Cherry Xu’s international profile has been rising quickly since she started collecting in 2020. A member of the Tate’s Asia-Pacific Acquisitions Committee, she joined Delfina Foundation’s collector residency in London the summer of 2024. Now she is turning her attention homewards as she prepares for the November launch of her Shanghai non-profit space Cheruby.
It will continue her philosophy of supporting mostly young, emerging talents who, like Xu herself, straddle the worlds of contemporary art and fashion, and the cultures of Asia and the West. Xu plans to host studio-based and research residencies for artists, designers and writers, plus a programme of exhibitions, performances, talks and workshops. She envisions interdisciplinary spaces as crucial to fostering the empathetic human connections needed to develop cultural ecosystems.
The Art Newspaper: What was the first work you bought?
Cherry Xu: A lightbox work from Julian Opie.
And what was the most recent piece you bought?
A mixed-medium work from Lotus L. Kang.
Who are some new artists you have discovered that most excite you?
Wang Ye, Chiki, CFGNY, Nawin Nuthong and Janiva Ellis.
Do you have a favourite work of art in your collection?
This sometimes changes as my taste in collecting evolves, but there are a few pieces I [always] deeply appreciate. John Giorno’s Dial-A-Poem [1968] installation, Oliver Beer’s Little Gods [2022] sound installation and Evelyn Taocheng Wang’s painting The Second-Hand Experience [2023] are among those that have remained especially meaningful to me.
Are there any unifying themes to your collection?
It doesn’t follow a single unifying theme—it’s quite varied. I don’t think a collection needs to be bound by a specific narrative; it’s more about the connection between the work and the collector.
What do you most regret not buying when you had the chance?
I rarely regret not buying a piece. I believe that if I didn’t acquire a work at that moment, then it simply wasn’t the right opportunity for me to own it.
If you could have any work from any museum in the world, what would it be?
I’d choose Frida Kahlo’s The Two Fridas [1939] from the Museo de Arte Moderno in Mexico City.
What are you looking out for at Art Basel Hong Kong this year?
This year, I’m particularly interested in seeing how first-time international exhibitors present their programmes in an Asian context. Additionally, I’m looking forward to seeing the Los Angeles-based artist Andrew J. Greene’s work shown as part of The Modern Institute’s booth presentation at the fair. Ahead of Cheruby’s official opening of our permanent space in November, we will be presenting his solo exhibition, Taste, at the Ziwu Gallery in Shanghai [which runs until 25 May].
What advice would you give to someone who is visiting Art Basel Hong Kong for the first time?
I’d recommend planning your schedule in advance and arriving at least two to three days before the fair opens. This will give you enough time to visit museum exhibitions and attend gallery openings, which are an essential part of the city’s art week.
British artist Oliver Beer’s Little Gods sound installation, 2022, which is one of Xu’s favourite pieces
Courtesy Cherry Xu
Where do you go to eat and drink in Hong Kong?
For a more laid-back, local food experience, I’d recommend Sing Heung Yuen for its famed tomato soup macaroni and crispy buns. There’s also Yat Lok, which does perfectly crispy and flavourful roast goose, and Fong Wing Kee if you want a classic satay hotpot experience. These spots offer a true taste of the city’s casual dining culture.
What is your least favourite thing about art fairs?
The most challenging part of art fairs is how physically demanding they can be—you spend six to seven hours walking through the fair, often for consecutive days, on top of all the surrounding events. It’s exhausting, but at the same time, the excitement and energy of the experience are what make it completely worthwhile.
Do you have a notable memory from going to Art Basel Hong Kong?
One of my favourite things is the opportunity to reconnect with friends and peers from the global art community in Asia each year. It’s always a special moment to come together, exchange ideas and experience the fair in a dynamic cultural setting.
