What are the opening hours?

Tuesday 11:00 - 18:00 Wednesday 11:00 - 18:00 Thursday 11:00 - 18:00 Friday 14:00 - 21:00 Saturday 10:00 - 18:00 Sunday 10:00 - 18:00

ba d'arts藝趴

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藝術共創平台 | 策展 | 設計文創
𝘉𝘳𝘪𝘯𝘨 𝘢𝘳𝘵 𝘵𝘰 𝘣𝘢-𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦𝘳𝘦 𝘪𝘴 𝘯𝘰 𝘣𝘢𝘳
與我們來一場藝術派對

30/05/2026

營運公告

「dododoodle手繪作品展」將明天5月31日（星期日）中午12:00 至 15:30預留 Drawing Room活動使用，因此這段時間暫停對外開放。

當天其他開放時間如下：
上午 10:00 - 12:00
下午 15:30 - 18:00

歡迎大家在以上時段前來參觀展覽！

The dododoodle exhibition will be reserved for “Drawing Room” activity tomorrow, Sunday, May 31 from 12:00 to 15:30. The exhibition will be closed to the public during this period.

Other opening hours on that day are as follows:
10:00 - 12:00
15:30 - 18:00

You’re warmly welcome to visit during the above open hours!

20/05/2026

在當代生活中，手繪的純粹樂趣常被數位工具取代。然而，那些無意識流淌的線條、圖形與符號，卻是最真實的內心映照。

本次展覽的策展團隊匯聚185位來自不同背景的藝術家，共呈獻 540幅手繪與拼貼作品。每位藝術家皆以 10.8 × 10.8 cm 的正方形格為場域，在有限方寸間釋放無限自由。這些看似隨意的「亂畫」，實則承載著藝術家最私密的內心世界。

展場內大型「插畫牆」將五百餘件微型作品匯聚成豐富視野，讓觀者在方寸之間，窺見多元生命交織的世界。

《隨手亂畫的快樂》邀請我們重新拾起筆，找回那份純粹而輕盈的創作喜悅。

展覽｜dododoodle隨手亂畫的快樂
藝術家｜185位
作品｜540幅

10/05/2026

/休館通知 Temporary Closure Notice/

藝趴將自5月11日起至5月15日暫時休館，
以全力投入手繪作品展《Dododoodle》的籌備工作。

我們將於5月16日隆重開幕，
期待與大家共同體驗這場深刻的藝術呈現。

ba d‘arts will be temporarily closed from
May 11 to May 15 to focus fully on preparing
for the next exhibition, “Dododoodle”.

We will grandly reopen on May 16 and look forward to reuniting with everyone to experience this profound artistic presentation together.

09/05/2026

一次過看180位插畫師的手繪迷你作品！

在忙碌的都市生活中，你還記得上次拿起筆隨心所欲地塗鴉是甚麼時候嗎？

由幾位本地藝術愛好者籌辦的手繪插畫聯展《Dododoodle》，以「一格靈魂，手繪覺醒」為主題，每一份作品均限制於 10.8 × 10.8cm 的正方形方格內，從網絡媒體的規格限制，搬到現實的場景，希望大眾重新發現「Doodle」（隨手亂畫）背後的純粹與療癒。展場內一面巨大的「插畫牆」將呈現這五百多種不同視角，讓觀眾在方寸之間看見畫師眼中的世界。

另現場設有大眾手繪區，歡迎觀眾一起隨意創作，重拾手繪樂趣。
展覽詳情:

展覽日期： 2026年5月16日至6月7日
開放時間：星期二至四 11:00-18:00
星期五 14:00-21:00
星期六、日 10:00-18:00地點： ba d’arts 藝趴（上環德輔道西 32-36 號利豐商業大廈 11 樓全層）
費用：免費入場
支持本地創作：展覽部分作品開放認購（定價為$100 - $500），收入全數撥歸畫師，以鼓勵持續藝術創作。

更多展覽詳情：

09/04/2026

//休館通知//
藝趴將自4月10日起至4月30日暫時休館，以全力投入《殉道者》讀劇的籌備工作。我們將於5月1日隆重開幕，期待與大家再次相聚，共同體驗這場深刻的藝術呈現。

ba d‘arts will be temporarily closed from April 10 to April 30 to fully dedicate ourselves to the preparation of the staged reading The Martyr.

