Pratchaya Phinthong: Empty Set / Shahana Rajani: In drawing, in remembrance

Para Site is thrilled to present Empty Set, a solo exhibition by Pratchaya Phinthong, and In drawing, in remembrance, a solo exhibition by Shahana Rajani. 

Phinthong’s first institutional solo exhibition in Hong Kong, Empty Set (September 13–November 23, 2025) serves as both an intervention and a stage—bringing together cultural workers, scientists and cross-disciplinary collaborators to pose questions, share critical reflections and explore futures shaped by the climate emergency. The exhibition acts as a catalyst for a larger project that will unfold throughout fall 2025 in and around Para Site’s space through site interventions, a symposium, a film programme and performances.

The exhibition uses the “empty set”—a circle with a diagonal dash, an absence with defined boundaries yet containing no elements—as a guiding concept and a conceptual placeholder for ideas and discussions outside of rigid knowledge structures. Empty Set creates a place for new possibilities, a literal opening of the exhibition space to the outside world. Walls, windows and other thresholds become elements of an experiential montage, edited into interventions that dissolve the fourth wall of the gallery and expose it to realities beyond.

Empty Set is curated by Billy Tang.

Also Rajani’s first institutional solo exhibition in Hong Kong, In drawing, in remembrance (October 11, 2025–February 1, 2026) centres on two video works that follow communities in coastal Pakistan who employ various drawing practices to confront infrastructural violence and climate collapse. Four Acts of Recovery (2025) is a meditative documentary that depicts how a fisher family displaced from the Indus River Delta attempts to recover its ties to its disappearing homeland. Exhibited for the first time, Lines that World a River (2025) is a video essay that engages with activists and elders to enact a critique of the political and capitalist forces that are damaging the river ecologies of Karachi.

Alongside the two artworks, the exhibition also adopts images, sound, and objects from the region to embody the processes of recovery, retracing, and remembrance explored by Rajani in her works. The exhibition thus encourages visitors to embark on their own journey of remembrance, and further reflect on the shared vulnerabilities and resilience that resonate throughout communities across geographies. 

In drawing, in remembrance is curated by Jessie Kwok, in collaboration with Yuanyu Li.