HONG KONG.- Maeve Brennan: Records, the artist’s first solo exhibition in Asia, spans moving image, sculpture, works on paper, and printed matter. The exhibition features ongoing projects alongside three new works commissioned by Tai Kwun Contemporary. Maeve Brennan (b. 1990) is an avid storyteller whose practice investigates material histories, underground economies, and ecological issues. Blending forensic investigation with poetic narration, the exhibition uncovers the hidden world of stolen antiquities, exposing the networks that shape our cultural past and present.

The title Records refers to alternative forms of documentation that highlight often-overlooked narratives surrounding places and objects, giving space to concealed voices and knowledge. Resembling documentaries in their style, Brennan’s films draw audiences in with sweeping imagery and captivating characters. In her material practice—described by the artist as “artefacts of her research enquiry”—she reconfigures elements of her research into different modes of storytelling.

Brennan’s most recent film, Siticulosa (2025), co-commissioned by Tai Kwun Contemporary, traces the origins of looted antiquities featured in her earlier work An Excavation (2022) back to the Puglia region of Southern Italy. What begins as an examination of illicit archaeological excavations’ impact on Puglia’s landscape and communities evolves into a nuanced study of the area, extending beyond archaeology to offer a breadth of local knowledge and intimate understanding of the land.

From rural Italy’s hills to museum storage rooms, scrapyards, and ancient tombs, Brennan’s interest in material pasts and forms of repair has led her to sites where alternative narratives emerge. This engagement with spaces of marginalized histories resonates with Tai Kwun’s own complex heritage—a cultural hub constantly under examination and reinterpretation. On a broader scale, Hong Kong’s role as a global center of trade and exchange provides a fitting context for Brennan’s exploration of cultural ownership and contested historical accounts, prompting audiences to consider the social and political implications embedded in objects and their surroundings.

Despite grappling with vast archives and intricate systems, much of Brennan’s work centers on interpersonal relationships and encounters that span eras. This focus is reflected in her close collaborations with experts such as archaeologists, geologists, and biologists, some of whom become pivotal figures in her works. Forensic archaeologist Dr Christos Tsirogiannis, a central presence in this exhibition, is one such collaborator.

Brennan’s investigations have taken her from Lebanon to London and across Europe, uncovering the entangled histories of recovered ancient objects. These narratives reveal the complex pasts of artifacts violently stripped from their contexts, while quietly acknowledging the irretrievable stories lost in the process. In doing so, Brennan sparks urgent conversations about loss and displacement in cultural heritage while giving space to voices that often go unheard.

Presented alongside solo exhibitions Alicja Kwade: Pretopia and Hu Xiaoyuan: Veering, Records is part of Tai Kwun Contemporary’s Breakthrough series that explores materiality and storytelling through diverse, inventive approaches. This triptych of shows highlights Tai Kwun’s dedication to championing contemporary art and deepening the public’s understanding of emerging artistic positions.