Shane Akeroyd, the prominent art collector, has recently made headlines by unveiling his extensive online library of video art, establishing himself as a ubiquitous figure in Hong Kong’s contemporary art scene within a remarkably short span of time. Originally hailing from Britain, Akeroyd relocated to Hong Kong in 2016 after assuming the role of regional head at IHS Markit, a leading provider of capital markets data. With over two decades dedicated to amassing an impressive art collection, he had already established himself as an ardent supporter of renowned institutions like the Tate and Artists Space in London and New York, respectively.
Upon his arrival in Hong Kong, Akeroyd wasted no time in immersing himself in the local art scene. Guided by his knowledgeable art advisor, Yana Peel, he engaged with everyone she introduced him to, gradually expanding his network and eventually transitioning from an outsider to an insider. Reflecting on his initial foray, Akeroyd admits to having possessed minimal knowledge about the Hong Kong art scene, including key galleries and events like Art Basel Hong Kong. However, he credits the generosity and warmth of the people he encountered, as they readily introduced him to others who shared his passion. Keeping a meticulous record of his interactions, he diligently maintained a spreadsheet tracking his growing connections and the evolving art landscape.
Currently, Akeroyd serves on the board of Para Site, an independent art space situated in Quarry Bay, and holds membership in the M+ International Council for Visual Art. In addition to his involvement in various art initiatives, he is actively supporting American artist Sarah Morris in the production of her new film commissioned by M+ for display on its expansive external LED facade. Akeroyd also continues to fulfill his commitments in the United States and the United Kingdom, including sponsoring the position of associate curator for the British pavilion at the Venice Biennale. However, he remains cognizant of the work that lies ahead in making contemporary art accessible to a wider audience.
To address this challenge, Akeroyd has launched the Akeroyd Collection website, which catalogs his 200 films created by 92 artists. These films constitute 15% of his extensive art collection, dispersed among his residences in London, Spain, Switzerland, and Hong Kong. Notably, many of the featured artists are individuals Akeroyd initially encountered through their works in other artistic mediums. While only a small portion of the collection is currently accessible to the public, Akeroyd pledges to gradually expand the availability of these artistic treasures.
Recognizing the solitary nature of collecting moving images, Akeroyd seeks to foster engagement with his collection by inviting writers, curators, artists, and academics to delve into the films and generate meaningful discourse around them. The first collaborative endeavor involves British multidisciplinary artist Patrick Staff, who juxtaposes Joan Jonas’s “Wolf Lights” with Takahiro Inamori’s “Jyouban,” exploring the stark contrast between the artificial lights of Las Vegas and the precise moment of daybreak captured in the respective works.
Ultimately, Akeroyd’s initiative aims to demystify contemporary art, which he believes often requires explanation and contextualization. He emphasizes the importance of nurturing Hong Kong’s thriving art infrastructure and fostering dialogue to ensure its long-term sustainability. By making his collection more accessible and encouraging critical engagement, Akeroyd hopes to contribute to a deeper understanding and appreciation of contemporary art in the vibrant city of Hong Kong.
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