Bingyi: Taihang Rhapsody
Co-Curators: Craig Yee, Chris Wan
Dates: 1.14-3.08, 2026
Venue: Asia Society Hong Kong Center, 9 Justice Drive, Admiralty, Hong Kong
INKstudio and Asia Society Hong Kong are pleased to debut Bingyi’s solo exhibition “Taihang Rhapsody” to Hong Kong audiences.
The exhibition presents Bingyi’s latest grand, speculative narrative about Art and its relationship to History and Politics as reimagined from a woman’s point of view.
The exhibition is presented as the long-lost artworks of Hua, the Northern Song Matriarch of Painting, recovered in the 1990’s during the excavation of a Song Dynasty temple site in the Taihang Mountains by the archaeologist Bingyi. In her speculative reconstruction, Hua was a not only a progenitor for female artists throughout Chinese history but a visionary philosopher and political thinker as well. Independently of the great masters of the Song Dynasty landscape and the lineage of great literati scholar artists that followed—all of whom were male—Hua created an alternative aesthetic system that de-centered the patriarchal, Confucian, brush- and ego-centered mode of literati landscape painting and re-centered the expressive possibilities of brush-and-ink on water, on Taoism, on nature, and on the creative experiences of women,
In each of the five chambers of the Chantal Miller Gallery, Bingyi has installed the artworks supposedly discovered in the five main halls of Hua’s Taihang Mountain temple complex: The Entry Gate to Hua’s Temple (Chamber 1), Hua’s Study (Annex), Hua’s Hall of Emptiness (Chamber 2), Hua’s Hall of the Universal Mind (Chamber 3), and Hua’s Temple of Mountains and Water (Chamber 4). By challenging the distinction between the artist—Bingyi—and her creation—Hua—the exhibition invites us to question whether we can distinguish between historical and contemporary INK art? Between figuration and abstraction in the language of painting? Between mind and matter in our experience of art and, in turn, the world? Between fact and fiction in our construction of history and, therefore, ourselves?
