From top: Rokni Haerizadeh, Mother of the Nature; John Reynolds, Table of Dynasties; Farideh Lashai, I Don't Want To Be A Tree. Courtesy of ART HK 09

The Hong Kong International Art Fair (ART HK 09), one of the more prominent art events in town, marked its successful return last weekend (May 14-17), once more propelling the city into the spotlight on the international arts scene.

After welcoming 20,000 visitors in 2008, ART HK established itself as entree for the local community into the contemporary art world, said Charles Werewether, the fair's advisory group chairman.

"The fair gave local art lovers actual access to what's going on in contemporary art around the world," he said. "They'd see the prices of some art works aren't so bad, and it's possible to own something by artists from London or Korea."

This year's event featured works from over 100 galleries in 24 countries. Prices ranged from HK$8,000 for works by local artists or by those who are not so well known, all the way to HK$80,000,000 for eagerly sought treasures by the world's top international artists.

The fair also served as a platform for a series of forums, discussions and debates. Among them was the forum Heritage sites: the answer to Hong Kong's arts needs, hosted by local art critic John Batten and artist Kwan Sheung-chi.

With its diverse scope and far-reaching ambitions, ART HK aimed to become the springboard for the development of Hong Kong's artistic and cultural identity, said fair advisory board member Philip Dodd.

"It draws international attention and works as a stepping stone for the West Kowloon Cultural District," Dodd pinpointed. "It also sets an example for the Pearl River Delta region, which is quickly developing its cultural identity."

Dodd foresees that the future of Hong Kong as a cultural destination is closely linked to that of Shenzhen and Guangzhou, since China is growing to become a leading art market and the world's largest tourism destination.

"The creative industry is growing in China," he contended. "Hong Kong, Shenzhen and Guangzhou can work together to offer other mainland cities an image of a creative hub, beyond financial, commercial and manufacturing concerns."

Despite the financial crisis, fair director Magnus Renfrew believed the profile of buyers at ART HK remained stable, and the value of the artworks was made apparent by the creative and curatorial directions taken by the galleries.

A highlight of the Fair was Crossing the Persian Gulf, an exhibition featuring six artists from Iran, the United Arab Emirates (UAE) and Iraq. The exhibition showcased a dynamic mix of media and subjects, and spectators were astonished by the depth and range of the works.

"There are paintings that experiment with traditions in contemporary settings, and photography that documents the transformation of deserts into concrete in Dubai," he noted. "All of these works are vibrant and show a richness of practices."

The show was made possible by the support of participating galleries from Dubai. Werewether expressed the hope that this year's efforts would lead to further collaboration and that the galleries would return for next year's ART HK.

"That will help transform the fair into an international institution," he pointed out. "This year we've expanded our show to feature galleries from Europe and even the UAE. If the response is good we'll move onto the next stage in 2010."

Crossing the Persian Gulf did attract viewers from both Hong Kong and overseas. Chiu Sek-chi, a local fine arts student, was thrilled by the paintings of Rokni Haerizadeh from Iran.

"They're experimental and yet have a strong sense of traditions," Chiu reflected. "Here in Hong Kong we see artworks from the Gulf in books and online, and it's a rare chance to see them in real life."

Elena Wu, visiting from Taiwan, took the time to attend the fair. She was surprised to see the Crossing the Gulf exhibition as the center of attention when she entered, since the show represented what to her seemed alien sensibilities.

"I come to Hong Kong a lot for work and often see contemporary Chinese or Southeast Asian art around town," Wu remarked. "It's good to see the organizer bring in something different, to show us that the fair is indeed international."

Another intriguing exhibit was the Table of Dynasties by New Zealand artist John Reynolds. The installation employs words from Edward Lucie Smith's Dictionary of Art Terms, presented in the artist's own hand in 16 ready-made canvas blocks.

As Reynolds explained, the work randomizes and de-hierarchizes structures by taking meanings apart and reassembling them. The visual anthology of terms, bright and chaotic, resonates with Hong Kong's character as a vibrant international city. "Metaphorically, it plays on the identity of Hong Kong as a city of retail and production, where work and works can be taken apart and open to interpretation," he said. "I believed the Hong Kong audience will be able to relate to the theme."

ART HK 09 was Reynolds' first participation in art events in the city. In the near future, the New Zealander hoped to explore Asian markets more deeply, notably Hong Kong, Shanghai and other mainland cities.

"My interest in Asia will definitely have an impact on my works, which are often about signs and language" he noted. "In Hong Kong, I'm particularly intrigued by the signs on the roads and the advertisements. They'll likely appear in my future designs."

Lee Wai-kong, a local graphic designer, admired the concept behind the installation, though he remained doubtful about whether the work's meanings would speak to the audience as the artist hoped.

"I suspect it'd speak to those who've already had a good sense of contemporary art or are more thoughtful," Lee elaborated. "Some of the visitors to the fair, I'd hope, aren't so familiar with art and they may not see the artist's intention."

The intriguing quality may well be a part of the allure of an event such as ART HK. For painter Helen Chow, who does not often engage in local arts events or debates, said the fair served its function in drawing attention to the city's cultural identity.

"It establishes the impression that there are large-scale, open events in our art scene that are accessible to the public," she concluded. "And it's okay to take a look to see what's happening even if you don't buy it or buy into it."

(HK Edition 05/23/2009 page7)