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<p>Art Basel Hong Kong 2024 promises to be an extravaganza marking a return to its pre-pandemic glory years. Boosted by a huge uptick in exhibitor numbers, this year’s fair is the perfect vehicle to shine a spotlight on the region’s art scene and beyond, from collectable rediscoveries to works by contemporary practitioners. The social side of the art fest, an inspiring mingling of artists, curators, gallerists, connoisseurs and general enthusiasts, will also be back to its upbeat best within the cavernous environs of the Convention and Exhibition Centre.</p>


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<p>Exemplified by a strong presence of galleries from Hong Kong, mainland China, Taiwan, South Korea, and Japan, more than half of exhibitors operate spaces on the Asian continent. Notable galleries from Australia, New Zealand and India, among other countries, will showcase their artistic talent too. Art Basel will also present a city-wide programme of events and activities in collaboration with galleries, world-class institutions and cultural partners during show week – from 26-30 March including two preview days before the fair itself.</p>



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<p>“Our goal is to connect guests from all around the world in our home, Hong Kong, by offering possibilities of collaboration and innovation inspired by art and artists,” says Art Basel Hong Kong Director Angelle Siyang-Le. “As the key strategic cultural hub in Asia and Asia-Pacific, the city plays a more important role than ever in bridging the evolving art landscape across regions.”</p>



<h3 class="wp-block-heading">Broad strokes</h3>



<p>To put this year’s offering into perspective, there is a 37 percent increase in exhibitor numbers compared to 2023. This equates to 243 international galleries including more than 65 names that didn’t pitch up last year, a participation level that matches numbers before Covid took its toll on the event. Galleries from 40 countries and territories across Asia, Europe, North and Latin America, the Middle East and Africa will present artworks spanning all market segments, from 20th-century masters to established contemporary artists to emerging voices that are making waves on the scene.</p>


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<p>Organisers promise that diversity will be paramount, with textile art one of the key inclusions. In just two standouts dealing in this medium, London gallery Alison Jacques dedicates its booth to Sheila Hicks’ pioneering use of fabric and thread, and Shanghai’s Bank showcases the works of Bulgarian artist Maryn Varbanov, who influenced Chinese avant-garde.</p>



<h3 class="wp-block-heading">Return to the fold</h3>



<p>Respected names returning after a hiatus include Galerie Lelong &amp; Co. Known for showing works by internationally established artists, the gallery was founded in Paris in 1981 by Daniel Lelong, Jacques Dupin and Jean Frémon, and opened a New York sister space four years later. Also making an appearance are Italian heavyweight Galleria d’Arte Maggiore and Kurimanzutto from Mexico.</p>



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<p>Another returnee, India’s Experimenter, won the 2023 Frieze London Stand Prize for best gallery representation. Based on a grid concept, it showcased the abstract works of an intergenerational group of eight women artists in a perfect reflection of the passage of time. Frieze hailed Experimenter’s programme a “pace-setter” for the South Asian region.</p>


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<p>Other notable attendees from the Indian subcontinent include Vadehra Art Gallery from New Delhi, and Tarq and Jhaveri Contemporary, both from Mumbai. Tarq will present art by Mumbai-born Sameer Kulavoor that explores the effects of the Indian megalopolis’ urban growth on its inhabitants, while Jhaveri’s space displays paintings, drawings and sculptural garlands that function as decorative devices.</p>



<h3 class="wp-block-heading">New blood</h3>



<p>A total of 25 galleries from across Asia, Europe, Africa and the Americas will join the fair for the first time. One such is Station, which debuted in Melbourne in 2011 and expanded to Sydney in 2019; it is dedicated to presenting engaging, conceptually-driven exhibitions and bringing Australian contemporary art to an international audience.</p>


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<p>Another first-timer, Tim Van Laere Gallery, was founded in Antwerp in 1997 and represents international and emerging contemporary artists. Linseed is not only a newcomer to Art Basel Hong Kong, but also to the art world in general. Launched in 2022, the Shanghai gallery supports a new generation of forward-looking artists from a multitude of backgrounds and invites cutting-edge conversations.</p>



