Art Intelligence Global

Stemming from Gober’s first foray into sculpture, Dollhouse 4 (1978) was fabricated in the back of a New York art supply shop while he supported himself making stretchers for other artists. Gober later recalled simply “doing the thing that interested me most.” Constructed from plywood scavenged from the streets of SoHo and pebbles collected from Coney Island, the austere form of Dollhouse 4 lays bare the labor, both physical and psychic, invested in the sculpture’s realization. The result is what critic Hal Foster termed the “superreal”: illusionism deployed not to conceal the real, but to uncover it in uncanny things. In the following decade, Gober turned to life-size domestic objects – sinks, beds, playpens, among others – each meticulously rendered yet subtly distorted. In Pitched Crib (1987), an empty, apparently mass-manufactured crib tilted at an irreconcilable angle is transformed into a ”cage“, channelling both Gober‘s childhood trauma and the devastating losses of the AIDS crisis. THE UNCANNY Closing May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #RobertGober #TheUncanny Robert Gober, Dollhouse 4, 1978 ©️ Robert Gober, Courtesy Matthew Marks Gallery Robert Gober, Pitched Crib, 1987 ©️ Robert Gober, Courtesy Matthew Marks Gallery

Yayoi Kusama‘s Driving Image (1964–66) is one of the earliest works in which her signature infinity nets extend beyond the canvas to consume objects in space. A landmark installation that preceded her renowned Infinity Rooms, the work was first assembled at New York’s Castellane Gallery in 1964, and later restaged in Milan and Essen in 1966. The disruption of a typical household tableau conveys Kusama‘s frustration with the post-war consumerism she encountered in New York. ”I find myself put into a uniform environment, one which is strangely mechanized and standardized,“ she remarked in 1964. The infinity nets give visual form to this anxiety: waves of overlapping colour collapse spatial depth, dissolving the scene into a homogenized, pulsating field. This near-complete set of original elements has been carefully reassembled over decades. See it before The Uncanny closes on May 15. THE UNCANNY Closing May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #ArtIntelligenceGlobal #yayoikusama #TheUncanny Yayoi Kusama, Driving Image, 1964-66. ©️ YAYOI KUSAMA Yayoi Kusama, Documentation of the Happening “Naked Body Festival: Love and Music,” 1967. ©️ VPRO 1967

First conceived in 1936 and later cast in bronze in 1964, Salvador Dalí’s Venus de Milo aux Tiroirs reimagines a celebrated Hellenistic sculpture of Aphrodite, the Greek goddess of love. By perforating this archetypal female form with drawers adorned with fur pom-poms, a knowingly fetishistic material, Dalí amplifies the very desire evoked by the original marble sculpture, transforming a symbol of classical beauty into an object as alluring as it is unsettling. Dalí was among the Surrealists’ most devoted followers of Sigmund Freud, who understood the mind to be replete with repressed desires and subdued impulses, secret drawers that only psychoanalysis could open. The sculpture gives Freud’s theories physical form, inviting the viewer into the hidden recesses of the goddess’s subconscious. The work is displayed alongside two other sculptures by Dalí, including the only version of the iconic Lobster Telephone (white aphrodisiac) (1938) held in private hands. THE UNCANNY March 21 – May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #ArtIntelligenceGlobal #SalvadorDalí #TheUncanny

“The ‘uncanny’ is that class of terrifying which leads back to something long known to us, once very familiar.” — Sigmund Freud (1919) “The Uncanny” continues at Art Intelligence Global’s Hong Kong gallery through May 15, 2026. Bringing together significant works by leading modern and contemporary artists – many rarely exhibited in Asia – the exhibition interrogates enduring tensions at the heart of the human condition. THE UNCANNY March 21 – May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #ArtIntelligenceGlobal #TheUncanny

Pitched Crib (1987) exemplifies Robert Gober’s sustained engagement with domestic objects during the 1980s – the decade in which he produced many of his most defining works. One of eleven cribs and playpens fabricated between 1986 – 1990, each work was constructed from plywood and finished with Dulamel enamel paint, a commercial product that closely mimicked the surface of mass produced furniture. With its angular distortion, the crib is no longer a place of sanctuary but becomes – in Gober’s own words – a ‘cage’. Evocations of entrapment were informed by enduring trauma and anger stemming from his childhood: growing up as an isolated queer teenager in a community shaped by religious intolerance, Gober‘s childhood was defined by exclusion and nonconformity. Deeply personal, the affective resonance of Pitched Crib is nonetheless universal, activated through Gober’s manipulation of an everyday structure embedded within the psyche of his audience. Rooted in the familiar, he transforms domestic space into a symbolic arena and insists on the persistence of trauma as both personal condition and shared cultural inheritance. THE UNCANNY March 21 – May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #RobertGober #PitchedCrib #TheUncanny Robert Gober, Pitched Crib, 1987 ©️ Robert Gober, Courtesy Matthew Marks Gallery Installation view, Robert Gober, Paula Cooper Gallery, New York, 3-28 October 1987. Courtesy Paula Cooper, New York.

AIG is thrilled to be named by @cultured_mag as Veteran Power Advisors on its 2026 Power Advisor List. Our sincere thanks to @sarahgharrelson and her team for this recognition, and to our clients and colleagues for their ongoing trust and support.

