In Living Colour: Visionary gallerist Pearl Lam has moulded Chinese contemporary art into a vivid show accessible to all

It wasn’t easy to secure a date for our cover shoot with gallerist, curator and cultural ambassador Pearl Lam, whose influence stretches far beyond the walls of her galleries. She is never in one place for long, flitting from homes in London, Hong Kong and Shanghai and sundry world travels. Lam is, after all, recognised as one of Asia’s most important figures in contemporary art and has dedicated her career to bridging East and West, showcasing the rich tapestry of Asian art and design to a global audience.

When we finally lock in the date, she negotiates once more. “What do you mean four hours? One hour. Trust me, that’s all it will take,” she says with assurance.

Our afternoon session commences – already behind schedule – at a candle-lit, stained-glass-bedecked Italian restaurant in Tsim Sha Tsui. “Hmm. Interesting place. Designed by Joyce Wang, right?” says the woman of the (late) hour, in a tone that is less of a question, more of a challenge.

Within the first few minutes, Lam shares her personal space with us, opening her arms for a full-body hug, and then, moments later, commands the space, sitting regally across from the camera in a white top, ripped jeans and grey Balenciaga Bouncer trainers. Chunky armour-like silver bangles hang heavy from both wrists. Her signature violet bob is in its iconic state, teased high.

Outrageous Outlines

She jumps straight into the art conversation – her journey from the daughter of a Hong Kong property tycoon to a provocative powerhouse in the art world is a testament to her unwavering commitment to creativity and cultural exchange. Lam’s upbringing was steeped in privilege but also shadowed by familial expectations. Her father, Lim Por-yen, founder of the Lai Sun Group, left her with a legacy that she chose to redefine. As a child, she discovered her passion for painting, engaging in Chinese calligraphy and gradually transitioning to watercolours and other mediums.

She reminisces for a second on her rebellious childhood: “Painting and creativity always came naturally to me, but I struggled to determine how I could channel these abilities.” This internal conflict fuelled her desire to carve her own distinct path in the world.

At the age of 11, Lam was sent to the US, briefly, and then to the UK for her education. She relished the freedom of living abroad, far from the constraints of family. She gravitated from studying accountancy to the law and began to accumulate a diverse collection of art pieces, developing a keen eye for design. Returning to Hong Kong, she first flirted with fashion retailing, then found her true calling within the nascent art scene, defying her father’s reservations – “He said, ‘You cannot be a gallerist. I didn’t send you away for over 10 years to return to become a shopkeeper.’”

Pioneering Perspective

Lam’s entry into the art world began in earnest in 1993, when she started organising pop-up exhibitions in Hong Kong. This initiative was groundbreaking, offering a fresh platform for local and international artists to connect with new audiences. She launched Contrasts Gallery in Central, later rebranding it as Pearl Lam Galleries. Her passion for Chinese contemporary art culminated in 2005 when she established a branch in Shanghai, marking a significant milestone as the city emerged as a cultural hub.

“We had a responsibility to introduce Chinese collectors to the international art market, and vice versa,” she remarks of this sortie north into the city where her mother had roots. Her early exhibitions featured works by renowned artists and designers such as Andrée Putman, bridging the gap between Eastern and Western aesthetics.

In 2008, she founded the China Art Foundation, furthering her commitment to promoting Chinese culture on a global stage. “My aim was to ensure that the increasing worldwide interest in contemporary Chinese art would have a sustainable future,” she says, emphasising her desire to facilitate genuine cultural dialogue.

Connecting the Dots

Lam has certainly succeeded, though there were numerous hurdles to surmount in a competitive art environment often dominated by Western perspectives. Her efforts to elevate Chinese artists like Zhu Jinshi and Ren Ri were met with scepticism, for example. “Introducing this dynamic artistic landscape to the Western world presented challenges in terms of providing historical context,” she notes.

Her commitment to inclusivity in the art market is evident in her selective curation process, prioritising originality and potential in emerging artists. “We often look for artists who show promise and have the capacity to evolve their practice over time,” she explains. This approach not only nurtures creativity but also ensures these artists receive recognition in a global context.

In 2014, she brought Pearl Lam Galleries to Singapore, hosting innovative exhibitions that showcased both local and international talent. She also expanded in Hong Kong; a second gallery space, in Sheung Wan, focused on nurturing younger artists, exemplified by her support for Ren Ri’s unique beeswax sculptures, which merge nature and chance into art.

