Dream Teams

Hong Kong Tatler - - Editor’s Note -

I’m dream­ing of the most lust­wor­thy item on the spring/sum­mer cat­walks. The ny­lon backpack by Burberry has el­e­vated the school­girl sta­ple to some­thing a lot more luxe, with gold hard­wear and best of all per­son­alised ini­tial mono­gram­ming ork­ing on this spe­cial Art Is­sue of Hong Kong Tatler, my first edi­tion as editor-in-chief, has been an ex­cit­ing af­fir­ma­tion that Hong Kong’s affin­ity for col­lab­o­ra­tive ini­tia­tives, along with its in­ter­est, in­vest­ment and love for art, shows no sign of abat­ing. Of course, art is by def­i­ni­tion the ex­pres­sion or ap­pli­ca­tion of hu­man cre­ative skill and imag­i­na­tion, yet can re­ally only be gauged in the pub­lic do­main; it needs to be vis­i­ble and pal­pa­ble to us all if we are to be­lieve in its ex­is­tence.

To that end, Hong Kong’s lead­ing de­vel­op­ers must be com­mended for their com­mit­ment in sup­port­ing the stag­ing of some world-class pub­lic art. From last year’s Event Hori­zon to the un­veil­ing this month of the artist-dec­o­rated hoard­ings of Hen­der­son Land’s HQ build­ing, th­ese pow­er­ful col­lab­o­ra­tions have had a trans­for­ma­tive ef­fect on peo­ple and places.

And, as it hap­pens, many of the most in­ter­est­ing pub­lic art pieces in Hong Kong are the re­sult of col­lab­o­ra­tions.

For our cover story, we asked pho­tog­ra­pher Jer­maine Fran­cis to cap­ture friends David Tang and Tracey Emin at the China Ex­change in Lon­don, and asked David to in­ter­view Tracey, whose con­fes­sional and con­fronta­tional art de­fines her as one of Bri­tain’s most sig­nif­i­cant con­tem­po­rary artists (p.224). In 2014, Emin’s in­stal­la­tion My Heart is with You Al­ways was the first piece of art to be pro­jected onto the tower of The Penin­sula Hong Kong and gave the pub­lic the op­por­tu­nity to view a ground­break­ing work. This year’s col­lab­o­ra­tion, the se­cond in a three­part se­ries with the Royal Academy of Arts, sees an in­stal­la­tion by Con­rad Shawcross take up res­i­dence in the ho­tel’s iconic lobby (p.282).

It’s also par­tic­u­larly com­pelling to see in­sti­tu­tional part­ner­ships flour­ish within a col­lab­o­ra­tive and cre­ative set­ting. Fea­tures editor Madeleine Ross looks at what it takes and, more im­por­tantly, who it takes to make Hong Kong’s pub­lic art ex­hi­bi­tions a re­al­ity (p.232), while Anny Shaw speaks to the founder of the K11 Art Foun­da­tion, Adrian Cheng, and Ser­pen­tine Gallery di­rec­tor Hans Ulrich Obrist to dis­cover how they are de­vel­op­ing the ca­reers of emerg­ing artists (p.242). The an­swer, Shaw dis­cov­ers, is sim­ple: pos­i­tive nar­ra­tive and a lo­cal ap­proach. Mean­while, the writer Paul Kay has put to­gether Hong Kong Tatler’s defini­tive guide to Art Basel in Hong Kong, which this year is a stand-alone edi­tion, the re­sult of col­lab­o­ra­tion with cre­ative di­rec­tor Patt Sham.

Lastly, ev­ery fash­ion spread in this mag­a­zine is also the re­sult of on­go­ing col­lab­o­ra­tions be­tween fash­ion editor Jus­tine Lee, pho­tog­ra­phers, stylists, mod­els, make-up artists and hair­styl­ists. The teams shot in both Florence and Paris to cre­ate two sto­ries that pre­view some of the best of the spring col­lec­tions. A true ex­am­ple of col­lab­o­ra­tion at its best…

Ly­ing down on the job Pho­tog­ra­pher Wil­liam Fur­niss hits the deck in or­der to cap­ture the peo­ple re­spon­si­ble for bring­ing Antony Gorm­ley’s Event Hori­zon to Hong Kong

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