New generation of collectors more open-minded: Director of Art Basel Hong Kong
There have been concerns over possible censorship of art in the local media under the new Safeguarding National Security Ordinance (Article 23 of the 2020 National Security Law). How much of these fears are potentially real, and does it impact Hong Kong’s status as the art hub in Asia?
The National Security Law, from its introduction in 2020, has not had any impact so far in terms of how we run the fair. The selections only happen through its selection committee, and follow the same process as the Art Basel fairs in Paris, Miami Beach and Basel. While no one knows what the future holds; the world is constantly evolving, but we are confident about the market here, especially based on what the galleries are bringing to the show. Hong Kong’s position in the global art market is becoming more and more prominent, which can be seen in this year’s edition. We are so grateful to return to a full-scale show.
As diverse and expansive as the fair becomes with every edition, the number of participating Indian galleries has been decreasing. From nine in 2016, it has come down to four in 2024, with a leading gallery—Chemould Prescott Road—dropping out last year. Are fewer Indian galleries applying to the fair, or are they unable to meet the selection committee’s criteria?
It is true that we received a very high number of applications from galleries from across the globe this year. And, the selection process at the fair is obviously getting more competitive. But, we are so glad to see Experimenter coming back. It is very important for us. Last year, they couldn’t participate because by the time the Hong Kong borders opened, it was too late for them to arrange everything at the last minute. I have planned to visit India as well, and we would like to reconnect with our audience from that side of the world. Historically, there has always been a tie between Hong Kong and India, and we would like to continue that.
According to the Art Basel and UBS Global Art Market Report 2024, China (Mainland and Hong Kong) has replaced the UK to become the second-largest market globally. What are the collecting trends in this region?
A younger generation of collectors is emerging in the region, which also includes India. Let’s call them the new generation, because many of them are probably not necessarily young, but were collectors of other collectibles such as antiquity, and have now converted to buying contemporary art. This is a phenomenon in Asia. And this new generation, in general, is more open-minded, largely because a lot of them grew up in the era of contemporary art. That naturally connects them more with works that are being produced now. They are more willing to try different mediums and formats, whether it is the traditional two-dimensional works, sculptures as well as digital, video and even performance art. For instance, the performance piece by Japanese artist Ken Kagami at the fair’s Encounter sector this year was so well received. So, I think that in our region, the collectors are getting more sophisticated and experimenting with mediums.
Now that we are finally out of the shadow of the pandemic, what’s next for ABHK?
This is not only the 11th year of the fair, but also the first edition of the second decade of Art Basel in Asia. So, in this decade we will continue to be the bridge between the East and the West. But, we’re also the bridge between the old and the new. We would like to elevate Asia’s contemporary art scene on a global stage, and at the same time, develop a closer relationship with institutions, and our connections across the region by, for example, me visiting India personally, and also focusing on activating the region through the fair platform from Hong Kong.