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Tuesday 10:00 - 18:00 Wednesday 10:00 - 18:00 Thursday 10:00 - 18:00 Friday 10:00 - 18:00 Saturday 10:00 - 18:00 Sunday 10:00 - 18:00

INK studio, Red No. 1-B1, Caochangdi, Chaoyang District, Beijing (2026)

14/09/2026

𝗧𝗵𝗶𝗻𝗸𝗶𝗻𝗴 𝗼𝗳 𝗧𝘂 𝗮𝘀 𝗮 𝗵𝗲𝗿𝗺𝗲𝗻𝗲𝘂𝘁𝗶𝗰 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲: 𝙓𝙞𝙖 𝙆𝙚𝙟𝙪𝙣 𝙚𝙭𝙥𝙡𝙖𝙞𝙣𝙨 𝙒𝙖𝙣𝙜 𝙎𝙝𝙖𝙤𝙦𝙞𝙖𝙣𝙜

“Modern Chinese since year 1895 Chinese language of the 20th century is no longer purely Chinese, it is a double translation. On the one hand it translates Classical Chinese that is, ancient prose, on the other hand it translates Western languages.

In America there is a theorist Homi Bhabha whose entire theory of modernity is hybrid modernity.

Wang Shaoqiang has a thinking of Tu (graphs), rather than a thinking of characters. Tu (graphs) is universal, characters are particular are specific. Therefore Wang Shaoqiang’s language is hybrid.”

—— 𝘌𝘹𝘤𝘦𝘳𝘱𝘵𝘴 𝘧𝘳𝘰𝘮 𝘑𝘶𝘯𝘦 17 𝘚𝘺𝘮𝘱𝘰𝘴𝘪𝘶𝘮 𝘰𝘯 𝘵𝘩𝘦 𝘰𝘤𝘤𝘢𝘴𝘪𝘰𝘯 𝘰𝘧 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨 — 𝘛𝘩𝘪𝘤𝘬 𝘌𝘢𝘳𝘵𝘩, 𝘍𝘭𝘶𝘦𝘯𝘵 𝘓𝘪𝘨𝘩𝘵: 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨’𝘴 𝘐𝘯𝘷𝘦𝘴𝘵𝘪𝘨𝘢𝘵𝘪𝘰𝘯𝘴 𝘢𝘯𝘥 𝘛𝘳𝘢𝘯𝘴𝘧𝘪𝘨𝘶𝘳𝘢𝘵𝘪𝘰𝘯𝘴.

12/09/2026

𝗪𝗿𝗶𝘁𝗶𝗻𝗴𝗶𝘀𝗺 𝗮𝘀 𝗮 𝗵𝗲𝗿𝗺𝗲𝗻𝗲𝘂𝘁𝗶𝗰 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲: 𝙒𝙖𝙣𝙜 𝘿𝙪𝙖𝙣𝙩𝙞𝙣𝙜 𝙚𝙭𝙥𝙡𝙖𝙞𝙣𝙨 𝙒𝙖𝙣𝙜 𝙎𝙝𝙖𝙤𝙦𝙞𝙖𝙣𝙜

“By Writingism I mean that under the impact of Western conceptual art. Chinese calligraphers have separated the act and process of writing from its functional, denotative purpose the aspect of writing characters — and emphasised its independent artistic value.”

—— 𝘌𝘹𝘤𝘦𝘳𝘱𝘵𝘴 𝘧𝘳𝘰𝘮 𝘑𝘶𝘯𝘦 17 𝘚𝘺𝘮𝘱𝘰𝘴𝘪𝘶𝘮 𝘰𝘯 𝘵𝘩𝘦 𝘰𝘤𝘤𝘢𝘴𝘪𝘰𝘯 𝘰𝘧 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨 — 𝘛𝘩𝘪𝘤𝘬 𝘌𝘢𝘳𝘵𝘩, 𝘍𝘭𝘶𝘦𝘯𝘵 𝘓𝘪𝘨𝘩𝘵: 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨’𝘴 𝘐𝘯𝘷𝘦𝘴𝘵𝘪𝘨𝘢𝘵𝘪𝘰𝘯𝘴 𝘢𝘯𝘥 𝘛𝘳𝘢𝘯𝘴𝘧𝘪𝘨𝘶𝘳𝘢𝘵𝘪𝘰𝘯𝘴.

