Hang Over Shanghai
In Conversation with Lingzhi, Founder of LINSEED
FVTVRIST Magazine // November 14, 2025
Participating galleries:
Layr (Vienna, Austria)
LINSEED (Shanghai, China)
MISAKO&ROSEN (Tokyo, Japan)
P21 (Seoul, South Korea)
Shower (Seoul, South Korea)
Sans titre (Paris, France)
Turnus (Warsaw, Poland)
Tomio Koyama Gallery (Tokyo, Japan)
Gallery Vacancy (Shanghai, China)
Opening hours: 12pm-6pm, daily November 9 to 16, 2025.
West 1F, Jinbei Building, No. 59 South Maoming Road, Huangpu District, Shanghai.
As Shanghai reclaims its position as one of Asia’s most vital cultural cities, new initiatives are reshaping its post-pandemic artistic landscape. Among them, Hang Over Shanghai stands out as a project that merges art, nightlife, gastronomy, and community within an unconventional framework. Conceived by Lingzhi, founder of LINSEED, together with William Ou, co-founder of Shanghai’s leading fashion boutique LMDS, the event brings together nine international galleries for an experiment in intimacy and collaboration.
In this conversation with FVTVRIST, Lingzhi reflects on the origins of the project, the significance of shared energy, and the evolving ways audiences engage with art today.
©1929 by Guillaume Galliot
What first inspired you to create Hang Over Shanghai? Was there a moment or idea that made you feel this project needed to happen now?
The idea emerged quite organically. Last year, we organized an exhibition with Sans titre and Relaciones Públicas in a private club. It drew an unexpectedly large and enthusiastic crowd. People loved the concept, and it generated real excitement and even a few sales. Afterward, I felt a strong desire to extend this initiative, this time inviting more gallery friends. In parallel, I participated in alternative projects such as Onsen Confidential in Tokyo and Constellations in Warsaw. These programs share a similar spirit, showing how vital it is for young galleries to collaborate, share resources, and create independent projects that are open, accessible, and community-driven. Shanghai, after all, needs this kind of energy, especially post-pandemic. Many international galleries and visitors are curious and eager to re-engage with the city. Hang Over Shanghai became a way to reignite that dialogue, to bring new energy back into the local scene, and to offer a more fluid and approachable way to reconnect through art while rediscovering the city itself.
The event gathers nine international galleries and unfolds across such a unique venue. Could you tell me what will be included in the program and what kind of audience we can expect to meet during the week?
This year’s edition unfolds through multiple layers of events. We’re organizing private dinners with participating galleries, a dinner with patrons from X Museum (who are coming from Beijing), and several evening gatherings and parties. Our main gathering takes place within the exhibition at 1929 by Guillaume Galliot, co-hosted with ArtReview Asia, along with a DJ performance by artist Michael Ho, represented by Gallery Vacancy, at Potent, one of Shanghai’s most vibrant music venues. The entire program is meant to be both professional and joyful, a space where collectors, curators, artists, and the wider creative community can engage. The audience we’re expecting is a cross-section of Shanghai’s contemporary scene: collectors, journalists, and art professionals, but also figures from fashion, music, gastronomy, and design. The goal is to foster genuine encounters, not only social but meaningful, where art can find new advocates, collaborations, and collectors.
Installation View: Hang Over Shanghai 2025, 2025 / © Courtesy of Hang Over Shanghai l Photo credit: Ling Weizheng
I spoke with several colleagues recently about how art is increasingly experienced in more intimate formats, private dinners, performances, and short-lived events that blur the line between art and life. Do you feel Hang Over Shanghai reflects this shift toward a new way of engaging with art?
Yes, completely. Initially, we thought about spreading the events across multiple locations, but organizing that proved too complex. 1929 by Guillaume Galliot felt perfect. It’s elegant, beautifully designed, and already a social hub for collectors and creatives in Shanghai. The people behind it are friends, collectors themselves, and deeply connected to art. We didn’t need to over-explain our vision, they understood and trusted us. The venue naturally attracts the kind of audience we wanted, engaged, curious, and culturally attuned. Visitors can move, talk, have a drink, and discover the works in a natural flow. We want to create an environment where art is encountered through conversation, not just contemplation, where people stay longer, feel comfortable, and engage intuitively. It resonates with the new confidence of young collectors who explore art while socializing and discovering the city. Throughout the week, even beyond our program, 1929 becomes a gathering point for conversations and encounters. It’s more than a backdrop. It embodies the spirit of Hang Over Shanghai: intimate, layered, and alive.
It’s wonderful to see you collaborating with galleries from around the world. It feels like such an inspiring initiative. Do you plan to continue creating projects like this in the future?
I hope so, and many people are already expecting it. We’re collaborating with galleries internationally. Jeffrey from Misako & Rosen, for example, who organizes Onsen Confidential in Tokyo, immediately wanted to participate. Turnus joined for their first-ever Asia project after we worked together on Constellations in Warsaw. Other galleries are long-time friends or previous collaborators from different projects. It feels like an art community that exists across the globe, a network built on friendship and mutual support. We share the same values about art and its purpose, and we want to continue shaping these dynamic, collective experiences, to keep growing, to refine, not repeat.
Event images: Hang Over Shanghai 2025, 2025 / © Courtesy of Hang Over Shanghai
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