City Guide | Hong Kong
Our panel of experts weighs in on Hong Kong’s comeback
As international collectors and dealers prepare to descend in Hong Kong this month, and as an influx of galleries and auction houses unveil new or expanded spaces there, we caught up with leading insiders representing various sectors of the art business to get their thoughts on the evolution of Hong Kong’s art scene, what visitors should see and do, and much more.
Patricia Crockett
David Zwirner
Senior Director
How has the art landscape in Hong Kong changed over the years?
Hong Kong has transformed dramatically in the seven years since I’ve lived here. Whereas before it was largely dominated by the auction houses, it has diversified greatly. It has a long-standing history with sophisticated collectors, but at the same time there is an emerging and growing group of younger collectors who are very active, curious and passionate in supporting both established and the next generation of contemporary artists. Asia on the whole has seen a proliferation of world-class museums and galleries, as well as exciting new art fairs around the continent that have gained increasing global interest and attention to this important market and region. However, Hong Kong continues to be a dominant hub due to its unique position as both a financial and cultural center with a diverse local demographic and wide range of art institutions.
Patricia Crockett
David Zwirner
Senior Director
How has the art landscape in Hong Kong changed over the years?
Hong Kong has transformed dramatically in the seven years since I’ve lived here. Whereas before it was largely dominated by the auction houses, it has diversified greatly. It has a long-standing history with sophisticated collectors, but at the same time there is an emerging and growing group of younger collectors who are very active, curious and passionate in supporting both established and the next generation of contemporary artists. Asia on the whole has seen a proliferation of world-class museums and galleries, as well as exciting new art fairs around the continent that have gained increasing global interest and attention to this important market and region. However, Hong Kong continues to be a dominant hub due to its unique position as both a financial and cultural center with a diverse local demographic and wide range of art institutions.
I would say Hong Kong has been the art market hub for Asia for well over a decade now. While Beijing, Tokyo, Seoul and Taipei have strong domestic markets, none of them are able to serve as an international gathering place to the same extent as Hong Kong. Singapore may be a hub for Southeast Asia, but these markets are still relatively small. Furthermore, Hong Kong has been the primary Asian base for the international auction houses since the early 2000s, and the many respected international galleries that have opened in Hong Kong through the 2010s have all stayed and thrived. Art Basel, which first arrived in Hong Kong ten years ago, both reflects and reinforces Hong Kong’s status as the premier art market hub of Asia.
Elaine Kwok
Hauser & Wirth
Managing Partner, Asia
Elaine Kwok
Hauser & Wirth
Managing Partner, Asia
I would say Hong Kong has been the art market hub for Asia for well over a decade now. While Beijing, Tokyo, Seoul and Taipei have strong domestic markets, none of them are able to serve as an international gathering place to the same extent as Hong Kong. Singapore may be a hub for Southeast Asia, but these markets are still relatively small. Furthermore, Hong Kong has been the primary Asian base for the international auction houses since the early 2000s, and the many respected international galleries that have opened in Hong Kong through the 2010s have all stayed and thrived. Art Basel, which first arrived in Hong Kong ten years ago, both reflects and reinforces Hong Kong’s status as the premier art market hub of Asia.
Alan Lo
Art Collector and Restaurateur
What interesting developments have seen in the Hong Kong art scene over the last few years?
One exciting and progressive event was the founding of Current Plans in 2021, which is based in the Sham Shui Po neighborhood. It’s an alternative hybrid space that supports and pushes creative experimentations across all disciplines in art, and I’ve been supporting them for almost two years now. I would love to see a continuation of these grassroots projects. It will be good for Hong Kong’s art scene to have more artist-driven, non-profit spaces and private museums that are backed by arts patrons.
Alan Lo
Art Collector and Restaurateur
What interesting developments have seen in the Hong Kong art scene over the last few years?
One exciting and progressive event was the founding of Current Plans in 2021, which is based in the Sham Shui Po neighborhood. It’s an alternative hybrid space that supports and pushes creative experimentations across all disciplines in art, and I’ve been supporting them for almost two years now. I would love to see a continuation of these grassroots projects. It will be good for Hong Kong’s art scene to have more artist-driven, non-profit spaces and private museums that are backed by arts patrons.
How has the art landscape in Hong Kong changed over the years?
Hong Kong was never a “cultural desert,” but the number of galleries and museums has exploded over the last 15 years. For many of those years, Hong Kong was in this sweet spot when government funding grew, non-profits like the AAA, Para Site and Tai Kwun commissioned more local art and curated fantastic projects, commercial galleries and the art fairs did well and brought big names over, while the city remained one of the freest in the region. And then M+ opened in 2021 and it’s the best museum Hong Kong has ever seen.
