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Adeline Ooi is a curator and cultural strategist based in Kuala Lumpur and Hong Kong. She was the director Asia of Art Basel from 2014 to 2023. She serves on the boards of several institutions, including Para Site and Asia Art Archive in Hong Kong.
The shift in Asia is unmistakable. The emergence of new cities and young audiences, alongside the exploration of innovative business models that diverge from traditional Western structures, makes this region dynamic and full of promise. Yet, the conversation today revolves around one key question: which part of Asia are we talking about?
Before the pandemic, there was a prevailing sentiment that if you didn’t show up in Hong Kong, you hadn’t truly shown up in Asia. Hong Kong was widely regarded as the gateway to the region—the place to establish a base before branching out. At the time, discussions about “Asia” often meant focusing on China, then in the throes of an economic boom.
Today, galleries face a broader range of options, allowing for tailored strategies. Where do you position yourself? Which city or demographic aligns best with your program? Is it Hong Kong, Singapore, or Shanghai? Or perhaps Tokyo, Mumbai, or Jakarta? Asia is incredibly complex, with diverse contexts and histories, offering myriad ways to craft a constellation of programs. The idea of a singular “Asia” no longer holds.
Art Basel Hong Kong in 2023. Courtesy Art Basel.
When I became the director Asia of Art Basel in 2014, the ambition was to foster growth and ensure Asia was taken seriously on the global stage. Today, cities across the region are excelling—from Bangkok to Manila to Ho Chi Minh City—whether through arts festivals, art fairs, or biennials. A new wave of patrons is rising. The growth is fragmented and uneven, in typical Asian fashion, but it is happening. Back in 2017 and 2018, the most common complaint was a lack of footfall. Post-pandemic, however, the surge of young audiences has been unstoppable. Some gallerists have told me they struggled to manage crowds of 400 people at openings and even had to turn visitors away. The presence of art world figures in everyday popular culture—like regional drama series—has helped bring fresh audiences to art.
Certain regions have experienced remarkable growth in recent years, such as India. Take the Mumbai Gallery Weekend as an example. Logistics remain a challenge, but the event has expanded significantly since I first attended. Similarly, Thailand’s art scene is gaining momentum, with initiatives like the Bangkok Art Biennale, the recently opened Bangkok Kunsthalle, Khao Yai Art Forest, and the upcoming Thailand Biennale in Phuket as well as Ghost 2568 in November.
Asia is poised to develop its own new models. While these might not be radically different from existing structures, the level of engagement will certainly be distinct. It’s crucial to define your goals and choose your focus carefully. Participating in every art fair is unsustainable.
Collaborations among regional galleries are particularly exciting. For instance, the exhibition “Let’s See” in Singapore last year—a major showcase of Japanese paintings—was staged by Misako and Rosen from Tokyo and ROH from Jakarta, with contributions from other galleries. Such initiatives demonstrate the creativity and adaptability of the region’s art scene. Younger gallery owners are especially clear about their visions, and this clarity inspires hope.
The road ahead will not be without challenges. Pricing remains a significant issue for Asian galleries and artists venturing abroad. Artworks deemed expensive locally might be considered affordable in Western markets, prompting dealers to raise prices. However, this can alienate long-term supporters at home. Such issues require ongoing dialogue and thoughtful navigation.
My advice is simple: Forget past precedents. Focus on your audience, observe your environment, and build initiatives tailored to current needs.
—As told to Vivienne Chow
