A COLLECTOR’S MARKET

Charmie Hamami

In spite of economic gloom in the West, the auction scene remains dynamic in Asia. “For new collectors, the price points for them to collect great quality Southeast Asian art are still very attractive,” says Charmie Hamami, the new Deputy Chairman of Christie’s Southeast Asia, in an interview with NINA HIDAYAT

AS CHRISTIE’S, which has conducted many of the art world’s greatest and most celebrated sales since it was founded in 1766, points out on its attractive and user-friendly website, “mention of an art auction conjures images of fast-talking auctioneers, adrenalin-fuelled bidding and 11th-hour drama. And while we think that’s the fun part, it can also feel intimidating to a first-time collector. In reality, bidding has never been easier or more accessible, whether you want to attend a live auction, or simply do it from home online. And buying fine art and objects isn’t the sole purview of millionaires: price points run the gamut, particularly in online sales, where you might pick up an original de Kooning or Warhol for just a few thousand dollars.”

The idea of finding the art you need in your life, and at a price that makes sense for you, is something no serious collector can overlook. And he or she has no shortage of opportunities. Christie’s alone hosts 450 auctions annually, in more than 80 categories, in salesrooms in London, New York, Paris, Geneva, Milan, Amsterdam, Dubai, Zurich, Hong Kong, Shanghai and Mumbai.

One of the British-based international auction house’s most senior figures in this part of the world is Charmie Hamami. The Regional Representative of Christie’s Indonesia was recently given the additional role of Deputy Chairman of Christie’s Southeast Asia.

Of her promotion, Charmie says: “I will expand my responsibilities from Indonesia to Singapore and Malaysia, building on strong connections there to augment our market share in Southeast Asia. I am now able to undertake business development responsibilities on a wider scale and to cultivate more client relationships in Southeast Asian countries that are increasingly influential in the fine art and luxury industry. Being responsible for the Southeast Asian region umbrella, I am able to promote and expose Christie’s collectively, efficiently and effectively.”

How does Charmie see the prospects for Southeast Asian art? Is it still underrated and neglected by international collectors? “Comparatively speaking, Southeast Asian art has had a shorter institutional and collecting legacy compared to Western art,” agrees Charmie. “But this presents an exciting opportunity for the category, as more collectors gain knowledge and exposure.

“Southeast Asian art has been enjoying robust demand in recent years, as collectors continue to bid on works of top quality from important artists from the region. Due to the growing global demand over recent years, Christie’s has been progressively auctioning more Indonesian contemporary artists, such as Besta Bestrizal and M. Irfan, just to name a couple. As the category gains more recognition internationally, we can only hope that the appreciation for such works continues to rise. In fact for new collectors, the price points for them to collect great quality Southeast Asian art are still very attractive.”

Charmie adds that Christie’s has “started to see a growing interest in the (Southeast Asian Art) category. There are more collectors from outside the region looking at this particular category. We have seen increased demand from Hong Kong, Taiwan and mainland Chinese collectors, as well as interest from the West. They want to come to the auctions to learn and to see more, and many are pleasantly surprised with the quality of Southeast Asian art. We have started to see more artists being featured in international art fairs, biennales and museum exhibitions. And the opening of the National Gallery Singapore with its collection of Southeast Asian art, along with the openings of private museums, has also helped in featuring the best of the art from the region.”

Christie’s new regional Deputy Chairman declares that international collectors are taking Asian art more seriously than ever. “Asian art continues to gain global recognition, as works from these artists increasingly appear at international auctions, art fairs and museums,” she states. “Asian artists are benefiting from globalisation. The art ecology in Asia is developing rapidly, and the greater interaction between collectors and artists furthers the rise of the wider market.

“Meanwhile, the auction scene in Asia is very dynamic, and the buyers are younger than the