Asia Art Weekly News Bulletin – ISSUE 27 Week of 11 August 2025
(1) Zao Wou-Ki’s red Hurricane Period canvas to lead Christie’s Hong Kong evening sale with US$9m estimate
Zao Wou-Ki’s 17.3.63 will lead Christie’s 20th/21st Century Evening Sale on 26 September in Hong Kong, the auction house announced on 13 August. The auction will be staged live at Christie’s new Asia-Pacific headquarters in The Henderson.
(2) Tokushima City’s 5-day Awa Odori dance festival begins
The renowned Awa Odori summer dance festival opened in the city of Tokushima on 11 Aug with a dazzling stage performance.
(3) China says Thai art show ‘distorts’ its policies on Tibet, Xinjiang, Hong Kong
China accused the organizers of an exhibition in Thailand of promoting fallacies about its policies on Tibet, Xinjiang and Hong Kong. The show’s co-curator said artworks were removed or altered at Beijing’s request.
(4) Yeoh Jin Leng, one of Malaysia’s modern art masters, has died at 96
Yeoh Jin Leng, a towering figure in Malaysian modern art whose six-decade career in painting, sculpture and teaching helped shape the nation’s artistic landscape and intellectual discourse, died in Selangor on Aug 8 at the age of 96.
(Photo Credit: The Value)
Christie’s announced on August 13 that Zao Wou-Ki’s 17.3.63 will headline its 20th/21st Century Evening Sale on September 26 in Hong Kong, marking the auction house’s first major event at its new Asia-Pacific headquarters in The Henderson. The painting – created during Zao’s pivotal ”Hurricane Period” (early 1960s) features a rare incandescent red palette and carries a pre-sale estimate of HK70–90 million (US9–12 million), appearing at auction for the first time.
17.3.63 exemplifies Zao’s signature fusion of Eastern ink-wash traditions and Western abstraction, showcasing dynamic calligraphic brushstrokes surging toward a central axis to convey explosive energy. Painted at the peak of Zao’s global recognition with exhibitions at New York’s Kootz Gallery and Paris’s Galerie de France, the work reflects his bold ambition during a period of personal fulfillment (including marriage to May Chan and a light-filled Paris studio). Its fiery composition masterfully manipulates light and shadow, a technique refined by the studio’s glass ceiling.
The painting is exceptionally rare: only 19 large-scale red works from this period exist, and just 8 (including 17.3.63) remain unauctioned. Its provenance includes participation in Zao’s first major retrospective at Essen’s Museum Folkwang in 1965, cementing its historical importance. As one of the few Chinese artists to achieve international acclaim in the 1950s–60s, Zao’s works continue to command premium valuations, with this sale poised to test the market’s appetite for his most coveted creations.
News Source: https://en.thevalue.com/articles/zao-wou-ki-hurricane-abstract-headlines-christies-hk-20th-21st-evening-sale-2025-autumn
(2) Tokushima City’s 5-day Awa Odori dance festival begins
(Photo Credit: The Japan News)
The iconic Awa Odori dance festival opened in Tokushima, Japan, with indoor performances starting on Monday followed by outdoor events at five city venues on Tuesday evening. Despite heavy rain, the festival proceeded as scheduled, showcasing traditional dances deeply rooted in Tokushima’s cultural heritage to both local and visiting audiences.
Dance groups (“ren”) delivered vibrant performances featuring the graceful “onna odori” (women’s dance) and the dynamic “otoko odori” (men’s dance). The rhythmic accompaniment of flutes, drums, and traditional instruments created an immersive cultural experience, with performers maintaining energy and precision despite challenging weather conditions.
A first-time attendee from Kagawa Prefecture praised the seamless synchronization, noting: “The dancing and sounds of drums and flutes were completely unified.” This highlights the festival’s successful blend of visual and auditory artistry, continuing its legacy as a quintessential Japanese summer celebration that draws crowds regardless of weather obstacles.
News Source: https://japannews.yomiuri.co.jp/features/travel-spots/20250813-275190/
(3) China says Thai art show ‘distorts’ its policies on Tibet, Xinjiang, Hong Kong
(Photo Credit: Reuters)
China accused organizers of a Bangkok art exhibition of promoting “fallacies” about its policies in Tibet, Xinjiang, and Hong Kong after the show’s co-curator revealed artworks were removed or altered at Beijing’s request. The exhibition at the Bangkok Arts and Cultural Centre – one of Thailand’s premier galleries – opened on July 24 with the theme “Constellation of Complicity: Visualising the Global Machinery of Authoritarian Solidarity,” featuring works by exiled artists. China’s Foreign Ministry stated the show “distorted Chinese policies” and “undermined China’s core interests,” though it neither confirmed nor denied embassy involvement in the censorship.
According to Myanmar co-curator Sai, Chinese embassy officials demanded the removal or alteration of pieces addressing Hong Kong and China’s treatment of ethnic minorities in Tibet and Xinjiang. Sai condemned China’s actions as “systematic political manipulation far beyond its borders,” citing parallels to Beijing’s support for Myanmar’s military regime. He argued that if China’s claims about minority regions were truthful, there would be “no need to black out artists’ names” or “threaten institutions into compliance.” China countered that Thailand’s compliance proved such criticisms were internationally “unpopular.”
The incident underscores how Southeast Asian nations like Thailand navigate growing Chinese influence while balancing political sovereignty. As China expands its economic and diplomatic footprint in the region, governments face pressure to align with Beijing’s sensitivities – particularly regarding topics China labels as threats to “political dignity.” Thailand’s Foreign Ministry and the gallery declined to comment, highlighting the delicate position regional institutions occupy amid geopolitical tensions over artistic expression and human rights narratives.
News Source: https://www.reuters.com/world/china/china-says-thai-art-show-distorts-its-policies-tibet-xinjiang-hong-kong-2025-08-11/
(4) Yeoh Jin Leng, one of Malaysia’s modern art masters, has died at 96
(Photo Credit: The Star)
Malaysian modern art pioneer Yeoh Jin Leng (1929–2025) passed away on August 8 at age 96, announced the National Art Gallery. Born in Ipoh, Perak, Yeoh endured WWII hardships before pursuing art education in Britain through government scholarships. He trained at Liverpool’s Malayan Teachers’ Training College (1952) and London’s Chelsea School of Art (1957–1961), becoming part of a groundbreaking cohort, including Syed Ahmad Jamal and Latiff Mohidin, that brought European-accredited expertise back to Malaysia.
Returning to Malaysia in the 1960s, Yeoh synthesized Western abstract expressionism with local landscapes during his teaching years in Kuala Terengganu. His iconic oil paintings like “Rice Fields”(1963) and the crimson abstract “Trenggan”(1968, part of the National Art Gallery collection) showcased masterful brushwork and spatial sensitivity, capturing East Coast rural life while shaping Malaysia’s visual identity. These works established him as a bridge between international techniques and Malaysian subjects.
Beyond his studio practice, Yeoh dedicated decades to art education: lecturing at the Specialist Teachers’ Training Institute (1963–1983), co-founding the Malaysian Artists’ Association (1982), and serving as Dean at the Malaysian Institute of Art (1985–1994). He championed art as vital pedagogy and explored ceramics, which was inspired by British potter Bernard Leach, well after retiring. His six-decade career as both practitioner and mentor fundamentally nurtured Malaysia’s artistic ecosystem, leaving an indelible mark on generations of creators.
