Asia Art Weekly News Bulletin – ISSUE 70 Week of 22 June 2026
(1) ‘Amazing Thailand’ art exhibition makes Korean debut
The National Museum of Korea has opened Amazing Thailand, Masterpieces of Thai Art, showcasing 239 works from 21 Thai museums. Running through 6 September 2026, the exhibition features prehistoric artifacts to contemporary pieces, highlighted by a 14th‑century Sukhothai Walking Buddha, alongside interactive displays and live Khon dance performances.
(2) New Museum and Korea’s Ulsan Art Museum Inaugurate Partnership with Ho Tzu Nyen Commission
The New Museum in New York and Korea’s Ulsan Art Museum announced a multi‑year partnership through Hyundai’s Translocal Series. The collaboration begins with a commission by Singaporean artist Ho Tzu Nyen, installed in both institutions, highlighting shared cultural exploration and global‑local connections in contemporary art.
(3) Provenance Art Gallery on bringing contemporary Filipino art to everyday spaces through ‘Bridging the Gap
Provenance Art Gallery’s Bridging the Gap 2 embeds contemporary Filipino art into Makati’s Power Plant Mall from June to August 2026 in Makati, Philippines. Featuring 80 artists, the initiative dismantles traditional gallery barriers, fosters organic public engagement, and encourages both first‑time and seasoned collectors through accessible formats, education, and interactive events.
(4) Southeast Asian buyers boost Hong Kong art market
Art fairs accounted for 35% of global dealer turnover in 2025, with Hong Kong attracting more Southeast Asian collectors seeking established artists. Art Basel Hong Kong drew 91,500 visitors, while younger buyers favored works priced $5,000–$25,000. Digital art gained traction, though painting remains dominant, with legacy building shaping collecting trends.
(1) ‘Amazing Thailand’ art exhibition makes Korean debut
(Photo Credit: The Korea Herald)
The National Museum of Korea has launched Amazing Thailand: Masterpieces of Thai Art, the country’s first major exhibition of Thai cultural heritage. Running through 6 September 2026 at the museum’s Special Exhibition Gallery 1, the show presents 239 works drawn from 21 Thai national museums, including the National Museum Bangkok. The collection spans prehistoric artifacts to contemporary creations, encompassing sculpture, painting, and decorative crafts rarely assembled even within Thailand.
The centerpiece is a 14th‑century Walking Buddha from the Sukhothai period, celebrated for its fluid, forward‑striding posture, a unique iconographic depiction of the Buddha descending from heaven after preaching to his mother. The exhibition is organized into three thematic sections: prehistoric and prekingdom societies; the classical Sukhothai, Lanna, and Ayutthaya kingdoms; and the Rattanakosin (Bangkok) Kingdom from 1782 to the present.
The gallery design evokes traditional Thai architecture, incorporating replica temple brickwork and palace corridor ornamentation, enhanced by augmented reality experiences and interactive kiosks. Admission is free until June 30, with live Khon masked dance performances staged at the museum’s plaza over the opening weekend. A traveling exhibition of Buddhist works from the same collection will also open at Tongdosa Museum in South Gyeongsang Province on 4 October 2026. Director You Hong‑June described the exhibition as an invaluable opportunity for Korean audiences to engage deeply with Thailand’s history and cultur.
(2) New Museum and Korea’s Ulsan Art Museum Inaugurate Partnership with Ho Tzu Nyen Commission
(Photo Credit: ARTnews)
The New Museum in New York and Korea’s Ulsan Art Museum have launched a multi‑year collaboration as part of the Hyundai Translocal Series, a decade‑long initiative by Hyundai Motor Company to connect art institutions worldwide through joint commissions, residencies, and touring exhibitions.
The partnership opens with a new commission by Singaporean multimedia artist Ho Tzu Nyen, known for weaving South and Southeast Asian mythologies with Western cultural references. His work, which often evokes unease, will be installed in the glass elevators of the New Museum’s OMA‑designed expansion and at Ulsan Art Museum, located in the coastal city north of Busan. Ho previously represented Singapore at the 2011 Venice Biennale and was awarded the Chanel Next Prize in 2024, with a mid‑career survey at the Singapore Art Museum.
