for granted. But what do brighter nights mean for people and wildlife? The effects of light pollution extend beyond our reduced view of the stars, but solutions can have an immediate impact. Through more than 100 photographs, nearly 250 objects, interactive experiences, tactile models, and a theater program, discover why the dark night matters, rekindle your connection to the night sky, and consider how much light at night is enough—for whom, for what purpose, and who gets to decide?

長洲戲院-多元文化園區電影拍攝體驗是香港一個引人入勝的活動。這個活動將在長洲戲院這座保存著古老1930年代戰前戲院風華的三級歷史建築物中舉行，為遊客帶來一場難忘的電影拍攝體驗。 長洲戲院多元文化園區是一個經過活化的場所，曾經在1997年結業後一度荒廢。但在2023年重新開放後，它以全新的面貌呈現給大眾。園區內設有四大主題空間，包括「長洲文化館」、「1931影棚」、「銀幕大笪地」和「啞鈴資訊中心」。這些空間結合了教育、旅遊和藝術等元素，為遊客提供了一個深入了解長洲傳統文化的機會。 在這個活動中，遊客不僅可以參觀這座具有歷史價值的戲院，還可以參與電影拍攝體驗。這將是一個難得的機會，讓遊客親身體驗電影拍攝的過程，感受到電影製作的魅力。同時，遊客還可以品味美食，享受這個多元文化園區帶來的獨特體驗。 無論您是對電影拍攝感興趣，還是想深入了解長洲的傳統文化，長洲戲院-多元文化園區電影拍攝體驗都將是一個不容錯過的活動。請抓住這個機會，來到香港的長洲戲院，感受這個獨特的文化園區帶給您的震撼和感動！

《不眠之夜》麥金儂酒店802客房體驗是一場獨一無二的藝術活動，將於上海市麥金儂酒店舉行。活動將於2023年12月6日至2025年12月31日期間舉行，為期將近兩年。參加者將有機會在這段時間內，融入一場身臨其境的體驗中。麥金儂酒店802客房將被打造成一個獨特的藝術空間，讓參觀者沉浸在前所未有的藝術氛圍中。票價為4980元，每位參加者將獲得一張通行證，可以在活動期間多次入場。不容錯過的《不眠之夜》麥金儂酒店802客房體驗，將帶來身心靈的全方位震撼，定將成為一段難忘的藝術之旅。

深圳市的不可思議運動街區•保齡球•輪滑•桌遊•桌球•蹦牀（海岸城店）將於2024年01月18日至2026年12月31日期間在深圳市南山海岸城購物中心B1舉辦。這個活動將在不可思議Livehouse舉行，位置位於ole超市旁。門票的價格範圍從138元到388元不等。此次演唱會將為您帶來各種刺激有趣的運動體驗，包括保齡球、輪滑、桌遊、桌球和蹦牀等多種遊戲項目。這將是一個難得的機會，讓您在歡愉的氛圍中盡情享受運動的樂趣。不可思議運動街區•保齡球•輪滑•桌遊•桌球•蹦牀（海岸城店）期待著您的光臨，一起共度美好時光。

Bruce Lee (1940–1973) was originally named Li Zhenfan, and is an internationally renowned superstar. He was born in the United States, studied in Hong Kong and the United States, and established the "Jen-Fan Kung Fu Institute" in the United States, introducing the concept of Chinese Kung Fu to the American film and television industry. In 1971, he returned to Hong Kong to shoot five films that became classics. He combined the concepts of many martial arts and founded "Jeet Kune Do". Off camera, Bruce Lee loved his family and reading. He expressed his true friendship through letters and explained his life philosophy through words. He strived to break through inherent limitations throughout his life. Through daily training and self-reflection, he surpassed himself and transformed himself into an international legend. The Hong Kong Heritage Museum and the Bruce Lee Foundation have once again joined hands to present the "Ordinary•Extraordinary - Bruce Lee" exhibition, which displays about 400 precious cultural relics, and adds large-scale light and shadow multimedia displays and interactive projects. From the aspects of film, martial arts, and personal cultivation, it reviews the perseverance of Li Zhenfan and how he created the legend of Bruce Lee.

