Hua International

Hua International Founded in 2018, the gallery champions a cosmopolitan program across its Berlin and Beijing spaces, f

Breathe. As in. (shadow)with Qiu Ruixiang & Peter Welz on view until June 27, 2026at Hua International BerlinThe exhibit...
02/05/2026

Breathe. As in. (shadow)
with Qiu Ruixiang & Peter Welz


on view until June 27, 2026
at Hua International Berlin

The exhibition takes its title from a poem by Rosamond S. King, in which the gesture of breathing is held suspended between contraction and expansion, between inhalation and release. It is in this interval, this in-between, that the works of Qiu Ruixiang and Peter Welz find their common ground and their difference: where Qiu withholds and compresses, turning the gaze inward, Welz releases and dilates, projecting fragments outward until they constitute new worlds

photos by: .photo

Breathe. As in. (shadow) with Qiu Ruixiang and Peter Welz .welz We are pleased to announce our upcoming exhibition for G...
17/04/2026

Breathe. As in. (shadow)
with Qiu Ruixiang and Peter Welz .welz

We are pleased to announce our upcoming exhibition for Gallery Weekend Berlin 2026 , opening Friday, 1 May, at our Berlin location.

The exhibition takes its title from a poem by Rosamond S. King, in which the gesture of breathing is held suspended between contraction and expansion, between inhalation and release.

It is in this interval, this in-between, that the works of Qiu Ruixiang and Peter Welz find their common ground and their difference: where Ruixiang withholds and compresses, turning the gaze inward, Welz releases and dilates, projecting fragments outward until they constitute new worlds.

Opening: 1 May, 6—9PM
On view 01.05.26—27.06.26

Hua International
Potsdamer Str. 81B,
10785 Berlin Germany

For more information check the link in our bio.

"KNOT I: Soft Reality, Hard Dreams" is now open at Knotting Space, 7/F H Queen's, Central, Hong Kong. Curated by Jims La...
28/03/2026

"KNOT I: Soft Reality, Hard Dreams" is now open at Knotting Space, 7/F H Queen's, Central, Hong Kong.

Curated by Jims Lam and on view during Art Basel Hong Kong, 23 March–18 April 2026, Tue–Sat, 11am–7pm.

Featuring Vivian Caccuri (b. 1986, Brazil), Jinbin Chen (b. 1994, China) and Shi Yi (b. 1993, China).

Don't miss it this weekend .HK

Opening tomorrow — 14 March, 4PM. “Time Is the Thing a Body Moves Through” Two-person exhibition with new works by Ming ...
13/03/2026

Opening tomorrow — 14 March, 4PM.

“Time Is the Thing a Body Moves Through”
Two-person exhibition with new works by Ming Yuan & Chen Dandizi.

On view 14.03.26 — 06.05.26.

HUA International
D08-3, 798 East Road
798 Art District
100015 Beijing

Poster design: .vinokoorov

installationart sculpture

Join us this Saturday, March 14th for the opening of our new exhibition „Time Is the Thing a Body Moves Through“, at our...
07/03/2026

Join us this Saturday, March 14th for the opening of our new exhibition „Time Is the Thing a Body Moves Through“, at our Beijing location.

“We’re investigating the language of the present from the perspective of the utopic, which is an exploration of difference, and the only way we can find to this language takes us through each other.”
— T Fleishman

The exhibition Time is the Thing a Body Moves Through, titled after the novel by T Fleischmann, a reflective work about art, embodiment, and how perception unfolds across time, brings together Yuan Ming and Chen Dandizi, whose paintings, videos, and watercolours share an attention to fragile images, quiet gestures, and suspended states of perception. Across these works, images appear as fragments that invite the viewer to slow their gaze and experience time not as narrative or explanation but as something the body itself gradually moves through.

Alibi
At the centre of each composition sits a closed red box, lacquered but mostly silent. The object reads immediately as a jewellery case, but what it ought to contain is absent: the jewel is gone, not shown or perhaps never even existed. Yuan Ming elevates these empty containers into subjects in their own right, creating a tension between interior and exterior, between the promise of something precious and the void it conceals. In these sites of reflection, the artist removes the objects of desire to reveal a deeper exploration of value, identity, and aspiration, while the works highlight the tension between exclusivity and accessibility, desire and imitation, subtly commenting on class, consumption, and aestheticised identity. The title Alibi introduces a legal and identity-related dimension that acts like a proof of presence elsewhere and the trace of a meaningful absence. One interpretation is that the closed box becomes a symbol of a locked interiority, a subjectivity to which access is denied, a gesture that also operates as a critique of the orientalist gaze that objectifies Asian women, reducing them to appearances and attributes.