<h3 class="wp-block-heading">Digital diversity</h3>



<p>Digital art – highly prominent during the pandemic years – retains its important presence now the fair can resume human contact and tactile appreciation. Highlights include a presentation by Tokyo gallery Taro Nasu of works by visual and sound artist Ryoji Ikeda, and from Galerie nächst St. Stephan Rosemarie Schwarzwälder of Vienna, an AI-created film conceived by New York-based Miao Ying that was shortlisted for last year’s Sigg Prize.</p>


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<p>Among galleries focusing on the 20th-century masters and exceptional historical works, Liang Gallery from Taipei pays tribute to the late abstract painter Hsiao Chin. Axel Vervoordt Gallery, which has spaces in both Antwerp and Hong Kong, participates in the main fair for the first time with a showcase by multi-disciplinary conceptual artist Kimsooja that combines performance, film, photographs and site-specific installation using textiles, light and sound.</p>



<h3 class="wp-block-heading">Creations and curations</h3>



<p>Supplementing the rich line-up of participants is the Discoveries section, where 22 galleries this year have been singled out to present solo works by emerging artists specifically created for the fair. Topics tackled here include urban development and the shifting nature of public space in the modern age.</p>


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<p>Embracing 20 galleries, the Insights programme of curated projects spotlights artists from Asia-Pacific active from 1900 to the present day. First-time exhibitor √K Contemporary of Tokyo brings Nankoku Hidai, an influential figure in avant-garde 20th-century calligraphy, to the fore. Taipei gallery PTT Space shows works by the late master Shiy De-Jinn, whose oeuvre openly explored the theme of desire, testifying to his status as a queer pioneer in East Asia.</p>



<h3 class="wp-block-heading">Close encounters</h3>



<p>Last year’s Art Basel Hong Kong saw the return of all special sectors, including Kabinett, Encounters, Film and Conversations. Displayed in a separate section of selected galleries’ booths, Kabinett showcases a record 33 thematically-focused projects for 2024, focusing on modern and contemporary solo presentations from the region.</p>



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<p>Encounters, curated for the third time by Alexie Glass-Kantor of Artspace Sydney, is dedicated to large-scale projects and spans 16 artworks, 11 of which were made especially for the fair. An off-site installation by Sydney-based artist Daniel Boyd will be on view at Pacific Place.</p>


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<p>Free to the public, the Conversations and Film programmes give audiences a unique opportunity to partake in discussions and enjoy artists’ films in a dedicated auditorium at the Convention and Exhibition Centre. The pick of the latter is probably A New Old Play (2021) by Shenzhen-based artist and filmmaker Qiu Jiongjiong. Presented by Star Gallery of Beijing, it depicts a prominent clown reminiscing about his life, set against the backdrop of China’s tumultuous 20th-century history.</p>


Basel Blooms: Fine art flowers once more at Hong Kong’s foremost art event


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<p>For the Founder and Director of Arts for Good Foundation, a value-driven social enterprise established in 2020 to foster inclusion through the power of the arts, appreciating treasured moments comes top of the list.</p>



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<p>“Time has always been the most beautiful thing in my life, personally or professionally. I always see things first on time value, and how things change,” she says as we meet at the recently opened ESG Innovation Hub in Central and contemplate life against the backdrop of superb city and harbour views. Time transcends materialistic worth as it can never be replaced, and this intangible aspect undoubtedly appeals to her altruistic nature. “I value quality time, quality connection, quality relationships, which are all my priorities,” she shares.</p>



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<p>Sun has spent her own time wisely as she embarked on a “self-discovery path” through life. Her family in China had a great passion for sports and wanted her to start her career by working for the Beijing Olympics in 2008. Perhaps with this seed implanted in her mind, she pursued recreation and leisure studies at a university in Canada.</p>



<h3 class="wp-block-heading">A deeper love</h3>



<p>Her time spent in Canada fostered another, deeper interest: art. Though her early years had spawned a love of a “making culture”, art had never been considered a career, not even as a hobby. “I developed my deeper love [for art] in Canada; there were many international arts festivals and great museums that connected me with nature and communities’ stories that I grew up with,” she explains. “I started knowing and building connections with artists, some from Hong Kong as well.”</p>