Through the Looking Glass

Looking forward, Lam’s vision for the future of art includes increased cross-cultural collaborations and a continued emphasis on sustainability in artistic practices. She recognises the new challenges posed by digital trends and the evolving market landscape, viewing them as opportunities for innovation. Bringing younger, popular 21st-century names like Philip Colbert and Mr Doodle into the fold has also ignited a fresh frame of reference for her.

“Art communicates through a visual language, employing elements like colour, shape and composition to evoke emotions and tell stories,” she says. This understanding underpins her approach, ensuring that her galleries reflect the rich tapestry of human experience through art and, in some cases, the element of shock.

“You know, people always ask me if I ever plan to change my hair colour. I’ve had violet hair for the longest time. Who knows? It might be green tomorrow!” she laughs while opting to go barefoot on the last few frames of our shoot.

Voice for Cultural Exchange

Lam’s influence transcends the physical spaces of her galleries; she is a vital voice in discussions around contemporary art, diversity and cultural exchange. As a participant in various speaking engagements, she actively fosters dialogue on the inclusion of Eastern philosophies within global art narratives.

Her recent venture, The Pearl Lam Podcast, exemplifies her commitment to broadening perspectives. Indeed, it’s a new medium that she was born to command. Through insightful conversations with influential figures, Lam seeks to inspire and challenge conventional thinking. “I want to create a platform that sparks curiosity, promotes diverse perspectives and encourages innovative ideas,” she states, reflecting her mission to elevate art and its cultural significance.

Art for All

As the art world evolves, Lam remains at the forefront of cultural conversations. “Art plays a crucial role in society by enabling expression, communication and reflection,” she asserts. Her belief that art should be accessible to all drives initiatives to lower barriers and promote understanding among diverse audiences.

Her unique blend of business acumen and artistic sensibility, bold authenticity and irrepressible energy, has not only shaped her career but has also left an undeniable impact. In a world often divided by borders, Pearl Lam reminds us that art is a universal language, capable of forging connections and transcending cultural divides.

The takeaway from this session is that creating art and meaningful change has transformative power. If the arts are there to lift her up and give her wings, there’s a joyful symmetry in that. As she takes her leave, she smiles, raising a brow. “I told you. One hour. I was late but worth the wait, huh?”

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

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.

Also Read: Colour Harmony: Andrew Yuen’s Evolution From Boyhood Treasure Hunter To Guardian Of Culture

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.

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.”

Beijing Assistance

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.

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.

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.
Hong Kong Exclusive

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.

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.

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.

Now Showing

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.

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.

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.

A Gift that Keeps on Giving

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.

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.

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.

“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.”

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.

Click here to visit the museum.

Breaking Records: The Latest Auction Bids

A jadeite necklace that is an ode to the Qing emperor, a unique luminescent moon jar, a painting that beautifully depicts Indian mythology or Yayoi Kusama’s famous pumpkin sculptor – all these latest history makers at auction houses have proved that a masterpiece that exudes rareness and creativity will receive unhinged appreciation.

Heavenly gem

Jadeite necklace nod to Qing emperor

A magnificent jadeite bead, ruby and diamond necklace sold for US$7.8 million at a recent evening sale at Sotheby’s. Bidding was frenzied for this superb decorative piece called The Emperor’s Treasure, and it went for the top amount in The Exceptionals section at the Hong Kong auction. Named after Gems of Heavenly Favour, a collection of rare manuscripts beloved by the Qianlong Emperor (1711-1799), the necklace is composed of 43 slightly graduated jadeite beads varying in size from 11.55mm to 13.05mm. The best jadeite has fine translucency and a deep emerald-green hue. These beads attain these high standards, earning the right to be called ‘Imperial Green’ in an association of nobility and majesty befitting an emperor. Their intense, lustrous green is juxtaposed by the colour and sparkle of the clasp that secures them around the neck. Crafted from 18-karat white gold, the bejewelled fastening is highlighted by a central cushion-shaped ruby surrounded by calibré-cut rubies and rose- and brilliant-cut diamonds. In 2014, a Hutton-Mdivani Imperial Green jadeite necklace sold for HK$214.04 million at Sotheby’s Hong Kong, setting the auction record for jadeite jewellery.