版權雕像藝術展是一場盛大的藝術展覽，將於上海市的星空間舉行。這個展覽將於2023年5月10日至2025年7月10日期間展出，為期兩年。展覽地點位於上海市浦東新區世博大道1368號2區一層，是一個展示版權雕像藝術的絕佳場所。觀眾將有機會欣賞到來自各地藝術家的作品，感受他們對版權議題的獨特見解。門票售價從29.8元至158元不等，讓更多的人有機會參與這場藝術盛事。版權雕像藝術展旨在呈現藝術與版權的結合，引發觀眾對於知識產權保護的思考，是一次能夠深刻觸動心靈的藝術之旅。趕快mark下展覽時間，融入這場藝術的盛會中，一起感受版權雕像藝術帶來的震撼與感動吧！

The Gwangalli M Drone Light Show decorates the night sky of Gwangalli with new and diverse content every Saturday night. "M" means "amazing, surprising", and the lights from the drones combined with the night view of the Gwangalli Bridge will bring surprise and mystery to visitors to Gwangalli.

This exhibition offers a new, revealing look at the world-class Portland Collection of art. The museum will be filled to the brim with fascinating art and objects, a giant cabinet of curiosities. There will be silver and tapestry, paintings and jewels; art that has come home after a long loan to a prestigious national gallery, and stunning star items that visitors know and love – such as Michelangelo’s ‘Madonna of Silence’ or the pearl earring worn by Charles I at his execution. A highlight of the display is a Picture Gallery, stacked with Tudor and Jacobean portraits – many of which have never been seen publicly before.

"Chen Fushan Studio" uses Chen Fushan's home studio as a reference, and selects his personal belongings from his former residence in Wan Chai, including various household furnishings, hand-painted paintings and collections of books for display, in order to reproduce Chen's living environment and the layout when he was painting. Visitors can take a look at the original appearance of his former creative space outside the glass room, explore Chen's creative world with another visual experience, and gain a deeper understanding of the multiple aspects of this local artist. "Chen Fushan Studio" also leads the audience to review Chen's artistic journey and style development by displaying historical photos and text records about Chen's life, and wander in the story that created the legendary life of the "Watercolor King". Based on the contemporary era, it traces the trajectory of Hong Kong art history from the side.

A Virtual Reality Art Exhibition that you can view in any location and on any device. Please see the above picture instructions for how you can view it on a tablet/mobile. You can view the exhibition with or without a virtual reality headset. Copy this link to view the Virtual Reality Art Exhibition on a computer/laptop: https://edu.cospaces.io/PMB-KAV The Virtual Private View of the Exhibition was held on Thursday 14th of May 2020 at 8:15pm on Zoom (Virtual drinks provided.)

Bruce Lee (1940–1973) was originally named Li Zhenfan, and is an internationally renowned superstar. He was born in the United States, studied in Hong Kong and the United States, and established the "Jen-Fan Kung Fu Institute" in the United States, introducing the concept of Chinese Kung Fu to the American film and television industry. In 1971, he returned to Hong Kong to shoot five films that became classics. He combined the concepts of many martial arts and founded "Jeet Kune Do". Off camera, Bruce Lee loved his family and reading. He expressed his true friendship through letters and explained his life philosophy through words. He strived to break through inherent limitations throughout his life. Through daily training and self-reflection, he surpassed himself and transformed himself into an international legend. The Hong Kong Heritage Museum and the Bruce Lee Foundation have once again joined hands to present the "Ordinary•Extraordinary - Bruce Lee" exhibition, which displays about 400 precious cultural relics, and adds large-scale light and shadow multimedia displays and interactive projects. From the aspects of film, martial arts, and personal cultivation, it reviews the perseverance of Li Zhenfan and how he created the legend of Bruce Lee.

