Galleries adapt to virtual platform
By Vivyan Yeo

Though the cancellation of Art Basel Hong Kong is a disappointment to many, the art fair is showing resilience through its Online Viewing Rooms which opened to VIP guests on 18 March, and will be accessible to the public from 20 to 25 March.

With a simple and clean interface, the Online Viewing Rooms create a unique experience. Every gallery “room” comes in the form of a slideshow, where each slide presents an artwork superimposed onto a standard gallery space. There are also options to zoom in for a more detailed view and see several images of the same piece. Although the interface takes away possible dialoguing between artworks, it focuses the viewer’s attention on one artwork at a time.

The online interface also allows for more privacy when viewing art. For instance, STPI, Lisson Gallery and other Asian galleries have teamed up to create virtual walkthroughs of their spaces. Providing only closeups of the works and live talks from a curator, they arguably facilitate a more intimate experience with each art piece.

Abdul Abdullah, ‘Reach’, 2020, manual embroidery made with the assistance of DGTMB Studio, 300 x 200 cm. Image courtesy of the artist and Yavuz Gallery.

With every iteration, Art Basel Hong Kong presents a crucial opportunity for Southeast Asian galleries and artists to gain exposure in the global art market. How then are galleries from the region adapting to the fair's shift from a physical presentation to a digital one? Furthermore, why does it still make sense to participate?

With a lineup of 231 galleries, response towards the viewing rooms has been favourable. “The feedback has been overwhelming with over 90% of exhibitors from our Hong Kong show taking part. Like the fair, 50% of the galleries have exhibition spaces in Asia,” says Adeline Ooi, Director Asia of Art Basel. “The quality of works presented from Southeast Asia is strong with a good range in media and practice.”

Kirsten Coelho, ‘Passages’, 2019, porcelain, matte white glaze, banded iron oxide, saturated iron glaze, 29 x 130 x 34 cm, 11 pieces. Courtesy of Sullivan+Strumpf.

Southeast Asian galleries show enthusiasm with works from both within the region and beyond. Based in Singapore and Sydney, Yavuz Gallery offers a selection by leading Southeast Asian and Australian artists such as Abdul Abdullah, Kawayan de Guia, Danie Mellor and Rodel Tapaya. Executive Caryn Quek notes that the Online Viewing Rooms offers a “fantastic alternative to the fair and helps to expose artists to VIP audiences abroad.”

Sullivan+Strumpf, which has gallery spaces in both Singapore and Australia, is focusing on Australian artists in this participation, with Michael Zavros, Sam Jinks and Kirsten Coelho. “We are delighted to participate in Art Basel’s online initiative,” says Director Joanna Strumpf. “There may not be as many fabulous parties, but there will certainly still be great art!”

Yeoh Choo Kuan, ‘A Day and Forever #11’, 2019, Acrylic on linen, 180 x 200 cm. Image courtesy of Richard Koh Fine Art.

Some galleries observe the distinct advantages of the digital platform. Richard Koh, Founder of Richard Koh Fine Art comments that the channel “reinforces safety and comfort in the art community.” The gallery is presenting a solo show on Malaysian artist Yeoh Choo Kuan with paintings inspired by the well-known Chinese painter Zhang Daqian. Prices range from HKD78,000 to HKD194,000.

Satoru Aoyama, ‘News from Nowhere (Labour Day)’, 2019, embroidery and drawing on silkscreen print, 117.0 x 156.8 x 7.0 cm. Image courtesy of Mizuma Gallery.

Other galleries find a balance between the platform’s merits and drawbacks. Mizuma Sueo, Executive Director of Mizuma Gallery says, “While it is of course always better to see the art in person, I am very thankful for the potential of the internet and the ability to make sales online.” The gallery, which has spaces in Japan, China, Singapore and Indonesia, will show works from Japanese artists Satoru Aoyama and Koji Tanada, as well as Chinese artist Du Kun.

