One of the exhibition’s biggest highlights is the rare display of some of Bang & Olufsen’s most iconic creations. Visitors can trace the evolution of home entertainment through legendary pieces such as The Eliminator (1926), the company’s first commercial success, the acclaimed Beogram 4000 turntable, and the sculptural Beosound 9000 CD player. Stealing the spotlight is the highly anticipated Hong Kong debut of the Beolab 90 Titan Edition—a centennial masterpiece limited to only 10 pairs worldwide. 

The exhibition unfolds through four thoughtfully curated zones. Sound. Elevated. explores a century of groundbreaking products, while Factory 5 offers a fascinating look into the brand’s mastery of aluminium craftsmanship, from micron-precision cutting to intricate anodization techniques perfected over six decades. Design for Sound showcases 11 era-defining creations that transformed audio products into cultural icons. At the same time, Recreated Classics highlights how heritage pieces are restored and reimagined with modern technology for the streaming era. 

The opening ceremony carried an atmosphere that felt both celebratory and intimate. Industry insiders, creatives, media representatives, and long-time Bang & Olufsen enthusiasts gathered to reflect on the brand’s century-long journey. A memorable moment came when Hong Kong singer-songwriter Jay Fung took the stage to share his personal connection with the brand and its role in his creative process. During a press conversation, Jay Fung was invited to sing a few lines, drawing smiles from the crowd and adding a spontaneous, distinctly local moment to the centennial celebration. 

Beyond the exhibition, visitors can take home a piece of the 100 years celebration through the “Echoes Yard” newsstand, featuring limited-edition newspapers, collectable postcards, and exclusive commemorative souvenirs. As Bang & Olufsen looks toward its next century, A Century of Beautiful Sound is a tribute to how the brand blends exceptional design and sound to continue to shape the way we experience music, art, and everyday life. 

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The work is the latest from Banksy, the British artist who has spent the last two decades quietly becoming the most recognisable contemporary voice in modern art without ever revealing his face. His practice has always followed a simple principle, that art should arrive where it is not expected, say something with precision, and leave before anyone can ask permission. The new piece extends that practice into territory he has rarely entered before, and the departure tells us something about where he is heading.

The work is, by any measure, his most cinematic intervention to date. It is also his largest, and the size is the first thing the piece is telling you. Banksy has spent most of his career working in the language of the small subversive gesture. The mural left for someone to find at dawn. The work that rewarded the attentive passerby and asked nothing of anyone else. That artist is no longer on the wall in Waterloo Place. The figure standing there now was hoisted into position overnight by a full construction crew, lit at sunrise as if it had always been there, and it does not whisper. It does not even ask. It stands, monumental and unignorable, in the middle of the city, and it makes you stop. The shift in scale is the work declaring something the murals could only suggest, that subtlety has run out of room, and the message has grown loud enough to demand a monument.

What the figure is saying, once you look at him, is the deepening of an idea Banksy has been turning over for years. The man on the plinth is the universal believer, rendered righteous by a banner that carries no nation, no insignia, no allegiance, every flag and none. And the flag itself is what has blinded him. His pride is his unseeing. He is moving forward with conviction, and he is moving forward into thin air, and Banksy has placed those two facts so close together they collapse into one. The piece does its work slowly. You read the joke first. You read the cold edge underneath it second. The figure is dignified. He looks, in his bronze tailoring and his proud forward motion, exactly like the historical figures whose statues surround him, Edward VII stands a few feet away and the Crimean War Memorial sits in his sightline. He has been planted in the heart of London’s most ceremonial monument quarter, and the longer you look at him, the more the resemblance to his neighbours becomes the point.

That is the gravity at the centre of the piece, and everything else the work is doing radiates out from it. The statues we build for our heroes are also, almost without exception, statues to certainty. To the man who knew. To the leader who did not flinch. To the doctrine that did not pause to look. Banksy’s contribution to that lineage is the same figure with the lights off, identical in suit and posture and forward motion. Just no eyes. The unsettling thing about the work is not that it mocks the men cast in bronze around it, but that it asks how much daylight there ever really was between them, whether the difference between the celebrated and the catastrophic was always a matter of who happened to win, who happened to write the inscription, and what we have agreed not to look at too closely.

