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Hong Kong’s cultural heritage celebrated in over 1,000 vintage items at collector’s home

How a Lisbon horse riding school keeps the 18th-century Portuguese art of dressage alive

Weekend art getaway from Hong Kong to Foshan – a 2-day itinerary for unique event in China

Hong Kong museums are taking tours for disabled people to the next level

The art issue 2022

Magazines

PostMag

Hong Kong’s ‘art tech’ push means more AI, VR and NFTs but a lack of creative spark

A NFT art installation titled MetaSkull, by Jacky Tsai, is displayed during Hong Kong’s 2022 Digital Art Fair. Photo: Yik Yeung-man

Detail from an NFT art installation titled MetaSkull, by Jacky Tsai, is displayed during Hong Kong’s 2022 Digital Art Fair. Photo: Yik Yeung-man

Ellen Pau is a pioneer of video art in Hong Kong. Photo: Winson Wong

Hong Kong Baptist University symphony orchestra surprised the audience at a concert earlier this year by featuring a 320-voice AI choir. Photo: Hong Kong Baptist University

An AI robot of Cantonese opera singer Law Kar-ying joined a performance of human actors for the first-time in Hong Kong earlier this year. Photo: Jonathan Wong

Scott Hessels, associate professor at City University of Hong Kong’s School of Creative Media. Photo: Jonathan Wong

Ellen Pau has witnessed many changes in Hong Kong’s new-media art landscape since the 1980s. Photo: Winson Wong

As Hong Kong institutions pour money into art tech, some criticise the content as uninspiring and prioritising technology over creativity.


POST EDIT: Inside the Hong Kong Palace Museum’s astonishing first special exhibition – one fit for a king

Unknown artist, detail from “Portrait of the Prince Karl I of Liechtenstein,“ around 1625&#xA;© LIECHTENSTEIN. The Princely Collections, Vaduz–Vienna

Portrait of the Prince Karl I of Liechtenstein (circa 1622-1623) at the Hong Kong Palace Museum’s “Odysseys of Art: Masterpieces Collected by the Princes of Liechtenstein” exhibition. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Daisy Wang Yiyou, deputy director of the Hong Kong Palace Museum, at the exhibition. Pictures: May Tse

Dr Johann Kräftner, director of the Princely Collections, at the exhibition. Photo: May Tse

Anthony van Dyck’s “Portrait of Antonio de Tassis” (1634, left) and “Portrait of Maria de Tassis” (1629/30) at the exhibition. Photo: May Tse

Saint Sebastian Adrian de Fries Bronze, commissioned in 1613 by Prince Karl I, at the exhibition. Photo: May Tse

Mars and Rhea Silvia (1617), by Peter Paul Rubens, at the exhibition. Photo: May Tse

Bust of Marcus Aurelius (circa 1500) by Antico. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Dish with garden motif from Jingdezhen with gilded bronze mount by Ignaz Joseph Wurth. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Pietra dura tabletop with the coat of arms of Prince Karl Eusebius I von Liechtenstein and Pietra dura tabletop base, at the exhibition. Photo: May Tse

The Chinese Pavilion in the Park at Eisgrub (Lednice), circa 1800, by Laurenz Janscha and Johann Ziegler. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Silvan Colani, CEO of LGT Bank (Hong Kong).

Kraftner and Wang view the exhibits at the Hong Kong Palace Museum. Photo: May Tse

Portrait of the Prince Karl I of Liechtenstein (circa 1622-1623). Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Portrait of Clara Serena Rubens, the artist’s daughter, by Peter Paul Rubens. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

The Audience with the Emperor of China, from the Grand Mogul cycle, Berlin, circa 1715. Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

Portrait of Princess Marie Franziska von Liechtenstein (1834-1909) at the Age of Two, by Friedrich von Amerling (1836). Photo: Getty Images

The Conversion of St Paul, by Peter Paul Rubens (circa 1601-1602). Photo: Liechtenstein / The Princely Collections, Vaduz-Vienna

The ‘Odysseys of Art: Masterpieces Collected by the Princes of Liechtenstein’ exhibition at the Hong Kong Palace Museum offers visitors a rare window into a priceless collection.


