Last updated on September 9th, 2024 at 03:37 pm
In a few days, Marina Bay Sands of Singapore will be lighting up and teeming with some of the iconic artists and art galleries of the world to kick off the sophomore edition of ART SG. Gagosian, White Cube, Thaddaeus Ropac, Lehmann Maupin, neugerriemschneider, Xavier Hufkens, Stephen Friedman Gallery, Galerie Karsten Greve, Galerie Gisela Capitain, Goodman Gallery, Kukje Gallery, P.P.O.W, ShanghART, STPI, Ota Fine Arts, Yavuz Gallery, Sullivan & Strumpf, TKG+, Richard Koh Fine Art are just a few of the top terrific galleries of ART SG.
Amidst this excitement, the experienced and busy Fair Director of this iconic international art fair, Shuyin Yang, discussed the changing perspective of artworks and art collectors of Southeast Asia, the value propositions of artwork, growing market of digital art and more.
What kind of industry trends are influencing the value of artworks today? How have you seen it evolve?
While the art market does evolve according to various factors, a long-standing factor is always the quality of the artwork and the strength of the artist’s individual practice, alongside other considerations such as exhibition history, museum presentations and so on. At ART SG, we have a rigorous selection process for galleries applying to the fair to ensure the curatorial quality of the presentations and artworks and that collectors receive access to a wide range of high-calibre artworks from around the world, which showcase the best of contemporary art practice.
Do you see any particular preference in artworks among collectors in Southeast Asia? How is it different from the rest of the world?
Collecting interests among Southeast Asian collectors have expanded rapidly over the past decade. While fifteen years ago, there was a stronger preference for artworks created within the region, due to cultural familiarity and a strong history of modern art within Southeast Asia, in recent years there has been increasing interest and appetite for Asian and international artworks, due to various reasons, such as a new generation of young collectors who were educated overseas and received exposure to Western and international art from an early age, the ease of travelling for art fairs and a greater familiarity with international galleries, as well as a number of foreign-owned galleries choosing to open spaces, present international showcases, or base staff within Southeast Asia to heighten engagement with the audience here.
Is there a reason behind choosing Singapore as a destination for art fairs? Which other cities in Southeast Asia do you think will emerge as the art market hotspot in the near future and why?
The potential of Singapore as a market hub is vast. The city is already a major private wealth and aviation centre and acts as the international gateway to Southeast Asia across multiple business sectors. It is increasingly recognized as a critically important artistic hub of great innovation, home to world-class institutions such as National Gallery Singapore, Singapore Art Museum, and major events including the Singapore Biennale, and has a dynamic gallery scene including a number of international names. Combined with outstanding infrastructure, great hospitality, and overall ease of doing business, Singapore is the clear venue for a leading international fair to allow galleries to tap into the broader Southeast Asia and Australasia region.
What can viewers and visitors anticipate at the ART SG 2024? How will it differ from the earlier editions and other art fairs under Art Assembly?
We are thrilled to present a stellar line-up of leading Southeast Asian and international galleries, including returning exhibitors and new spaces making a dynamic debut at the fair. 30 of our participating galleries are based in Southeast Asia or have a space within the region, while 3 out of 5 public art installations are by Southeast Asian contemporary artists, which is a testament to our commitment to the regional ecosystem. Southeast Asian highlights include a showcase by Richard Koh Fine Art reflecting on the evolving tapestry and rich visual language that is characteristic of the regional scene, including work by artists such as Htein Lin, Justin Lim, Ruben Pang and Yim Maline; as well as BANGKOK CITYCITY, making their debut at ART SG 2024,which will feature a new installation by Tanatchai Bandasak, large-scale paintings by Alex Face inspired by significant political movements in Thailand, and renowned Thai artist Korakrit Arunanondchai featuring his signature motifs of denim and fire, who is also spotlighted within our ART SG FILM program of artist films and video art.
How is the Southeast Asian market opening up to digital art? Do you see more galleries bringing digital art into prominent art fairs like ART SG?
There is significant interest in digital art and new media artists amongst collectors, especially in Singapore which has a strong tech sector and is widely known as Asia’s Silicon Valley. In ART SG 2024, visitors can look out for the Digital Spotlight label on exhibitors to explore art created with technology, including digital art, film and video art, augmented reality, algorithms and creative coding, and more. Highlights include a presentation by Gazelli Art House, featuring Harold Cohen (1928 – 2016), one of the earliest artists to use computer programming and artificial intelligence in art making, while works by acclaimed artists Refik Anadol and Quayola will be showcased by bitforms. Wei-Ling Gallery presents a suite of augmented reality paintings by Malaysian artist Wong Chee Meng, and Artemis Gallery features new media artists Evelyn Bencicova, kennedy+swan and Studio Above&Below, all of whom are known for pushing the boundaries of digital image-making
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