09/09/2026

We cordially invite you to join us this Saturday for the exhibition opening, accompanied by a special Artist Roundtable celebrating 𝐋𝐨𝐬𝐢𝐧𝐠 𝐌𝐲 𝐖𝐚𝐲 𝐭𝐨 𝐖𝐚𝐭𝐜𝐡 𝐭𝐡𝐞 𝐅𝐥𝐨𝐰𝐞𝐫𝐬 𝐁𝐥𝐨𝐨𝐦 [迷路只為看花開]. A solo exhibition by contemporary ink artist 彭康隆 .

Marking a rare occasion for visiting artists to deeply engage with the local art community, this gathering offers an intimate platform to dive into the artistic process in dialogue with featured artist Peng Kanglong alongside guest artists Kurt Chan Kurt Chan , Chan Kwan-lok 🌊 Chan Kwan Lok , and Frank Tang Kai-yiu franktang , moderated by Craig Yee Craig Yee .

📅 𝐃𝐚𝐭𝐞: Saturday, Sep 19, 2026

🕒 𝐀𝐫𝐭𝐢𝐬𝐭 𝐑𝐨𝐮𝐧𝐝𝐭𝐚𝐛𝐥𝐞: 3:30–5:00 PM
(Opening Reception follows from 3:00–7:00 PM)

📍 𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧: Shop 03-104, 1/F, Barrack Block, Tai Kwun, 10 Hollywood Road, Central, Hong Kong

𝐋𝐢𝐦𝐢𝐭𝐞𝐝 𝐒𝐞𝐚𝐭𝐢𝐧𝐠; early reservation is appreciated. Kindly RSVP via DM or email at 𝘪𝘯𝘧𝘰@𝘪𝘯𝘬𝘴𝘵𝘶𝘥𝘪𝘰.𝘤𝘰𝘮.𝘤𝘯 to secure your spot. We look forward to welcoming you.

We cordially invite you to join us this Saturday for the exhibition opening, accompanied by a special Artist Roundtable celebrating 𝐋𝐨𝐬𝐢𝐧𝐠 𝐌𝐲 𝐖𝐚𝐲 𝐭𝐨 𝐖𝐚𝐭𝐜𝐡 𝐭𝐡𝐞 𝐅𝐥𝐨𝐰𝐞𝐫𝐬 𝐁𝐥𝐨𝐨𝐦 [迷路只為看花開]. A solo exhibition by contemporary ink artist 彭康隆 .

Marking a rare occasion for visiting artists to deeply engage with the local art community, this gathering offers an intimate platform to dive into the artistic process in dialogue with featured artist Peng Kanglong alongside guest artists Kurt Chan Kurt Chan , Chan Kwan-lok 🌊 Chan Kwan Lok , and Frank Tang Kai-yiu franktang , moderated by Craig Yee Craig Yee .

📅 𝐃𝐚𝐭𝐞: Saturday, Sep 19, 2026

🕒 𝐀𝐫𝐭𝐢𝐬𝐭 𝐑𝐨𝐮𝐧𝐝𝐭𝐚𝐛𝐥𝐞: 3:30–5:00 PM
(Opening Reception follows from 3:00–7:00 PM)

📍 𝐋𝐨𝐜𝐚𝐭𝐢𝐨𝐧: Shop 03-104, 1/F, Barrack Block, Tai Kwun, 10 Hollywood Road, Central, Hong Kong

𝐋𝐢𝐦𝐢𝐭𝐞𝐝 𝐒𝐞𝐚𝐭𝐢𝐧𝐠; early reservation is appreciated. Kindly RSVP via DM or email at 𝘪𝘯𝘧𝘰@𝘪𝘯𝘬𝘴𝘵𝘶𝘥𝘪𝘰.𝘤𝘰𝘮.𝘤𝘯 to secure your spot. We look forward to welcoming you.

08/09/2026

𝗟𝗶𝗳𝗲 𝘄𝗿𝗶𝘁𝗶𝗻𝗴 𝗮𝘀 𝗮 𝗵𝗲𝗿𝗺𝗲𝗻𝗲𝘂𝘁𝗶𝗰 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲: 𝙋𝙞 𝘿𝙖𝙤𝙟𝙞𝙖𝙣 𝙚𝙭𝙥𝙡𝙖𝙞𝙣𝙨 𝙒𝙖𝙣𝙜 𝙎𝙝𝙖𝙤𝙦𝙞𝙖𝙣𝙜

“Writing is not calligraphy. But practical activity connected to human life and existence.
..simply put, writing is not the same as calligraphy.

