It feels apt that an exhibition on violence is on show at the former Central Police Station compound that is now the Tai Kwun Centre for Heritage and Arts. But the theme of Performing Society: the Violence of Gender (until 28 April; free), is not that literal: the show looks at how societal structures are a form of violence, and how gender norms are defined and imposed. Organised by Susanne Pfeffer, the director of Frankfurt’s Museum für Moderne Kunst, the show features 11 artists, such as Hong Kong’s Wong Ping and Germany’s Anne Imhof, the Golden Lion winner of the 2017 Venice Biennale. With several videos on show depicting scenes of a graphic or sexual nature, parts of the exhibition are age-restricted, including Wong’s animation Who’s the Daddy (2017) which makes references to penises, fisting and abortion.
Tishan Hsu (until 25 May; free) at the Empty Gallery in Hong Kong is shines a spotlight on the Chinese-American artist, who came to prominence in the 1980s but retreated from view in the 1990s. The gallery is staging an exhibition of Hsu’s most recent works at its venue in the Grand Marine Center, and also showing pieces dating from the 1980s and 1990s on its stand at Art Basel in Hong Kong. “We found Tishan, archived his work, and got his studio up and running again,” says Alexander Lau, the gallery director. In the past few years, Hsu has worked on a project focused on historical photographs discovered in albums of his extended family, examples of which are on show at the Empty Gallery. “The work evolved out of a confluence of events, including the death of my mother in Boston, which precipitated my setting up a studio in Shanghai, where family members who I never knew for most of my life have lived for many years,” Hsu says.
Taking its title from one of the French-American artist's writings, Hauser & Wirth's show Louise Bourgeois: My Own Voice Wakes Me Up (until 11 May; free), presents a series of red gouaches, topiary-inspired sculptures and rarely exhibited holograms, all made in the last two decades of the artist’s life. The deeply personal and confessional nature of Bourgeois’s work is a focus of this show, which is organised by Jerry Gorovoy, who worked as her assistant from the early 1980s until her death in 2010. The exhibition coincides with Bourgeois’s first solo show in China, The Eternal Thread, which opened at the Long Museum, Shanghai, and travels this month to the Song Art Museum, Beijing.