Art Critter: Marc Quinn does HK – Held By Desire

A Chantown Art Critique Critter: I'll never forget Marc Quinn's Self (blood head). I was about 19 and doing my art foundation course, when the Sensation exhibition was in London, igniting the Shock Art term which changed the art world and starting a debate first instigated by Marcel Duchamp.

There were parts of that show I liked more than others – I was never a fan of Damien Hirst. But one piece that really made an impact on me was Marc Quinn's Self. He created a bust of himself, in his own blood. What a great concept – it's you, but it's not. And it melts and dissolves. As a youngster I had always been interested in 'signs' that people had been there/ somewhere, like a mustard stain on the carpet reminding me of watching Young and Dangerous (古惑仔) with Greg. 

Anyway, it never ceases to amaze me which artists I can meet, as an artist a member of the media. I'm really lucky that I live in Hong Kong, which presumably thanks to it's financial market and the current interest in Asian art, can pull some of the most interesting artists from the far corners of the world, like London and New York. So, I got to meet Marc Quinn in person last week, as his show Held By Desire just opened at White Cube Hong Kong (8 November 2013 - 4 January 2014).

I had hoped to do something more with this post but in the midst of work stuff and renovations, there's no chance. So here's a gift of a little critter, from me to you, totalling snippets, thoughts and images.

The exhibition is centred around Quinn's exploration into how desire shapes our universe and affects man's relationship with nature. That means looking at the boundaries between art, nature and the 'man-made', so Quinn asks us to look at the raw and seemingly mystical elements of our surrounds, in his first exhibition created for Asia and its audiences.

Hunger is one of the first things that Quinn mentions, this simple and vital animal urge which makes us wish to control nature, whether for food or a more sexual satiation. His work, Held by Desire (Chinese Juniper 114), is a lacquered bronze copy of a Bonsai tree, the perfect example of something that humans try to control. Keep it in a small pot, it's a Bonsai. Let it grow in the earth, it's a tree. This sculpture is what Quinn calls a contingent of reality – the real one lives and grows in his garden. Note here, that Quinn used a 3D scanner to create this, not destroying the original in the process.

Another piece that gives a more weird take on reality, is a leg of Serano ham, carved in onyx. A trip to the British Museum inspired this one. Quinn, having seen a carving in bone of a lion, thought about the strange combination of material and subject. The Invention of Carving has a slightly uncomfortable feeling to it, made in a fleshy pink/ white stone that some say looks like flesh, but I say looks like pink Himalayan salt. Either way, there's a discomfort in there, which is added to by the sexy but torturous pose that such ham is viced into, for cutting.

Being an art critter, I won't go into every piece but I can't ignore the huge flesh paintings (they look like photo's but they're not). They are of a size that you feel uncomfortably close to the meat, because at that size, you're either really close or that's whale meat. The fat, tissues and sinews are large and bright as day, thrown together in a pile, which is just raw (of course, but I mean in feeling too) and awkward. Not gross: Awkward. Quinn considers them to be "internal landscapes" tunneling into the body. Which is, I suppose, awkward. 

The odalisque of that series is Past, Present, Future, which depicts famous model, Lara Stone (she's married to British comedian, David Walliams) lying on a bed of meat. And she's about seven months pregnant, which explains the title: We are of flesh, we're born of flesh (also moving through it when we're born) and when we die we are bits of flesh, which rot. 

When the floor opened up to questions, I'm happy to go first, seated on the front row directly in front of Quinn. "So, did you ask her to come waxed for that photo?" Apparently, "she came that way" but my question was valid – was Quinn looking to make for another shocking image, when usually such poses show no lady parts or are covered with a large fig leave? 

Jenny Holzer in Hong Kong, with work created just for Hong Kong? Amazing.