Yuan Ming
Alibi X, 2025
Oil on cotton canvas
25x25x5 cm

Hua International Wishes You a Wonderful Year of the Horse! 户尔空间祝福您马年大吉！As we welcome the Year of the Horse, Hua Intern...
17/02/2026

Hua International Wishes You a Wonderful Year of the Horse! 户尔空间祝福您马年大吉！

As we welcome the Year of the Horse, Hua International sincerely thanks you for your continued support and trust. The Horse symbolizes strength, energy, and the spirit of moving forward. May the year ahead bring you confidence in every step, clarity in your path, and fulfillment in everything you do. Wishing you and your loved ones a joyful, healthy, and prosperous Year of the Horse.

值此马年来临之际，户尔空间谨向您致以诚挚的感谢，感谢您一直以来的支持与信任。马象征着力量、活力与奋进。愿新的一年里，您步履坚定、前程明朗、万事顺遂。祝您与家人马年吉祥、平安健康、兴旺如意。

image: Chen Dandizi , The Fantasy of New World Don Quixote (detail), 2023.

Hua International is pleased to announce “Who’s Afraid of Red Stains and Yellow Snow?” by Marianna Uutinen, opening Frid...
23/01/2026

Hua International is pleased to announce “Who’s Afraid of Red Stains and Yellow Snow?” by Marianna Uutinen, opening Friday, 13 February, at our Berlin location.

Opening Reception: 13 February, 6 pm-9 pm
14 February - 11 April 2026
An exhibition featuring works by Marianna Uutinen (), grounded in process-based abstraction, where painting is approached as a material event rather than an image. The result is surprising; it is neither painting nor sculpture alone. It moves off the stretcher and into space, insisting on surface as something active, physical, and transgressively corporal.

The title of her solo exhibition at Hua International Berlin, Who’s Afraid of Red Stains and Yellow Snow?, is a parodic parody, a deliberately “contaminated” echo of Barnett Newman’s Who’s Afraid of Red, Yellow and Blue (1966–70), a canonical statement about the autonomy of painting.

In Uutinen’s work, the surface is not a finish but a site of transformation—where paint becomes skin, where beauty yields to the body’s hidden textures, and where meaning is produced through rupture and contact. These paintings do not simply depict; they unfold, peel, and bleed into space, insisting on an art that is at once seductive and unsettling. By reactivating a 1990s vocabulary of folded flesh, stained purity, and bodily ambiguity, Uutinen bridges past and present, showing how abstraction can still carry the weight of the psychic, the erotic, and the socially charged. This exhibition reveals a sustained practice that is both intimate and expansive—one that refuses closure and invites the viewer to confront the unseen forces that shape our surfaces, our identities, and our desires.

Marianna Uutinen
Float, 1997
acrylic and glitter on plastic
86 5/8 x 165 3/8 in
220 x 420 cm

Hua International is delighted to congratulate to their inclusion in the Whitney Biennale 2026. CFGNY is an artist col...
19/12/2025

Hua International is delighted to congratulate to their inclusion in the Whitney Biennale 2026.

CFGNY is an artist collective that continually engages with the idea of the „Vaguely Asian,“ a term that the collective coined to explore the production of racial identity and its attendant associations. Working across mediums such as fashion, performance, sculpture, and architectural installation, CFGNY’s playful engagement with the elasticity of racial construction and subjectivity lays bare (mis-)understandings of seemingly fixed social and historical associations.

As part of ‘e-nnui’ at Hua International, CFGNY continued their focus on “in-betweeness” and visual construction. Starting from traditional craft practices, they re-examined the tensions between digital simulation and material translation. By deconstructing and recomposing the logic between materials and images, the collective created an unstable viewing experience across media, highlighting the visual residues of cultural appropriation and framing them as forms of “digital handcraft” in the age of online imagery.

At Art021, Hua International presented a partial reinstallation of an exhibition that CFGNY produced for the Japan Society in New York. The cardboard fragments displayed throughout this installation, alluding to elements of the New York buildings that housed the society, initially appeared In CFGNY’s work as references to check-in luggage to and from Southeast Asia. The inexpensiveness and malleability of the material, and its oscillation between soft shells, enclosing items during travel, and the sharpness of stone buildings, play with an idea of (de-)construction that’s essential to identities and the collective’s work.

1. Installation view, e-ennui: CFGNY, 2025, Hua International, Bejing, China.

2. Installation view, Refashioning: CFGNY & Wataru Tominaga, 2024, Hammer Museum, Los Angeles, California, USA. Photo by Jeff McLane.

3. Installation view, e-ennui: CFGNY, 2025, Hua International, Bejing, China.

4. CFGNY’s 2025 collection, e-ennui, Hua International, Bejing, China

Hua International would like to congratulate Johanna Unzueta () to her participation in the Whitney Bieannale 2026.The a...
16/12/2025

Hua International would like to congratulate Johanna Unzueta () to her participation in the Whitney Bieannale 2026.

The artists work was on view at Hua International’s show ‘Atlas of Affinities: Vol. 1, The Far-Near’.

