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Siyang-Le describes this year’s show not as the 11th edition, but rather the first edition of the second decade.

Connectivity is a key focus going forward. “I feel the urge for every part of Asia’s art world to reconnect with the world, but I also feel that the rest of the world wants to reconnect with Asia once again. It is very important for us to play the role well, of being the connector and building mutual understanding in the art world.”

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Art Basel Hong Kong’s Insights sector has always been an example of the fair playing the role of connector in the region.

Representation of Asian art and galleries seems a given for the Hong Kong edition.

“I feel very strongly that Asian galleries want to tell the story of Asia’s own history and our own masters, taking the opportunity of this Art Week where the international audience will be coming, in this first, truly reopened year,” Siyang-Le elaborated.

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She named two of many late masters to be shown this year, as Johyun Gallery brings South Korean painter Park Seo-bo for the fair’s Kabinett sector, while the Asia Art Center’s presentation of Taiwanese sculptor Ju Ming can be seen in Insights. Both artists died within the last year.

New galleries, too – not just regionally but globally – are looking to celebrate historic Asian art alongside contemporary works. Hailing from Taipei, Chini Gallery is showing Ho Kan, who largely leans on calligraphy and seal making for his art. As mentioned by Siyang-Le, there are now Western galleries specialising in Asian art that are bringing those works back to show in the region. Specialising in historic Japanese art, Los Angeles gallery Nonaka-Hill looks to bring artists such as Tadaki Kuwayama and Kiyomizu Rokubi, while Paris’ Galerie Vazieux is bringing Fong Chung-ray for a solo show.

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“Textiles are one element that is close to Hong Kong’s own history as a city and as a centre of heritage, art and textiles,” Siyang-Le noted.

Female artists are also well represented this year. One of the great draws in the Galleries sector is Axel Vervoordt, which is presenting works from multidisciplinarian Kimsooja, while Yavuz Gallery brings Thai artist Pinaree Sanpitak to the fair’s Kabinett sector.

Perhaps on most attendees’ minds – as well as on Siyang-Le’s – is digital art, as the director notes its expansion in recent years to include AI-generated works and NFTs, going beyond older forms of experimental art with internet and video pieces. Tokyo’s Taro Nasu gallery is featuring digital artwork by Ryoji Ikeda that explores raw sound.

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Some galleries are also exhibiting artificial intelligence (AI) art, while Vienna’s Galerie Nächst St Stephan has a film by Miao Ying, who was recently shortlisted for the 2023 Sigg Prize.

Perhaps one of the more notable cases of digital art may be this year’s partnership with BMW to present Alex Israel’s video and AI installation Remembr, which focuses on the all-electric BMW i7, though the project debuted at Art Basel Miami Beach in 2023 via the BMW i5. The installation focuses on using AI technology to collect, filter, compose and choreograph each visitor’s phone camera content, to be shown on seven custom-designed screens.

“I often say that my real studio is my car,” Israel said in a press statement. “I get most of my ideas while I’m driving: it brings back countless memories, sparks my imagination, and helps me to generate new memories and new ideas.” He goes on to cite AI integration and smart-tech features that represent milestones in humans’ interactions with machines, among them the BMW i7.

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“We are trying to bridge a new generation of collectors with art fairs,” Siyang-Le explained. “Our general findings based on what’s been brought to the show are that, in the last few years, apart from more diverse attendance, the media of the work is also more diverse.”

Siyang-Le added that this year’s Encounters section is one of the largest in the fair’s history, totalling 14 large-scale installations from artists and galleries around the world, around 11 of which have been made specifically for Art Basel Hong Kong 2024.

Meanwhile, the fair’s Discoveries sector dedicates itself to solo presentations by up-and-coming stars, represented by 22 galleries. Urban development and public space are another key subject, as Mumbai’s Tarq showcases home-grown talent Sameer Kulavoor, while Fine Arts, Sydney, presents a sculptural work by Yona Lee confronting the impact of man-made structures. Jhaveri Contemporary presents Fiza Khatri, who combines painting, drawing and sculptural garlands for an installation.

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The fair promises visitors a plethora of art and culture to take in, but for Siyang-Le, the fair goes beyond that: “Spreading awareness of art culture is very important. We are a commercial platform but we take education very seriously. A large focus this year is to promote public programmes.”

Non-ticket holders are encouraged to attend the Film and Conversations sectors, where a variety of discussions will be held on some of the fair’s themes as well as the intricate workings of the art world. Works such as an installation by Australian Daniel Boyd take Art Basel out of the Hong Kong Convention and Exhibition Centre and to public areas such as Pacific Place mall.

“As a leading international fair organiser, we hope to spread the message that it is important to nurture the city you grow together with,” Siyang-Le concluded. “It is important to raise awareness of art and culture because art changes culture and we all need art, especially now.”