Pearl Lam is a gallerist, collector, patron and curator with over 20 years of experience at the forefront of reinventing China’s cultural place in the world. Lam is a leading authority on Asian art, design and the international contemporary art market with a network spanning China, the UK and the US. Lam’s long-term commitment to art and design is rooted in his mission to develop and promote cultural exchange between East Asia and the world, while showcasing Asia’s contributions to two traditions to a global audience.
Economy and art go hand in hand. Over the past 100 years, the growth of the global economy has been in the West. Similarly, it cannot be denied that contemporary Western art in the 20th century had a very significant and powerful influence on world art. After China opened up in the 1980s, the country, including its artists, looked to the West to emulate its economic and creative success. Today, China leans more towards its own culture and, as a result, produces talented artists and remarkable art.
A pandemic later and after years of confinement and uncertainty, the first international edition of Art Basel Hong Kong in three years is in full swing. The contemporary East Asian art scene is being reshaped by incredible talent whose work tells important and impactful stories. There is an abundance of these artists to be seen, each making their mark in the art world with their unique perspectives and creativity. It saddens me to see very few international museum exhibitions with East Asian artists, and without institutional validation, commercial galleries often lose interest in East Asian artists, especially women. It is obvious that we desperately need more Asian faces in the art industry, such as in art fairs, exhibitions in museums and galleries, and in auction houses.
In March, as we celebrate International Women’s Day around the world and Women’s History Month in the United States, I would also like to encourage people to continue celebrating the vital role of women in art. . Over the past few years, the art world has (finally) brought to light some impressive female artists, who have taken center stage in museum exhibitions, galleries, art fairs and sales to auctions that I was delighted to see. This shift is also fueled by ongoing conversations about women’s rights, with many of these artists bringing unique perspectives to the forefront of their work, boldly asserting their freedom and identity. But also, people like me, look beyond potentially reductive buzzwords like “girlbossism” and strive to truly appreciate the moments that help rewrite art historical narratives. Notable recent triumphs include the Turner Prize shortlist and the Venice Biennale exhibition curated by Cecilia Alemani in 2022.
Market Pearls
Chinese artist Yin Xiuzhen sits in front of her suitcase installation “Frankfurt (2007)”. Photo by Thomas Lohnes/DDP/AFP via Getty Images.
With the opening of M+ after such a long delay, I wanted to highlight some works by artists that I’m dying to see again. Many of them are part of the Sigg Collection, one of the largest and most comprehensive collections of contemporary Chinese art, spanning decades. He transformed M+ from a planning institution into a global player; the collection enshrined a narrative of China’s recent art history and strongly illustrated how Chinese art has continued to evolve. Visionary collectors like Sigg play a vital role in establishing neglected narratives on the international stage; usually long before the international art market catches up.
- I can not wait to see Mobile city: Beijing (2001) by Yin Xiuzhen. She is one of the most acclaimed artists in the contemporary Chinese art scene. Yin incorporates used textiles into her works; Chinese artists have played a crucial role in revolutionizing the use of this medium in art. She also claims that “for these works, I was just following my heart. I chose the needle and thread based on the piece I wanted to do, not just because I’m a woman.
- Another work I can’t wait to see again is the One hour game (1996) by Liang Juhui which highlights Guangzhou’s explosive urban growth and gives the audience a holistic view of the city. Liang Juhui was very influential in the avant-garde collective The Big Tail Elephant Group but sadly passed away at the age of 47. I actually held a retrospective exhibition in 2006 after his death at the Contrast Gallery in Shanghai called “Transplantation of Paradise – Liang Juhui Memorial Exhibition. The show was located in a former plastic factory in Rui Jin Nan Lu, Shang Hai Shi in China. Liang was one of the pioneers of Chinese avant-garde art and one of the first Chinese artists to gain influence in the international art world. His work is very versatile because Liang worked in different media, from sculpture to photography, video and performance.As an artist, he was not motivated by fame or money but by a passion to create.Only seven of his works were sold at auction.
- I am also very inspired by the alluring work of Singapore-born artist Simryn Gill. His series of photographs reflects the consequences of colonialism, which reminds me of my hometown, Hong Kong, where I lived before moving to the UK, USA and China. Likewise, Gill has spent his life moving from country to country. In her works, she explores issues such as the effects of globalization on indigenous cultures and the environment, the interactions of culture and nature, and history and memory. These topics resonate with all of us who live in the contemporary world. It was included in the 17th Istanbul Biennale last year. Although she was born in 1959, very few of her works have made it to the secondary market and her auction record was set in 2009.
- The late Irene Chou’s contribution to the New Ink Art Movement in Hong Kong should absolutely not be overlooked either. As a prominent female artist, she played a pivotal role in the reinvention of India ink painting, cementing her place as an important figure in the art world. Chinese abstraction is claimed to derive from ancient Chinese ink brush philosophy and calligraphy, rather than Western concepts, such as modernism. Seeing these artists reinvent traditional practices is inspiring, and you’ll often see that many Chinese modernist artists were never aware of what was happening in the West, which I love. Since his death in 2011, the market for his work has been gaining ground.
- The large-scale brick paintings by Maria Taniguchi are also stunning. Her labor intensive work pay homage to the art and heritage of the Philippines. They also remind me of the “Filipino villages” of 1904-05, where over 1,000 native Filipinos were placed for public amusement: a shameful moment in history. Taniguchi’s paintings reflect pride in his identity and serve as a reminder that art can defy the past. Its market has also been gaining momentum since its auction record was set at Sotheby’s Hong Kong in 2020.
on the lama
Flower Drum Restaurant,
Linway Court, 69-71 Stone Nullah Ln, Wan Chai, Hong Kong
Restaurant Tambour Fleuri. Photo by Pearl Lam.
Glad to be back in the city, which feels like an eternity due to the pandemic – haven’t been back since May 2021! Being away from the vibrancy of this city has really heightened my appreciation for its cultural richness and helped me fall in love with it all over again. It’s amazing to rediscover the culinary scene here with all it has to offer. When I dine in Wan Chai, Hong Kong, I opt for Cantonese specialties at Flower Drum – the minced fish soup and barbecued pork are my favorite dishes. Wan Chain is known for its upscale take on traditional Hong Kong cuisine, which I love. An absolute must for anyone visiting the city.
The city’s art scene has also continued to thrive despite the impact of the pandemic. Hong Kong has such a vibrant and unique energy and a storied past that shines even brighter in a post-pandemic world, with boundless opportunity and joy. I’m excited to see how the cultural offering here will play an even bigger role in bringing people together and to see how it will evolve and contribute to the city’s landscape in the years to come.
what i buy
Courtesy of Ms. Min.
I love seeing a younger generation of designers fearlessly breaking down the barriers between Eastern and Western fashion and bridging that gap. One of my favorites is Ms Min, a Chinese fashion brand that seamlessly blends traditional and intricate Chinese designs with a modern Western twist, embodying both the harmony and balance of yin and yang. So that’s definitely someone I’m carrying right now. There’s nothing quite like carrying your own heritage and embracing your cultural roots. The appeal of Chinese culture is beautiful, and I am constantly drawn to clothes that blend various cultural influences into one.
Another young designer I was delighted to see returning to fashion week this spring is A Sai Ta from London label ASAI. Her ability to capture the essence of her Chinese heritage and translate it into a powerful fashion statement is truly inspiring. The ASAI mesh hot wok the tops and designs have become a cult item in younger fashion circles.
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