Interview Art Basel Hong Kong director Angelle Siyang-Le
Ahead of the 2024 edition of Art Basel Hong Kong (26 – 30 March), she tells us about her own experiences of the city’s creative trajectory, what to expect from this year’s fair and what to prioritise as collecting newbie.
THE WICK: Hong Kong has been a leading destination for the culturally curious since you joined the Art Basel Hong Kong team. How have you experienced this evolution?
Angelle Siyang-Le: It’s definitely changed a lot. Hong Kong was always known as the financial hub back in the day. But now it has one of the highest numbers of international galleries in Asia and the top auction houses. New world class museums opened during COVID, including M+ and Hong Kong Palace Museum, which represent not only the city but Asia as a whole. Hong Kong now has a very comprehensive art ecosystem.
TW: What shifts will we see in this week’s edition of Art Basel Hong Kong?
ASL:
It will be much more diverse in terms of mediums and art forms, now that COVID restrictions have ended, and many more galleries have returned. Visitors will discover an increased number of large-scale installations, many of which have been installed by the artists themselves, who will give tours of their works.
We have 16 installations in the Encounters section, 11 of which were made specially for the show. Among the highlights will be a work by South Korean artist Haegue Yang (shown by Chantal Crousel), who also has a major show coming up in London later this year at the Hayward Gallery. The Argentinian artist Catalina Swinburn will be showing in Hong Kong for the first time, bringing a brand new installation.
Our goal this year is to increase the connections between the show and the city, engaging with the public in areas such as the atrium of the high-end shopping mall Pacific Place, where visitors will discover a work by Aboriginal artist, Daniel Boyd. On a big screen on the M+ Museum facade facing Victoria Harbour, we will be showing a brand new work from legendary Chinese artist, Yang Fudong. His film style has evolved over the years but, for this work, he returns to his early style recalling Hong Kong cinema of the 1970s and the 90s. It will be very poetic.
TW: At a time when the world has become increasingly fragmented, what do you think the relevance of an art fair is?
ASL: Art is more needed than ever. After COVID, we all have to reconnect, and art is a universal language. For us, working in Asia, 2023 was about reopening, but 2024 is all about reconnecting with international art lovers who haven’t been to the city for several years because of the pandemic.
TW: What is your go-to fashion brand or designer to wear for art fairs?
ASL:
I always try to discover local designers. I have a few go-to Chinese brands, like JNBY, a young label founded by a well-respected art collector, who regularly comes to our shows. I became friends with her and have even visited her in Hanzhong, where she has developed the entire district with her factories, offices, and art museums. Her designs are very avant-garde, Chinese, and provocative.
Shanghai Tang is also a great Chinese brand. I’m from Shanghai originally so I take pride in representing my hometown.
“Being a true collector is not only about buying artworks but supporting the art ecosystem and the artists themselves, helping them to develop their careers. Art collecting is also about passion and patience.”