Glaze gazing

Korean moon jar rockets to astronomical figure

An important white porcelain moon jar set a new record for this distinctive and collectible category of Korean pottery, with the final bid rising to US$4.56 million at Christie’s sale of Japanese and Korean art in New York. The jar originates from the 1700s during the culturally rich Joseon dynasty. It notched up the highest price – far exceeding its $1 million estimate – during a special Asian Art Week at Christie’s, which also saw a buyer ride off with Hokusai’s Great Wave woodblock print for US$2.8 million, a record for the legendary Japanese artist. Large for a traditional moon jar at 46cm high, the prize lot is considered a superb example of its type from the 18th century, which is extremely rare. The gentle white sphere is covered with a translucent glaze from its everted mouth to its high, narrow foot. On close examination, areas of crackle are discernible, especially around the central seam where the two parts of the jar have been joined together. Minute traces of impurities in the glaze have produced variations in the smooth surface. Christie’s sales of Japanese and Korean Art achieved a total of $11,413,992, with registered bidders from 22 countries in total.

Goddess of Might

Painting of Durga a roaring success

Manjit Bawa’s Untitled (Durga) went under the hammer for US$1.98 million at Christie’s recently, setting a new global auction record for the artist. In this monumental and imposing painting from 2004, Bawa presents the goddess Durga, the supreme female deity of the Hindu pantheon, mounted on the back of her vehicle or vahana, a lion. Durga is also known as Shakti or Devi, the protector of all that is good and harmonious in the world. However, this goddess is perhaps most renowned as Mahishasuramardini, the slayer of the invincible buffalo demon Mahishasura, created by the demon king Rambha. Although Durga is instantly recognisable here, Bawa’s version of the emblematic goddess embodies a delicate purity and all-pervasive truth, reflected through the meditative qualities of his own aesthetic and technical prowess. The artist died in 2008, and this painting was last sold at auction in 2014. Greatly inspired by Indian classical artistic traditions, his work often incorporated elements from various genres and periods. Bawa visited specific mythological themes throughout his career, depicting iconic gods and goddesses like Shiva, Krishna and Durga.

Pumpkin high

Record price for polka dot bronze

Yayoi Kusama’s bronze Pumpkin (L) fetched the highest price realised for a sculpture by the artist at Sotheby’s 50th Anniversary Contemporary Art Evening auction last month. Imbued with her trademark polka dots, this impressive example of Kusama’s highly coveted sculptural pumpkins – the eighth and final of an edition completed in 2014 – went for US$8 million. Beautifully materialised in bronze, the Japanese artist’s iconic striations of multi-sized polka dots meticulously encase the pumpkin from stem to base. One of the most admired and universally recognisable images of contemporary art today, the pumpkin is central to the 94-year-old’s widely celebrated oeuvre, appearing throughout her work from flat canvases and abstract paintings to gallery-wide installations. The bronze Pumpkin (L) is a prime example of Kusama’s unique ability to collapse the division between her own consciousness and the external world. Widely considered the most important artist to have emerged from Japan in the post-war period, Kusama was a contemporary of Andy Warhol and her pop art influenced his. Hong Kong’s M+ Museum retrospective of her work concludes on 14 May.

The Most Artistic Instagram Pages To Make Your Home Feed More Aesthetically Appealing

Scrolling through your Instagram home feed has certainly become a habit for almost everyone because it is certainly a great way of escape from our otherwise (usually hectic) schedule and it is an excellently-entertaining manner of keeping updated on the topics we follow.

If art happens to be one of your interests, then there are a couple of accounts that never fail to post eye-catching artwork that will not only have you admiring it but also have you pondering about its symbolism, story, and more. Perfect for art buyers and enthusiasts alike, these art accounts mimic the appeal of visiting art exhibitions located in different parts of the world from the comfort of your home.

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A post shared by The Pink Lemonade (@the.pinklemonade)

Pink Lemonade is an artistic account that captures the beauty in the absurd, and what may look bizarre at first look actually turns out to have a layer of meaning or sometimes even multiple purposes. Pink Lemonade perfectly brings its followers those fleeing moments and the incandescent beauty of nature while also highlighting the best contemporary art creations from painters, sculptures and more.

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A post shared by The Blue Lemonade (@the.bluelemonade)

Another account that is quite similar to The Pink Lemonade is The Blue Lemonade except it focuses more on sculptures and three-dimensional art pieces. In other words, this art page is more of a curation account for sculptures where people can find a mix of popular and underrated masterpieces and artists. Blue Lemonade keeps its captions short letting the pictures do all the talking.

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A post shared by Avant Arte (@avant.arte)

Avant Arte strives to get the younger generation more involved in art and the account does this by featuring artworks that appeal more to gen z but of course, millennials and other generations are going to find the art photos attractive too. Avant Arte has more than two hundred contemporary artists in its database each of whom has created and continues to create iconic artworks that will surely get more people invested in art.

