A standout at the gallery’s Art Basel booth was a work by Pop Art icon Robert Rauschenberg. Can you tell us more about the piece and its impact at the fair?
Created in 1990, Pasar (Market) / ROCI Malaysia belongs to the small series of paintings made for the titular ROCI Malaysia exhibition, which took place at the National Art Gallery in Kuala Lumpur in 1990.
The title references the Malay phrase pasar malam (night market), and the composition incorporates silkscreened images derived from Rauschenberg’s photographs taken during his travels. These include scenes of local commerce — such as a chalkboard advertising pepper and cocoa and a man carrying produce into a shop — alongside imagery of animals like chickens and a turtle mosaic. Through these layered images, Rauschenberg juxtaposes urban and natural motifs to reflect tensions between modern and indigenous cultures in Malaysia.
We were so delighted to present the work in Hong Kong, especially at a moment when institutions around the world are revisiting Rauschenberg’s global legacy during his centenary year, including the major exhibition at M+. This renewed attention highlights just how forward-thinking the ROCI project was, anticipating the kind of cross-cultural exchange that has since become central to the way contemporary art operates globally.
See also: Calling the tune
What other artworks in the line-up were you most excited about?
We brought a particularly strong selection this time, including an exceptional Zao Wou-Ki painting that has remained in the same collection since it was acquired directly from the artist more than 25 years ago. Alongside this, we presented new flower paintings by Alex Katz, as well as a powerful, fresh piece by Yan Pei-Ming, who just opened a major exhibition at the He Art Museum, Guangdong. Our presentation also included new creations by Alvaro Barrington, recently announced as one of the artists participating in this year’s Venice Biennale, and Zadie Xa, who will showcase a site-specific installation at the Guggenheim Museum Bilbao later this year. We also had an important output by Martha Jungwirth, first shown in her museum exhibition in Düsseldorf, and a new work by Mandy El-Sayegh, who opened a show at Space K, Seoul, earlier this month.
What’s a day in the life of Thaddaeus Ropac’s Asia director like?
It’s quite varied. A lot of the day is spent speaking with collectors, advisers and institutions across Asia — sharing works, discussing artists and following up on potential placements. I’m also coordinating closely with our gallery team on upcoming exhibitions, art fairs and available inventory, preparing presentations for clients or thinking about which works might suit particular collections.
See also: A full life
How has the Asian art scene evolved over the past decade, and what’s next on the horizon?
I’ve really noticed that the Asian art scene has become much more confident and internationally connected. When I first started working in the region, many collectors were focused on building foundations with blue-chip Western artists. Today, there’s a much stronger curiosity about regional artists and more conceptually driven practices, as well as a new generation of younger collectors who are very informed and globally minded. Institutions across Asia have also become more active, which has helped shape a deeper conversation around the work itself.
Looking ahead, I think Asia will continue to play a progressively crucial role in the global art landscape. The ecosystem feels much more mature now, and collectors seem increasingly interested in long-term engagement with artists rather than following short-term trends.
Who are some talents from the Asia-Pacific region you have your eye on right now?
At the moment, we’re particularly excited about the Asian artists featured in our group show, Distancing at our Seoul gallery — Kei Imazu, Juree Kim, Nosik Lim and Maria Taniguchi. All four work in distinct ways but share an interest in how images, materials and histories evolve over time.
Through Taniguchi’s quietly repetitive brick paintings, Kim’s clay pieces that literally change and crack as they dry, Lim’s softly layered paintings where forms emerge and dissolve, or Imazu’s canvases that bring together fragments of history, mythology and contemporary life — what links them is this sense of allowing meaning to unfold gradually, inviting viewers to spend time with the work rather than grasping it instantly.
What can enthusiasts and collectors expect from the gallery in the coming months?
Beyond the fairs, we are looking forward to a strong series of exhibitions across our spaces in London, Paris, Salzburg, Milan and Seoul, including displays of new works by Alex Katz, Anselm Kiefer, Adrian Ghenie and more. We are also excited to support some significant institutional projects by our artists, including exhibitions of the latest pieces by Georg Baselitz and David Salle in Venice, coinciding with the 61st Art Biennale. — As told to Genie Leong