What separates Banksy from the cohort of artists who have tried this kind of work is that he is not making art about a single ideology. He is making art about the human pattern that lives underneath all of them. The way human beings, given a banner and a direction, will march. Any banner. Any direction. He is not interested in telling anyone which flag is the wrong one. He is interested in the moment the flag covers your face, and you keep walking. The piece refuses every specific reading and offers itself to all of them, because the pattern itself is universal. That refusal to take a side is, in its own way, the most pointed thing about the work. In a moment when most public art is rushing to declare its allegiance, Banksy has built a monument that simply turns the gaze back on the viewer.

The reflection the piece invites, then, is not really about politics. It is about the texture of belief itself, and what it has come to feel like to live inside one. There is a comfort in conviction that is hard to argue with. Once you have picked up the flag, the world organises itself for you. Belief, in this register, is not really about what you believe. It is about no longer having to hold the weight of not knowing. Banksy has built a statue to that relief, and the relief is what makes the figure both familiar and a little tragic. He looks dignified because he is finally untroubled. He is finally untroubled because he has stopped seeing.

What gives the work its quiet moral weight is the recognition that blindness rarely arrives as ignorance. It arrives as conviction, dressed in the language of values, moving through the world looking like courage. The man on the plinth is not stupid. He is sure. And the piece is suggesting, gently, that sureness without sight is the more dangerous of the two conditions, because doubt at least keeps its eyes open. That is the reflection the bronze keeps offering back to anyone willing to stand beneath it long enough. Not an accusation. Not a verdict. Simply the suggestion that the certainty we have been carrying may have begun to carry us instead.

What the piece ultimately reveals is an artist evolving in full view of the public. Banksy is no longer placing his commentary in the margins of the city. He is putting it in the centre, in bronze, in the kind of permanent material his subjects usually reserve for themselves. The size is the message as much as the figure is. He has spent twenty years asking us to look more carefully at the world we have stopped noticing, and with this new statue, he is asking the same question with more authority, standing among the heroes we have spent centuries building monuments to. The work will not be there forever, and it is the kind of piece that, regardless of how familiar the artist’s name is when you walk up to it, will tell you everything you need to know about him by the time you walk away.

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To meet Alexander James is to meet someone who has stopped negotiating with the square. There is nothing theatrical about James. Instead, there is a sense of ease, down to earth and friendliness when you speak to him. His strong introspection and deep knowledge in the art world immediately draws you to how he perceives art which is reflected in his current solo exhibition in Hong Kong. Presented by Phillips, the exhibition is titled ‘Dissecting the Square. Colours and Black’ by Alexander James.

A British born multimedia artist, James has previously exhibited in London, Paris, and New York building an international presence and is now debuting his solo exhibition in Hong Kong. This past Friday, we got to experience more of James’ world where the exhibition opened up with an intimate media tour followed with a meet and greet, setting the tone for what is to come for the rest of the evening.

Speaking to James, you come to learn that the title of his exhibition emerged from a turning point in his studio back in the UK. One early morning, a beam of sunlight cuts sharply across his empty canvas where he noticed how the light was “literally dissecting the square.” What might have passed as a fleeting moment of introspection and inspiration had served as a pivotal moment in his journey.

The programme for the evening continued with a panel talk hosted in conversation with Phillips where James expanded on his relationship with the square. Some of his current and signature paintings include Blue Pulse and a Summit of Souls and audience members took the opportunity to share their gratitude towards him for his paintings. They even expressed how purchasing his past works had significantly impacted them and how deeply they appreciate his work.

The evening also had an opening reception that brought together the Phillips auction community, long standing collectors, and a new generation of cultural voices. Throughout the evening, James noted the importance of his metropolitan background, sharing that he hopes audiences can feel that influence when they view his work.

INTERVIEW: ALEXANDER JAMES

T&C: You were born in the UK and your work has been exhibited internationally. What has that journey been like for you?

AJ: Honestly, I feel incredibly grateful. I’ve met so many great people and like minded creators along the way. It’s always special to see the work exist in different spaces. Showing in different countries gives me exposure and new experiences that I take back to London and feed into my work. A lot of my work is about relationships and people, so those experiences are really meaningful to me.