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A post shared by Collecteurs (@collecteurs)

This art page, Collecteurs, believes that art should be accessible to anyone who has an admiration for it. As a result, Collecteurs allows its users to view more than thousands of artistic creations shared by collectors while also sharing their very own collections. Precisely, the website has built a community for art lovers and encourages its fanbase to discuss thought-provoking topics like one of their recent ones “Why can’t colonial museums simply return cultural artefacts?”

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A post shared by CONTEMPORARY ART COLLECTORS (@contemporaryartcollectors)

As made clear in its name, Contemporary Art Collectors cater exclusively to those interested in the contemporary art movement. While showcasing the works of many great artists, the page also simultaneously establishes the impact art has on culture and likewise how art will evolve in the years to come. It also brings attention to other important subjects in the art world like how whether we know it or not, art is an essential part of our daily lives.

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A post shared by Artnet (@artnet)

Want to admire art while also catching up with the latest happenings in the industry? Artnet is an unhinged source for it because the page does an excellent job of keeping its fans informed of important art-related matters from every corner of the world. Additionally, Artnet also helps people get a crystal clear understanding of different pieces of art through their commentary and explanatory essays written by experts.

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A post shared by Artsy (@artsy)

Artsy is primarily for art buyers and it boasts countless artworks by skilful artists from different parts of the world. In addition to being a haven for regular art buyers, it is also perfect for people who have a newfound interest in art. Each painting or sculpture is accompanied by a description of the work and its source exhibition letting art enthusiasts make an informed choice while purchasing the work.

The Best of Art Central 2023 – The Most Iconic Artwork on Display

The eighth edition of Art Central is certainly an artistic experience that art aficionados can hold close to their heart. From touching on ancient styles to pushing contemporary artwork that focus on topics such as modernisation, consumerism, globalisation, nature, and more, Art Central 2023 had more than 300 artists displaying their work.

Among all the works on display, below are a few of the iconic ones that you should see when you are at Art Central. Do be reminded that all the artwork are aesthetically appealing and unique in its own way, so you will probably end up spending hours exploring every single one of them.

An Aggregation-Space by Seon-Ghi BHAK

Korean artist Seo-Ghi Bhak made his interactive 3D art installation titled An Aggregation-Space, particularly for Art Central 2023. Leaning back to his acclaimed artistic tendencies to use charcoal in his work, the entire installation is made of a metal frame that has pieces of charcoals hanging on nylon strings.

Bhak’s choice of material reflects his love for charcoal and his intentions to spark a connection between humans and nature. As a result, he created the piece to mimic a maze that people can walk through experiencing each chunk of charcoal slowly moving as they pass, thus also provoking the ideology that art is a journey of transformations.

Prelude in A minor Trauma by Clara Wong

Clara Wong is best known for having a satirical tone in her artwork, and this one which she calls the Prelude in A minor Trauma also perfectly knocks on dark humour as she replicates a typical artist studio in Hong Kong through this work.

The young Hong Kong artist has voluntarily cramped the space with so many objects scattered all over the place to create a sense of claustrophobic emotion, and also reflect on the reality of living an oppressed life in Hong Kong. Some notable elements of Wong’s installation include a laptop with water dripping on it from a broken pipe, a birthday cake that has been cut, and a mannequin leg on a piano.

Also Read: Vibrant City: Hong Kong’s growing art scene

Blue Throat: Start the Churning (group exhibition)

Blue Throat: Start the Churning is a group exhibition bringing together the works of nearly 20 local artists whose artistic themes focus on the Hindu mythology Samudra Manthana. In this ancient legend, people churned the ocean with the belief that it will produce an elixir which will grant them the gift of immortality.

This group exhibition is a juxtaposition of the way even people living today are continuing to mess with nature through globalisation and modernisation. To further connect to the ancient story, the curators – Chris Wan and Jeremy Ip – have used a turquoise blue flooring that makes it look like the visitors are viewing the art pieces with the ocean surrounding them.

Glows in the Night by Yang Yongliang

Glow in the Night shows the intoxicatingly beautiful nights of Guangdong-Hong Kong-Macau. At the first glance, it looks like large-scale photography capturing a city’s landscape during the night. However, a closer look shows that it is a video with minute details that can be only noticed when you concentrate on each section of the canvas separately.