As modernity continually dissolves our existing systems of meaning, digital media constructs our human information structures. As artificial intelligence intervenes in the mechanisms of language generation, writing is acquiring a new intellectual attribute.

It is no longer a carrier of cultural memory, but has become a practice for us to re-understand the world, to understand the self, and to understand the other.”

—— 𝘌𝘹𝘤𝘦𝘳𝘱𝘵𝘴 𝘧𝘳𝘰𝘮 𝘑𝘶𝘯𝘦 17 𝘚𝘺𝘮𝘱𝘰𝘴𝘪𝘶𝘮 𝘰𝘯 𝘵𝘩𝘦 𝘰𝘤𝘤𝘢𝘴𝘪𝘰𝘯 𝘰𝘧 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨 — 𝘛𝘩𝘪𝘤𝘬 𝘌𝘢𝘳𝘵𝘩, 𝘍𝘭𝘶𝘦𝘯𝘵 𝘓𝘪𝘨𝘩𝘵: 𝘞𝘢𝘯𝘨 𝘚𝘩𝘢𝘰𝘲𝘪𝘢𝘯𝘨’𝘴 𝘐𝘯𝘷𝘦𝘴𝘵𝘪𝘨𝘢𝘵𝘪𝘰𝘯𝘴 𝘢𝘯𝘥 𝘛𝘳𝘢𝘯𝘴𝘧𝘪𝘨𝘶𝘳𝘢𝘵𝘪𝘰𝘯𝘴.

02/09/2026

INKstudio Hong Kong presents Losing My Way to Watch the Flowers Bloom, a solo exhibition by contemporary ink artist Peng Kanglong, on view from September 19 through November 28, 2026. Presented in two rotations—September 19 to October 21 and October 22 to November 28—the exhibition brings together nearly 40 works spanning Peng‘s career, including highlights from his major 2025 museum exhibitions at the Guangdong Museum of Art and The Historical Grand Courtyard in Taipei.

A recognized ”great synthesizer“ of the brush-and-ink tradition, Peng uniquely bridges the historically distinct genres of landscape and flower painting. Drawing on the foundational techniques of late-Ming, early-Qing, and modern masters, he applies the expansive compositional depth and fine texture strokes of landscape painting to render extraordinary floral works, revealing the richness and continuous evolution of his painterly language across scales, materials, and formats.

Featured highlights include the eleven-meter-long ink handscroll Roaming No. 3, the silver-foil folding screen Silver Thunderbolt, classic ink monochromes such as Mahler’s Fifth, Drawing Out, and Spirit on the Branch, and signature flower-landscape compositions like Night Flowers at Dawn, Flowers of Evil 2-1, New Life, and Rejuvenation.

【Exhibition Information】
📅 Dates: September 19 – November 28, 2026

First rotation: September 19 – October 21, 2026

Second rotation: October 22 – November 28, 2026

✨ Public Opening: Saturday, September 19, 2026 | 3:00 – 7:00 pm

🕒 Hours: Tuesday – Saturday, 11:00 am – 7:00 pm

📍 Venue: INKstudio Hong Kong, Room 103–104, 1/F, Barrack Block, Tai Kwun, 10 Hollywood Road, Central, Hong Kong

墨齋香港空間榮幸呈現當代重要水墨藝術家、水墨畫壇少見的「集大成者」彭康隆最新個展「迷路只為看花開」，展期自2026年9月19日至年11月28日。展覽精選彭康隆歷年重要作品，包括2025年廣東美術館大型個展「山花迷人眼：彭康隆水墨畫展」及台北大院子「觀花匪禁」中的重要創作，近40件作品聚焦藝術家不同階段的水墨實踐。中國繪畫史長久以來將山水與花卉視為兩種不同的題材，各自擁有其隱喻語言、技法與發展脈絡。彭康隆1988年畢業於國立臺北藝術大學水墨組，主攻山水畫，融合石濤（1642–1707）、髡殘（1612–1674後）等明末清初大家的筆法，以及近現代大師黃賓虹（1865–1955）山水中的厚重之感，逐漸形成獨特的山水風格。自2013年起，彭康隆開始嘗試花卉題材，並由此開啟對造型與筆墨、構圖與空間、色彩與光線關係的新探索。彭康隆以山水畫的筆墨、空間縱深與開闊構圖處理花卉，逐步發展出今日極具辨識度的「花卉山水」。

本次展覽將分為兩階段輪替呈現：第一階段自2026年9月19日至10月21日，第二階段自2026年10月22日至年11月28日。展品包括長達十一米的水墨長卷《漫遊

12/08/2026

Pi Daojian: “𝘈𝘳𝘵 𝘳𝘦𝘴𝘵𝘰𝘳𝘦𝘴 𝘰𝘶𝘳 𝘱𝘦𝘳𝘤𝘦𝘱𝘵𝘪𝘷𝘦𝘯𝘦𝘴𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘸𝘰𝘳𝘭𝘥.”