《恐龍量子場》新加坡科學中心沉浸式冒險將於成都市盛大開幕。該展覽將設於成都桂溪生態公園西區大草坪，地址位於武侯區天府一街北50米。活動時間為2024年2月21日至2026年3月10日。門票售價介於88至220元之間。《恐龍量子場》將帶領參觀者展開一場前所未有的冒險，探索恐龍與量子科技的奇妙結合。透過互動式展示，觀眾將有機會深入瞭解恐龍世界的奧秘，同時感受到量子科技帶來的震撼與驚喜。這將是一次難得的機會，讓您置身於古老與現代的交匯處，探索自然和科技的交融之美。《恐龍量子場》新加坡科學中心沉浸式冒險，期待您的光臨！

陳福善畫室是一個位於香港藝術中心的畫室，專門展示和推廣陳福善的藝術作品。該畫室的展覽名稱也是以陳福善的名字命名，展覽時間為2022年5月25日至2027年5月27日。陳福善畫室是一個為觀眾提供一窺陳福善藝術創作的完美場所，同時也是一個讓觀眾深入了解陳福善藝術風格和創作理念的機會。香港藝術中心的地理位置優越，位於香港灣仔港灣道2號，方便前來參觀的觀眾。陳福善畫室的展覽將展示出陳福善獨特的藝術風格和創作技巧，讓觀眾感受到他的藝術魅力。無論您是藝術愛好者還是對陳福善的藝術感興趣，陳福善畫室都值得您的一遊。不容錯過的展覽，讓我們一同欣賞陳福善的卓越藝術成就。

"Chen Fushan Studio" uses Chen Fushan's home studio as a reference, and selects his personal belongings from his former residence in Wan Chai, including various household furnishings, hand-painted paintings and collections of books for display, in order to reproduce Chen's living environment and the layout when he was painting. Visitors can take a look at the original appearance of his former creative space outside the glass room, explore Chen's creative world with another visual experience, and gain a deeper understanding of the multiple aspects of this local artist. "Chen Fushan Studio" also leads the audience to review Chen's artistic journey and style development by displaying historical photos and text records about Chen's life, and wander in the story that created the legendary life of the "Watercolor King". Based on the contemporary era, it traces the trajectory of Hong Kong art history from the side.

LOGOS _____ ἐν ἀρχῇ ἦν ὁ ΛΟΓΟΣ (en arxh ein o LOGOS) Κατὰ Ιωάννην 1.1 What once stood for the reason, the initial cause, is now comically reduced to corporate trademarks - shiny brand names of vulgar affordable or fetishized banality.In a futile effort to subvert, reroute and reinstitute LOGOS to his former essence, we install images of beauty, poetry and personal value in the rural wilderness, where the corporeal pillars of goddess Hestia still stand unnoticed and only the lost now wander. _____ 7 artworks installed in various exterior locations in and around the city of Preveza, Greece. Marking the winter solstice. Set to remain on display for an unspecified period of time, exposed to the (un)favorable touch of natural and human intervention. Produced & curated by Θ Η Ε Λ Α

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before. Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

The central work in the exhibition is the series Birkenau (2014), consisting of four large-format, abstract paintings. Birkenau is the result of Richter’s long and in-depth engagement with the Holocaust and the possibilities of representing it. The works are based on four photographs taken in the concentration camp Auschwitz-Birkenau, which the artist transposed to four canvases before gradually painting over them. With each layer of paint, the depiction of the photographic original disappeared a little more, until it eventually became invisible. The work also includes a large four-part mirror, which is positioned opposite the four Birkenau canvases, creating another level of reflection. Alongside the Birkenau series, other loaned works from various phases of Richter’s career will be exhibited, among them Squatters’ House (1989), 6 Standing Panes (2002), and 4,900 Colours (2007). There is also another large group of works from Richter’s striking series of overpainted photographs.