I've been a fan of Jenny Holzer since I was about 18 

when I was introduced to her work during my art foundation course before my degree. Since then, I've continued to work with text using it as a catalyst within each piece. Between Jenny Holzer and Barbara Kruger, I've had a lot of inspiration from two women who have an interesting design background. Holzer, for instance, was a typesetter and created political posters as part of a collective in the '70s.

Holzer is known for changing things in the art world. She was the first woman ever to show at the Venice Bienniale (in 1990) and that marked that words could be art. In fact, Holzer's works are about the viewer's experience and not at all about Holzer – she writes the texts but the work becomes personal by the way in which each person reads and reacts to it. 

Today, Holzer's show, Light Streams, opens at Pearl Lam Galleries. It's her first solo show in Hong Kong, offering 25 custom-made works. Having not been to Hong Kong for 25 years, Holzer had to rely on her memories to create something for the city. She chose to focus the frenetic energy that the busy city has, which Holzer compares to the frenetic energy of a packed gallery.

But one of the most important things about this show is that Holzer has translated much of her work into traditional Chinese. It enfranchises most of the audience here. The translations were worked on by five different translators and Holzer worked hard to make the translation suit Hong Kong particularly, digging into the nuances of the fast-moving language. "I was intrigued to see the flow of syntax: Where verbs would fall. I wanted to see how well it would translate too, to see how the audience will react. I wanted to see if I could do it," she explains.  At times, she admits it's frustrating not knowing which statement she's looking at, but at others it's a relief. "I can take more care over the aesthetic side that way," she says.

Entering the exhibition, there's a lot more happening than I expected, perhaps because I'm more au fait with her Truisms and most of her works that I've seen are in collections and not new. The room has a colourful glow from the works spread throughout: Some leaning alone, some leaning together like a game of Kerplunk, some strewn and others mounted.

All Fall

Light Stream includes strewn hoop shapes, reminiscent of public hand rails or bike railings, alongside a plaque of frantically animated statements, based on her Truisms. In fact, the housing of the LEDs is a huge consideration for Holzer. With her design background, it's no surprise that every detail counts. "This shape is a reference to a type of gravestone that was popular in New England. It's called a life to death tombstone," she explains. 

Meanwhile, the wires around Light Stream are left visible, adding to the general clutter, the backdrop to these lively lights. "This really challenges me, I'm very tidy," says Holzer. But it creates the feeling she wanted.

Light Stream

That technology has changed her work is undeniable. "The infinite colours are carefully programmed for my work. Some loops are over five hours in this exhibition," she says. In other exhibitions, she has works that don't loop for over a month. Within each loop is a number of sequences (the way in which the words are delivered) which are often random: Fast, slow, sliding, bouncing, stretched, normal and so on. "Sometimes it seems to relate to the content but the animation isn't always so planned," Holzer explains. "Sometimes it's a choice and sometimes it just needs a lift, like when the letters blast out. I like to change between easy to read and really hard – unamenable – which is what life is like."

Inclined is a four-sided post of LED messages and really new. "This is deluxe programming," explains Jenny, who says they were working on it until the minute it was packed for shipping. There are animations of words flowing or passing each other from different directions, allowing two layers of text. Sometimes the words fall away in an animation that would remind you of the ICC's lights. "We took videos of weather and referenced it for this," she says.

Inclined

Reflections are another unexpected part of the show. With glass screens in the gallery, reflections across the room add depth to the work but also the viewer's experience, enabling views from a greater distance too.

And let's not forget the marble benches. I almost dumped my bag on one before realising it was another piece of work. But the benches, which create a place from which to watch these works as well as giving a kind of park or memorial feeling to the room, are subtle and powerful. Thoughout history, there's been a relation between words and material. Marble has authority and status, having been used for plaques and statues. But a bench is comfortable, too. Holzer comments that she gets tired walking around galleries and thinks there should be more places to sit, so that you can really appreciate the art. "I don't mind if you sit on them or leave your bag there. I'm happy for them to be placed outside and I want them to take on the life around them. If they grow moss, that's great," she says.