T&C: Let’s talk about “Dissecting the Square.” Can you take us back to that moment?

AJ: Yes. Being in London, we don’t get consistent sunshine, so when the sun does come out, it’s special. I don’t usually rush straight into painting. I sit and think first. When the sunlight comes into the studio, it cuts across the space and creates these symmetrical lines and shapes, dividing the room into light and shadow. It almost creates its own narrative.

This had been happening for years, and I’d just carry on working. But one day, while speaking with the Philips team on a sunny day, I noticed it again and said, “It’s like dissecting the canvas.” That phrase stuck. We sat with the idea and eventually developed it further. I think subconsciously I’ve also been influenced by artists like Sean Scully and Josef Albers, who work with the square in such instinctive and personal ways. They manipulate it so distinctively, and I suppose that connection fed into the idea as well.

T&C: You’ve been to Hong Kong twice now. Have you noticed anything here particularly in the architecture that connects to your work?

AJ: I’ve been here for four days this time, and I came with a friend from London. We’ve been shooting film and taking photos, working on something that co exists with this exhibition. What really strikes me is the energy. I love the chaotic pace. Coming from London, I’m used to a metropolitan rhythm, but Hong Kong feels even faster and more intense. The architecture is amazing. There are a few buildings in particular which had strong 90s feeling which grabbed my attention. I love the Lippo Centre and the sculptural quality of these two towers. Their bold, angular forms make them feel like giant mechanical sculptures rather than ordinary buildings, giving Hong Kong a truly distinctive landmark. It’s as if you placed you in the past and future at the same time and I really enjoy things that create that particular type of confusion.

More generally, I love the openness of the people here. There’s a friendliness and accessibility that feels different from London, and I really appreciate that.

T&C : As a role model for the next generation, what advice would you give to young artists entering the art world?

AJ: You’re going to hear a lot of voices, some of which are positive, some negative. It sounds obvious, but your gut instinct really does matter. You have to try things. Without trying, you don’t get anywhere.

When I was younger, I didn’t know where any of this was leading. And honestly, we still don’t fully know where life takes us. But we usually have a sense of direction, something that feels right. There will be trial and error. Some things won’t work out. But you just keep moving. Otherwise, you’ll sit there wondering what might have happened if you’d tried. People will always have opinions — you have to block out the noise and do what feels right in that moment.

Alexander James’ exhibition is on view until May 31, 2026, the exhibition highlights James’s ongoing exploration of the square as both a compositional device and a symbolic boundary.

The post IN CONVERSATION WITH ALEXANDER JAMES: EXPLORING ‘DISSECTING THE SQUARE. COLOURS AND BLACK’ AT PHILLIPS appeared first on T&C Magazine.

Hosted at the HKGTA Town Club, this exclusive preview welcomed various media platforms and VIP for a presentation on the new edition’s craftsmanship, where editors and guests got an in depth look at the model while learning more about its acoustics. Additionally, the BeoLab 90 has been reimagined in five limited editions to commemorate its 100th year in embracing the brand’s design legacy.

Alongside, the luncheon featured a curated listening session for guests as they enjoy their meal. From Michael Jackson’s greatest hits to the timeless classics of Anita Mui, as well as Queen’s iconic “Bohemian Rhapsody,” this experience took guest through a musicial journey across generations and back to the century of sound. 

A true blend into sound and gastronomy and a showcase of the depth, precision and power of the BeoLab 90.

At the heart of the luncheon, we spoke to the Bang & Olufsen team where they shared more about the design:

“Each BeoLab 90 features 18 handcrafted drivers. This includes seven tweeters, seven midrange drivers, and four woofers. The bass performance is especially powerful, driven by three 10-inch woofers and one 12-inch woofer.”

Stay tuned as the celebration of its 100 year continues,with the next event set to take place at the end of May at Tai Kwun.

photo @BANG&OLUFSEN

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Founded by Michael “Shoe” Shoemore, SHOE made his mark in Hong Kong with an exclusive pop-up during ComplexCon week and Art Basel month. The Los Angeles label launched a limited‑edition capsule, a move that matched the city’s urgent, electric energy. 