More like an art that comes to life under the magnifying lens, Yang Yongliang wants to divert people’s attention to the light pollution that is caused because of urbanisation and other modern developments.

reflective connections by Bev Butkow

Bev Butkow’s reflective connections is a touch-and-feel-the-art kind of installation that is made of materials that were collected locally. This includes “thread, wool, dressmaking scraps” and more that are connected together to form a floating sculptor that is hanging down from the ceiling. The soft sculptor supposedly mimics a fishing net that was just pulled out from the sea.

Moreover, the South African artist uses mirrors to elevate her art by playing with lights and reflections. Butkow encourages the viewers to have a tactile connection with her piece in order to experience the work as she intends it to be.

Art veteran Simon Ma’s vision of creating harmony through art

Hong Kong-born, Shanghai based, art veteran Simon Ma shares his vision of creating harmony through art with his recent travelling Drago Cavallo Exhibition

From a young age, you painted under the guidance of Chinese master Fan Tzu Teng. How did that shape you?
I was lucky to have him inspire me, and not just in painting. He also inspired me to become a good person. We believed that whatever you paint first comes from your heart, then flows through your hands – manifesting how we think and how we look at the world.

“Harmonise” is a word he always reminded me of. To harmonise with nature and with people, regardless of their background, whether they are rich or poor. This way, you allow yourself to view the world from all angles, looking at everyone and every situation from the top down, left to right and from front to back as well. He was my master in matters of the mind, too – an extremely kind and an open person, he believed that we should do charity work, with a pure heart – that is what would help one be a good painter.

For a time, you had your own company in Shanghai, Ma Design. What propelled you to make the transition from architect and urban planner to artist?

I started painting when I was seven years old, and I played music when I was 13 years old. After that, I attended boarding school in the UK and then studied architecture and urban planning at University College of London.

It’s hard being an architect. I prefer being an artist because I don’t have to just work for the client. As an artist, I can actually create anything I like, without limitations or boundaries. I started sculpting and exhibiting my work to the public in various locations around the world. To me, this is the more interesting part of art and creation, it is much more meaningful to me [than architecture. I put them there like an architecture but in miniature forms.

You recently launched a large touring artistic installation, Drago Cavallo, in conjunction with the Hong Kong Jockey Club. Could you tell us more about this?

Winfried (Engelbrecht-Bresges), the CEO of the Hong Kong Jockey Club, called me and wanted me to come back to Hong Kong to do the Drago Cavallo – Travel Around HK exhibition as part of the SAR’s 25th anniversary.

We thought the city needed new energy, something to bring everyone in harmony. The mythical dragon horse (‘drago cavallo’ in Italian) is the spirit of China – one of the eight mythical beasts that symbolises inspiration; and I think people all over the world like horses.

I actually created these lovable Drago Cavallos during Covid-19 to give people hope and new energy. So, we brought back 10,000 Drago Cavallos and are planning on displaying a 25-metre-high Drago Cavallo next year.

I’m working very hard on this, trying to harmonise Hong Kong society – in different districts and also in schools, where students can paint Drago Cavallo and understand the spirit of the two animals (dragon and horse). The cool thing about this project is that it will harmonise society through art.

The Jockey Club has also been very supportive. We are also hosting a competition, and asking everyone to join the competition and try to set up one Drago Cavallo for each district.

“I prefer being an artist because you can actually create anything you like, with no limitations, no boundaries. This is much more meaningful to me [than architecture]”

You have a strong affinity with horses. Could you share with us why that is?
The horse is the most beautiful animal. They are energetic, international and always moving forward. They never complain though they can have a temper, too; when they want to, they just go. I see myself as somewhat of a horse whisperer. I go around the world, to places like Mongolia, to see horses. And when I find them, they are like my friends. You have to build a friendship with horses before you can paint them. I paint from inside them; I’m painting their vision.

You divide your time between your Hong Kong studio in Wong Chuk Hang and Shanghai. What differences have you observed between the two major cities?
I have been in China for 23 years. Shanghai is a very fast-growing city and full of energy. Whereas Hong Kong has stopped for the past three or four years; it’s actually becoming less international. If you look at the government in Shanghai and the local community, there is such a respect for art and its artists. But looking at Hong Kong, one might question how many good artists there are in the city. Shanghai, on the other hand, has so many ‘West Kowloon’s, not just one. And there are 20 or 30 more museums as well.

But Shanghai is not an easy place to survive in as an artist. You have to be very good at what you do, you have to be really good with people, and you have to be really good with the market as well. You have to be ahead of the market rather than follow it. We change because of our environment, but the environment doesn’t change because of us.