The artwork is displayed on powder-coated steel gates, designed by Whittle and made at Glasgow Sculpture Studios. It was unveiled on 5 October 2023 at the Queen’s House in Greenwich. Feeling Blue has been developed in response to RMG’s large and varied collections, as well as the history and cultural significance of Greenwich. The 160 x 155 cm tapestry is filled with richly evocative textures, symbolic shapes, and tropical colours. It was woven by hand over a period of six months by Naomi Robertson and Elaine Wilson at Dovecot Studios. They used a variety of techniques, yarns, and over 150 colour mixes to add variety and depth to the surface of the tapestry. Dominating the tapestry is the phrase ‘feeling blue’ which stands out from a background of blues and greens, the combination of different shades resembling water in motion. Blue is immediately associated with oceans and seas but there are also more emotive connotations which Whittle chose to explore. The colour blue, and in particular the term ‘feeling blue’, is used to describe sadness or depression. While the exact origin of the term is uncertain it has been suggested that it comes from the tradition of ships flying blue flags and officers bearing a painted blue band when a captain or officer died. For others, blue symbolises tranquillity. In the Queen’s House the colour blue is used throughout for decoration, notably the balustrade of the Tulip Stairs. Drawing on her research of the British naval uniform, Whittle also reflects on the legacies of British colonialism. From the mid-eighteenth-century, the Royal Navy introduced a uniform for officers made from a deep blue fabric. The colour was achieved using a dye from the indigo plant that was native to India. Until the end of the eighteenth century the indigo plant was grown, harvested and processed by enslaved people on North American plantations. Indentured labourers in India and modern-day Bangladesh also produced indigo for the East India Company. Today, Navy blue endures as a colour of authority from police to military officers, though the history of the colour and connection to colonialism is little known. Whittle continues her exploration of maritime worlds by the inclusion of coloured ropes – reminiscent of those used on ships. For Whittle, rope is a symbol of both hope and oppression. Ropes are associated with bondage, imprisonment and even execution but are equally symbolic of lifelines for people in distress. Whittle’s ongoing engagement with the climate crisis is found in the decorative coral that frames the tapestry. The delicate pastel pinks and vibrant yellows evoke the beauty of tropical oceans and are a reminder of the importance of reefs. Decorative cultured freshwater pearl beads have also been stitched onto the tapestry. As well as representing an oceanic realm, Whittle connects Feeling Blue with two sixteenth-century paintings the Armada Portrait and Sir Francis Drake which will be displayed alongside the tapestry. In both portraits, pearls are used as a symbol of wealth, some of which was derived from colonial trade and exploitation. The tapestry is hung on a set of blue ‘gates’, which are an important component of Whittle’s work. Whittle sees the ‘gates’ as reminiscent of fencing, suggesting containment and control. Placed within the gallery space the gates no longer act as a barrier. Instead, Whittle uses the gates to expand rather than restrict as visitors are free to walk around them and view the tapestry from both sides. The decorative fretwork on the panels evokes the architecture of the Queen’s House, in particular the Tulip Stairs. Alberta Whittle, said: “The commission has been a wonderful opportunity to think deeply about maritime histories and consider the powers in place that decide how these histories are portrayed. This new tapestry is a chance to explore these ideas of power alongside the rhythms of the ocean and its vulnerability under climate colonialism. The commission has also provided me with the opportunity to continue to work with Naomi Robertson and Elaine Wilson at Dovecot Studios and the rest of the fantastic weaving team.” Celia Joicey, Director of Dovecot Studios, said: "This commission represents the contemporary significance of tapestry as a collective medium. Started in the midst of the 2021 lockdown, it is testimony to a group of people responding creatively and collaboratively to the Museum collections. Feeling Blue embodies the passion, focus and skill of Dovecot’s weavers, Alberta Whittle’s endlessly interesting ideas and the care and enterprise of the commissioning team." Katherine Gazzard, Curator of Art, Royal Museums Greenwich, said: “At Royal Museums Greenwich, we are committed to working with contemporary artists whose practice engages with our historic sites and collections, as well as with the present challenges facing our communities and our planet. The opportunity to commission a contemporary tapestry from Alberta Whittle and Dovecot Studios spoke powerfully to this ethos. The finished tapestry will go on public display in the Queen’s House, our flagship art gallery. When the Queen’s House was built in the early 17th century, it was at the cutting edge of art and design. Commissions like Feeling Blue help us to honour that legacy, ensuring that, four centuries after the building’s completion, the Queen’s House continues to showcase artistic innovations and new perspectives.” ---------------------------------------------------------------------------------------------- Feeling Blue Alberta Whittle Tapestry by Dovecot Studios 2023, cotton, linen, synthetic yarn, cultured freshwater pearl beads Tapestry woven for Dovecot by Naomi Robertson, Master Weaver, and Elaine Wilson Displayed on powder coated steel gates made by Glasgow Sculpture Studios Purchased with assistance from the Contemporary Art Society