DJs from the female‑led hip‑hop collective FWY Party provided the soundtrack, and the venue had creatives flowing between racks, beats and conversation. Giveaway winners were announced and the room pulsed allowing the brand’s language to speak in a way the city understands: high contrast, high intensity, and no interest in playing safe.

“Combining fashion and culture is at the heart of what we do,” Shoemore said. “This event is an invitation for the Hong Kong community to engage with our brand in a way that resonates with their personal stories.”

– Michael Shoemore

Before SHOE, Shoemore worked as a visual director for artists including Drake, Jhené Aiko and Migos, and that background still shows in the way the brand constructs atmosphere. SHOE doesn’t present itself as polished luxury in the conventional sense; it leans toward a luxury that’s pulled apart, rebuilt and pushed toward something darker, sharper and more emotionally charged.

The capsule continues SHOE’s exploration of movement, cultural exchange, and the evolving relationship between cities and creative communities. The collection features hoodies, graphic T‑shirts and a leather trucker hat, each piece designed to reflect the connection between Los Angeles and Hong Kong.

At the center of the capsule are two graphic motifs that explore both the journey and emotional link between the two cities. One is an aviation‑inspired graphic: a red aircraft bearing the SHOE logo across its fuselage, anchored by the Chinese characters 香港 (Hong Kong) — a literal symbol of the brand’s movement from LA to the city. The second is a bold heart motif formed from stylized Chinese characters representing Hong Kong, transforming language into a symbol of appreciation and cultural connection. Visual artist Sam Wong created the artwork, contributing to the collection’s visual language while remaining true to SHOE’s narrative‑driven design direction.

That mood — instinctive, disruptive and cinematic — made immediate sense in Mong Kok. Founded by Michael “Shoe” Shoemore, SHOE comes out of Los Angeles with a visual world shaped by instinct, disruption and a taste for the cinematic.

For a label already rooted in artist and athlete communities, the Hong Kong pop‑up wasn’t about proving arrival; it was about seeing what happens when SHOE’s world drops into another world with equal pulse.

EVENT IMAGES

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Despite yesterday’s rain, crowds still turned out in full force. From the packed crowd to the shift from daylight into night, it felt like one of those moments where the city was fully locked in. Their long-awaited East Asia debut turned West Kowloon into something bigger than a headline set: a reminder of how far music can travel when the right crowd meets it.

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By early evening, the space was already thick with that Magic Room energy. Not overworked, just a crowd, a setting and a sound that made sense together. Red light cut across the audience, hit faces in flashes, bounced off scaffolding and soaked the entire site in something almost cinematic. It felt distinctly Hong Kong: dense, dramatic, a little chaotic, and all the better for it.

The line-up helped. Musumeci B2B Lehar brought the sort of set that suited the skyline perfectly — immersive, driving, and expansive enough to stretch across the open air without losing the crowd. Radeckt added another layer to the evening, while the Nodes crew — Leon, Mo-Shi, Milam and Nat Dunn — kept the pulse of the night closely tied to home. It spoke to the kind of platform Magic Room has become: one that knows how to hold space for both the expansion of Hong Kong and those who have built it.

In a city where nightlife can so often be over-explained, over-branded or over-designed, Magic Room’s fifth anniversary was a reminder that the strongest parties are still the ones that understand feeling first. This was not just as a celebration of five years, but proof of what can happen when a party grows with its city instead of simply happening inside it.

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As Art Week in Hong Kong reaches its grand finale this Sunday, OPEN by HE.R takes over the iconic Chater Road for a rare, large-scale open-air experience, bringing together high art and dancefloor energy in the heart of Central.

Curated by Cocoa Zhou and music director Alex Nude, the creative duo behind the coveted HE.R nights at Mott 32 is running this week’s most anticipated closing event in partnership with Hongkong Land. This event marks a bold redefinition of outdoor culture in the city’s core.

Giving Tripolism, a well-established force in the music industry, their first time in Asia, HE.R hopes to introduce something sonically new to the local scene. Beyond the music, the visual and spatial design is an integral part of the experience. The open-air festival takes the idea of an outdoor event to the next level while empowering urban culture alongside art and electronic music during the city’s most creatively prolific time.

We spoke to Cocoa and Alex themselves during the photoshoot whilst learning more about the festival’s vision as we framed each shot.

T&C: Tell us more about the festival! What makes this different from what you’ve done before?