✍️ “In the past, our cultural perspective often swung between extreme nationalism and populism—forever wavering between self-doubt and self-satisfaction. But today, our collective cultural consciousness is 𝗺𝗼𝘃𝗶𝗻𝗴 𝗯𝗲𝘆𝗼𝗻𝗱 𝘁𝗵𝗲𝘀𝗲 𝗹𝗶𝗺𝗶𝘁𝘀. We are no longer defining ourselves through resistance; instead, we are shaping a true ‘𝗰𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝘀𝘂𝗯𝗷𝗲𝗰𝘁𝗶𝘃𝗶𝘁𝘆’ and liberating ourselves from a singular Western narrative of modernity. By thinking directly from our own lived experience, we begin to cultivate a deeper, more grounded cultural awareness…”

Photo credit: 打邊爐 ARTDBL

06/08/2026

𝗪𝗥𝗜𝗧𝗜𝗡𝗚 𝗔𝗦 𝗪𝗢𝗥𝗟𝗗 𝗛𝗲𝗿𝗺𝗲𝗻𝗲𝘂𝘁𝗶𝗰𝘀, 𝗜𝗻𝘀𝗰𝗿𝗶𝗽𝘁𝗶𝗼𝗻, 𝗮𝗻𝗱 𝘁𝗵𝗲 𝗜𝗻𝘁𝗲𝗿𝗽𝗿𝗲𝘁𝗮𝘁𝗶𝗼𝗻 𝗼𝗳 𝗔𝗿𝘁 𝗔𝗰𝗿𝗼𝘀𝘀 𝗖𝘂𝗹𝘁𝘂𝗿𝗲𝘀

On July 24, 2026, the panel discussion “Writing as World: Hermeneutics, Inscription, and the Interpretation of Art Across Cultures” will take place at Goethe-Institut, China in Beijing. Organized by INK Institute, New York, in collaboration with Goethe-Institut, China, the event brings together artists, curators, art critics, and scholars from China, Europe, and North America to explore writing, language, art, and cross-cultural interpretation.

The panel takes as its focus the intersection of hermeneutics and textual art, considering how writing, inscription, and the visual presence of language may become acts of interpretation performed by the artwork itself. It brings Wang Shaoqiang’s shuxie practice into dialogue with Hanne Lippard’s work with voice, text, and language: while Wang inscribes classical Eastern and Western texts, translation, and reinscription within a shared visual field, transforming writing from a medium into a mode of understanding, Lippard explores how spoken text unfolds in time, and how speech, repetition, slippage, and untranslatability shape the formation of meaning. In this way, the panel opens onto the relationships between writing and speaking, text and voice, embodied experience and the production of meaning, while asking how different linguistic and cultural traditions generate new meaning through encounter, translation, and renewed understanding.

▤ Date & Time: Friday, 24 July 2026 (4:00 -6:30 pm)

▤ Venue: Goethe-Institut, China, 798 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing, China

Goethe-Institut China WSQ王紹強 Craig Yee Daniel Muzyczuk

05/08/2026

𝗬𝗮𝗻𝗴 𝗝𝗶𝗲𝗰𝗵𝗮𝗻𝗴 𝗮𝘁 𝘁𝗵𝗲 𝗡𝗮𝗻𝗵𝗮𝗶 𝗟𝗮𝗻𝗱 𝗔𝗿𝘁 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹: 𝗘𝘃𝗲𝗿𝘆𝗼𝗻𝗲 𝗶𝘀 𝗤𝗶 𝗕𝗮𝗶𝘀𝗵𝗶

On July 17, Heading Toward the Water! Art at Qiaoshan — Art Field Nanhai 2026 officially opened. For this edition of the festival, artists Yang Jiechang and Chen Tong present their collaborative artwork, Return, at the Nanhai Silk Factory. Yang Jiechang and Zeng Yongtao spent forty years unlearning what they spent four years learning in art academy. ‘Everyone is Qi Baishi’ references the traditional copybooks of Manual of the Mustard Seed Garden (Jieziyuan Huapu), emphasizing memory and recitation methods as a mode of mentorship. It allows practitioners to connect the hand and brush to the heart, achieving a state of spiritual resonance. Hence titled ‘Return!’—from a stylistic and methodological perspective, Chen Tong’s portrait sketches and comic strips (lianhuanhua) represent a form of ‘return.’ His experience is similarly transmissible, though with a heightened emphasis on ‘life.