位於上海市的不可思議運動街區（莘莊維璟店）是一個令人驚嘆的展覽，將於2023年12月12日至2026年1月31日期間舉行。該展覽地點位於上海不可思議運動街區莘莊維璟印象城03(3樓)-002鋪位號，地址在七莘路1507號。這裡將呈現獨特而富有活力的運動主題，結合了娛樂與教育，定能帶給您全新的體驗。展覽票價範圍從69.9元到248元不等，讓更多的人有機會參與其中。不可思議運動街區（莘莊維璟店）將為您呈現一場極具震撼力的運動藝術盛宴，讓您感受運動之美、創新之靈感。不容錯過的精彩展覽，歡迎蒞臨一同體驗。

This exhibition will explore the theme of diversity by comparing mythical creatures from different cultures. While these fantastical animals may look different, they serve a similar purpose – to help humans make sense of the world. On view in Gallery 339 will be classic Chinese legendary mythical creatures—the dragon, phoenix and qilin—juxtaposed with collection highlights from Japan, Korea, South and Southeast Asia, as well as Persia and Western Europe, to show the diversity of mythical creatures throughout the world, as well as their similarities and differences. Elaborately embroidered costumes and silver headdresses created by Miao, Yi and other minority peoples decorated with dragons, phoenixes, and creatures relating to origin myths will be on display in Gallery 326. In a third space (Gallery 321) Chinese contemporary works of mythical creatures by artists Xu Bing and Ai Weiwei show how the past continues to inform art today.

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

Created by artist and sculptor Carole Vincent the artwork features a large sundial design and fountain. The artwork was commissioned by Plymouth City Council as part of the pedestrianisation of the City Centre in 1987. The work was officially launched on 22 July 1988 by Queen Elizabeth II and commemorates the ‘Armada 400’ celebrations in the city. (Image courtesy of Plymouth Herald image archive) Cast in concrete with Terrazzo and stainless steel, the sundial also features 12 plinths around the outside. Information panels on top of the stone plinths offer in detail ways to ‘read’ the sundial in a range of different languages. The information plinths were made a particular feature of in 2010 when they were covered with decorative textiles as part of ‘Mrs Smith’s hit on Plymouth sundial’ – a secret commission by Plymouth College of Art. Guerrilla textiles installed overnight to the surprise of the public! The sundial is set to G.M.T which differs in the summer (B.S.T) by one hour in advance. The sun is also due south in Plymouth 17 minutes later than it is at Greenwich; therefore at some points of the year the dial runs 1 hour 17 minutes behind G.M.T. About the Artist Carole Vincent (1939-2019) was an artist working in concrete. She lived and worked in Boscastle, Cornwall. Painter as well as sculptor, she explored the use of natural colour and texture in concrete for sculpture. Her work with pigments achieved remarkable success, opening new doors to architects, engineers and planners. Her passion was to work on commissions for specific environments, ranging from public spaces to individual buildings and gardens.