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'. 

Asia Hotel Art Fair 2013, Mandarin Oriental

An invitation to the Asia Hotel Art Fair (AHAF) press opening is hard to resist – a look at some interesting art and a snoop around the Mandarin Oriental Hong Kong, checking out various room types? Two of my favourite things in one, couldn't get better.

That said, I didn't expect much from this event, not having been before. Over the years I have come to love ARTHK and seen it improve and become more dynamic in terms of what's shown.

But I was wrong, the AHAF was not boring at all. Showcasing a range of galleries including some smaller independent Hong Kong galleries like Above Second and Voxfire, as well as an awesome range of contemporary Korean art and jewellery. I've interviewed quite a few Korean artists now, and they really are a creative bunch.

The AHAF has been held since 2008, in various hotels across Tokyo, Hong Kong and Seoul. While it's supposed to help visitors imagine their work at home, I saw property developers walking around trying to fill their new buildings for Tokyo and a number of VIPs.

But one thing that's undeniable is the price range. Not everything is too expensive for the average person. I nearly fell into buying a piece by Korean artists Park Tea-who. So it's worth visiting if you want to adorn your home – more affordable than ARTHK by far.

Korean artists 

Ahn Jun is a highly popular Korean artist, who takes photos of herself on the edge of buildings, including the one where she lives. Here, you can see the Shun Tak center in Sheung Wan.

Bae Chan-hyo is another popular Korean artist. His self-portraits remind me of Yinka Shonibare's self portraits like Dairy of a Victorian Dandy.

I was pleased to find a bit of Korean whimsy by way of illustration, care of Kim So-hee.

But this is the artist who stole my heart, through our shared love of birds. Park Tea-who represented by Nine Gallery on the 4th floor (room 423).

Korean jewellery was a real treat – inspiring, attractive and well-made. Check out room 612 and look here.

I want a dog too. But the ring by Shin Moonyoung will do and I presume it's less maintenance...

They have ceramics too...

And some interesting things to boot.

Hong Kong artists 

One of the reasons I wanted to go to the fair was to visit Hong Kong galleries like Above Second, who were representing Federico Fiorentini, who I love...

and Voxfire, who recently had an exhibition featuring my friends Danny Kostianos and Shann Larrson, who is featured in the photo below:

To see my tweets from this event, look here.

Switch Off and Listen

I love music. All kinds. The scene in Hong Kong has changed a lot over the last six or so years, but despite it getting generally better, I still take my hat off to those who get up there and perform, no matter how great the crowd. No matter how great the talent. Hey, sometimes I'm one of those people.

Joshua Thomson is a British artist who has come to Hong Kong and set up an Avante-Garde vinyl-only record label, which plans to also publish limited edition themed newspapers. Sounds like my cup of tea.

Follow him @platinummetres

Otherwise Engaged: Hitotzuki, Suitman, Sticky Monster Lab

Sometimes, it's who you meet that makes writing such an interesting job. Especially if you're an artist, meeting a fellow artist – as a writer. Does that even make sense? I've noticed how great Korean design is and how quietly passionate the Japanese artists are. Here are a few that I interviewed for an exhibition hosted by K11 art mall in Tsim Sha Tsui.

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.

I Call You Nancy – Tang Kwok Hin @ Mandarin Oriental

The Mandarin Oriental is the official hotel sponsor of the Hong Kong Art Fair this year. As such, not only is there a range of interesting food menus throughout the hotel, but in partnership with Contemporary by Amelia Johnson, the Clipper Lounge is also host to a specially commissioned exhibition, I Call You Nancy, by upcoming Hong Kong artist, Tang Kwok Hin.

Tang’s work is inspired by Hong Kong, creating an unmistakably nostalgic flavour, which locates the audience exactly where Tang needs them to be in order to feel what he feels. I Call You Nancy is based around Tang's made-up stories about a real sister that his mother never gave birth to, due to China's One Child Policy. While the subject matter appears to be sad, Tang masters an uplifting feeling of sensitivity, wonder and hope.