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<p>Her love of the arts blossomed over the years, but making it her career was never her first thought. She just kept searching for what made her feel fulfilled at each stage of her life, perhaps changing her perspectives and making new decisions. “I think life brings arts to me, or the other way round,” she says wistfully and rather philosophically.</p>



<h3 class="wp-block-heading">Giving back</h3>



<p>During her 12 years in Hong Kong, Sun has been involved in education. As a researcher at the Education University of Hong Kong and later the Hong Kong Academy for Gifted Education, she worked in programme evaluation and learned the theories that underpin it and how arts play a key role in education. She has also undertaken a multitude of voluntary and charity work. “Giving and serving others is important to me,” she says. “Someone once told me, ‘life has no meaning if we can’t serve others anymore’. I found it matters a lot to me.”</p>



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<p>All of this work and life experience played an embryonic role in her Arts for Good social enterprise. From daily observations of people she met from diverse demographic backgrounds – including children and youths from subdivided housing, expat families and local school students – she would endeavour to understand the deep- rooted causes of social issues and imagine a different future.</p>



<h3 class="wp-block-heading">Art in society</h3>



<p>“Through Arts for Good, we bring new perspectives of looking at social issues and how we can sustainably and multidimensionally create differences through and with the arts,” she says, expressing her mission statement. The foundation aims to provide high-quality value-based and age- appropriate art viewing, art-integrated learning projects and community service experiences for students aged from 9 to 22 in Hong Kong. Children and youths – society’s future leaders – are the target and projects are organised throughout the year, all tailored to the students they serve, as well as meeting stakeholders’ needs.</p>


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<p>More generally, she is a passionate advocate of the power of art in society. “The arts raise perspectives of how we perceive each other, and how we interact with each other. We look at art in a civic landscape; it builds communities and helps to find our commonalities and inspire connections,” she attests.</p>



<h3 class="wp-block-heading">Agent of change</h3>



<p>Sun believes the timing of her venture was spot on. “Compared to 13 years ago when I came to Hong Kong, I think young people are now seeking more than just a paid job. For example, they want career diversity, maturity of our cultural offerings, diversity of life choices; young people are more seeking meaning and purpose in life compared to a decade ago.”</p>



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<p>She stresses that she does not feel there is a general deficiency in cultural learning and arts appreciation in Hong Kong; it is the relevancy and agency of this learning that are her prime considerations. Her enterprise has raised fresh viewpoints on the social power of art and brought with it a new definition of social inclusion.</p>



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<p>“We are a change agent; we need to keep changing in order to meet the needs of the young people we serve together with our stakeholders. That is [one] reason why we wanted Arts for Good to be a social enterprise, not an NGO,” she says.</p>



<h3 class="wp-block-heading">Common humanity</h3>



<p>Her enterprise educates and advocates that young people be respectful of any differences in our communities and ethical in the treatment of others. Part of its mission is to foster common cultural identities for future generations, and engage children and youths to seek common humanity values and make positive changes together. She notes: “They are not told or taught by us or by any experts. They are the ones to tell their stories for their own future in Hong Kong. We are here to support and to facilitate.”</p>



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<p>Arts for Good is possibly the first social enterprise to aim for sustainability goals through and with the arts in Hong Kong. “We have specific sustainable goals that we hope to achieve with our key stakeholders in a long timeframe,” she says.</p>


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<h3 class="wp-block-heading">Inspiring fellows</h3>



<p>Having been accepted for the Singapore International Foundation Arts for Good fellowship last year, Sun gained deeper and broader insight into how art has helped people living in less developed countries and communities. “I heard many inspiring stories, like one of my fellows from Vietnam who is a young hip-hop dancer. His story of saving lives of street children through hip-hop dancing, and reducing the crime rate within his community is inspiring and touching,” she reveals.</p>



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<p>Stories such as these have made her more aware of the privileges that come with living in Hong Kong. “There are many children and youths who have suffered from all sorts of challenges and even threats in this troubled world, which is just heartbreaking. We just need to do our bit to make it a better place,” she says with a natural warmth that radiates from deep inside her soul.</p>



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<p>Having now found her own niche in the arts and social impact, would she recommend it as a career choice? Flashing a winning smile, she says: “I advocate career diversity and choices no matter what [a young person wants to do in life]. I advocate arts in a beautiful life and to see life as pieces of beautiful art.”</p>