Alex Nude: Beyond the larger scale, we want to push change forward. Staging this on the street embodies that—bringing something new to the city.

Space is always a challenge in Hong Kong, so we sought a creative way to overcome it.

Cocoa Zhou: Additionally, the electronic sound at Open by HE.R differs from what the local market is used to, and through this event we hope to introduce and expand that palette.

T&C: Tell us more about the theme for this event and the dress code inspiration

C: Dressing up is the fun part of this, as we welcome any style. Our main priority is for people to express themselves and their personality. For that purpose, we chose ‘deconstructed elegance’, in echo to our dress code at HE.R, ‘polished yet raw’. Both suggest an openness to interpretation while bringing up this notion of contrast and balance.

T&C: What inspired you to create HE.R? What makes it different?

A: It started with the idea of creating an escape, something that pulls you out of your everyday life. Where you are free to express yourself in any way and have the opportunity to experience the culture of house music while meeting a diverse range of demographics.

C: We drew inspiration from venues we’ve played at around the world and wanted to bring that energy back home. There’s a level of sophistication we felt was missing in the local club scene, and HE.R is our way of introducing that.

T&C: How has it been navigating Hong Kong’s DJ scene as a woman? What have your experiences taught you?

C: I believe no industry should be differentiated between men and women. When I get approached by people claiming to specifically require a woman DJ, I get put off because I feel a lack of respect for my skills. I had to experience this a lot at the early days of my career, as this is how things work, and you might sometimes have to take advantage of it to get a head start. The challenge then becomes to get taken seriously, and for that I had to be a lot more selective with the gigs I would pick and work on my skills.

T&C: What characterizes your duo, and how would you describe your creative dynamic?

A: With Cocoa, it’s even more fun when we play together, the night rolls better. It feels effortless and natural. I’d say our consistency is our best asset.

C: I would say ying-yang? We are opposites when it comes to our music preferences, as I tend to enjoy pushier, heavier bass while Alex goes for melodic, softer sounds. These different tastes end up being complementary when we play and take us back to that idea of contrast we emphasize at HE.R.

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A unique vibrancy surrounds Hong Kong during every Art Basel season — a fever of openings, crowds, and see-and-be-seen moments. Stepping into Inna Wegener’s Wong Chuk Hang studio, rare.weg, felt different. The space felt lived-in, with every layer of the paintings on its walls telling a story. We sat down with Inna during this art season to talk about something the community often forgets: the inner child who started making art long before the market came calling, turning sensitivity into strength. Rare.weg’s upcoming exhibition, “UA Art Salon,” running through May 15, brings together six Ukrainian artists whose works aim to challenge the world’s perception of what their country’s art can be. But to understand this exhibition, you first have to understand the woman behind it all — an IT professional by day, but a painter and a curator by night — who believes that art, above all, should feel like play.

T&C: Your work centres on derealisation — the sensation of moving through several layers of reality at once. Where does this fascination originate? 

IW: Honestly, when I was a kid, I was always extremely sensitive to the world around me. And I was in my own little world. I felt too many things — so I decided to live life as it is, without demanding an explanation. It’s a lot. It can be challenging sometimes. That’s why I’ve been painting since I was a child, as it was the easy way to express myself. For me, it’s seemingly impossible to describe your own thoughts, even if you know a lot of words. 

T&C: You mentioned that art is about expressing things that are too complicated for words. Is that why you paint in layers? 

IW: Yes. In fact, I always work on one layer at a time, putting them above one another spontaneously. I’m also using paper, not canvas. Paper, for me, is sort of like our body. When you put too much weight on yourself, we as soulful beings, could crack anytime — we simply cannot take too much. So I had to be very careful when working with the fragile paper. You need to have good intentions to feel where you paint, so it doesn’t become too heavy on top of many other layers. I’m thinking like five, at maximum. If you put even more, it’ll be over. 

T&C: And Hong Kong’s humidity doesn’t make it easier. 

IW: Exactly. Each new layer must be completely dry, which, in Hong Kong’s humidity, can take weeks. The process is slow by necessity and by choice. I refuse to rush what I am trying to say. So I had to make sure that each time I added a new layer, everything was completely dry, so every piece takes almost four months. My process is slow, but I’m never in a rush, and I think that’s the beauty of it. I don’t think, “Oh my God, I have to survive, I need to pay my rent”— a problem that all undoubtedly artists have. 