The Driving Image Show stands among Yayoi Kusama’s earliest and most radical installations – works that defined what would become arguably the most consequential decade of her career. First presented at New York’s Castellane Gallery in February 1964, the itinerant “show” subsequently toured Europe, expanded with new elements at galleries in Milan (January-February 1966) and Essen (April-May 1966). The mannequins in our current exhibition were present at both European iterations and combined with the furniture set in Essen. Subsumed in her signature Infinity Net motif, the installation reflects the hallucinations Kusama suffered from childhood – visions of patterns she described as “obsessions crawling over my body.” Hard, uncooked pasta scattered across the floor speaks equally to her fraught relationship with food, transforming the familiar into something both alluring and unsettling. Originally displayed surrounded by additional objects such as high heels and handbags, the work destabilizes the objects of everyday life, inducing a disorientation that mirrors Kusama’s own experience. One contemporary reviewer captured it simply: “Everything in this show is different.” The exhibition also includes a video documenting Kusama’s first Naked Happening, staged a year later in November 1967 – charting her evolution from object-based practice to live performance. THE UNCANNY March 21 – May 15, 2026 Art Intelligence Global Suite A, 1/F, TS Tower 43 Heung Yip Road, Wong Chuk Hang, Hong Kong Open Mon – Fri | 10AM – 6PM #AIGPresents #YayoiKusama #DrivingImageShow #TheUncanny Yayoi Kusama, Driving Image, 1964-66. ©️ YAYOI KUSAMA The Driving Image Show, installation view at Galerie M.E. Thelen, Essen, 1966. ©️ YAYOI KUSAMA Yayoi Kusama, Documentation of the Happening “Naked Body Festival: Love and Music,” 1967. ©️ VPRO 1967

社交平台年代，人人都可以是媒體，各個範疇都湧現許多「專家」，藝術市場亦不例外。 然而，真正專業的分析往往並非行外人能夠輕易觸及。有見及此，The Value與國際頂尖的藝術顧問公司「賢藝匯」（Art Intelligence Global，簡稱AIG）合作，推出季度專題報道，探討環球藝術市場走向。 本文中，AIG始創人寺瀬由紀與高級助理Alexander Gardiner，將深入剖析香港藝術月。 有興趣深入了解藝術市場的朋友，歡迎透過電郵[email protected]聯絡AIG的專業人士。 更多藝術及拍賣資訊，請追蹤👉@thevalueart

Now open in Hong Kong: The Uncanny at Art Intelligence Global, a group exhibition exploring how artists estrange the familiar. The exhibition includes significant work by Yayoi Kusama, Robert Gober, Sarah Lucas, Cindy Sherman, Louise Bourgeois, Domenico Gnoli, Nam June Paik, Salvador Dalí, and Mike Kelley. THE UNCANNY March 21 – March 29, 2026 (open daily) | 10AM – 6PM March 30 – May 15, 2026 (Monday – Friday) | 10AM – 6PM Opening Reception: March 24, 2026 | 5PM – 8PM Art Intelligence Global Suite A, 1st Floor, TS Tower 43 Heung Yip Road Wong Chuk Hang, Hong Kong #AIGpresents #ArtIntelligenceGlobal #TheUncanny #RobertGober #DomenicoGnoli #YayoiKusama #LouiseBourgeois (1) Installation views: Robert Gober, “Dollhouse 4” (1978) ©️ Robert Gober, Courtesy of Matthew Marks Gallery; Robert Gober, “Pitched Crib”(1987) ©️ Robert Gober, Courtesy of Matthew Marks Gallery; Domenico Gnoli, “Le canapé bleu”(1964); (2) Yayoi Kusama, “Driving Image”(1964-66) ©️ YAYOI KUSAMA; (3) Louise Bourgeois, “Untitled” (1998)

A glimpse into The Uncanny - opening tomorrow. THE UNCANNY March 21 – March 29, 2026 (open daily) | 10AM – 6PM March 30 – May 15, 2026 (Monday – Friday) | 10AM – 6PM Opening Reception: March 24, 2026 | 5PM – 8PM Art Intelligence Global Suite A, 1st Floor, TS Tower 43 Heung Yip Road Wong Chuk Hang, Hong Kong #AIGpresents #ArtIntelligenceGlobal #TheUncanny #YayoiKusama #MikeKelley #RobertGober #SalvadorDali #CindySherman ©️ YAYOI KUSAMA

Door to The Uncanny — Opening this Saturday, 21 March THE UNCANNY March 21 – March 29, 2026 (open daily) | 10AM – 6PM March 30 – May 15, 2026 (Monday – Friday) | 10AM – 6PM Opening Reception: March 24, 2026 | 5PM – 8PM Art Intelligence Global Suite A, 1st Floor, TS Tower 43 Heung Yip Road Wong Chuk Hang, Hong Kong #TheUncanny #ArtIntelligenceGlobal #RobertGober

This past weekend in Washington, D.C., and in the spirit of #internationalwomensday , @acappellazzo took the stage at the #makingtheirmark Forum alongside distinguished curators, creatives, and leaders across the art world. Joined by influential voices in the global art market from auction executive @bbrennanchristies , economist @renee_b_adams , and gallerist @mary_sabbatino - the conversation examined the structure of the art market through the eyes of diverse players, analyzing equity and trends in today’s market as well as addressing bias within the broader arts ecology in an increasingly complex economic landscape. Thank you to @komalshahgarg @ceciliaalemani @loringrandolphny and the entire team at @makingtheirmarkorg for such an enriching weekend. Photo credit: Photos are by Stephen Voss / CKA @photo_by_cka @stephenvoss @king_marvino