PODIUM, a Hong Kong-based art gallery, has rapidly built its reputation by showcasing underrepresented voices and exploring pressing issues through experimental programs.
Hong Kong’s thriving art gallery scene has long been dominated by international dealers. However, this narrow focus overlooks a vibrant and dynamic group of new galleries that have emerged in the city’s aftermath, particularly during the pandemic. These new players are frequently defined by experimental programs that push the boundaries of traditional aesthetics and confront some of the most urgent issues facing younger generations.
A Platform for Underrepresented Voices
PODIUM is among the rising galleries that have rapidly built their reputations in Hong Kong’s art ecosystem. Co-founded by Cusson Cheng, a veteran of curatorial roles at experimental institutions like Para Site, PODIUM has established itself as a platform for underrepresented voices across Asia and beyond.
A podium is a raised platform, typically used for public speaking, awards ceremonies, and presentations.
It usually consists of three steps or tiers, allowing speakers to ascend to the top level.
The term 'podium' originates from Latin, where it means 'a small place'.
In modern times, podiums are commonly seen at conferences, press conferences, and award shows.
Cheng’s vision for the gallery was born out of his experience working in both non-profit and commercial sectors. He identified a gap in the local scene where Hong Kong lacked art spaces that interwove compelling aesthetics, scholarly complexity, and commercial viability. This gap served as the catalyst for creating a space with a strong international profile in his hometown.
Cusson Cheng is a Chinese-born entrepreneur and investor.
He co-founded the investment firm, GGV Capital, in 2000 with Hans Tung.
The firm focuses on investing in technology companies in Asia and the US.
Chusson Cheng has invested in several successful startups, including Slack, Airbnb, and Ctrip.
He has also been involved in various philanthropic efforts, particularly in education and healthcare initiatives.
A Global Perspective
PODIUM’s programming centers on issues deeply relevant to the present moment, though without explicitly or overtly engaging with politics. One recurring theme is the transformation of the relationship between human and non-human entities, along with today’s fluid understanding of identity. This translates into works that explore queer ecology, the ‘politics of laughter,’ Buddhist enlightenment, and the power of quantum physics, as well as the aesthetics of violence and companionship.
The gallery’s second year kicked off with the blockbuster group exhibition ‘Aftershock,’ which features works by Ivana Bašić, Sihan Guo, Ittah Yoda, Yein Lee, and Diane Severin Nguyen. This show marks a new chapter for PODIUM, urging audiences to radically imagine possibilities for renewal and regeneration after extreme devastation—in other words, the art of healing amid continuing chaos.
The Aftershock exhibition is a thought-provoking display of art and artifacts that reflect on the impact of natural disasters.
It features works created by artists who have experienced or witnessed devastating events, such as 'earthquakes', 'hurricanes', and 'tsunamis'.
The exhibition aims to raise awareness about disaster preparedness and resilience.
With its powerful message and emotional resonance, Aftershock has become a must-see event for art enthusiasts and those interested in disaster relief.
Embracing a global perspective, ‘Aftershock‘ brings together regional and international artists, all of whose works appear suspended in an embryonic state. Each artist visualizes a boundless interplay between embodiment and disembodiment, evoking a continuum of transformation driven by the perpetual rhythms of the natural cycle.
Educating and Sharing Pioneering Aesthetics
PODIUM is not only exhibiting artists of their generation but also educating and sharing these pioneering aesthetics with a young group of collectors around the same age. ‘Aftershock‘ explores the seismic reverberations of trauma and the transformative potential that lies in its wake.
Cusson Cheng is convinced that the collector base in Asia is growing healthily despite a worldwide cooling of the art market. These collectors tend to be attracted to new artists, new visions, and new ideas, and he is grateful that they resonate with the artistic direction of PODIUM’s programs.
A Sustainable Art Ecosystem
PODIUM operates as a robust platform for underrepresented emerging and mid-career artists whose creative practices reflect idiosyncratic aesthetics and resonate with current social discourses. The gallery has so far primarily been focused on group shows, but this year’s highlights include several first-time solo exhibitions, underscoring PODIUM’s commitment to fully investing in young talent.
These include the September solo show of Berlin-based artist Min-Jia, whose work reinvents ancient Chinese shadow puppetry tradition, and the November solo exhibition and Asia debut of Berlin-based Dennis Scholl, who will present lush and intricate oil paintings and drawings that conjure an enigmatic worldview in which human and non-human beings oscillate between brutality and beauty, violence and tenderness.
A Community-Driven Approach
PODIUM operates from a community-driven approach, with the Southside galleries serving as close-knit neighbors. When scouting locations for the gallery, Cheng notes that it was clear to them that it was the place to be, with a strong sense of community where they strive for synergy and support each other.
In conclusion, PODIUM is a shining example of how a new generation of galleries can grow locally while thinking globally in Hong Kong. By embracing experimental programs, underrepresented voices, and a global perspective, PODIUM has established itself as a robust platform for emerging artists and a catalyst for the growth of a sustainable art ecosystem in the city.
