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Enid Tsui

Christie’s unveiled its lavish Asia headquarters at The Henderson, in Central, Hong Kong, on September 20, 2024.
The opening comes just over three years after the auction house announced its plan to take up four floors inside the curvilinear, glass-walled landmark.
The lower two floors are vast halls equipped with electronically movable walls, adjustable lighting systems and windows that block out 100 per cent of ultraviolet light and offer sweeping views.
Expansive, pillar-free space and with high ceilings, the space allows the auction house to host year-round sales and exhibitions in-house, rather than holding two weeks of back-to-back auctions at the Hong Kong Convention and Exhibition Centre in Wan Chai every spring and autumn – as it had done previously.

Architect Betty Ng of Hong Kong’s Collective Studio, in charge of designing the 50,000 sq ft (4,650 square metre) interior, says she took a minimalist approach with the galleries in order not to detract from the art on display. There is even a large set of panels to block the view of Victoria Harbour when required to avoid distraction.
The new location is more accessible and welcoming than Christie’s previous Hong Kong office in Alexandra House, Central, where visitors had to ask security guards for a temporary pass to take a lift to the 22nd floor.
Christie’s new main entrance on the 6th floor is connected by a staircase to the level below, which has been set aside by The Henderson for restaurants and has escalators down to the lobby (visitors can also take a lift).

The open design does not denote more accessible prices. While its main rival, Sotheby’s, has launched a retail space with more affordable objects at the nearby Landmark Chater building, Christie’s is maintaining a focus on “prestige” and “the best of the best”, according to its Asia president Francis Belin.
At Christie’s new venue, a staircase lined with vitrines for artworks takes clients to the heart of a “clients’ hub” on the 8th floor, where valued customers can expect to be pampered or have the opportunity to inspect artworks in private.
There is also direct lift access to The Henderson’s all-glass rooftop ballroom, a spectacular venue where Christie’s hopes to soon hold exhibitions and special events.


Art nerds will also be interested in a set of 1,200 rare art books donated by the famed dealer Giuseppe Eskenazi that Christie’s clients are welcome to browse through.
Christie’s inaugural sales at The Henderson, which begin on September 26, seem designed to reinforce its message of exclusivity.
The first sale is an auction by the estate of Au Bak-ling, one of the world’s most highly regarded ceramics collectors, who died in 2019.
There are just 19 lots but it will be closely watched by connoisseurs as it is the first sale from the esteemed collection. As Belin explains, Christie’s does not want to inaugurate its new Asia home with sales of Western art.

But Christie’s is using the high-profile opening to test the market for Western art in Asia, too. Vincent van Gogh’s Les Canots Amarrés (1887) is the top lot in Christie’s 20th/21st century evening sale, also on September 26.
It is valued at up to HK$380 million (US$48.7 million) and is being sold by the royal family of the House of Bourbon-Two Sicilies, which ruled over parts of what would become Italy during the 18th and 19th centuries.
Princess Camilla, Duchess of Castro, will be one of the VIPs attending the opening of the new space.
To ensure an auspicious start to its tenancy in The Henderson, third-party guarantees have been secured for the van Gogh, as well as Claude Monet’s Nymphéas (1897-99), valued at HK$200 million to HK$280 million; René Magritte’s La Préméditation (1943), valued at HK$22 million to HK$28 million; and other high-value lots in the evening sale.

The new headquarters was blessed with a dragon dance and roast pig-cutting ceremony on September 10.
One interesting work in the evening sale is lot 31, a painting by the late Thai artist Tang Chang, which is being sold directly by Tang’s family and is valued at HK$1.2 million to HK$2.2 million.
This will be the first time a work by one of the country’s most important modern artists has appeared in an auction.
Christie’s announced its expansion when Hong Kong was still mired in the long battle to reach zero cases of Covid-19, and business sentiment was at a low point. Its vote of confidence was followed by similar moves by rivals, who have also taken up more real estate and launched year-round sales in-house.
Sotheby’s says it is taking a two-pronged approach to expanding its market.
“With the opening of Sotheby’s Maison at Landmark Chater, we have a prime location to attract new clients while harnessing the top end of the market. This is reflected in the duality of our space’s concept, with a museum-quality experience on the ground floor contrasting with a unique and engaging retail offering in our Sotheby’s Salons on the first floor,” says Nathan Drahi, managing director for Sotheby’s Asia.
With the various auction houses now needing to earn back their investment in Hong Kong, and the global art market still going through a soft patch, the future of the city’s auction market is going to be of great interest.