However, since the 2020 introduction of a new national security law (following mass protests in 2019), a new political censorship regime is in place. People are being arrested for owning illustrated children’s books that parody the government. Artworks, films and books are now banned for national security reasons. And a lot of artists and curators have emigrated. On the plus side, the borders have reopened, the commercial players are still very bullish about Hong Kong (auctions houses are opening new headquarters here), and there is a determination among art practitioners to carry on, to fervently create during this period of profound change in their home. We will continue to see a lot of good art coming out.
Enid Tsui
South China Morning Post
Arts Editor
Enid Tsui
South China Morning Post
Arts Editor
How has the art landscape in Hong Kong changed over the years?
Hong Kong was never a “cultural desert,” but the number of galleries and museums has exploded over the last 15 years. For many of those years, Hong Kong was in this sweet spot when government funding grew, non-profits like the AAA, Para Site and Tai Kwun commissioned more local art and curated fantastic projects, commercial galleries and the art fairs did well and brought big names over, while the city remained one of the freest in the region. And then M+ opened in 2021 and it’s the best museum Hong Kong has ever seen.
However, since the 2020 introduction of a new national security law (following mass protests in 2019), a new political censorship regime is in place. People are being arrested for owning illustrated children’s books that parody the government. Artworks, films and books are now banned for national security reasons. And a lot of artists and curators have emigrated. On the plus side, the borders have reopened, the commercial players are still very bullish about Hong Kong (auctions houses are opening new headquarters here), and there is a determination among art practitioners to carry on, to fervently create during this period of profound change in their home. We will continue to see a lot of good art coming out.
Trevor Yeung
Artist
What does the Hong Kong art scene still need?
There are mainly three areas which I can identify the Hong Kong art scene needing more of—the first is the cultivation of audiences appreciating art not solely for its aesthetic value but more so for its concept, and gaining a more enriched understanding of art and its stories. Secondly, there should be an increased exchange between local artists and artists abroad. The third facet would be the support in the art sector for the production of large scale projects. I think there is a need for more art installers and technicians specializing in this area.
Trevor Yeung
Artist
What does the Hong Kong art scene still need?
There are mainly three areas which I can identify the Hong Kong art scene needing more of—the first is the cultivation of audiences appreciating art not solely for its aesthetic value but more so for its concept, and gaining a more enriched understanding of art and its stories. Secondly, there should be an increased exchange between local artists and artists abroad. The third facet would be the support in the art sector for the production of large scale projects. I think there is a need for more art installers and technicians specializing in this area.
What are some of the most exciting cultural institutions in Hong Kong right now?
M+ was nearly 20 years in the making and opened four years behind schedule, but it was well worth the wait. The current exhibition From Revolution to Globalization of works from Uli Sigg’s collection is an incisive look at China’s explosive growth from the 1970s to the present, and Hong Kong: Here and Beyond is a reminder that the city is a site of creativity as well as commerce. The M+ curatorial team has said that their goal is to write new histories of art: to tell stories about Asia and Asian artists in a way that expands the canon of art history. I think that many people working in the art world in Hong Kong would say that they share that mission, and that makes Hong Kong’s art scene both distinct and exciting. At their best, Hong Kong’s galleries, non-profit spaces and museums tell stories that have never been told before—and they use Hong Kong’s position as a global trade hub to share those stories with both local and international audiences.
Oliver Giles
Journalist and Editor
Oliver Giles
Journalist and Editor
What are some of the most exciting cultural institutions in Hong Kong right now?
M+ was nearly 20 years in the making and opened four years behind schedule, but it was well worth the wait. The current exhibition From Revolution to Globalization of works from Uli Sigg’s collection is an incisive look at China’s explosive growth from the 1970s to the present, and Hong Kong: Here and Beyond is a reminder that the city is a site of creativity as well as commerce. The M+ curatorial team has said that their goal is to write new histories of art: to tell stories about Asia and Asian artists in a way that expands the canon of art history. I think that many people working in the art world in Hong Kong would say that they share that mission, and that makes Hong Kong’s art scene both distinct and exciting. At their best, Hong Kong’s galleries, non-profit spaces and museums tell stories that have never been told before—and they use Hong Kong’s position as a global trade hub to share those stories with both local and international audiences.
Stanley Wong (anothermountainman)
Artist
What does the Hong Kong art scene need more or less of?
We need more working spaces and support for artists. Besides focusing on masters and fresh young artists, the government should put more resources into helping and supporting mid-career (yet-to-be master) artists. We need to push the bar, and we need more out-of-the-box artists, curators and policies.
Stanley Wong (anothermountainman)
Artist
What does the Hong Kong art scene need more or less of?
We need more working spaces and support for artists. Besides focusing on masters and fresh young artists, the government should put more resources into helping and supporting mid-career (yet-to-be master) artists. We need to push the bar, and we need more out-of-the-box artists, curators and policies.
What are your expectations for Art Basel Hong Kong now that Hong Kong has reopened? And what should visitors look out for at the fair?
