Yongqi Tang, The Stage Builder, 2026, Oil on canvas, 53 x 30 in, 134 x 76 cm
The Hartz Project invites art enthusiasts and seekers alike to cross the threshold into its inaugural exhibition, "Even Though I Forgot My Name," opening with an intimate reception at M Place in Hong Kong on Saturday, July 18, 2026, from 3pm to 7pm.
Nestled within the dynamic cultural landscape of the Wong Chuk Hang neighborhood, this newly minted sanctuary is envisioned as a vital nexus where profound human creativity intersects with boundless spiritual energy.
Rather than merely staging an exhibition, the space serves as a serene laboratory for the interior life, welcoming visitors to embark on an evocative journey inward to the very center of their being.
Featuring the visionary perspectives of artists Yongqi Tang, Liu Xin, Xiangjie Rebecca Wu, Alexis Jang, Kyungmin Jean Lee, Ru Xin, and Goyona Jung, the collective presentation charts the intricate, quiet geometries of self-discovery.
The exhibition operates on a compelling philosophical boundary, questioning what endures within the human soul once the cacophony of the external world falls silent and societal labels dissolve.
Within this curated space, the shedding of one's given name is reframed not as a loss or an act of erasure, but as a luminous awakening—a conscious return to an untamed, eternal truth that defies rigid social definition in pursuit of pure essence.
The gallery space weaves a collective dreamscape that guides the viewer through distinct spiritual coordinates of self-exploration.
Ru Xin, Pendulum (The Middle Way), 2026, Oil on canvas, 50 x 40 cm
The journey originates within the fragile ether of memory, where artists crystallize fleeting emotional currents and nostalgic anchors, tracing the invisible threads that bind our contemporary consciousness to past environments.
Visitors are then drawn deeper into a subconscious gateway, where the surreal topography of dreams is utilized to dissolve the limits of everyday logic and unearth raw, vibrant realities.
Finally, the narrative grounds itself in the primal pulse of existence, celebrating the boundless, instinctual sanctuary of maternal love as a cosmic force and an elemental proof of being.
Ultimately, the exhibition suggests that to lose one's prescribed place in the material world is to find a true home in the cosmos, extending an elegant invitation to forget who we were told to be, and simply remember that we are.
Liu Xin, Lover's Tomb, 2025, Acrylic on canvas, 90 x 50 cm