Art Week Tokyo co-founder on its mission: Japanese capital always had art, ‘we just didn’t know how to present it’

Detail from “Mnemoscape 0” (2022) by Shinro Ohtake, on display at The National Museum of Modern Art, Tokyo. Photo: Kei Okano and Take Ninagawa

Installation view of Hideo Anze’s solo exhibition “Photogenic Drawing” at Kana Kawanishi Gallery in Tokyo as part of Art Week Tokyo. The art week connects the capital’s decentralised galleries and museums with joint programming and free specialised bus routes. Photo: Kana Kawanishi Gallery

Gallerist Atsuko Ninagawa is a co-founder of Art Week Tokyo and the founder of the Tokyo-based gallery Take Ninagawa. Photo: Katsushiro Saiki

A view of “M/E On this sphere Endlessly interlinking” by Rinko Kawauchi at the Tokyo Opera City Art Gallery. Photo: Keizo Kioku and Tokyo Opera City Art Gallery

From November 3 to November 6, Art Week Tokyo pass holders could ride and get real-time tracking on the 39 AWT buses across the city. Photo: Art Week Tokyo

“Untitled” (2020) by Rinko Kawauchi, from her series “M/E”, is on show at the Tokyo Opera City Art Gallery. Photo: Tokyo Opera City Art Gallery

“Untitled” (2021) by Rinko Kawauchi, from her series “M/E”, is on show at the Tokyo Opera City Art Gallery. Photo: Tokyo Opera City Art Gallery

“M/E” (2022) by Rinko Kawauchi is a ceiling-high, two-channel video installation showing wide-angle and close-up shots of landscapes and nature. Photo: Keizo Kioku and Tokyo Opera City Art Gallery

SCAI The Bathhouse is housed in a sento (a traditional communal bathhouse) that dates back more than 200 years. Photo: Norihiro Ueno and SCAI The Bathhouse

Installation view of Mitsuko Miwa’s solo exhibition “Full House”, on show at SCAI The Bathhouse. Photo: Nobutada Omote and SCAI The Bathhouse

“Self-Montage” (1992) by Mitsuko Miwa is on show at SCAI The Bathhouse. Photo: Nobutada Omote and SCAI The Bathhouse

Installation view of Ryohei Usui’s exhibition “Still life on the street” at Mujin-to Production. Photo: Mujin-to Production 

“Gyroscope of the Sun” (1988) by Italian sculptor Arnaldo Pomodoro is on display at the Museum of Contemporary Art Tokyo. Photo: Keizo Kioku

“Photogenic Drawing”, a solo exhibition by Hideo Anze, is showing at Kana Kawanishi Gallery. Photo: Kana Kawanishi Gallery

“Mon Cheri: A Self-Portrait as a Scrapped Shed” (2012) by Shinro Ohtake is on display at the National Museum of Modern Art. Photo: Masahito Yamamoto and Take Ninagawa

“Mon Cheri: A Self-Portrait as a Scrapped Shed” (2012) by Shinro Ohtake is on display at the National Museum of Modern Art. Photo: Mabel Lui 

“Mnemoscape 0” (2022) by Shinro Ohtake is on display at the National Museum of Modern Art, Tokyo. Photo: Kei Okano and Take Ninagawa

The Japanese capital is not known as a hub of contemporary art, but Art Week Tokyo is changing perceptions by making it easier to see exhibitions.


Cradle of the New Leipzig School of art, the Spinnerei, a former cotton mill in East Germany, gives artists space to be themselves

Hans Aichinger in his studio at the Spinnerei in Leipzig in Germany. The Spinnerei is a former 19th century cotton mill that has been turned into an arts and cultural centre where artists flourish. Photo: Enid Tsui

The Spinnerei in Leipzig is an arts and cultural centre in the compound of a cotton mill built in the late 19th century. Photo: Enid Tsui

In contrast to The Mills, in Hong Kong, and many other industrial-to-lifestyle conversions around the world instigated by town planners or developers, the transformation of the Spinnerei happened in a relatively organic way. Photo: Enid Tsui

The Spinnerei’s full name is the Leipziger Baumwoll-spinnerei. Photo: Enid Tsui

Artist Matthias Weischer in his studio at the Spinnerei. Photo: Enid Tsui

Weischer and Esther Niebel‎ (left). Niebel is co-organising an exhibition with the Sichuan Fine Arts Institute. Photo: Enid Tsui

Leipzig in Germany, like Hong Kong, has turned a former textile mill into an arts and cultural centre, the Spinnerei.


