Who are the artists you need to keep an eye on in 2026?
Our editors have shared their thoughts on the 24 names who will be making an impact during the coming year. Discover the full list by heading to the link in our bio.
For now, meet Dala Nasser, Connie Zheng (@yconniezheng ), Nina Hartmann (@ninahartmann___ ), Betül Aksu (@betulaksu ), Mohammed Z. Rahman (@m.z.r.supply ) and Chan Ting (@ctsimage ).
Chan Ting’s solo presentation, “Abandoned Abundance,” is now on view at Art Basel Hong Kong, Discoveries, Booth 1C34. The series draws on their practice of salvaging and transforming vintage and secondhand objects—many of them abandoned or left behind—weaving themes of personal history, migration, queer reinvention, and growth.
Art Basel Hong Kong
March 25-29
Images:
Installation views of Chan Ting’s solo booth at Art Basel Hong Kong, 2026.
Courtesy the artist and PHD Group, Hong Kong. Photos by Felix SC Wong.
PHD Group is happy to participate once again in Art Basel Hong Kong’s Discoveries sector, with a solo presentation by Hong Kong artist Chan Ting (she/they), “Abandoned Abundance.”
Drawing on their practice of salvaging and laboriously transforming vintage and secondhand objects— many of them abandoned or left behind—the artist illuminates the palimpsestic nature of Hong Kong and our interconnected stories, weaving together themes of personal history, migration, queer reinvention, and growth.
For Art Basel Hong Kong 2026, Chan Ting collected vintage objects over the course of 12 months from a variety of backgrounds and time periods, including a statue of the deity Guanyin— known for their representation of gender fluidity— to a military chest from India, a set of doors from Shanghai, and carved wooden flowers from Japan. Utilising typical hardware store materials of plaster, pigment, and industrial paints and varnishes, Chan Ting then carefully transformed these objects, creating a second skin that references moss, an ancient organism that embodies resilience, growth, and queer ways of being.
In totality, the presentation resembles an attic of freestanding or wall -hung totems at the juncture between growth and decay. The title hints at tensions at the crux of Chan Ting’s practice, namely the relationships between an increasingly accumulating world and our throw -away society, and material excess against philosophical emptiness. Inspired by Gaston Bachelard’s “The Poetics of Space” and the surrealist cinema of Michel Gondry’s “The Science of Sleep,” Chan Ting’s world plumbs the subconscious and the dreamlike, rooted in earthly forms and objects. Rather than conform to linear and academic narratives of history, Chan instead searches for the stories that make up our memories. “We are never real historians, but always near poets,” Bachelard suggests, “and our emotion is perhaps nothing but an expression of a poetry that was lost.”
Abandoned Abundance #9
2025
Ming dynasty wooden Guanyin statue, filler, industrial pigment, mineral pigment, spray paint, oil pastel
23 x 50 x 19cm
Courtesy the artist and PHD Group, Hong Kong. Photos by Felix SC Wong.
Chan Ting’s “Abandoned Abundance” series draws on their practice of salvaging and laboriously transforming vintage and secondhand objects—many of them abandoned or left behind. Through this process, they illuminate the palimpsestic nature of Hong Kong and our interconnected stories, weaving together themes of personal history, migration, queer reinvention, and growth.
Chan Ting’s work will be on view at Art Basel Hong Kong, Discoveries, Booth 1C34.
Art Basel Hong Kong
March 25-29
Convention Center
Images:
Abandoned Abundance #13
2026
Vintage wooden flower, filler, mineral pigment, industrial pigment, spray paint, oil pastel
12 x 7.5 x 2.5 cm
Courtesy the artist and PHD Group, Hong Kong. Photos by Felix SC Wong.
Octone Foundation is pleased to announce our support for a new curatorial project, Bloody Worm: Nomadic Bodies, Conscious Experience, and Embodiment Practice.
Initiated by independent curator Yifei Tang in collaboration with Octone Foundation, this yearlong project will unfold through close observation, collaborative research, and flexible modes of support, accompanying the practices of Bo Choy, Cici Wu, and Chan Ting. Moving through experiences of leaving, returning, and staying, Bloody Worm reflects on embodiment, intimacy, and forms of kinship across cultural and geographical distance.
At Octone Foundation, we believe art can open new ways of understanding, connection, and possibility. We are glad to begin this journey of sustained support alongside the curator and artists.
The project will launch on March 31 at the Asia Art Archive Library. More soon.
RSVP Required: [email protected]
拾壹藝術基金很高興宣布支持全新策展項目《血毛蟲：遊牧的身體、有意識的經驗與具身創作》。
作為一項為期一年的計劃，《血毛蟲》由獨立策展人唐一菲（@yifeit_ )與拾壹藝術基金(@octone.foundation )共同發起，並將透過親近觀察、共同研究與靈活支持機制，持續陪伴蔡寶賢(@bo.choy )、武雨濛與陳庭（@ctsimage ）的創作實踐。從「離去、重返與停留」的個體經驗出發，項目嘗試重新思考身體、親密性與跨越文化及地理距離的連結方式。
拾壹藝術基金一直相信，藝術不只是表達，也是一種促進理解、建立連結與打開可能性的方式。很高興在這個項目中，與策展人和藝術家一起展開一段更長時間的陪伴與支持。
項目將於 3 月 31 日在亞洲藝術文獻庫（@asiaartarchive )圖書館正式啟動。更多內容即將公布。
本次活動需RSVP: [email protected]
#BloodyWorm #OctoneFoundation #AAA #AsiaArtArchive #ContemporaryArt
It’s my first time hosting Golden Dragon Fire Ceremony (金龍火典).
Ignite the fire of the golden dragon, and welcome back the power and healing energy. This signifies the healing for our land, while people let go of old patterns and are healed. This fire ceremony awakens people’s inner creativity and brings forth new levels of consciousness.