Following the opening of the art festival, Yang Jiechang and Chen Tong will join hands with artists Zeng Yongtao and Li Yanying to launch a series of artistic activities. Viewers are invited to step into the venue at any time, stepping into the canvas or becoming ‘Qi Baishi’ themselves!

▤ Exhibition Period: July 17, 2026 – January 3, 2027 (Saturdays & Sundays)

▤ Artists: Yang Jiechang / Zeng Yongtao / Chen Tong / Li Yanying

▤ Venue: Inspection & Sorting Workshop, Nanhai Silk Factory, Nanhai District, Foshan, Guangdong

04/08/2026

EXHIBITION EXTENSION ANNOUNCEMENT
LAO TONGLI: THE LIVING FIELD | 勞同麗：生息之地

INKstudio is pleased to announce that Lao Tongli’s acclaimed debut Hong Kong solo presentation, The Living Field, will remain on view through August 29, 2026.

The exhibition title, The Living Field refers to a field in which life circulates and grows among land, climate, body, and memory, and to Lao Tongli’s reactivation of gongbi heavy-color painting in a contemporary context. The volcanic geology, subtropical monsoons, rice fields, hydrological cycles, banyan trees, and coastal life of the Leizhou Peninsula formed his early experience; later, the vascular networks in his father’s heart images brought the body’s internal structures of life into his painting. Through line drawing, mineral pigments, layered coloring, and the long duration of handwork, he transforms personal experience into a way of perceiving living systems, allowing blood vessels, trees, sky, and the human body to become an organic world of mutual generation and continuous life.

We invite you to experience this extraordinary exhibition at our Tai Kwun gallery space before it closes.

▤ Venue: Shop 03-104, 1/F, Barrack Block, Tai Kwun, 10 Hollywood Road, Central, Hong Kong
▤ Opening Hours: Tuesday – Saturday | 11:00 AM – 7:00 PM

31/07/2026

Lao Tongli
Trees on the Other Shore No. 01, 2023
Ink and mineral colors on silk
276 x 139 cm. (108 5/8 x 54 3/4 in)
________________________________________________

The exhibition title, The Living Field refers to a field in which life circulates and grows among land, climate, body, and memory, and to Lao Tongli’s reactivation of gongbi heavy-color painting in a contemporary context. The volcanic geology, subtropical monsoons, rice fields, hydrological cycles, banyan trees, and coastal life of the Leizhou Peninsula formed his early experience; later, the vascular networks in his father’s heart images brought the body’s internal structures of life into his painting. Through line drawing, mineral pigments, layered coloring, and the long duration of handwork, he transforms personal experience into a way of perceiving living systems, allowing blood vessels, trees, sky, and the human body to become an organic world of mutual generation and continuous life.

▤ Exhibition Dates: From July 2, 2026 to August 29, 2026
▤ Venue: INKstudio Hong Kong: Shop 03-104, 1/F, Barrack Block, Tai Kwun, Hollywood Rd, Central
________________________________________________
⁠⠀⁠
“The cultural resonance of this image is rooted in the landscape of Lao’s formation, where the banyan held a central place in the communal and spiritual life of the Leizhou Peninsula — ecological infrastructure and numinous presence simultaneously. The Lingnan proverb 無榕不成村 (wú róng bù chéng cūn) — there is no village without a banyan tree — encapsulates its social centrality. What is structurally decisive for Trees on the Other Shore No. 01 is a specific feature of the banyan’s morphology: its aerial roots descend from established branches, anchor in the soil, and thicken into subsidiary trunks, so that a single organism expands into what appears to be an entire grove. This creates a living architecture that no individual trunk has authored or controls.”
__

Extract from - Iconology of Life Lao Tongli’s Experiential
Semiotics of Living Systems

Authors: Martina Köppel-Yang, Craig L. Yee, Nataline Colonneo, Yang Meiju
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Image: iStock 477954647 (lom66)

INK studio

14/09/2026

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31/07/2026

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Tuesday	10:00 - 18:00
Wednesday	10:00 - 18:00
Thursday	10:00 - 18:00
Friday	10:00 - 18:00
Saturday	10:00 - 18:00
Sunday	10:00 - 18:00