We will grandly reopen on May 1 and look forward to reuniting with everyone to experience this profound artistic presentation together.

殉道者讀劇詳情 𝙗𝙖 𝙙’𝙖𝙧𝙩𝙨藝趴

02/04/2026

《 A Boy with Lamb 男孩與羊》

這張作品給人的第一印象，或許是童趣、夢幻而古典的，但細看便發現，這似乎是一個被遺忘的詭秘空間。作為主角的青銅雕塑已然失去原有的生命力；刻有壁畫的破損石牆似乎創造了田園牧歌的幻象，但交疊的線條中，又隱含了對歷史災難的回溯；至於窗外深藍的半球體就像通往未知的入口，任由我們作出各自的想像。

At first glance, the painting evokes a sense of childlike wonder, dreamy and classical. Yet the longer one looks, the more it reveals itself as a forgotten, enigmatic space. The bronze sculpture centre has long lost its living breath; what remains is a smiling boy tenderly embracing a lamb. The crumbling stone wall, adorned with faded frescoes, conjures an illusion of pastoral idyll, but beneath its layered, fractured lines lingers a quiet echo of historical ruin and forgotten catastrophe. Through the broken window, a deep blue hemisphere floats like a portal to the unknown, inviting each viewer to project their own uncertainties into its mysterious depths.

01/04/2026

《 One Page 一頁》

《一頁》並非單一時刻的直白寫照，而是以多個瞬間拼湊而成的頁面式結構。每一段手寫與草稿、每一塊被切割出的板件，都是一個獨立的情感單位：記憶的證據、感受的證詞、時間的碎片。當這些瞬間並置於同一枚“頁面”之上，觀眾看見的不再是完整的敍事，而是一場情感的簽到：過去與現在在同一平面上對話，空間與時間彼此映照，讓觀者以自己的步伐在碎片間尋找連結。

“One Page” is not a record of a single moment, but a page built from multiple moments. Each handwritten note, draft, and cut panel is an independent emotional unit—a memory, a feeling, a fragment of time.Placed on one page, the viewer encounters not a complete narrative but signs of emotion: past and present speak on a shared plane, space and time reflect each other, and invite personal connections across the fragments. The page becomes an open field for interpretation, where meaning emerges through gaze and reassembly.

31/03/2026

《 Palimpsest 對開》

《對開》以一塊砧板為起點。藝術家從過去以燒鵝為主的題材，轉向承載它的木板。作品取名《對開》，指向它的形式：一組如屏風般打開的雙聯畫，一個被揭示的空間。

畫面借用了樹瘤紋和刀痕的紋樣及意象。有別於規律生長的年輪，樹木受傷後會形成纏繞、打結的樹瘤。作品中，這種視覺語言用以言說一段非直線生長記憶。

Palimpsest takes a chopping block as its starting point. The artist shifts focus from the roast goose (the subject of earlier works) to the board that holds it. The title refers to the work‘s form: a diptych that opens like a folding screen, a space revealed.

The work draws on the imagery of burr grain and knife marks. Unlike the regular growth of tree rings, burr wood forms tangled, knotted patterns when a tree is wounded. In Palimpsest, this visual language speaks to a memory that does not grow in a straight line.

