A2Z Art Gallery Bridges Cultures at Asia Now 2025 in Paris

The A2Z Art Gallery, located in the heart of Saint-Germain-des-Prés, Paris, has emerged as a significant cultural bridge between Asian and European contemporary art. Co-founded in 2009 by Anthony and Ziwei Phuong, the gallery showcases a diverse range of artists, including Ma Desheng, Bao Vuong, Shiori Eda, and Danhôo. Their works delve into themes of identity, migration, and the complexities of global life. Recently, the gallery celebrated its tenth participation in the Asia Now art fair, held at the Monnaie de Paris during Paris Art Week, reaffirming its commitment to promoting underrepresented Asian artists in Europe.

During the fair, Phuong reflected on the gallery’s mission, emphasizing the importance of fostering connections between collectors and institutions from Asia and the West. “It was our 10th time participating; we have only missed one edition of Asia Now,” he stated. Despite the current economic climate affecting the global art market, A2Z chose to participate this year to support a fair that aligns closely with their focus. The presence of numerous collectors from Asia underscored the gallery’s strategic choice to engage during this pivotal week.

At Asia Now 2025, A2Z presented a selection of Vietnamese artists, including Lê Thuy, Oanh Phi Phi, Trần Trọng Vũ, and Bùi Công Khánh. Phuong noted that while the Vietnamese art scene is maturing, it remains underrepresented in Western markets. “The secondary market for Vietnamese modern artists has already peaked,” he explained, highlighting the emergence of a network of Vietnamese collectors eager to support the primary market.

The Asia Now fair distinguishes itself through its focus on trust and deep connections. “The work of Alexandra and Claude Fain and the entire team led by Wang Qian is based on trust,” Phuong remarked. This approach fosters an environment that feels both professional and familial, allowing galleries to engage intimately with European collectors. The fair aims to introduce the public to Asian art and culture, offering a taste of what collectors from Asia are interested in, without needing to travel to major Asian art fairs.

In terms of pricing, Phuong noted that Asia Now remains accessible to emerging galleries, with booth prices significantly lower than those charged by larger fairs. After a decade of growth, the 11th edition of Asia Now has successfully attracted both national and international institutions. Many of these organizations are more inclined to participate in Paris than in cities like Hong Kong, contributing to the fair’s curatorial program and enriching the overall experience.

Phuong’s insights highlight the evolving landscape of the global art market, particularly regarding the representation of Asian artists in Europe. He sees Vietnam as a promising market, with nearly 100 million residents and a vibrant diaspora spread across France, the United States, Australia, and various parts of Europe.

As A2Z Art Gallery continues to champion Asian contemporary art, its role as a cultural bridge becomes ever more crucial, facilitating dialogue and connection between diverse artistic communities across continents.