You have collaborated successfully as an artistic designer with international brands, such as Porsche and Ferrari. How did that come about?
I think these international luxury brands are looking for a Chinese artist who can connect with people internationally and locally. I understand both cultures – especially the Italian mindset, and I can instil Chinese art into their luxurious products harmoniously; it goes beyond just mixing two things together.

You’re also pretty active on Instagram. What value does social media give you as an artist?
I am encouraging my team to be active on all social media platforms because it’s better to share and let more people appreciate your art. Why keep art to yourself? Open up and let people see it.

“I am like the horse whisperer. I go around the world, to places like Mongolia, to see horses. And when I find them, they are like my friends. I’m painting their vision”

If you could go back in time and meet anyone from the past, who would it be?
My auntie, who passed away four years ago. She gave me my name ‘Simon’. And also, my master, Fan Tzu Teng. I would pay a million dollars to have dinner with them again, because as you get older, you realise the number of people you love gets less and less. Fan Tzu Teng is like my father. He had no son, so I was like a son to him. When I approached his body at his funeral, I knelt down; I knelt all the way to his body. There were a few hundred people there and they all stood up. This is the highest respect I could give to my teacher.

When do you get your best ideas?
I always get my best ideas when I’m having a shower. I feel light, like I’m being purified by water – and all my spirituality emerges.

Do you still play music?
I love music. I still have my band in China. I used to write music before I got too busy. I’m a left-handed drummer (like Phil Collins) as well as a singer. If you ever hear me sing, you’d be surprised. Music is my life. It helps to create good art.

Thank you.

(Interview by: Robert Murry; Photographer: Jack Law; Art Direction and Styling: Jhoshwa Ledesma; Videographer: Jackie Chan; Venue: Simon Ma Gallery)

Art Next Expo 2021: A close focus on over 70 Hong Kong artists

If there is anything the last two trying years have proved, it is that art plays an ever more crucial role in times of change and adversity, and that the global pandemic had not dampened the determination and motivation of artistic talents in Hong Kong, Asia’s rising capital of art. Rather, it has demonstrated the pursuit for the arts and the focus and heightened interests in local artists are more prevalent than ever.

Following a series of art months, the 2021 Art Next Expo arrives without hesitation to deliver its 4th Edition of Art next Expo and Art Next Artist Awards, an exciting 3-day affair that will provide a platform for artists, galleries, institutions and collectors to connect and be inspired.

“Although the pandemic has impacted global economy, the international art market continues to show strong signs of recovery, and we are particularly excited to see that more and more Hong Kong collectors are interested in the works of local artists”, said Ms. Judy Inn, Director of Art Next, “We believe art lovers will value the opportunity to meet the artists in person at the Expo.”

Set to open its doors on 8 October until 10 October at the Lanson Place, Causeway Bay, visitors can expect to delight in an immersive and interactive three-day art fair that will showcase over 70 artists in three series:

Art Next Artists Series:
Providing young and emerging talents of diverse styles, mediums and backgrounds an opportunity to compete for the Art Next Artist Awards, the winner of the competition will be granted a 3-month sponsored residence programme by Taipei Artist Village.

The winner will be selected by a panel of artists and art scholars, such Professor Tang Hoi Chiu, Professor TANG Hoi Chiu, Adjunct Professor of Academy of Visual Arts at The Baptist University of Hong Kong;; art collector and artist Mrs. Celcilia Cheung; renowned Chinese ink painter Mr. He Baili; renowned artist and curator Dr. Tang Ying Chi among many others.

Diversity Series:
Presenting the latest works by six embroidery artists that integrate diverse and contemporary motifs and themes into this traditional medium, exploring the limit of embroidery art as a form of art expression and fostering its appreciation by the public. This engaging exhibition is organized by Jun Enterprise, an organization dedicated to promoting embroidery art. Besides embroidery art, the Diversity Series also features contemporary ink works, geometric paintings, leather painting and artworks related to cheongsam (traditional Chinese costume).

Special Project Series – Next+ :
Next Mart is a fun thematic exhibition co-curated by artists Angel Hui Hoi Kiu and KC Wong to showcase 80+ pieces of pop art and trendy art toys, including paintings, sculptures, and lifestyle goods, from 11 artists, and installations of immersive innovative multimedia works by graduates of prestigious universities.

To top it off, Art Next has specially curated the works of a group of celebrated local artists working in a variety of mediums, such as Chui Pui Chee, Aries Wu Chun Yin, Chan Sai Lok, Victor Chu Chi Kuen and Chung Wai Lun, who will showcase their latest works to visitors of the Expo.