I sense that we’re all feeling the need to reconnect after the pandemic and that exhibitors are excited to return. In this edition, we’re looking forward to showcasing the work of several Hong Kong-based artists like Trevor Yeung’s Mr. Cuddles Under the Eave (2021) at Blindspot Gallery—first shown at the Pinchuk in Ukraine and shortlisted for the Future Generation Art Prize—and a series of striking ink landscape paintings by the late artist Wesley Tongson at Galerie du Monde that takes the viewer on a spiritual journey.
Art Basel Hong Kong
Director
Art Basel Hong Kong
Director
What are your expectations for Art Basel Hong Kong now that Hong Kong has reopened? And what should visitors look out for at the fair?
I sense that we’re all feeling the need to reconnect after the pandemic and that exhibitors are excited to return. In this edition, we’re looking forward to showcasing the work of several Hong Kong-based artists like Trevor Yeung’s Mr. Cuddles Under the Eave (2021) at Blindspot Gallery—first shown at the Pinchuk in Ukraine and shortlisted for the Future Generation Art Prize—and a series of striking ink landscape paintings by the late artist Wesley Tongson at Galerie du Monde that takes the viewer on a spiritual journey.
The Art Assembly
Co-chairman & Global Director
What are you looking forward to now that Hong Kong has reopened?
As an art fair organizer, the international-get-together business was a challenging sector to be in during the pandemic. We are excited to be back to in-person events, to connect with friends and to see art first-hand rather than through a screen. Hong Kong’s shared history with the West and its internationalism makes the art scene distinct from other art hubs in the world. It’s been the art market hub of Asia for the last 15 years.
The Art Assembly
Co-chairman & Global Director
What are you looking forward to now that Hong Kong has reopened?
As an art fair organizer, the international-get-together business was a challenging sector to be in during the pandemic. We are excited to be back to in-person events, to connect with friends and to see art first-hand rather than through a screen. Hong Kong’s shared history with the West and its internationalism makes the art scene distinct from other art hubs in the world. It’s been the art market hub of Asia for the last 15 years.
What makes Hong Kong’s art scene unique?
There is no doubt that Hong Kong is the most important art hub in Asia, in the same vein that New York is for North America or London was for Europe. Hong Kong is the cross point between East and South Asia so there are numerous economies tethered there. You can see how fast the art scene is growing because it’s at the center of all these other new and rising markets, making it unique to others.
Tai Kwun
Head of Art
Tai Kwun
Head of Art
What makes Hong Kong’s art scene unique?
There is no doubt that Hong Kong is the most important art hub in Asia, in the same vein that New York is for North America or London was for Europe. Hong Kong is the cross point between East and South Asia so there are numerous economies tethered there. You can see how fast the art scene is growing because it’s at the center of all these other new and rising markets, making it unique to others.
Xin Li-Cohen
TRLAB
Co-Founder and Chairman
Christie’s
Deputy Chairman
What has changed over the course of the pandemic?
Digital art, A.I., VR, AR and immersive art experiences all have to come to occupy a greater part of our consciousness within the art world. The next generations of art collectors already have different expectations of how they will access, learn about, experience, and collect art. In many ways, the art market is still lagging behind and failing to see a paradigm shift is already here, especially within Asia. For young collectors like my nephew, who is in his 20s, there is an expectation that some element of a fine art experience should be digital-native and open to all geographies—either for learning, transactions, or follow-on engagement. That more fluid way of thinking about physical and digital experiences of art, combined with this generational shift, is one of the most exciting things about working in the art world right now.
Xin Li-Cohen
TRLAB
Co-Founder and Chairman
Christie’s
Deputy Chairman
“It was difficult to go to Mainland China, to Taiwan, to Japan, and to Australia in the past three years of the pandemic lockdown. I was able to travel to Europe and work on projects there. With the opening of M+ and Tai Kwun, the institutions here are much stronger now.”
Artist
What has changed over the course of the pandemic?
Digital art, A.I., VR, AR and immersive art experiences all have to come to occupy a greater part of our consciousness within the art world. The next generations of art collectors already have different expectations of how they will access, learn about, experience, and collect art. In many ways, the art market is still lagging behind and failing to see a paradigm shift is already here, especially within Asia. For young collectors like my nephew, who is in his 20s, there is an expectation that some element of a fine art experience should be digital-native and open to all geographies—either for learning, transactions, or follow-on engagement. That more fluid way of thinking about physical and digital experiences of art, combined with this generational shift, is one of the most exciting things about working in the art world right now.
Artist
What were some challenges you faced as an artist during the border lockdown in Hong Kong?
“It was difficult to go to Mainland China, to Taiwan, to Japan, and to Australia in the past three years of the pandemic lockdown. I was able to travel to Europe and work on projects there. With the opening of M+ and Tai Kwun, the institutions here are much stronger now.”
