At AWITA’s Hong Kong Forecast moderated by Enid Tsui (Arts Editor at South China Morning Post and author of new Lund Humphries publication “Art in Hong Kong: Portrait of a City in Flux”), local experts will openly discuss recent changes and the feelings on the ground.
Art Basel Hong Kong has returned to pre-pandemic gallery numbers, though sales remain flat. Despite global economic challenges, “Hong Kong remains competitive.” The U.S.-China tariff war has little impact, and while NFT hype has faded, interest in digital art persists. Additionally, new fairs, institutional growth (including M+ and Tai Kwun), and developments in Shenzhen and Foshan signal ongoing evolution.
A new wave of collectors from beyond Beijing and Shanghai is emerging, often with international exposure. “They are not just inheriting wealth; they are shaping tastes, embracing digital platforms, and engaging with Asian and global contemporary art.”
“Creative expression adapts where it must.” In response to national security laws, artists and curators of every single show definitely have to think about whether they are showing anything now deemed illegal.
Deepening of collaborations and curiosity between Hong Kong and Saudi Arabia, Uzbekistan, and Kazakhstan, broadening Hong Kong’s global influence. There is a consensus there are more visitors to and from these countries.
Private collectors drive experimental programming, while government funding supports infrastructure. Projects still in development, like Skytopia, reflect this balance, with plans to transform the area near Hong Kong International Airport into a dynamic hub for business, tourism, art, and entertainment.
Institutions are securing partnerships with brands (e.g., Chanel’s avant-garde film funding) to stay financially and creatively independent.
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