For more information, please visit www.artnextexpo.com

Indian Modernist V.S. Gaitonde Makes History

Untitled 1974 (sold at auction for US$4.5m)
V.S. GAITONDE (1924-2001)
Oil on canvas
60 x 40 inches (152.5 x 101.6 cm.)
Signed and dated in Devanagari and further signed and dated ‘V.S. GAITONDE 1974’ on
reverse

A luminous canvas by the legendary Indian painter Vasudeo Santu Gaitonde went under the hammer for a staggering US$4.5m (Rs32cr) at Mumbai auction house Pundole’s in September 2020. The oil painting, Untitled (1974) came from the esteemed collection of the Japanese fish baron Masanori Fukuoka who owns the Glenbarra Museum, Japan. Smashing Gaitonde’s previous record, the painting set a new world record for Indian art.

Gaitonde—who passed away in 2001—has achieved near mythic status in the Indian art world. One of the country’s greatest abstract painters, Gaitonde was fascinated with Zen Buddhist philosophy, ancient calligraphy and Japanese pictorial motifs. These interests come to the fore in his work. Powerful and primal, the 1974 painting is suffused with diaphanous bands of colour upon which a series of mysterious geometric, linear shapes rest.

His technique was laborious; he built up paint in thin layers with a roller, then once dried, he would carefully scrape it off in areas using a palette knife. To create abstract forms, he would press torn pieces of newsprint into the wet paint and then lift them away. He added bits of cloth saturated with pigment, leaving them on the canvas for an impasto-like texture. The canvas, Untitled (1995), a work in private hands in Hong Kong, is a particularly striking example of the refinement and subtlety this technique yielded.

Untitled 1995 (with a Hong Kong collector)
V.S. GAITONDE (1924–2001)
Oil on canvas
62 x 41.5 inches (157.5 x 105.4 cm)
Signed and dated ‘V.S. GAITONDE 95’ on reverse

While Gaitonde’s oeuvre remains unrivalled in South Asian art history, like many other non-Western artists of his generation he has only recently gained international acclaim. His break-through moment came in 2014 when the Solomon R. Guggenheim Museum in New York held a retrospective of his work, in which Untitled (1974) was featured.

A deep thinker, Gaitonde is known for spending a great deal of time formulating paintings in his mind and allowing ideas to gestate. It comes as no surprise that he finished few canvases in his lifetime making the record-breaking painting an exceptionally rare find.

For more information, contact innervisionartwork@gmail.com.

Artspace K: Celebrating and spotlighting contemporary artists in style

Newly opened Artspace K, celebrates and spotlights contemporary artists in style…

After much anticipation and with high spirits, The Repulse Bay welcomed a brand-new art gallery, Artspace K, last month. The grand opening, which was presided over by its founder, Chen Kok-choo, also doubled as the exciting launch of the contemporary art space’s first exhibition. Titled “Winter Joy”, this exhibition marks the first-ever solo showcase in Hong Kong by renowned Taiwanese artist, Hung Yi.

Chen is no stranger to the art and culture sphere. An international corporate lawyer by profession, upon her retirement in 2002, the intrepid cultural connoisseur and Hong Kong native chose to answer a second calling, this time as a promoter of art and culture works.

“I define culture as something that our ancestors have passed down to us, be it through intangible traditions or their very real literary, artistic and musical legacies,” explains Chen, “and it’s through this that we can understand our past.”

With this philosophy driving her, Chen would eventually revitalise and restore three heritage buildings in Taipei – Taipei Story House, Futai Street Foreign Mansion and museum207 – transforming them into modern-day museums that could educate people about their own history. With this undeniable success under her belt, she then turned her attention towards her hometown of Hong Kong.

“Hong Kong is a leading international art hub, with services and an infrastructure that few other cities can rival,” says Chen, “so I focused on setting up a platform for contemporary artists from all over the world, one that would position them to best take advantage of the city’s strengths.”

A year later, that vision has come to fruition in Artspace K, a gallery that Chen hopes will “instil a love of art within the local community.” Designed as a mini museum, she hopes to utilise this venue to introduce a range of local and international artists to the city through thoughtfully curated, ever-changing exhibitions.

“We hope to present about eight to ten established or emerging artists across a range of mediums and themes at Artspace K each year over four exhibitions,” Chen says, “and we don’t just introduce the artworks but also the artists, to educate on what makes each one so unique.”