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Christie’s lavish new Asia HQ opens in Hong Kong with Chinese ceramics and van Gogh sales

The clients’ lounge at Christie’s new Asia headquarters in Hong Kong’s The Henderson. Photo: Christie’s 

Christie’s new Asia headquarters occupies 50,000 sq ft at Hong Kong office tower The Henderson. Auctions will begin there on September 26, with Chinese ceramics, pieces from Monet, Magritte, and a Thai artist among the lots. Photo: Christie’s 

The Henderson, in Hong Kong’s Central neighbourhood. Photo: Jelly Tse

Betty Ng, who designed the new Christie’s space, says she took a minimalist approach so as not to take away from the art being displayed. Photo: Christie’s

The staircase leading from the 6/F to the 8/F has vitrines for displaying works of art, jewellery and other collectibles. Photo: Christie’s 

The client’s hub lounge where valued customers can peruse art books and inspect artworks in private. Photo: Christie’s 

A rare blue and white pear-shaped bottle vase from 15th-century China that will be up for auction on September 26 as part of the Au Bak Ling Collection. Photo: Christie’s 

Cristian Albu, the deputy chairman and head of 20th/21st century art at Christie’s Asia, with Vincent van Gogh’s Les Canots Amarrés (1887). The painting will be auctioned at The Henderson on September 26. Photo: Christie’s

Art fairs in Seoul affirm the city’s status as a leading art hub despite market drop

This year’s Kiaf Seoul art fair in South Korea was well-attended and visitors were enthusiastic, despite the art market downturn. Photo: Kiaf Operating Committee

South Korean actor Park Hae-jin was among the many celebrities attending Frieze Seoul 2024. Photo: Frieze Seoul

Visitors walk through the Kiaf Seoul art fair. Photo: Kiaf Operating Committee

Hiroshi Senju’s Waterfall on Colors (2024) was sold for US$410,000 at Sundaram Tagore Gallery’s booth at Kiaf Seoul. Photo: Hiroshi Senju

American artist Derrick Adam talking to visitors at the Gagosian booth at Frieze Seoul 2024. Photo: courtesy of Frieze Seoul

Hong Kong collector Evan Chow gives a talk, titled Collector’s Gaze on the New Wave of Art Market, at the COEX Convention & Exhibition Centre in Seoul. Photo: Kiaf Operating Committee

The 2024 Gwangju Biennale is full of great art. But enough of moralising virtue signals

“The Blind Leading the Blind #91”, Peter Buggenhout (2018-2023). This work is part of “Pansori”, the main exhibition of the 15th Gwangju Biennale

The Blind Leading the Blind #91, by Peter Buggenhout (2018-2023). The work is part of “Pansori”, the main exhibition at the 2024 Gwangju Biennale, a contemporary art biennale in South Korea. Photo: Gwangju Biennale

External view of the Gwangju Biennale Exhibition Hall. Photo: Gwangju Biennale

Lysis Field (2024), by Max Hooper Schneider, at the Gwangju Biennale. Photo: Gwangju Biennale

Objects of the Wind (2024), by Mira Mann, commemorates Korean nurses who worked in Germany in the 1960s and 1970s. Photo: Gwangju Biennale

Nicolas Bourriaud, artistic director of the main exhibition at the 15th Gwangju Biennale. Photo: Gwangju Biennale

There Is No More Place in This Place (2019-2024), by Cinthia Marcelle, resembles an empty office with dishevelled ceiling panels. Photo: Gwangju Biennale

Empty House, an abandoned home in Gwangju’s Yangnim-dong area, is one of the venues for the 15th Gwangju Biennale. Photo: Gwangju Biennale

The Horanggasinamu Glass Polygon in Gwangju is one of the venues used for the 15th Gwangju Biennale. Inside is the installation Suspension of Disbelief #3; Contact (2018) by Jun Hyoung San. Photo: Gwangju Biennale 

Young naked women are their canvas – nude art of 2 anonymous Hong Kong artists challenges city’s conservative attitudes towards sex

Lousy’s body paint on a nude woman. The anonymous Hong Kong graffiti artist paints bold designs on young, naked women then photographs them in erotic poses. Photo: Lousy                                                         

Another of Lousy’s “kissfaces”, on Queen’s Road West in Hong Kong. Photo: Lousy

Lousy’s photobook “Yook”, published in 2020. Photo: Lousy

Matsushimaon’s body art on a nude woman. Photo: Matsushimaon

Professor Sonia Wong says there is not a lot of space in erotic or explicit artistic disciplines for women to express their sexuality, especially in Hong Kong. Photo: Professor Sonia Wong

Artist Lousy’s portrait. Photo: Lousy

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The new venue, which spans 4 floors in The Henderson and will hold first sales on September 26, signals a commitment to ‘prestige’ and Hong Kong


The new venue, which spans 4 floors in The Henderson and will hold first sales on September 26, signals a commitment to ‘prestige’ and Hong Kong.


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