Agent Of Good: Arts for Good’s Amanda Hong Sun is on a mission to inspire and connect the next generations


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<p>It was perhaps a “somewhat undercover” wine-appreciation society started by Robert Sleigh and a schoolfriend that heralded an illustrious career spanning the idyllic vineyards of France, the hurly-burly of New York, and now the international melting pot of Hong Kong.</p>



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<p>Aptly ensconced in smart new headquarters at WKCDA Tower in Hong Kong’s cultural hub, the Managing Director, Asia, of Phillips talks fondly of those early years. Sleigh’s brief now extends beyond the world’s finest bottles as he oversees the regional strategy of the historic auction house known for its 20th-century and contemporary art and luxury sales.</p>



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<p>The Briton’s early passion for wine steered him into a driving job in London with wine merchant Haynes, Hanson &amp; Clark. Crucially, the role allowed him to take his Wine &amp; Spirit Education Trust (WSET) exams, as at the time only those employed in the trade could sit them. Then, as the UK economy stagnated in the early ’90s recession, he sought broader experience that would differentiate him from the crowd. Meeting some Burgundy producers at a wine-tasting event, he promptly asked if he could work for them.</p>



<h3 class="wp-block-heading">Burgundy benefits</h3>


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<p>Sleigh found himself at a small domain in Beaune where the grapes were handpicked from its own vineyard and the wine crafted and bottled onsite. “I did one viticultural year in a way; it was vineyard work and cellar work, and when I first got there, they were still pruning the vines,” he recalls.</p>



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<p>The labour was rewarding and he learnt the essentials of vinification. “Winemaking is 90% cleaning,” he says with a smile. “It is cleaning everything spotless so that you do not get bacteria in the wine and it all turns to vinegar.”</p>



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<p>He spent three years in France and is now an unashamed Francophile who would happily drink only French wine. His second job in Burgundy was at Maison Louis Latour, a leading négociant-éleveur with many English-speaking buyers. He liaised with clients and assisted with customer service and marketing.</p>



<h3 class="wp-block-heading">US points</h3>



<p>It was this experience that likely helped Sleigh secure a “career-defining” move to the US, where in 1996 he joined the wine department of Sotheby’s auction house in New York. Aside from demand for the cult wines of Napa Valley, he noted other distinct differences in the US wine market compared to Europe. “The Americans are very much led by critic scores; the likes of Robert Parker at the time, who exerted a very powerful influence. They are buying on the 100-point scoring system,” he says.</p>



<h3 class="wp-block-heading">Hong Kong hub</h3>


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<p>He was called to Asia in 2010 to manage the huge demand in the Hong Kong wine auction sector following the reduction and then elimination of tax on wine in the territory. </p>



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<p>With the West still reeling from the 2007-2008 Global Financial Crisis, coupled with the pent-up demand for Western luxury goods from Chinese consumers with huge disposable incomes, this “perfect storm” propelled Hong Kong into the wine hub of Asia.</p>



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<p>“The wine market has never seen anything like it and probably never will again,” says Sleigh, relating how prices took off and Hong Kong became the most important market within 18 months. “Just the amount of stimulus that happened then – it was an extraordinary time.”</p>



<h3 class="wp-block-heading">Auction house</h3>



<p>After more than 25 years at Sotheby’s, Sleigh assumed his new position with Phillips at the start of the year, tasked with a broader role in the art and luxury sector. Asian-based clients clinch about a third of Phillips’ sales, and he believes their new Asia headquarters with a purpose-built exhibition space – the largest premises of any auction house in Hong Kong – increases their visibility and power in the Asian market. “Being the first auction house to have our own permanent galleries and auction room leaves no doubt about how committed Phillips is to Asia,” he stresses.</p>



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<p>This site, occupying the lower six floors of WKCDA Tower near the M+ museum and the Hong Kong Palace Museum, has definite advantages. “The possibilities that this location holds for Phillips are endless, especially as the West Kowloon Cultural District continues to expand and thrive,” he says. “We are excited to be at the heart of it and play an active role in its evolution.”</p>



