典亚艺博是国际艺坛公认、于亚洲区内举足轻重的年度国际古董及艺术博览会。博览会自2006年成立以来持续吸引香港及国际艺廊参与，为亚洲提供了一个独树一帜的古董及艺术平台。一如以往，典亚艺博2019将展出五千年以来的达博物馆级水平的文化及历史遗产，包括亚洲及西方古玩；珠宝、古董银器及钟表；现代及当代艺术。
David Hockney
5 篇
In further news: a long-lost tapestry owned by Henry VIII re-emerges; Kerry James Marshall’s Chicago Public Library mural withdrawn from auction - 另辟蹊径：亨利八世拥有的一幅失传已久的挂毯重现；克里·詹姆斯·马歇尔的芝加哥公共图书馆壁画退出拍卖
In a darkened temperature-controlled room sit several seminal artworks the public has never seen. Hoards of could-be national treasures populate vast storage vaults. All of them out of view and consideration. What makes an artwork acquired by a museum worthy of wall space, while others are locked away? While efforts have been made behind the scenes to balance collections through acquiring more work by people of colour, this isn’t always reflected in what public eyes see. Hoisting up this much-needed discussion about what museums choose to collect and to show, ‘Speech Acts: Reflection-Imagination-Repetition’ at Manchester Art Gallery curated by Hammad Nasar with Kate Jesson, impels viewers to consider art history’s negative space and also the ways in which our encounters with art are inherently shaped by what is shown and what isn’t. - 在黑暗温度控制的房间里坐着一些公众从未见过的精巧艺术品。囤积的财宝可能是国家宝藏中的巨大储藏库。所有这些都是不可见的和考虑的。是什么使得艺术品被一个有墙空间的博物馆所获得，而另一些则被锁住了呢？虽然人们在幕后通过获取有色人种更多的作品来平衡收藏，但这并不总是反映在公众眼中。在哈马德·纳萨尔和凯特·杰森共同主持的曼彻斯特美术馆举办的“演讲行为：反思-想象-重复”展览会上，展开了关于博物馆选择收藏和展览的迫切需要的讨论，促使观众思考艺术史的消极空间以及我们如何看待艺术史。与艺术的相遇本质上是由所展示的和不存在的来塑造的。
A new study claims that the differences between Leavers and Remainers in the UK extend to artistic taste - 一项新的研究声称，英国的移民和留守者之间的差异扩展到了艺术品味。
The new initiative will loan celebrated National Portrait Gallery artworks to towns across the UK that they are most closely associated with - 这项新举措将把著名的国立肖像馆艺术品借给英国最紧密联系的城镇。