In a joint statement, Regan Grusy, acting director of the New Museum, and Changsub Lim, director of the Ulsan Art Museum, emphasized the collaboration’s role in transcending physical distance and exploring the interplay of global and local contexts in contemporary art. They described the project as a bridge connecting the cultural and environmental fabrics of both cities, offering audiences transformative experiences of multilayered realities.
Launched in 2025, the Hyundai Translocal Series already includes partners such as Korea’s Cheongju Craft Biennale, the Abu Dhabi Music & Arts Foundation, and the UK’s Whitworth. The New Museum–Ulsan partnership underscores the growing importance of cross‑border artistic dialogue in shaping contemporary practice.
News Source: https://www.artnews.com/art-news/news/new-museum-ulsan-art-museum-partnership-ho-tzu-nyen-commission-1234790042/
(Photo Credit: Tatler Asia)
Provenance Art Gallery’s Bridging the Gap 2 challenges the convention of isolated gallery spaces by situating contemporary Filipino art directly within Makati’s Power Plant Mall, June–August 2026. Co‑owner Joanna Preysler Francisco emphasizes that placing art in a high‑traffic retail environment transforms public interaction, allowing casual mall‑goers to encounter works unexpectedly and organically. Building on the success of the inaugural 2025 edition, the second iteration expands educational tools, integrates QR codes, and strengthens artist engagement, ensuring accessibility and inclusivity.
The exhibition features 80 artists across generations and disciplines, curated to foster dialogue rather than hierarchy. Established figures provide historical context, while emerging voices contribute fresh energy, creating synergy that enriches the narrative of Philippine contemporary art. Rotating displays ensure repeat visitors experience new discoveries, while the central mission of connection, between artists and audiences, collectors and creators, remains constant.
Francisco highlights the professional benefits for emerging artists, who gain visibility and validation by sharing space with admired peers. The initiative also encourages first‑time collectors through approachable price points, guided walkthroughs, and conversations that demystify collecting. Veteran collectors, meanwhile, are prompted to explore younger talent, often leading to long‑term support.
Interactive programming, including artist talks and presentations, deepens engagement by connecting audiences directly with creators. Ultimately, Bridging the Gap 2 seeks to redefine public perception of contemporary art, making it welcoming, accessible, and part of everyday life. As Francisco concludes, the exhibition affirms that Philippine art belongs to everyone, requiring only curiosity and openness to connect.
News Source: https://www.tatlerasia.com/lifestyle/arts/provenance-art-gallery-bridging-the-gap-2
(4) Southeast Asian buyers boost Hong Kong art market
(Photo Credit: Art Basel)
Global art sales rose 4% to US$59.6 billion in 2025, driven by stronger auctions and dealer activity, according to the Art Basel and UBS Art Market Report. Art fairs contributed 35% of dealer turnover, up from 31% the previous year. Hong Kong’s art market has become a hub for Southeast Asian collectors, who increasingly seek blue‑chip works and established artists closer to home. Carola Wiese of UBS noted that collectors attending Singapore’s Art SG later traveled to Hong Kong with heightened interest in high‑value pieces.
Art Basel Hong Kong attracted 91,500 visitors in March 2025, slightly above the prior year. Dealer Fabio Rossi observed stronger engagement from buyers in Southeast Asia, Mainland China, Taiwan, South Korea, and Japan, though Western attendance declined. He highlighted the growing role of younger collectors in their 30s and 40s, who are more price‑conscious and prefer accessible works in the $5,000–$25,000 range.
Digital art, including NFTs, generative art, and software‑based works, is also drawing interest from younger audiences, though painting remains the leading medium. Angelle Siyang‑Le, director of Art Basel Hong Kong, emphasized that collectors are increasingly focused on the long‑term purpose of their collections, with legacy building becoming central. Women collectors are also gaining prominence, shaping the future of the market.
Overall, Hong Kong’s rising role as a regional art hub reflects both shifting collector demographics and the growing importance of art fairs in global turnover, positioning the city as a key node in Asia’s art ecosystem.
News Source: https://hongkongbusiness.hk/exclusive/southeast-asian-buyers-boost-hong-kong-art-market