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<p>Early indications suggest the move to West Kowloon will be a successful one. Phillips’ 20th Century &amp; Contemporary Art exhibition in March and April, as well as previews of watch and jewellery lots, attracted 30,000 visitors, and their inaugural evening sale there yielded notable results – Yoshitomo Nara’s Lookin&#8217; for a Treasure sold for HK$84 million, and Yayoi Kusama’s Pumpkin fetched HK$56 million.</p>



<h3 class="wp-block-heading">Asian ascendency</h3>


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<p>According to Sleigh, the art world once operated in two separate ecosystems – East and West – but Hong Kong is now part of a unified global market, with a huge collecting base that extends from Asia to all parts of the world and vice-versa. He talks of a transformation of the playing field: “It now comes as no surprise that the highest-value lot in our long history – a masterwork by Jean-Michel Basquiat – came from the collection of Yusaku Maezawa and was sold to another collector based in Asia for US$85 million.”</p>



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<p>Since arriving at Phillips, Sleigh has noted a much younger clientele viewing contemporary art, 20th-century art, design, photographs and watches compared to those interested in wine. He is excited by how collecting is becoming integral to the Asian lifestyle – with many people travelling to the art fairs in Taipei, Tokyo, Seoul and Singapore – and sees huge growth potential and less of a weight of tradition in the art market here.</p>



<h3 class="wp-block-heading">Sales drivers</h3>



<p>Eternally fascinated by the cycle of the auction industry, Sleigh has conducted literally hundreds of sales during his career. He believes the auction ritual remains “a compelling call to action” for unique and valuable items and will always play a role when there is competition for a desirable collectible. There are those who say that all auctioneers are frustrated actors, and though Sleigh remains unconvinced by this characterisation, he concedes he has known some who like “being there in front of the world!”</p>



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<p>He describes how having fallen asleep on a plane whilst watching the documentary The Truffle Hunters, he woke with a start, possibly due to hearing his own voice eerily on the headphones. It transpired that the director had taken an excerpt from a recording of a truffle auction for charity he performs every year.</p>



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<p>Indeed, charity is close to his heart. He is regularly involved in charity auctions and his wife, Libby Alexander, is the co-founder and CEO of Splash Foundation, which provides swimming lessons to those in need. “We are lucky we live in Hong Kong and we are very fortunate in many ways,” he says. “There are a lot of people who are less fortunate, so I think it is important [to give back].”</p>



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<p>Interview by: Neil Dolby Photographer: Jack Law Art Direction: Joseff Musa Fashion Stylist: Jhoshwa Ledesma Videographer:Jack Fontanilla Hair &amp; Make Up: Owen Ko Venue: Phillips Asia HQ in West Kowloon</p>


Sure Hammer: Having been around the auction block for 27 years, Robert Sleigh now drives Philips forward in Asia


<p>Enchanting and enriching 1.3 million visitors in its first year, Hong Kong Palace Museum is an unmissable addition to the Kowloon cityscape. From afar, the grandeur of its distinguished façade draws the eye. Inside its breathtaking space, 12 outstanding exhibitions have held court in as many months, each displaying a wealth of multimedia components, an innovative approach to curating, and a distinctive cultural perspective.</p>



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<p class="has-text-color" style="color:#ba1414"><strong>Also Read: </strong><a href="https://igafencu.com/articles/andrew-yuen" target="_blank" rel="noreferrer noopener">Colour Harmony: Andrew Yuen’s Evolution From Boyhood Treasure Hunter To Guardian Of Culture</a></p>


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<p>On the occasion of its first anniversary, the HKPM is well into its stride and looking confidently to the future. Since it opened its doors to the public on 3 July 2022, the museum has cultivated strong partnerships in the areas of academic and cultural exchange, in addition to showcasing some of the finest artefacts from its namesake in Beijing and other significant cultural institutions around the globe. Its presence has strengthened the dialogue between world civilisations and Hong Kong’s status as an East-meets-West cultural hub.</p>


