The dealer, adviser, curator and collector Calvin Hui, along with his husband Mark Peaker, co-founded Hong Kong’s 3812 gallery, which specialises in Chinese contemporary art and, notably, ink art, in 2011. Then, in 2018, they opened a space in London’s Mayfair.
“We wanted to expand the market,” Hui says, “so in the beginning we didn’t really focus on Asian collectors. [But now] we have many Chinese clients—from the mainland, Hong Kong, Singapore and Southeast Asia, all living in London for different reasons. Many of them have houses, families, investments and businesses, and are educating their children in this country.”
The next big step comes in May, when 3812 moves into a brand new 2,800 sq. ft space in the Whiteley building just north of Hyde Park. “It is amazing,” Hui says. “It has 5.5m ceilings and is so attractive, with two floors, ground and basement. We feel confident, which is why we decided on this ambitious plan, to move to a much bigger space.”
Previously a shopping centre, the grand, Grade II-listed building is being reborn as a residential, restaurant and leisure destination. The gallery will open with a show by Ma Desheng, 73, co-founder of The Stars (Xīngxīng), the first post-Maoist dissident art movement and one of the country’s leading artists (21 May-30 June). Then, between 2 June and 3 August, it will hold the UK’s first retrospective of Hong Kong designer Stanley Wong, also known as Anothermountainman. The season will conclude with a young artists’ summer presentation in August and September.
In 2021 and 2024, Hui curated the Macau International Art Biennale: MGM Special Exhibition Awakening and To Infinity and Beyond: The Art of Hsiao Chin, and remains very active in promoting ink, having launched Ink Now in Shanghai in 2019. “My curatorial vision,” he says, “combines an Eastern aesthetic with contemporary expression,” while the gallery also gives a platform to emerging artists such as YA! Young Art and graduate shows.
The Art Newspaper: What was the first work you acquired?
Calvin Hui: The first ‘serious’ work I collected, apart from earlier purchases which were decorative, was Farhad Moshiri’s Jar with Horizontal Colour Bars, [2005], which was huge, two metres square. After that, I just kept on collecting, studying and learning about art.
Hsiao Chin’s Light of Hope (1964) Courtesy Calvin Hui
What was your most recent acquisition?
A boldly Expressionist painting by Mathieu Dafflon, Jeux de mains, at Art Geneva [this year]. Again, a big work, 3m wide. Mark and I were skiing in Zermatt last month and went into the fair on our way back before our flight.
What is your favourite work in your collection?
Hsiao Chin’s Light of Hope [1964]. This has special meaning for me; I was in the hospital with Hsiao Chin Laoshi when he passed away [in 2023] and I spread his ashes in the ocean. The work is in our London set [apartment] in the Albany [in Piccadilly], where it gives us inspiration: he was a dear friend and teacher.
Which works do you regret not buying?
Works by Barbara Hepworth. I didn’t initially appreciate them as I do now, and I missed several chances when prices were not so crazy expensive.
What are your tips for someone attending Art Basel Hong Kong for the first time?
You should definitely do some homework before you go. Look online before your visit—the site has a list of exhibitors and information is easy to obtain. It’s good to enjoy the online journey first and then physically see the works and talk to the dealers afterwards.
What is your least favourite thing about art fairs?
This is not really a criticism, but big ones like Art Basel Hong Kong can be a bit overwhelming. In addition, you bump into so many people you know, so it’s difficult to stay focused. I like to go early, in the first two hours when it is less crowded.
Would you ever want to leave Hong Kong?
Certainly not! Mark is English and I am Chinese, and we have homes in both cities.