Liking the idea that by searching on Google, he could find the same images from any IP address in the world, Tang found images online to create fake memories and keepsakes about Nancy. "I liked the idea of taking public images and making a private album," he explains.

The first step in the journey is a frame full of images of 'Nancy' – but in all the images, the face is hidden or blurred. Who is Nancy? Walking through the exhibition, the audience begins to feel who she is. "I imagined she loves music, so I created these albums for her," he says. Framed in card, four sheets of glass represent a vinyl record. Images are layered in-between different layers, creating different depths and a range of blurs and illusions. Giraffes reach for the trees, leaves branch down and spacemen on ladders stretch for fruit they can't reach. The 'album' is called Grapple-vity – a combination of gravity and apple. "I wanted it to be about reaching for the sky," he explains. Which, if anything, is surely about hopeful dreaming.

Other pieces in the exhibition include a video of Tang's mother leafing through a photograph album of Nancy. He originally wanted to present the album, but the location made it impractical. In many ways, the video is more poignant, creating the real experience of Nancy. His mother cried during the filming, he says.

A stamp collection showcases images that Nancy might like, including child-like fairy tale characters like Snow White. Later, a map of the world – the one that Nancy inhabits – sandwiches unrecognisable lands between glass. Strange place names are printed on multiple levels so it's not just unclear, it's dizzying.

In other pieces, find different kinds of houses found around the world. Or her journeys to work and school, her different jobs. As well as being a music-lover, Tang says he imagines Nancy left to study overseas but hasn't returned, that she is a little eccentric, so he can forgive her for not contacting them. In the pieces, Nancy is always there, hidden. Another piece shows a cabinet of keepsakes and ornaments that Nancy might own – including a photo of Tang as a boy. At the end, 24 nancies collide in one piece, showing her different characteristics in one complete piece, with the backdrop of a tree and placed between wood and glass. Nature and the family tree is so strong in this piece that it's organic.

Thanks to Tang, Nancy has a life and a world all of her own. Each piece ties together different recurring elements, giving continuity in this imaginary life. "Mum tells me she would have named you Hung-jin (紅嫣). Dad still talks of the daughter he never knew. Doing this work I thought about her a lot and I feel her."

Tang was raised – and still lives – in one of Hong Kong’s last remaining walled villages, Kam Tin. Aged 28, Tang was acclaimed as Young Artist of the Year by the Hong Kong Arts Development Council in 2010 and won first prize at the Hong Kong Contemporary Art Biennale in 2009. He was also selected as a finalist for the Asian Sovereign Art Prize in both 2010 and 2011 and for the international Arte Laguna Art Prize in Venice during 2011.

After looking at Tang's work, visitors can enjoy an ART afternoon tea (3pm–6pm, Monday–Saturday; 3:30pm–6pm, Sunday – until May 26th). Michelin Star chef, Uwe Opocensky, created special cakes, inspired by Tang's collaged work (and the chocolate matchbox ganache is wonderful).

Other Hong Kong Art Fair related posts:

• ARTHK 12
• Top ten tips for surviving the fair

Hong Kong Art Fair #ARTHK 2012

In it's fifth year, the Hong Kong Art Fair is as successful as ever. During 2011, Art Basel (or, the company behind it) bought a 60% stake in the fair, which according to Fair Director, Magnus Renfrew, "secures us as an advanced art fair. It's exciting. We worked hard to make this big and Art Basel guarantees that."

Here's a list of posts about ARTHK:

• Ten top tips for surviving the fair (no matter how much we love it)
• Afternoon tea with Tang Kwok Hin @ the Clipper Lounge, Mandarin Oriental, Hong Kong (a special menu and exhibition for ARTHK12)

Top ten tips for surviving Hong Kong Art Fair

Hong Kong Art Fair opens doors to the public this Thursday (May 17th). Each year, the fair grows in size and impact. So here are some tips on making the most of your visit to #arthk.