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<p>We are delighted to celebrate this important milestone. In the past year, the museum has brought moments of delight and amazement to the viewing public. We would like to express our deep gratitude to the Palace Museum for loaning such precious objects for display in Hong Kong, and to our donours and patrons for their generous donations and support. Kudos must go to our curatorial and operational teams for their professionalism and dedication. The museum has been empowered by the overwhelming support of the general public and visitors from around the world,” says Winnie Tam Wan-chi, Chairman of the Hong Kong Palace Museum Board. “We vow to continue to present exceptional exhibitions and programmes at the HKPM with the aim of promoting Chinese culture to a global audience, in accordance with the National 14th Five-Year Plan to develop Hong Kong into an East-meets-West centre for international cultural exchange.”</p>


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<h3 class="wp-block-heading">Beijing Assistance</h3>



<p>The Palace Museum in Beijing, which houses an immense collection of classical Chinese art and artefacts, and the West Kowloon Cultural District joined hands to create the Hong Kong Palace Museum in 2015-16. The cooperation was announced in December 2016 and billed as a gift from the central government to mark the upcoming 20th anniversary of the return of Hong Kong to China.</p>



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<p>As a result of the partnership, the Beijing museum lends items to the Hong Kong museum for both long- and short-term exhibitions. For those counting, a total of 914 items from the former’s 1.86-million-strong collection were secured for the HKPM’s inaugural shows.</p>



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<p>The loan is the biggest granted by the Beijing institution since its founding in 1925 and features pottery, jade, bronze, costumes, jewellery, paintings, calligraphy and other national treasures – the majority showing in Hong Kong for the first time. The most priceless pieces appear for three months before being returned home to rest in accordance with established exhibition practice.<br>Hong Kong Exclusive</p>


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<p>Despite the connection between the two organisations, the Hong Kong museum has forged its own identity. The HKPM team arranges loans from other esteemed institutions besides the Palace Museum. Upon its opening in July last year – one day later than planned due to a typhoon – more than 100 works borrowed from other museums and institutions in Hong Kong, as well as 13 pieces on loan from the Musée du Louvre in Paris, were invitingly in situ.</p>



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<p>Multimedia creations from six local contemporary artists were also presented in its first exhibition, and ongoing efforts have been made to attract young people and foster an understanding of Chinese culture on a global scale.</p>



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<p>The HKPM’s 84,000 square feet of exhibition space are spread across nine galleries over the seven-storey building designed by local architect Rocco Yim. Each gallery has a different topic, such as life, architecture, design, or art in the Forbidden City, where its Beijing counterpart is housed.</p>


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<h3 class="wp-block-heading">Now Showing</h3>



<p>In the fifth three-month rotation of treasures on loan from the Palace Museum, 51 splendid works will be exhibited in Galleries 1, 2 and 5 until September 2023. Most pieces in this impressive display have not been seen in Hong Kong before and they aptly mark the HKPM’s first-anniversary milestone. They include two Grade One national treasures: a Ming-dynasty ewer resembling a pine tree and a Qing-dynasty brush pot shaped like a Chinese cabbage by renowned bamboo carvers Pu Cheng and Feng Xijue respectively. These extraordinary works headline the must-see show ‘The Quest for Originality: Contemporary Design and Traditional Craft in Dialogue’ in Gallery 5.</p>



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<p>A recently acquired scene from The Grand Imperial Wedding of the Guangxu Emperor called “Presenting the Empress’s Investiture Book and Seal at the Hall of Union” is one of the highlights of ‘Entering the Forbidden City: Collection, Architecture and Heritage’, the presentation in Gallery 1. It is joined by the only surviving gold seal of an empress in the Palace Museum collection.</p>


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<p>In Gallery 2, ‘From Dawn to Dusk: Life in the Forbidden City’ includes “The Maze”, a print from the Twenty Views of European-style Mansions in the Garden of Perfect Brightness series that showcases the magnificent scenery at Yuanmingyuan Park (the Old Summer Palace). This set of Qing-dynasty prints of the famed imperial garden reflects the integration of European and Chinese painting styles and landscaping features at the time.</p>



<h3 class="wp-block-heading">A Gift that Keeps on Giving</h3>



<p>A portion of China’s imperial treasures is housed at the National Palace Museum in Taipei, having been removed from the mainland during the civil war in the 1940s. The HKPM has been looking into potential collaborations with the Taiwan museum, but due to the latter’s rigorous policies regarding the loan of artworks and artefacts abroad, there are presently no plans to share collections.</p>



