Art Critter: Art Basel Hong Kong, 2013

A Chantown Art Critique Critter: What did I think of Art Basel Hong Kong?

I liked it. And I thought the brand changes externally were minimal, but I can't say the same for those who worked on the fair. Or for the collectors. (That said, I found the old website much more informative...  why do Art Basel hide the Press section of their site?).

Between the first and the third floor, I preferred the third, but that might be because I started there, after CY Leung cut the ribbon to start the show. I might point out that I found his presence somewhat huomourous (he did not give a speech). But I also took it as a sign that the government can only be pleased they have secured Art Basel as a great business venture, since they do relatively little to promote the arts by way of education, support, funds or on a wider societal basis.

Art Fairs are a funny business for the average Joe. You might see famous pieces you'd otherwise need to travel to New York for. Or new works by artists just making the spotlight. But you are also confronted with hundreds of galleries and pieces – that aren't for you. You're not buying. Even at the Affordable Art Fair, the question of purchasing a piece needs careful, careful thought. Those are my savings.

So the enormity of an art fair is about as draining and overwhelming as seeing all of the Metropolitan in New York. You lose energy, will and interest. But fairs, the buzz that goes with them and your friends' Instagram streams make you  feel like you have to see it all.

I think that ArtHK greatly improved over the years, but the works were a bit repetitive. Art Basel Hong Kong seems less so. The breadth of work and galleries presented is better. I even saw a Wayne Thiebaud – one of my favourite painters. (He's 92 and you could eat his work). I've never seen that at the fair before. You can find him at Acquavella somewhere on the third floor – you've got a map.

Onto other things. The vernissage somehow lacked the ambience, crowds and excitement of last year, despite that Kate Moss allegedly attended as did Shwan Yue (I didn't see him!) and Edison Chen. Actually I didn't see that many people that I know either, and usually, everyone is there.

That said, I know a number of artists and galleries that couldn't get enough vernissage tickets, something that I've never heard before. In Hong Kong, we all know someone... so it's not always that hard to get in (for free). Could it be that Art Basel tightened the reigns? It's hard not to feel, from inside chit chat, that this is a money machine. Of course it is – the art world is fickle, money makes it. But this is gossip so I should stop.

Out of about 245 galleries present at Art Basel, about 26 are Hong Kong galleries. While that includes White Cube and Ben Brown (etc), it's still a good percentage, as Fair Director, Magnus Renfrew pointed out. Well done Hong Kong.

Maybe it's just me, but while I enjoyed the fair (especially Thiebaud) I don't feel the lure to go back again over the weekend, I don't feel an attachment and I can't even point you to any pieces that you really must see except for Thiebaud and Shieh (that was at an HK gallery, I forgot which. Sorry, I was tired). I saw at least four pieces clearly based around guns.Yawn.

Instead, if you feel adventurous, go to the old cold storage beneath the Fringe Club and see Wun Dun. Artist Adrian Wong was selected by the Absolut Art Bureau to create an immersive installation for the launch of Art Basel HK – and it's hosted in the coolest spot (sorry: pun). Various performers will appear every night, and the cocktails were created by Wong (which if you know him, is a little concerning). I couldn't take Duck cocktail (with duck fat wash), but maybe you can.

The way to art it – writing about art, the Chantown way.

As someone who studied both history of art and fine art, I usually approach exhibitions with a few thoughts in mind – technique,  understanding and aesthetics. I want to learn but I also want to have an intelligent discourse about the visuals and concepts presented. I also want to indulge in artistic greatness. After all, as a writer, I have easier – and more – access to famous and accomplished artists than I ever had as an artist no longer at university.

But I live in Hong Kong and I run my own business. So, like most people here, I find it hard to do everything. Sometimes I can't get to all the press events I'm invited to. 

Other times, I go, but don't have time talk to the artists (or they don't have time to talk to me) or i just don't have time to write something proper and interesting. I don't even have time to copyright stamp my images. This blogging lark isn't all roses you know.

There's something else too. Since moving to Hong Kong, I've become more disillusioned with the art world because I live in close proximity to 'for profit' galleries and their clientele. And I no longer live in a country where the government supports and encourages artistic activities and appreciation of the arts. As an artist I've never been so aware that it's all about luck. There are few places for an emerging artist like me to show, especially where I won't be paying high rents with no hope of sales (even at 50% commission).

So I've decided to remedy my blog block problem by writing short snippets from the art shows I do attend. Inspired by the style of this highly popular no-holds-barred food blogger, you can expect honesty (and fewer expletives). These bites make no promise over what will be covered but they will provide personal insights or technical information in a truly digestible, Hong Kong sized format.