Just Stop Oil climate activists’ art attacks can’t compare to China’s worst ever art vandal

The Emperor Qianlong’s personal seals mar “Dwelling in the Fuchun Mountains”, by Huang Gongwang (1269-1354), which is considered one of the greatest Chinese landscapes.

Just Stop Oil activists though tomato soup at Van Gogh’s “Sunflowers” (1888) at the National Gallery in London, England, on October 14, 2022. Photo: EPA-EFE

Qianlong stamped dozens of seals of “Going Up to Sun Terrace” by Li Bai.

The Emperor Qianlong defaced countless priceless Chinese artworks with his own seals, acts of historical vandalism far above those of climate activists’ recent attacks.


‘Very significant for women’: how American artist Barbara Krueger’s art changed the life of a Hong Kong gallerist

Works by American artist Barbara Kruger on display at the National Gallery of Art - East Building in Washington on September 27, 2016. Photo: Getty Images

Amanda Hon is managing director of art gallery Ben Brown Fine Arts in Hong Kong.

People skate over ramps adorned with statements by Barbara Kruger in New York. Photo: Picture alliance via Getty Images

American artist Barbara Kruger is best known for her bold collages that question subjects such as power and gender relations. A Hong Kong gallerist explains how they changed her life.


‘Small and dated’ Hong Kong apartment becomes spacious and timeless with clever use of lighting and white paint

The living room of the 1,500-square-foot home in Tai Tam, Hong Kong,  designed by Liquid Interiors. Photo: Simon J Nicol

Photo: Simon J Nicol

Despite being 1,500 square feet, a Hong Kong-based multimedia artist’s apartment in Tai Tam felt cramped until clever use of lighting and white paint transformed it.


‘People love to step outside their comfort zone’: food designer on her edible art and how experiential dining creates talking points

Food designer Alison Tan is the creative force behind many of Hong Kong’s most immersive and thought-provoking culinary projects in recent years. Photo: Jennifer Tang

Tan calls herself an “experimental feeder”. Photo: Gemma Harrad

Tan’s 2019 pop-up, The In Between Palace, at Hong Kong’s Sai Wan waterfront. Photo: Yidi Tsao

Tan was born in Kansas in the United States and raised in Delaware, Shanghai and Singapore. Photo: Gemma Harrad

Tan’s dish of frozen flowers, as served at Otium, the dining club she co-founded to challenge perceptions of food. Photo: Stephanie Teng

Harissa cauliflower with mango, as served at Tan’s dining club, Otium. Photo: Stephanie Teng

Tan’s “Black and White” dish that she made for Chinese National Day. Photo: Alison Tan

Alison Tan is the creative force behind many of Hong Kong’s most immersive and thought-provoking culinary projects in recent years.


‘I have two brains’: Hong Kong artist Eddie Lui on his rational and sensual sides, his struggles in the city, and dealing with angry triads

Hong Kong artist Eddie Lui at his studio in Kwai Fong, Hong Kong. Photo: Yik Yeung-man

“Blue and Yellow Ginger” (2022) by Eddie Lui. Photo: Eddie Lui

Lui at his studio in Kwai Fong. Photo: Yik Yeung-man

Lui works on “The Fire-bird Has Landed” (1999) on Amoy Street in Singapore. Photo: Eddie Lui

Artworks by Lui at his studio. Photo: Yik Yeung-man

Lui (fifth from right) officiates at the grand opening of the 28th Asian International Art Exhibition 2014 in Quemoy (also known as Kinmen), Taiwan. Photo: Eddie Lui

Lui celebrates his 65th birthday with his wife, Winnie Mak, in 2012. Photo: Eddie Lui

Lui at the Jockey Club Creative Arts Centre, in Sham Shui Po, on January 22, 2008. Photo: K.Y. Cheng

An ex-banker who held his first solo art exhibition in 1973, artist Eddie Lui talks about his Hong Kong struggle, being raised between East and West, and dealing with angry triads.


The evolution of word art – from Picasso’s cubist collages to a vehicle for women’s rights, preserving dying languages, and more

Rene Magritte’s The Treachery of Images, on display at Germany’s Schirn Kunsthalle, in 2017. Since the early 20th century, word art has been used to question norms and subvert conventions. Photo: Getty Images

Massimo Agostinelli with his palindromes, that were on display at London’s Hus Gallery, in 2015. Photo: Getty Images

Xu Bing’s Book from the Sky. Photo: Getty Images

Fillip Studios’ long black pen piece. Photo: Fillip Studios

From the cubist collages of artists in the early 20th century, word art has evolved to become a vehicle for questioning societal norms and provoking thought.