This exhibition tracked trajectories to, from, and outside of the landmass and cultural concept known as Asia, inviting artists to consider and showcase their varying affinities to the concept in the gallery-turned-into-forum.
Unzueta’s sculptures included here referred to industrial objects through craft. Posing as auxiliary architectonic parts, these objects made of felt and wood used their alternative textures to render whimsical the forgettable interior hardware.

Johanna Unzueta is an artist that transcends the rules of space by slipping between the properties of painting and sculpture. Going beyond the dimensionality of objects and canvasses, the artist creates landscapes unlike any we’ve seen before. Her environmentally orientated work transcends what we would usually recognize as being from this earth, creating a reality that has so far remained unknown. Traveling along these dream-like scapes, the viewer finds themself in an environment governed by something not yet conscious, something undefined and just beyond the surface of understanding.

1. Installation view from ‘Atlas of Affinites: Vol. 1, The Far-Near’

2. Sin titulo, 2013, felt and wood, dia 43cm/depth 10cm

3. Sin titulo, 2015, felt and wood, 43x31x14cm

4. Bisagara azul marino y café, 2012, felt and wood, 45x120cm

We congratulate Gordon Hall on his inclusion in Tom Burr’s Torrington Project, a collaborative endeavour documented in t...
10/12/2025

We congratulate Gordon Hall on his inclusion in Tom Burr’s Torrington Project, a collaborative endeavour documented in the eponymous book now available for purchase.

Gordon contributed several sculptures and their lecture performance “1-2 pm”, which reaffirmed the importance of the work that artists do, intergenerationally, together.

Edited by Blake Oetting and designed and published by Primary Information, the release includes contributions from from a variety of incredible artists (Aria Dean, Christine Messineo, David Joselit, George Baker, Humberto Moro, Jody Graf, Jordan Carter, Renée Green, Maria Hassabi and Nick Mauss) captured by Jackie Furtado and Jess Tang, among others.

You can grab yourself a copy at Primary Information, which is currently offering an “Institutional Critique” Bundle for $35 comprising Tom Burr’s Torrington Project, Renée Green’s Camino Road and Michael Asher’s Writings 1973-1983 on Works 1969-1979.

https://primaryinformation.org/product/institutional-critique-bundle/

Images 1-12: Book preview, installation views

Images 13, 14: Gordon Hall, Belt (Black and Navy), 2023, Colored pencil on paper, painted wood peg, 15 x 64 x 8 cm

with Bronze Coat Hanger by Tom Burr

Image 15: Gordon Hall, Companion Stool (Handles), 2023, Steel, modelling compound, 48 x 50 x 51 cm

Image 16: Gordon Hall, Judy’s Footstool (Extended), 2023, Poplar, cast concrete, 39 x 52 x 157 cm

Image 17: Gordon Hall

Image 18: Institutional Critique Bundle

Image 19: Torrington Project, Tom Burr

Dean Sameshima is an artist and photographer that catalogues q***r venues and environments. His practice and interventio...
27/11/2025

Dean Sameshima is an artist and photographer that catalogues q***r venues and environments. His practice and interventions are a way of asserting himself into narratives that would otherwise exclude him as an East Asian man. This outside position, and the realisation of the absence of others like him, define his work. Absence becomes a twofold stage, containing whats yet to be reached but also what’s lost indefinitely: a world in which q***rs move unafraid of disappearance and the spaces that contain this movement, such as public bathrooms and peep shows. Making visible and remembering simultaneously.

In the twenty five black and white photographs of the series ‘being alone’, anonymous cruisers are bathed in the glow of blank cinema screens. Where faces don’t show, only the architecture that protects remains. Absence becomes the medium of relation and the venue itself embodies q***r relationality.

In Sameshima’s ongoing series ‘anonymous portraits’ this idea of absence and simultaneous presence is continued. Based on the work of John Rechy, a chronicler of q***r pre-aids subcultures, the artist explores the (non-)visibility of sexual outlaws. Using typologies and color combinations from his own collection of q***r texts, the artist creates an archive for communities under threat and looked down-on.

In ‘Erdbeermund’ Sameshima extends this approach to ephemera of sexual encounters, to glory holes. Photographing them empty, the artist only alludes to what could be and what has been. Our attention is shifted to the infrastructure that enables encounters and presents us with an arousing idea of what may happen tonight.

Selected pieces of the ‘being alone’ series are currently at view as part of ‘A Single Hurt Color’, Open through Feb 7.

1. Self portrait in the Hollywood Spa, 1993

2. Anonymous Portraits ‘Anonymous Faggot’, 2024, Acrylic & Silkscreen on Canvas, 30 x 40 cm

3. being alone (no. 4), 2022, Archival inkjet print, 59.5 x 42 cm

4. Erdbeermund, 2023, Archival inkjet print, 60 x 42 cm

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