30/03/2026

《 Two-headed bird: Cage of Calm 共命鳥：平靜之籠》，《 Bird of Departure 離鳥》

《共命鳥：平靜之籠》屬於「共命鳥」系列作品。本作源於一個得來不易的體悟：我們所攜帶的氣場 ——無論是恐懼或信念——都會形塑我們所處的空間，以及我們將進入的未來。共命鳥是佛教神話中的雙頭鳥，最終因兩個頭之間的內在衝突而走向毀滅，象徵內在分裂或群體對立所導致的自我瓦解。此件作品特別轉向對「理性重量」的凝視——那是一種被培養、被迫承擔的理性之重。作品指向一種長期負荷：必須時刻保持鎮定、計算、預判，並自我約束，才能被視為「合理」與「可信」的存在。

《離鳥》誕生於藝術家陪伴其年屆 24 歲的鸚鵡與癌症抗爭的期間。那段時間，她不斷在心中預想牠終將離去、步入「無之境界」的時刻。《離鳥》正是這份凝視與思索的化身——畫面燃燒於赤紅色調之中，彷彿正溶解、轉化，通往另一個維度。牠的靈魂是什麼形態？又將如何飛離這個世界？破碎的羽毛與深沉的陰影，喚起一個正處於轉化邊緣的存在——懸置於在場與缺席之間，尚未完全離去，亦不再全然停留。

“Two-headed bird: Cage of Calm” is from the “Two-headed bird”series. This piece reflects a hard-earned realization: that the aura we carry, fear or faith, shapes the space around us and the future we enter. Jīvajīvaka is a two-headed bird in Buddhist mythology. The bird ultimately dies from an internal conflict between the two heads—a metaphor for the destruction that arises from inner or communal division.This specific piece turns toward the weight of rationality, the cultivated humanistic weight one is often forced to wear. It speaks to the burden of always needing to be composed, to calculate, to anticipate, and contain oneself in order to be seen as reasonable.

“Bird of Departure ” was conceived while the artist’s 24-year-old parrot battled cancer, a time when she found herself constantly imagining his eventual departure into a realm of non-existence. Bird of Departure embodies this contemplation, burning in red hues as if dissolving into another realm. What is the form of his soul? How does it take flight beyond this world? Fragmented feathers and deep shadows evoke a being on the verge of transformation, caught between presence and absence.

27/03/2026

《 Balloon 膨脹》

作品主要有兩種線條，都是由直覺出發，藝術家會畫和刮它們出來。第一種是軌跡或痕跡，與畫面和物料互動，捕捉思緒流動的痕跡，會隨時間堆疊、增減。

第二種是令她安心的線，是一些用線組成的空間，在空的畫面上留下像structure的線，令思緒可停留，像休息的地方或避難所一樣，但有時會困住畫面某樣事物，也是一種執着。

選擇用線，是因為很多時候，許多東西本來就是難以言諭的，直接使用較抽象的元素反而更能誠實地表達抽象的情感、氣氛或想像。而線條比色塊更像一種痕跡，也可以遊走在畫面中，所以選擇了線條。

Balloon mainly work with two kinds of lines, both starting from intuition. The artist draw them and scrape them out. The first type is about traces or trajectories — they interact with the surface and the material, capturing the marks left by the flow of thoughts. They accumulate, increase, or decrease over time. The second type is the lines that bring me a sense of calm: lines that form spaces on an otherwise empty surface, creating structures where her thoughts can pause and rest — like shelters or safe havens. But sometimes these lines also trap or enclose certain things in the picture; they become a kind of fixation or obsession. She choose to use lines because so many things are difficult to put into
words. Using more abstract elements actually allows me to express abstract emotions, atmospheres, or imaginations more honestly.

Compared to color blocks, lines feel more like traces; they can also move freely across the surface. That’s why she chose lines.

Address

11/F, Lee Fung Commercial Building, 32-36 Des Voeux Road W, Sheung Wan
Hong Kong
999077

Opening Hours

Tuesday	11:00 - 18:00
Wednesday	11:00 - 18:00
Thursday	11:00 - 18:00
Friday	14:00 - 21:00
Saturday	10:00 - 18:00
Sunday	10:00 - 18:00

Website

http://linktr.ee/ba.d.arts

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