It is precisely this thought that drove the selection of Taiwanese artist Hung Yi as its inaugural exhibition artist. “Hung Yi is one of Taiwan’s most famous prolific contemporary sculptors. He’s had 87 exhibitions across the world, including many leading international art hotspots, yet he has never held a solo exhibition in Hong Kong and many locals probably haven’t heard of him. That’s why I want to introduce Hongkongers to his fantastic works.”

Thus, Artspace K’s “Winter Joy” exhibition, which runs until February 21, 2021, is an exposé on Hung Yi’s artistic vision and craftsmanship, with 13 steelwork sculptures and two acrylic paintings from his “Animals” series now on proud display. Vibrant and colourful, each piece has been burnished with traditional symbols, floral motifs and contemporary ideograms. Above all – and perhaps at a time where Hong Kong needs it most – “Winter Joy” evokes a child-like joy of colourful expression devoid of all negativity.

Artspace K.G105-106, The RepulseBay, 109 Repulse Bay Road, Hong Kong

Info: Artspace K

Art-to-art talk with Gilles Dyan, founder of Opera Gallery

Gilles Dyan, founder and co-chairman of the highly acclaimed Opera Gallery, has had a meteoric career to say the least. From starting by selling prints from door to door to owning one of the most respected art galleries in the world, his journey is as colourful as the art he sells. We sit down to talk to him on all things artistic.

Q: You started as a door-to-door salesman selling prints. Now you own one of the leading art galleries in the world. Tell us about the journey.

Gilles Dyan: I have always been passionate about art. My youth was somewhat chaotic and I needed to start working at an early age. I didn’t have the chance to go to university to study art. However, I was very fortunate to grow up in Paris, surrounded by beautiful art museums where I would spend all my free time. Of course, with no proper artistic background, I couldn’t pretend to work in an art gallery…So, I became a door-to-door salesman selling prints and original paintings by local artists! I actually loved it and, without undue modesty, I became quite good at it. Somehow, I got invited to participate in an art fair in Singapore. My booth was such a success that I managed to find the financial backing to be able to open my first Opera Gallery in Singapore.

I opened a gallery in Paris soon after. This was in 1994. The Hong Kong space was opened in 2005. My years as a door-to-door salesman taught me that you don’t need to be rich or educated to appreciate art or to own art. Most people I sold to at the time were people who didn’t always have big means and were intimidated to walk into art galleries. That is how I got the idea of creating spaces that could be accessible to everyone, showing masterpieces by established artists alongside pieces by young emerging artists. Art should be accessible to everyone, not just to the elite.

Q: Opera Gallery already has presence in so many countries. Are there others opening in the near future and, if yes, in which countries?

Gilles Dyan: Opera Gallery has 13 spaces around the world, in Singapore, Hong Kong, Seoul, Dubai, Beirut, New York, Miami, Aspen, London, Paris, Monaco, Geneva and, since March this year, in Zurich. I think that is already quite a lot, don’t you? Of course, I still want Opera Gallery to expand but I want to do it carefully. We are not a supermarket chain! I want to continue being able to show good-quality and carefully-selected art in each Opera Gallery space and I don’t believe you can do that if you expand too rapidly. Let’s say I am studying a few opportunities, but it is too early to divulge any details.

Q: How do you decide which artists to work with?

Gilles Dyan: Opera Gallery shows works by established artists as well as works by younger emerging artists that we try to promote. You wouldn’t believe how much talent there is out there! We receive portfolios by young artists every day and from everywhere around the world. So how do we choose? First of all I only work with artists whose work I personally like and admire – it is much easier to promote the work of an artist you really appreciate, that you believe in. Basically, I follow my instincts – the art must talk to me. I love all the artists we have in all 13 galleries! Secondly, I am very attentive to our collectors’ demands of course – and lastly, I rely on my staff a lot. I am lucky enough to have a wonderful staff who have discovered very talented local young artists.

Q: How important is it for Opera Gallery to promote local artists in each city where the gallery is located?

Gilles Dyan: It is very important! We are lucky enough to be established in countries where there are incredibly talented artists. Not only do we try to promote these young talents locally but our ultimate aim is to show their work in our other galleries internationally. Our collectors love to discover new talents. This is one of the things I appreciate most about having galleries worldwide – to have my European collectors discover Asian talent and vice versa.

Q: Lastly, are there any recent artists who have stood out and made a lasting impression on you?

Gilles Dyan: This is a tough question because, as I told you before, I admire each and every artist whose work I show in my galleries. Of course, some of them go on to become more successful than others, but frankly, each artist I have exhibited over the years has affected me some way or the other.

Thank you.

Tag: contemporary art