These insightful snapshots of my artistic observances, or Chantown Art Critique Critter, will also be tagged with 'Art Critter'. 

Mobile M+: Yau Ma Tei (西九龍文娛藝術區)

In building interest, excitement and support of the West Kowloon Cultural District, Mobile M+: Yau Ma Tei (西九龍文娛藝術區) is the first in a series of nomadic exhibitions, curated by M+, the new museum proposed for visual culture.

The series of exhibitions include seven Hong Kong-based artists: Leung Mee-ping, Erkka Nissinen, Pak Shueng-chuen, Tsang Kin-wah, Yu Lik-wai, and collaborators Kwan Sheung-chi and Wong Wai-yin. Works can be viewed from May 15th to June 10th, 2012 and there are various artist talks throughout.

It's no surprise that the proposed district needs to build interest, excitement and support because the project has been sprinkled throughout the news for years, with various issues from proposals to planning. The first proposal in 2006 was overturned due to lack of planning and bad financing models. Luckily, it seems like art, cultural activities and visiting galleries could yet become a natural part of Hong Kong culture.

I was pleased that the venture produced an exhibition app with interactive map but it sadly appears that some issues invaded the first Mobile M+ project. And it wasn't mobile. The art was static, the viewers were mobile. So while some theme seemed to fit the displays, it's not that the pieces are moved around the city, reaching a wider audience (i.e. the more lazy or heat-fearing).

Finding addresses anywhere in Hong Kong is difficult enough, especially in areas like Mongkok and Yau Ma Tei. There's less signage on street corners, numbers don't always run in apparent succession and it's hot and crowded, which can make the most intent want to give up. Unfortunately, so will using the Mobile M+ app.

Starting in Mongkok, I couldn't find the Hong Kong Reader Book Store or 68 Sai Yeung Choi St South (site 10). I can read enough Chinese to match the book store sign in either language, but still no luck. I found No. 66 – and with seven flights to walk on a hot day, I gave up.

Moving on to G/F, 16–24a Waterloo Rd *enter on Portland St (site 2) to see Kwan Sheung-chi and Wong Wai-yin's collaboration, I doggedly followed the app map.

Exit B2, Yau Ma Tei. I stared at shops and numbers, I tried to spot some art, but nothing. I may have found 16 Portland St but not 16-24 Waterloo Rd. Near ready to leave, I double checked the address with my iPhone map and the site was on the other side of Waterloo Rd (X marks the spot), which you can only cross at the intersection because it's a main carriageway with cement dividers.

Kwan Sheung-chi and Wong Wai-yin's To Get a Gold Coin is a simple but great idea. Vote for your core values for Hong Kong and then choose whether to keep the real gold coin, or symbolically toss it into the harbour. Just the ratio of those two choices interest me, regardless of the best 'value' that's offered. It's such the Hong Kong conundrum. Preserve, love or get rich fast.

Luckily the info hub (site 1) and Yu Lik-wai's work (site 12) were opposite, in the same building as each other, on the same street.

I particularly liked the use of space and Yu's dramatic use of imagery, overlapping old and new, referencing Hong Kong living spaces and people.

Also nearby on Portland St, sites 3 and 4 showed interesting nostalgia work by Leung Mee-ping. The recycling shop was perhaps my favourite, for so many reasons. The subtlety of the art work in situ, the explanations of those posters – it just fit seamlessly into normal Yau Ma Tei.

The thought of seeing his installation in the public sitting area lit at night was really exciting, but Mobile M+ finishes at 7pm, so I can only presume, those antiques aren't workable.

Uncle Po Bible Calligraphy (site 8) was a near miss – the TV screen was barely noticeable, perhaps because it wasn't showing Pak Sheung-chuen's work – it was blank. Wandering along to site 9 to see Pak Sheung-chuen's other work, all I could see was a white tent with fencing and chained gates, along with some Mobile M+ signage – but no art. Continuing to Kansu St to see Tsang Kin-wah's piece, I gave up. I couldn't find that one either.

While the app was frustrating to use, it's good to see digital developments and I think Mobile M+ could encourage more galleries and Hong Kong Art Fair (or Art Basel, Hong Kong) to develop apps themselves. I also wondered why the map numbered pieces all over the geographical place. Were we supposed to view them in order? Technical writers are titled as such, for a reason. Good dissemination of information.

The art that I did see from this exhibition was interesting and it's always a pleasure to see more Hong Kong artists being talked about (at #ARTHK12, I heard lots of comments about the opening night of Mobile M+). It would be nice to see a wider range of artists in the field and as time passes, hopefully we will.

For more information about the exhibition, visit the Mobile M+ site. Use maps at own risk.