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<p>However, for the recently minted Director of the HKPM Board, Andrew Yuen, introducing Chinese arts and culture to a wider audience fits his broader vision. “My hope for the Hong Kong Palace Museum still is to be the bridge between the other two ‘Palace-tinians’, between China and Taiwan,” he says.</p>


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<p>Alluding to the museum’s genesis as an anniversary present to Hong Kong, Yuen adds: “I hope that Hong Kongers can make time to appreciate our rich Chinese culture. After all, the HKPM is built as a gift for us here in Hong Kong, so we should treasure it and feel special about having such a venue.</p>



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<p>“From the moment you step foot in the museum, you will feel its grandeur and importance. This is really one of a kind. The plan, after all, is not to be a branch of the one in Beijing. The Hong Kong Palace Museum is really distinct from its namesake and we plan to keep it that way.”</p>



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<p>Ultimately, the Hong Kong Palace Museum is a public venue that aims to incorporate art into everyday life rather than only being a place for those who study art and culture. It goes beyond.</p>



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<p>Click <a href="https://www.hkpm.org.hk/en/home" target="_blank" rel="noreferrer noopener">here</a> to visit the museum.</p>


Palace of Year: One year in, the Hong Kong Palace Museum has forged its own identity as a world-class cultural landmark

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<p>Returning for the 10th time, the Asia Contemporary Art Show opens on Friday, 17 March at the Conrad Hotel, Hong Kong. Featuring over 3,000 works of art spread across 80 different spaces, the exhibition showcases both established and emerging artists.</p>
<p>Covering a range of different mediums – from photography to sculpture and painting to prints – many of the pieces are limited edition. Furthermore, much of the work on display is from rare private collections, giving visitors the chance to see previously unseen pieces. Artists on display include the likes of Fawwas Sukri, Anya Brock, Cho Yea Jae and Jeff Murray.</p>
<p>This year, the show will also feature two additional exhibition projects: <em>China Perspectives</em> and <em>Artist Projects</em>. <em>China Perspectives</em> aims to present a series of selected work that interrupt and challenge traditional Chinese art narratives. <em>Artist Projects</em> will be an intimate, relaxed space where 30 artists can sell their work to collectors and engage in more detailed discussions about their art and creative processes.</p>
<p>The event will open with an exclusive VIP collectors preview on Friday evening, held at the Conrad hotel. It is the only art show to be held in a five-star establishment in Hong Kong. Keen collectors will be able to snap up work and there are a variety of different price brackets available.</p>
<p>For more information, visit the<a href="http://asiacontemporaryart.com/" target="_blank"> ACAS website</a></p>


Asia Contemporary Art Show starts this week at the Conrad Hotel

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<p>Awethentic Gallery, Hong Kong’s first art meets virtual reality concept space, recently hosted a launch party for Lee Davies’ new photography exhibition, ‘Love is Wild.’</p>
<p></p>
<h5 style="text-align: center;"><span style="color: #ad0707;"><a style="color: #ad0707;" href="//www.gafencushop.com/art-and-animals2/">Click here to watch the video</a></span></h5>
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Tag: arts

Basel Blooms: Fine art flowers once more at Hong Kong’s foremost art event

Agent Of Good: Arts for Good’s Amanda Hong Sun is on a mission to inspire and connect the next generations

Sure Hammer: Having been around the auction block for 27 years, Robert Sleigh now drives Philips forward in Asia

Palace of Year: One year in, the Hong Kong Palace Museum has forged its own identity as a world-class cultural landmark

Asia Contemporary Art Show starts this week at the Conrad Hotel

Art meets virtual reality at ‘Love is Wild’ photography exhibition

Tag: arts

Blog Section

Basel Blooms: Fine art flowers once more at Hong Kong’s foremost art event

Agent Of Good: Arts for Good’s Amanda Hong Sun is on a mission to inspire and connect the next generations

Sure Hammer: Having been around the auction block for 27 years, Robert Sleigh now drives Philips forward in Asia

Palace of Year: One year in, the Hong Kong Palace Museum has forged its own identity as a world-class cultural landmark

Asia Contemporary Art Show starts this week at the Conrad Hotel

Art meets virtual reality at ‘Love is Wild’ photography exhibition