These two Hong Kong-based gallerists have created an inclusive space for underrepresented, emerging and mid-career artists

Both Lin and Cheng previously worked for leading galleries and institutions. Lin started her career in the Asian Art Department of The Art Gallery of New South Wales in Sydney before moving to Hong Kong to work as a senior sales and marketing manager at Tang Contemporary Art, a high-end Beijing gallery at H Queen’s in Central. Cheng worked in Korean gallery Soluna Fine Art in Sheung Wan before moving to non-profit art institution Para Site in Quarry Bay.

The two met in October 2020 at an art event. In the next two years, they realised they shared a dream of establishing their own art gallery that would discover and bring new, marginalised names to the local art scene, and decided to mainly work with women and LGBTQ+ creatives. “This decision is reflective of our personal identities and backgrounds,” says Cheng. He says that being a part of the LGBTQ+ community inspires him to consider how his gallery can offer sexual minorities a space for diverse narratives. While LGBTQ+ artists have been gradually included and promoted in Asia, he observes that there’s a “typical approach of talking about positivity and coming out. We are surrounded by a lot of politically correct narratives about identities. That’s important, but [LGBTQ+ artists have] many more [life experiences]. Sometimes, their practice is restricted by institutional or market demands and limitations, and they cannot really express themselves or create works that are authentic and honest.”

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In November, Podium will have a new show by a group of male artists who explore friendships as a way of life, and in particular, friendship between men. “I don’t want to do a show that talks about male sexuality,” Cheng says. “What about platonic friendships between two men? Here, we encourage artists to think out of the box.”

Meanwhile, Lin hopes to use their gallery to redress the power dynamic between male artists and everyone else. Until as recently as ten years ago, she says, “Male collectors bought male artists’ work which was showcased in galleries owned by men.” She is pleased to see that female artists have been getting a lot more attention and is “very happy to ride on this wave” in supporting female and genderqueer artists who work in various artistic media. In its second show in May, Podium featured non-binary, Ürümqi-born, Berlin-based artist Min-Jia, who references Shaanxi Huaxian shadow puppetry; and non-binary Korean American artist Rachel Youn who makes kinetic sculptures using second-hand massage devices and fake plants.

Five months since the gallery opened, the two observe that they have attracted quite a diverse crowd: students, artists, curators and both seasoned and novice collectors. “Blue-chip collectors have seen and bought from so many established artists from established galleries and auction houses. But it’s exactly because of this that international collectors, who flew in for Art Basel in March and visited us, told us they found our gallery really refreshing, that we’re offering something different,” Cheng says.

As well as exhibitions and acquisitions for clients, the two also organise artist talks for the public at some of the shows, and offer career advice for artists they work with. “We help our artists grow their career by offering them advice on funding applications, grants and residencies,” says Cheng. He understands the financial challenges faced by artists in their early career and says his experience at Para Site is particularly useful in this regard, as he had first-hand experience in applying for the same kind of resources as a curator.

Down the line, the pair hope to expand their business. “Hong Kong is always a very strong foundation for us, but we’re open to showcasing our artists internationally,” says Cheng. “We’re also planning to collaborate with international galleries, institutions and sectors to expand creative possibilities. It’s only by coming together that we’ll be able to surf tough waves.”

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