As the cruise leisurely drifted across the gentle night breeze, the enchanting lights twinkled vibrantly along Hong Kong’s iconic Harbourfront. On deck, under a starlit sky, guests swayed to uplifting rhythms while raising glasses of champagne to commemorate the grand opening of Art Basel Hong Kong (ABHK)—the preeminent art fair across Asia. The week unfurled itself in a whirlwind of captivating openings, lively parties, invigorating performances, and record-shattering sales.
Hong Kong, recognized for its storied tradition of free trade, has always been a beacon for art dealers and collectors from around the globe. Yet, the picturesque landscape is evolving rapidly. Voices from the Hong Kong Art Gallery Association (HKAGA) echoed concerns over soaring shipping costs, with the ghost of escalating tariffs haunting the art world. The lingering shadows of Trump’s trade war still ripple through the scene, influencing everything from raw materials to logistical intricacies.
In spite of the storm of economic uncertainties, the Hong Kong Convention and Exhibition Centre buzzed with boundless energy. Crowds comprising VIPs, innovative artists, avid collectors, discerning critics, and benevolent philanthropists filled the aisles. At the heart of this artistic convergence, 240 galleries from an impressive array of 42 countries exhibited their treasures, with nearly half hailing from the vibrant Asia Pacific region. Renowned galleries from Europe and the US, including illustrious names like Pace, Gagosian, Hauser & Wirth, White Cube, and Mennour, were represented alongside regional stalwarts like Bangkok CityCity Gallery, Ames Yavuz, Richard Koh, and Tang Contemporary, showcasing the region’s immense creative prowess.
Beyond the confines of the fairgrounds, Hong Kong’s dynamic institutions added a spectacular flair to the city’s scenic tableau. The M+ Museum unveiled “Picasso for Asia: A Conversation,” an exhibition that highlighted 60 original works by the legendary Spanish maestro, juxtaposed with 80 pieces crafted by Asian artists touched by his indelible legacy. Meanwhile, the Hong Kong Museum of Art (HKMoA) attracted throngs with masterpieces by Cézanne and Renoir. Additionally, the dual retrospective of Cindy Sherman and Yasumasa Morimura at M+ proved to be a resplendent highlight, tracing their intriguing careers through the rich mediums of self-portraiture and performance art.
At Art Central, the largest edition yet unfolded with over 100 galleries and participation from an astounding 500 artists. Auction houses like Christie’s, Sotheby’s, Bonhams, and Phillips hosted high-stakes sales featuring works by legendary figures such as Chagall and Basquiat, while Phillips made a significant splash with the presentation of the Sovereign Art Prize.
From the towering heights of H Queen’s galleries to the intimate alleyways of fringe exhibitions, a pulse of sheer energy and creativity flowed throughout the city. Noteworthy showcases included Tenzing Rigdol at Rossi & Rossi, Chulayarnnon Siriphol’s captivating “The Golden Snail Series” at Tomorrow Maybe, and the compelling “Beauty Will Save the World” exhibit at 10 Chancery Lane Gallery, highlighting Southeast Asian icons like Vu Dan Tan, FX Harsono, Moe Satt, and Dinh Q. Lê.
Sales soared across the board, casting a spotlight on Thailand. ABHK marked substantial transactions, with David Zwirner selling a Yayoi Kusama “Infinity Net” for a staggering US$3.5 million, while Hauser & Wirth closed a US$2 million deal with a captivating Louise Bourgeois sculpture. Thaddaeus Ropac reported an impressive US$6 million in total sales, inclusive of works by Georg Baselitz and Roy Lichtenstein. Tang Contemporary confirmed the sale of a Yue Minjun painting for a notable US$1 million.
The interest in Thai artists was palpable. Pinaree Sanpitak’s “Silver Offering” (2003), showcased by Ames Yavuz, sold for US$175,000 each. Rirkrit Tiravanija’s evocative sign artworks, “Freedom Cannot Be Simulated” and “Asians Must Eat Rice,” were prominently displayed at Kurimanzuto and Pilar Corrias, respectively. Rising star Channatip Chanvipava made a remarkable debut at Ames Yavuz, while Tanat Teeradakorn’s politically charged exposition at Bangkok CityCity Gallery showcased T-shirts, protest songs, and poignant video installations. At Tang Contemporary, a solo exhibition by Gongkan—reflecting on transgender identity and traditional Chinese values—successfully sold out its entire suite of 18 paintings before the official opening.
Meanwhile, the MGM Discoveries Art Prize, celebrating originality, was awarded to South Korean artist Shin Min and Gallery 21 (Seoul). Min’s profound depictions exploring service labor, gender, and class earned her a prestigious US$50,000 cash award, supported by MGM and Pansy Ho, a leading proponent of cultural tourism in Macao.