While the Online Viewing Rooms offer an alternative channel in a time of uncertainty, its utilisation comes with limitations. Nova Contemporary, which was to do a solo presentation on Chatchai Puipia at Art Basel Hong Kong, decided not to participate this year. “Our concept was to let the audience understand the artist’s practices through an immersive environment,” says gallery associate Panta L. “It seems this first edition could not fully deliver the context of three-dimensional works in a curated setting.” The gallery will instead develop the project for a future show.

Suzann Victor, ‘Unequal Innocence’, 2020, acrylic on canvas, acrylic strip and lenses, 127.5 (diameter) x 15 cm. Image courtesy of Gajah Gallery.

To combat the limitations of displaying artwork online, other galleries are hosting additional physical exhibitions within their own galleries. Among them is Singapore-based Gajah Gallery which is presenting three-dimensional pieces in both physical and virtual shows. “In the online platform, sculptural works cannot be seen in their full scale and it can be tricky to visualise a work,” says gallery assistant Charmaine Yo. This year, the gallery explores the theme of wild territory with works from Southeast Asian artists such as Jigger Cruz, Suzann Victor and Yunizar. Prices range between HKD27,000 and HKD857,000.

Titled “GG-ABHK2020”, Gajah Gallery’s physical exhibition runs from 21 March to 19 April. It features iconic Southeast Asian artists such as Erizal As, Rudi Mantofani and Uji “Hahan” Handoko. The show also includes two special booths. There will also be a section dedicated to the works of I GAK Murniasih as well as another one dedicated to emerging women artists Anis Kurniasih, Dini Nur Aghnia, Fika Ria Santika, and Kara Inez.

Marina Cruz, ‘Different Shades of Grey’, 2019, Oil on canvas, 182.88 x 121.92 cm. Image courtesy of Mind Set Art Center.

Yet another gallery who is complementing their inclusion at Art Basel Hong Kong with their own project is Taipei-based Mind Set Art Center, which has a strong history of exhibiting Southeast Asian art. Under the title, “Janus”, which references a mythological deity with two faces looking to the past and future, works from Filipino artist Marina Cruz, Chinese artist Rao Fu and Japanese artist Shinji Ohmaki will be presented. Director Queena Chu comments that although the virtual channel may enhance exposure to certain audiences, it would not be to a significant extent.

Chen Wei, ‘Where are you going tonight (sg)’, 2019, LED board and steel, size variable. Image courtesy of Ota Fine Arts, Shanghai / Singapore / Tokyo.

Focusing on the distinct roles of online and physical shows, Ota Fine Arts is also displaying different exhibits at Art Basel and at their gallery spaces in Singapore and Tokyo. Titled “Post Art Fair,” the online collection includes contemporary works from Filipino artist Maria Farrar, Chinese artist Chen Wei and more. “We try to keep positive under this situation,” says Project Manager Yohsuke Ishizuka. “The rooms allow for a wide range of audiences, regardless of location, to view the artworks, so it functions differently from a physical fair. It’s a good thing.” He also notes that the selection of artworks was not an issue, as the gallery could choose works most suited to the digital platform.

Acknowledging the pros and cons of the Art Basel Online Viewing Rooms, Southeast Asian galleries adapt with measures such as selecting work suitable to the digital platform, hosting additional shows in their gallery spaces or taking their exhibition entirely offline depending on the specific needs of the artwork. In anticipation of a possible larger shift from in-person viewing experiences to digitally facilitated transactions, the first iteration of the Online Viewing Rooms is a positive start for the gallery scene in Southeast Asia. Looking to the future, it perhaps acts as a catalyst for galleries to think about new ways to engage their audience, and a motivation for them to craft a distinct online presence outside of Art Basel.

The Art Basel Online Viewing Rooms 2020 are accessible from 20 to 25 March 2020. For more information, visit https://www.artbasel.com/viewing-rooms.