Hong Kong (Taiwan News) — Amid the galleries of Art Basel Hong Kong 2026, a standout installation at the BMW exhibition space is drawing international curators and collectors alike.
Eschewing a traditional commercial display, the space serves as a mobile museum for a masterpiece of both automotive engineering and contemporary art: the BMW 635CSi Art Car created by American Pop artist Robert Rauschenberg in 1986.
The appearance of the iconic vehicle marks a significant milestone. It celebrates the centennial of Rauschenberg’s birth and represents the first time the “rolling sculpture” has been exhibited in Asia.
The showcase coincides with the exhibition "Robert Rauschenberg and Asia" at the M+ museum in West Kowloon, creating a cultural dialogue between the artist’s legacy and the region.
Taiwan News spoke with Thomas Girst, global head of cultural engagement at the BMW Group, regarding the decades-long interdisciplinary project.
“Looking back at Rauschenberg’s car, he was undoubtedly a pioneer,” Girst said. While predecessors such as Andy Warhol and David Hockney used the car as a canvas for paint, Rauschenberg broke tradition.
Rauschenberg was the first artist to replace the paintbrush with photographic transfer technology, Girst said.
The vehicle serves as an extension of Rauschenberg’s signature “Combines” style — a practice that merges elements of painting and sculpture while blurring the lines between everyday objects and fine art.
The car’s body features imagery sourced from the collection of The Metropolitan Museum of Art in New York. On the left side is Bronzino’s “Portrait of a Young Man,” and on the right is Jean-Auguste-Dominique Ingres’ “Odalisque in Grisaille.”
Rauschenberg juxtaposed these classical masterpieces with his own photographs of trees and swamp grasses. Even the hubcaps are detailed with images of antique plates.
The elements were not chosen at random; they are deeply connected to Rauschenberg’s home on Captiva Island, Florida, where the car was conceived. The botanical imagery serves as a subtle commentary on the environmental challenges posed by the automobile, weaving together nature, machinery, and art history.
Girst recalled the artist’s mindset during the 1986 creative process. “When the pristine white car arrived at his island studio, Rauschenberg remarked that facing the unblemished surface was like facing a ‘bride’ — an experience both exciting and daunting,” Girst said.
Notably, Rauschenberg positioned the male portrait on the driver’s side and the odalisque on the passenger side. “While this reflected the gendered language of the time,” Girst noted, “one might wonder if he would reverse them today to reflect a different contemporary dialogue.”
As the Art Car series has evolved over 50 years, it has transitioned from physical paint to digital experimentation. Addressing the current fervor surrounding generative artificial intelligence, Girst offered a grounded perspective, quoting artist Hito Steyerl: “When everyone is talking about artificial intelligence, why is nobody talking about ‘artificial stupidity’?”
Girst maintains that AI should be viewed as a tool or material rather than a replacement for human creativity. “If we understand AI is a tool, we do not need to feel threatened,” he explained.
Invoking Marshall McLuhan, he added: “On ‘Spaceship Earth,’ there are no passengers, only crew. As the crew, we must actively master these tools rather than being passively carried by technology.”
Reflecting on the 50-year history of the collection, Girst candidly addressed past limitations, noting the historical predominance of male artists. He emphasized a commitment to a more inclusive future, highlighting the work of South African Ndebele artist Esther Mahlangu.
In 1991 — the year Nelson Mandela was released from prison — Mahlangu became the first woman to create a BMW art car, bringing African traditional motifs to the global stage.
Regarding the Asian perspective, the collection currently includes works by Japan’s Kayama Matazo and China’s Cao Fei.
However, Girst acknowledged there is vast room for exploration in regions such as India, which possess deep cultural heritages but have yet to be represented in the art car lineage.
When asked how BMW maintains the academic integrity of the series amidst commercial pressures, Girst pointed to a rigorous independent jury system established in 2003. The selection of artists is made by a panel of leading international museum directors; BMW staff hold no voting power.
“I must ensure the Art Car is never diluted into a mere commercial marketing project,” Girst said. “This series exists because of a pure passion for contemporary art.”