How art depicting southern Chinese scenes, by George Chinnery and others, became sought after, as did catalogues of collections such as that of Sir Paul Chater

The Chater Collection Pictures relating to China Hong Kong Macao 1655-1860 by James Orange.&#xA;&#xA;

Two coastal paintings in James Orange’s book.

The Chater Collection: Pictures relating to China Hong Kong Macao 1655-1860 by James Orange.

Paul Chater in a page from Orange’s book. 

The dedication to Sir Paul Chater in Orange’s book.

Art depicting familiar southern Chinese scenes was popular among the merchants and officials of the China Trade, such as Hong Kong’s Sir Paul Chater.


Ai Weiwei on Olafur Eliasson; Ancient Rome as never seen before; Emperor Nero’s excesses – art documentaries on Netflix and Disney+

A still from Disney+ documentary series Lost Treasures of Rome, which looks at some of the forgotten art of the Roman empire. Photo: Disney+

Installation artist Olafur Eliasson, whose works include ambitious public works like New York City Waterfalls and an open digital platform for drawing on the moon. Photo: Netflix

MIT Media Lab professor Neri Oxman (above) has spent the past few decades combining additive manufacturing with material science to grow new materials that more closely emulate nature for architectural applications that can be seen in Netflix series Abstract: The Art of Design. Photo: Netflix

A still from Disney+ documentary series Lost Treasures of Rome. Photo” Disney+

Brittany O’Grady plays Bess King in a still from Little Voice, based on singer-songwriter Sara Bareilles. Photo: Apple TV+

From Pompeii to ancient Rome, Disney+ series Lost Treasures of Rome considers the art of the Roman Empire. It’s one of several art documentary series available to stream right now.


In the Instagram age, when food presentation is as important as taste, chefs elevate meals to an art form

Chef Richard Ekkebus’ uni, cauliflower, lobster and caviar dish at his Michelin-star restaurant, Amber. In the instagram era, chefs are focusing on the appearance of their dishes as much as the taste. Photo: Amber

Amber’s sea urchin and caviar dish at the Taste of Hong Kong festival, in 2016.

Isil Okcu, senior sous chef at Soho House in Hong Kong. Photo: Isil Okcu

Colourful dishes created by Isil Okcu. Photo: Isil Okcu

Maria Nguyen, founder of The Art of Plating. Photo: Nader Khouri

Roe, cucumber, dill, and horseradish, from The Art of Plating. Photo: Instagram/@theartofplating

Duck jelly, white onion, smoked sturgeon, and caviar, from The Art of Plating. Photo: Instagram/@theartofplating

Leonard Cheung, co-owner and executive chef of Cultivate. Photo: Cultivate

Okcu says food styling is an artistic muscle that can be developed over time. Photo: Isil Okcu

Strawberry gazpacho with kombu and cured hamachi, by Leonard Cheung. Photo: Cultivate

Chocolate tart and wild herbs from The Art of Plating. Photo: Instagram/@theartofplating

In the instagram era where ‘the camera eats first’, chefs increasingly focusing on the look of their dishes, elevating them to a photo-ready art form.


How the Hong Kong Cultural Centre complex at last gave the city the museums it lacked, 58 years after a report singled out its lack of provision

The museum complex at the front of the Tsim Sha Tsui waterfront. The dome of the Hong Kong Space Museum is in the centre, with the Peninsula Hotel behind it. Photo: SCMP

Hong Kong’s Cultural Centre in Tsim Sha Tsui was built on the plot of the old Kowloon Canton railway terminus. The old station’s clock tower is on the right of the photo, taken in 1978. Photo: SCMP

The Cultural Centre project in Tsim Sha Tsui was announced in 1974, four decades after a damning report about the city’s dearth of museums.


This Post Magazine series features a cover story about an exhibition of European masterpieces from the Liechtenstein Princely Collections at the Hong Kong Palace Museum and an in-depth analysis of the "Arts X Tech" frenzy, and welcomes back the return of overseas holidays with tips for art lovers in Tokyo and Leipzig.


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Art Basel 2022

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