While most galleries and art fairs move their exhibitions online amidst the coronavirus (COVID-19) pandemic, the launch of the brick-and-mortar gallery at the heart of the city is a bold move by father-and-son duo, Dominique and Arthur de Villepin. Following the cancellation of Art Basel Hong Kong’s 2020 edition, all eyes are on Art Basel’s online viewing rooms launched this week, as well as an online initiative called ART Power HK, which is backed by major art world players in the Hong Kong art scene, Villepin included. Against the backdrop of tremendous changes in the global arena as countries around the world shut their borders, leaving populations in isolation, the gallery’s inaugural exhibition in Hong Kong, “Friendship and Reconciliation,” of the late artist Zao Wou-Ki, is a timely reminder of the interconnectedness of cross-cultural artistic practices.

去年是新加坡開埠二百周年，回看這個城巿過去兩個世紀的歷史，實在與香港有不少相似之處。

西方早於一千多年前已利用繪畫來輔助植物學研究，其中最著名的是成書於古羅馬時期，由希臘學者迪奧斯科里德斯所著的《藥物論》，於西元六至七世紀抄寫而成的《維也納抄本》和《那不勒斯抄本》內附豐富的各種植物插圖，為中世紀及以後的西方自然科學發展打下了堅碩的基礎。

上兩次魏東在漢雅軒開畫展我都有看。2006年魏東畫展名為《胭脂國》，光頭裸體女人下體沒陰毛，圖像激烈。2012年2月，魏東在漢雅軒畫展則名為《何處身》。圖像同樣令人感覺不舒服，跟今年諾貝爾文學獎得主奧地利作家Peter Handke一樣。Peter Handke在1966年便發表富爭議性名劇《冒犯觀眾》，明顯要刺激觀者，希望大家思考。

相信大家都知，當今世界，藝術家作品每年成交金額，皆由張大千與畢卡索兩人佔前兩位。2011年，張氏以5.5億美元位列第一，而於2015年，畢氏則以6.5億美元扳回一城，到2016及以後兩年，張氏又連續搶回冠軍寶座。平均來說，他倆每年作品成交金額，至少各維持3億多美元之數。

A captivating installation enthralled my senses as I scrolled through my socials today. Arguably, the brightest kaleidoscope of colours across the room, Emmanuelle Moureaux’s latest installation evokes a strong visualization on time and memory. Opening at London’s NOW Gallery, Emmanuelle Moureaux’s Slices of Time runs from February 5 until April 17, 2020. The artist filled the gallery space with a large, complex and beautiful aesthetic of cut out coloured paper, comprising of 100 shades of colours and white.

張大千的創作生涯極長，存世真跡也極多，畫風分為好幾個不同階段。世人固知其全盛時期的「潑墨」、「潑彩」式寫意作品藝術成就超然，然而，他早期的工筆勾勒設色水墨畫作其實也別具特色和魅力。