1. A good scout always comes prepared.

Don't go with a hangover, get a good night's sleep and be in the mood for it. To get in the mood, browse any local paper or magazine for news of the fair, or tease yourself with an imaginary shopping list to fill your house on the Peak.

2. Love your feet – be comfortable.

There are lots of elegant and stylish flats around at the moment, so don't kill your feet for art's sake. If you have an event after, take heels with you. Scheduling a foot massage afterwards is perfect – and you can chat with your friend about which pieces you liked the most.

3. Timing is everything.

Try to avoid the crowds for a quieter experience and better viewing quality. Even at weekends, it's worth getting there for the midday opening as most people go after lunch. Give yourself a minimum of two hours if you want to see a handful of what's there. If you like to stop and stare, make it the bulk of your day.

If you go early, treat yourself afterwards to an ART afternoon tea at the Mandarin Oriental Clipper Lounge (3pm–6pm, Monday–Saturday; 3:30pm–6pm, Sunday). Local emerging artist Tang Kwok Hin's exhibition "I call you Nancy" is located around the room and inspired some of the delicious treats.

 

4. Hong Kongers drink enough bottled water a year to fill IFC. Hydrate.

A large room with UV lighting and air-con could dehydrate a camel. Take your own or buy there, but sip regularly. Typically, toilets are located and top and bottom ends of the hall. There's a map here.

5. A family af-fair

Kids are welcome at the fair so it can be a family day out. But the fair is huge. Allow toddlers to have a little run at aisle ends and take a stroller so they can fall asleep. Older kids might want to take part in activities or move on ahead/ hang back. Colour My World offer activities at the fair (details).

Have a fixed meeting point and/or in case you get separated – so everyone can enjoy the art at their own pace.

6. Wander freely... or plan ahead

Wonder freely or highlight artists and galleries you want to visit. But amazing as it is, art can satiate you, so don't force yourself to look at every piece if it will make you become blasé.

7. Come up for air

If you want to see it all, take your time and break in-between, or make two separate visits. There are various venders in the fair and other restaurants at HKCEC. Taking your own snacks would be forgiven. I vote for a brownie or cookie treat, along with good coffee. Sadly, VERO won't be returning this year – but the lounge is located close-by, at Fenwick Pier.

 

8. Shop 'til you drop.

If you're planning to buy and see something you like, don't expect to easily find the gallery space again. The fair is huge, so take a business card and note the exhibition space number as well as taking visual references. According to Fair Director, Magnus Renfrew, 40% of sales take place after the fair, so don't feel pressured to make a purchase on the spot.

9. Exit strategy.

Enough is enough and your body will tell you whether it wants to stay or not. But getting out of HKCEC can take a while if you head the wrong way (and their own floorplan isn't that helpful). Figure out if you're taking a taxi, MTR or walking and know in advance which exit you want. Expect long taxi queues at peak times, especially when the doors are closing.

10. Eat and drink 'til your heart's content.

 

After the fair, it might well be time to eat. If it's dinner time, the Mandarin Oriental are also serving an ART menu in the Grill + Bar. Michelin-starred chef Uwe Opocensky is serving dishes like Sculpture, Graffiti, Photography, Painting and Music – so your day can end with art. In fact, the dinner includes a ticket to the fair (execpt Sunday May 20th), so you could go there the night before... but see point 1.

On the other hand, if you just purchased an expensive piece of art and need a stiff drink, head straight to M Bar for an ART cocktail. Future is a whiskey sour with a molecular twist, Asia One has a yuzu twist with a dash of lychee and Art is champagne with fruity end.

Other Hong Kong Art Fair related posts:

• ARTHK 12
• Tang Kwok Hin's I Call You Nancy exhibition and afternoon tea at Clipper Lounge
• Top ten tips for surviving the fair