A historic milestone was achieved with the launch announcement of the Dib International Contemporary Art Museum, a visionary project initially undertaken by the late Petch Osathanugrah and now spearheaded by his son, Purat (Chang). The announcement, made at Rosewood Hong Kong, attracted distinguished figures including Bernard Chan, Hoor Al Qasimi, Uli Sigg, Akiko Miki, and Gregor Muir. A public dialogue featuring Purat and Alan Lo at ABHK boldly underscored an ambitious vision: the Dib Museum is set to open its doors in Bangkok on December 20th, striving to firmly place Thailand on the global art map.
With an eye toward bold ambitions in the art world driven by soft power, Thailand is making daring moves. Prime Minister Srettha Thavisin’s vision of transforming Bangkok into Asia’s art hub, with Art Basel as its crowning jewel, met skepticism initially. Yet under Paetongtarn Shinawatra’s leadership, the Thailand Creative Culture Agency (THACCA) has strategically invested vast resources into soft power initiatives spanning film, food, fashion, art, music, and performance. Key reforms, including the reduction of art import tariffs from 10% to 0%, aim to boost Thailand’s competitive edge over regional titans like Singapore, Vietnam, and Hong Kong.
THACCA’s reach recently extended to Macao, where Lawrence Ho, CEO of Melco Resorts, hosted Global Soft Power Talks. Attended by Paetongtarn and prominent figures such as Alain Ducasse, Viviana Muscettola, and Mathieu Lehanneur, the gathering delved into the future of integrated resorts as catalysts for cultural tourism.
Macao’s metamorphosis into a luxury haven—steered by Stanley Ho’s legacy and epitomized by the architectural marvels of City of Dreams, crafted by Zaha Hadid—raises poignant questions. In the realm where entertainment meccas, casinos, and art installations intertwine, can they coexist with a conscientious national soft power strategy? As captivating creations by Murakami, Kaws, Mr. Doodle, and Daniel Buren grace casino lobbies, the lines between art, commerce, and spectacle crisscross intriguingly.
Yet amidst the glamour, a note of caution resounds. As Thailand considers leveraging entertainment complexes and casinos as economic engines, public discontent and protest against proposed legislation have begun bubbling to the surface. As geopolitical tremors—ranging from environmental disasters to renewed trade skirmishes—unfold, Thailand’s soft power strategy demands careful implementation, tempered with nuance and transparency.
The stakes in this evolving narrative are monumental. Once considered playful and aspirational, soft power is now tantamount to a high-stakes gamble. As the ground beneath us shifts at a rapid pace, there’s scant room for errors of judgment. This is certainly not the time to pussyfoot around—nor to gamble thoughtlessly.
Wow, I can’t believe how fast Thailand is rising in the art world! Their influence at Art Basel Hong Kong was unexpected.
It’s true, but can they really compete with the longstanding giants like Hong Kong and Singapore?
I think they have potential, especially with the government backing their vision. It might take time, but they’re definitely on the right path.
I mean, with the tariff cuts and new art museums, they are aiming high. But let’s see how it plays out.
What concerns me is the reliance on soft power. Isn’t that just a fancy term for cultural imperialism?
Not really. Soft power is more about influence and attraction than imperialism.
But isn’t it just another way to control the narrative and push political agendas?
Valid point, but when done right, it can foster genuine cultural exchanges. An exchange of power isn’t inherently negative.
I think having entertainment meccas like Macao’s City of Dreams tied into the art world cheapens art. It’s all about money now!
It’s a fair point, but commercialization has been part of art forever. The key is finding a balance.
Art needs funding! And if that means casino art to pay for artists to exhibit, I say why not?
True, but at what cost to artistic integrity? Everything turns into a spectacle these days.
The integration of art in commercial spaces like casinos seems like a sellout. How can we maintain authenticity?
It’s all about the artist’s intention, I guess. If they are okay with their work being there, why should we oppose?
As a frequent traveler, I love seeing art in unexpected places. It makes the everyday more magical.
An ambitious plan for Thailand, but can they circumvent the socio-political issues that come with it? I doubt it.
What socio-political issues are you talking about?
Conflicts in governance, public opposition to casino-driven tourism, you name it.
I went to Art Basel last year and it was fantastic. I can’t wait to see Thailand making waves next!
Art fairs like these focus too much on big names and not enough on emerging artists who desperately need the platform.
But aren’t big names what attract crowds and funding? It’s a vicious cycle.
Economic uncertainty can seriously impact the art world. I just hope art doesn’t become a victim like it did in past recessions.
With Thailand slashing art import tariffs, I think they’ll definitely gain momentum over Singapore.
Don’t be deceived. Thailand’s political climate could undo every bit of progress they’re making in the art scene.
Thailand’s move to zero tariffs on art imports is huge! More countries should follow their lead to promote local art.
It all sounds great, but lots of promises tend to fall flat. Until I see concrete results, I’m reserving judgment.
Thailand’s consistent push into the art front is notable. From someone in the field, it’s inspiring to see such initiative.