But I specifically don’t want to be in a rush because this is what I’m painting: absolute infinity of life, movement, process, universe, everything and nothing at the same time. I never work from sketches or schedules. I begin, step away, return. The painting tells me when it’s finished. There is no “top to bottom” — only presence and return. This is how I protect the work from becoming heavy or forced. 

T&C: That’s why you make it playful for yourself. 

IW: Precisely why I said that you just need to take a step back and switch off your mind, to play for yourself by yourself — it’s how you remind yourself that you are a child. It makes you feel. 

T&C: You live a double life — IT professional by day, artist by night. How did that happen? 

IW: My mother was practical. In our generation, parents pushed for stability — doctor, economist, lawyer. I followed that path to make them proud, studying full-time at two schools simultaneously: regular classes from 8 a.m. and art school until 9 p.m. That discipline shaped me. Today it allows me the freedom to run rare.weg not as a traditional gallery, but as a playground for experimentation — a small, supportive space where artists can show work without fear of being judged or whatsoever. 

T&C: That philosophy extends to how you run rare.weg. It’s not a traditional gallery

IW: I want to create an environment that feels like a playground, where you can experiment and learn from one another. Since we have a small space, there’s no need to be overly serious – you can freely showcase whatever you create in art without fear. The people who join us are all very easygoing and supportive. To us, it’s not just a gallery, but a studio of freedom for all artists.

T&C: The current exhibition, UA Art Salon, features six Ukrainian artists. What was the intention behind it? 

IW: I wanted to challenge the narrow perception many people still hold of Ukrainian art — that it is only folkloric or traditional. The young generation in Ukraine thinks and feels exactly like young artists in New York, London, Paris, Tokyo, Seoul, Beijing, or anywhere else: overwhelmed, searching for connection, pushing boundaries. Through this show I am protecting something fragile — the right to be seen as contemporary, complex, and forward-looking, not defined by stereotypes or distant propaganda. 

T&C: What do you want people to take away from UA Art Salon? 

IW: That Ukrainian artists today carry new ideas, new languages, and new ways of seeing. I want to let people know that Ukrainian artists also have new ideas and perspectives. We’re not old school. It just feels different. We have so many stereotypes and propaganda from other countries. That’s why I want to have human connections. With the internet, people tend to generalise everyone within the country, until you start to research and meet real people from that place. Then, you’ll begin to understand that it’s not as it seems. 

Until 15 May, rare.weg remains open — not as a white cube, but as a living space where colour, conversation, and quiet revelation are always welcome. Come with open eyes. Stay as long as the layers ask you to.

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2016 was a pivotal year for global pop culture and internet memes became cultural currency. Trends like the Bottle Flip Challenge, the Mannequin Challenge, and the Running Man dance were just the few that captivated users by leaning into humor and showcasing playfulness at the heart of social media. Recent posts of throwback content and marketing have reignited conversations about trends from that year, and the idea that the internet is a shared playground more than a stage.

Fashion followed this energy too! bomber jackets were everywhere, heavy 90s nostalgia permeated the fashion scene, and streetwear was blended pretty seamlessly into high fashion.

Pokémon Go was on the rise, redefining the crossover between digital experiences and real life, while a new wave of rappers dominated the charts, with major releases from Kanye, Beyoncé, Drake, and more. All of which cemented 2016 as a year driven by digital-first cultural moments.

BUT WHY NOW?

Part of this renewed fascination has come from the decade mark of entering 2026, and how Gen Z views 2016, not only as a memorable year in itself but a representation of the spontaneity and carefree attitudes pre-pandemic and pre-AI. It was a year not focused on perfection.  

Additionally, brands and the marketing world have been pushing for the nostalgia of the 2016 comeback. Revisiting the storytelling of the year offers familiarity and comfort, offering a bit of a reset from the overstimulation of algorithm pressure. This revival isn’t about a time-machine, it’s about reclaiming the internet as: unserious, communal, and creatively free.

WE’VE PUT A 2016 THROWBACK PLAYLIST TOGETHER FOR YOU!

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