2025年香港巴塞尔艺术展蓝筹画廊花絮
王蕾
2025年香港巴塞尔艺术展圆满落下帷幕，即使人群散去，艺术爱好者们仍兴奋不已。随着街道和咖啡馆里的人们继续交谈，很明显，艺术盛会的艺术高潮仍然挥之不去。经过疫情后一年的反思，今年的巴塞尔艺术展出现了显著的复苏，重现了疫情前的热情。从第一天的 VIP 日开始，香港会议展览中心就人头攒动，吸引了知名收藏家和艺术界专业人士。在各个展区，画廊都报告了令人印象深刻的销售数字，巩固了该展会作为全球艺术日历上的关键时刻的地位。人们关注的焦点是——哪些杰出的作品找到了新归宿，以及标志性的蓝筹画廊如何塑造今年的艺术和市场叙事？
The 2025 Art Basel Hong Kong came to a successful close, leaving art enthusiasts still abuzz with excitement. Even as the crowds dispersed, the energy of the event lingered in the streets and cafes, a testament to its enduring impact. After a year of reflection following the pandemic, this year’s Art Basel marked a significant resurgence, reigniting the fervor of its pre-pandemic glory. From the very first VIP day, the Hong Kong Convention and Exhibition Center was packed with renowned collectors and art professionals. Across all sections, galleries reported impressive sales figures, further solidifying the fair’s status as a pivotal moment on the global art calendar. The focus of everyone’s attention was clear—what standout works found their new homes, and how did the flagship blue-chip galleries shape this year’s artistic and market narrative?
草间弥生（Yayoi Kusama）的丙烯画作《无限之网》Yayoi Kusama’s acrylic painting “Infinity Net” Image courtesy of David Zwirner
卓纳画廊（David Zwirner） 凭借草间弥生（Yayoi Kusama）的丙烯画作《无限之网（ORUPX）》（2013）成为本次展会的亮点之一。该作品以350万美元成交，延续了草间弥生标志性的“无限之网”系列。这一系列以细腻的白色网状笔触覆盖蓝色背景，既有极强的视觉冲击力，也蕴含了艺术家对空间与哲学命题的深入探讨。卓纳画廊的成功反映了市场对经典艺术家作品的持续认可。
David Zwirner Gallery was one of the highlights of this year’s fair with Yayoi Kusama’s acrylic painting Infinity Nets (ORUPX) (2013), which sold for $3.5 million. The piece continues Kusama’s iconic Infinity Nets series, featuring delicate white net-like brushstrokes over a blue background. The work is not only visually striking but also reflects the artist’s deep exploration of space and philosophical themes. The success of David Zwirner Gallery underscores the ongoing market recognition of works by classic artists.
易丝·布尔乔亚（Louise Bourgeois）作品《海湾》Louise Bourgeois, The Bay. Image courtesy of Hauser & Wirth Gallery
“豪瑟沃斯画廊(Hauser & Wirth)以 200 万美元的价格将路易丝·布尔乔亚的雕塑作品《海湾》（最初制作于 1988 年，铸造于 2010 年）卖给了一位亚洲收藏家，引起了轰动。这次拍卖证明了布尔乔亚独特的艺术视野。此次成功售卖不仅巩固了豪瑟沃斯画廊作为顶级画廊的地位，还凸显了观众对当代艺术中独特的个人风格越来越着迷。
“Hauser & Wirth made waves by selling Louise Bourgeois’ sculpture The Bay—originally crafted in 1988 and cast in 2010—for $2 million to an Asian collector. This sale is a testament to Bourgeois’ unique artistic vision. The success not only cements Hauser & Wirth’s status as a top-tier gallery but also underscores the growing fascination among audiences with distinct personal styles in contemporary art.
李禹焕作品 《随风》 ，佩斯画廊提供Lee Ufan’s work “With Wind” Image courtesy of Pace Gallery
佩斯画廊（Pace Gallery） 则通过奈良美智、李禹焕以及皮埃尔·奥古斯特·雷诺阿（Pierre-Auguste Renoir）等艺术家的经典与当代作品取得了稳定销售表现。其中，李禹焕的《随风》（1991）以95万美元成交，而另一件作品《对话》（2008）则以110万美元成交。这些成功案例不仅吸引了新藏家，也展现了艺术市场对跨越风格与年代作品的开放态度。
Pace Gallery achieved steady sales through a mix of classic and contemporary works by artists such as Yoshitomo Nara, Lee Ufan, and Pierre-Auguste Renoir. Among the highlights, Lee Ufan’s With Wind (1991) sold for $950,000, while another piece, Dialogue (2008), fetched $1.1 million. These successes not only attracted new collectors but also demonstrated the art market’s open-mindedness towards works that span different styles and eras.
丁乙 作品《十示 2016-5》 图片香格纳画廊提供Ding Yi’s work ” Appearance of Crosses 2016-5” Image courtesy of ShanghART Gallery
聚焦本土艺术，香格纳画廊（ShanghART Gallery） 的表现尤为突出。丁乙的《十示 2016-5》以400万元人民币成交，胡项城的《证明》也突破百万人民币大关。这些作品的成交表明，中国当代艺术的崛起不仅仅是国内热潮，更是国际市场的重要力量。
Focusing on local art, ShanghART Gallery delivered standout performances. Ding Yi’s Appearance of Crosses 2016-5 sold for RMB 4 million, while Hu Xiangcheng’s Proof surpassed the RMB 1 million threshold. These results underscore the rising prominence of Chinese contemporary art, not just a domestic trend but a significant force in the international market.
村上隆 作品《虫洞）图片由贝浩登画廊提供Takashi Murakami’s work “Wormhole” Image courtesy of Perrotin Gallery
贝浩登画廊（Perrotin） 则通过村上隆、高藤泉、Ali Banisadr等艺术家的作品达成一系列成功交易，其中村上隆的作品以135万美元成交成为焦点。贝浩登的展位充分体现了艺术市场的多样化需求，无论是精致雕塑还是视觉艺术，都受到藏家的青睐。
Perrotin Gallery achieved a series of successful transactions through works by artists such as Takashi Murakami, Isamu Noguchi and Ali Banisadr, Murakami’s piece which sold for $1.35 million becoming a focal point. The gallery’s booth clearly reflected the diverse demands of the art market, with both refined sculptures and visual artworks garnering strong interest from collectors.
从整体而言，2025年香港巴塞尔展会不仅延续了疫情前的热潮，更为艺术市场的未来发展提供了重要的参考。然而，需要注意的是，艺术市场在经历复苏的同时，也面临着市场透明度、藏家群体变化以及艺术形式的进一步创新等挑战。蓝筹画廊的表现固然令人瞩目，但如何在一个复杂的市场环境中持续引领潮流，仍然是所有参与者需要共同探讨的问题。
Overall, the 2025 Art Basel Hong Kong not only continued the pre-pandemic momentum but also provided important insights into the future development of the art market. However, it is important to note that, alongside this recovery, the art market faces challenges such as transparency, changes in the collector demographic, and further innovation in art forms. While the blue-chip galleries impressed with their market leadership, maintaining this momentum in a complex and evolving market will require ongoing adaptability.
