Interviews

Katie de Tilly on Hong Kong

Katie de Tilly arrived in Hong Kong in 1994 when Chinese and Asian contemporary art was yet to come into international focus. She founded 10 Chancery Lane Gallery in 2001, expanding it in 2006 and 2008 with warehouse project spaces in Chai Wan. She contributed a monthly column called Artspy for Baccarat Magazine from 2007-2015. She spearheaded the Chai Wan art and design community and Co-Organized Chai Wan Mei, a yearly art and design festival 2013-2015. She has been on the board of the Tate Modern Asia Pacific Acquisitions Committee (APAC), as well as the Program Advisory Committee (PAC) of RMIT University School of Art /Hong Kong Art School. She was a founding member and Co-President of the Hong Kong Art Gallery Association (HKAGA). She is a Founding Patron of the M+ Patrons. And she is heading the HK Artists Residency Abroad Funding Scheme. She is on the working group of Art Power HK. Katie was awarded “Master of The Arts” in 2019 by the Women of Influence committee of the American Chamber of Commerce in Hong Kong.

by Mara Sartore

May 23, 2022

Mara Sartore
Katie de Tilly

When 10 Chancery Lane Gallery opened its doors to the public in May 2001, Hong Kong was a very different city. Can you tell us about the art scene and the atmosphere in Hong Kong at that time?

The art scene was just getting off the ground with less than 10 galleries and no art fair to note. But there was a growing demand from artists from China and a general, genuine interest. There was a lot of room to do something in the art world as well as keen interest, mostly from Western buyers.

In September 2014 pro-democracy protests occupying the streets known as ‘The Umbrella Revolution’ placed Hong Kong on the first pages of all international press. In January 2018 H Queen Building opened its door to a wide group of important galleries. At the end of 2019 the outbreak of the pandemic closed down the city and isolated it from the rest of the world for nearly two years. How has the contemporary art scene reacted to this situation, what is the new Hong Kong like?

Hong Kong is a place that bounces back quickly. We are still in the midst of the pandemic and the political landscape is definitely changing. However, these have been good years for us selling art and thanks to less travel and art fair costs we are happy with the interest and sales. Artists continue to make their works and collectors continue to buy, thankfully supporting this very important profession. We have had more time to engage with our collectors, have meaningful conversations and that is a blessing.

“Lady Liberty Hong Kong,” an emblem of the pro-democracy movement, stands in Chater Garden, Sept. 6. Photographer: Justin Chin/Bloomberg

The edition of Art Basel on 27-29 May 2022 is taking place in a different Hong Kong, has the fair that taken on a “more regional” character, aimed mainly at Asian collectors or do you think Art Basel HK can still attract a wide international audience?

When the gallery opened in 2001, there weren’t many regional or local collectors of contemporary art, so that is the group that has definitely grown over the years. Art Basel continues to have a strong international presence and collector following. Last year’s Art Basel in Hong Kong proved that we have enough local collectors to support the arts during this time and that we just have to accept what is the situation at the moment and navigate from there. After 20 years we also have a wide international and regional collector base that supports our programme continuously.

What will you be showing during ABHK and what are your plans for the future? Will you participate in Frieze Seoul and will the Korean city become the new hub for contemporary art in Asia after HK?

We will be showing our stable of artists that the gallery is known for as well as two newcomers, Laurent Martin “Lo” and Jessica Zoob. Sadly, we were late in applying to Frieze Seoul but we are doing KIAF in Seoul at the same time in September.

Jessica Zoob, Midnight Garden. Courtesy the gallery.