一開始我要提問的時候，你說了一句「你好」？這把我弄糊塗了。

抱歉，你想重新開始嗎？

不，我認為這是一個很好的開場！

你好。

你好……又見面了。1970年在瑞士的一個小城市，三位畫廊老闆聯合舉辦了一場展覽，他們簡單地為這場展覽命名為「藝術」。這就是巴塞爾藝術展的雛形。現在巴塞爾藝術展每年都在巴塞爾、邁阿密和香港舉辦，它不僅是當代藝術的一個慶典，也是對生活的一個慶典，尤其是在當前情況下進行。跟你以及大家在一起，我覺得非常感動。作為這次展覽的組織者，你想對來到這個展廳裡的成千上萬的人說些什麼呢？

在一天快結束的時候，感受到大家對我們的支持，看到所有人一起努力把工作做好，讓我感到這一切非常值得。James，我之前就跟你講過，當香港的朋友知道我們要辦這個展覽的那一刻，我電話就一直響個不停。有的來自朋友們，有的來自像你這樣的支持者，他們都問我同一個問題：我能幫上什麼忙？我認為不是每個城市都會發生這樣的事情。為此，我永遠心存感激，非常感激。但同時，你知道，這也非常振奮人心。

帶來這種鼓舞和希望的原因之一，是我們今年有130個畫廊，比去年還多。在這130個畫廊中有11家是加入巴塞爾藝術展的新畫廊。也就是說，他們之前沒有參加過你們任何的國際展會。但他們選擇了這次在香港參展。這是否意味著人們仍將香港視為商業和文化之都，甚至是國際匯聚和交流的中心？

你知道嗎，我覺得這很讓人安心。這也是一種榮譽。如果你認為香港擁有成為文化中心的野心，其實並不是「成為」，我認為我們已經是一個文化中心，而且一直也是。我相信它們（新畫廊）的出現是一個巨大且積極的信號，讓我們所有人知道我們仍然是這樣的「中心」。我們只需要堅持下去、走下去，更加努力地工作，就能達到目標。你明白我的意思嗎？

這不僅僅是一場藝術展，它有更深的含義。您與公共機構合作，包括世界級的博物館，例如M+博物館。您與他們共同邀請了藝術家Ellen Pau合作，在一個俯瞰維多利亞港的65米高LED屏幕上實現了非凡的光影表演。我是少數有幸目睹這一切發生的人之一。我聽大家說，儘管香港存在官僚作風，這個項目即使放在倫敦和紐約，都不可能實現。有這麼誇張嗎？

這是真的嗎？有人是這麼說的嗎？

我身邊的很多人都這麼說。

我從來沒這麼想過。我的意思是，現在我回頭看在香港巴塞爾藝術展近十年間委託的一些公共項目，老實說，每次我們想做一個公共項目，我們都認為，好吧，這是不可能完成的。我們做了很多努力，但我們所做的真的只是試圖向人們解釋我們要做的是什麼，並嘗試找到合適的，像你所說的合作者。而我們最終都成功了。仔細想想，我們和電車合作過，我們點亮過環球貿易廣場大樓，現在能夠點亮M+真的是莫大的榮幸。我認為也許那個人說得對，我認為任何與藝術有關的事情在這裡都有無限可能。

你每天在幾小時內一定在這層樓裡走過不下幾十次，有沒有一件作品讓你每次經過都停下腳步？

哇，太多選擇了。也許因為作品就在我身後，我不得不提到它，就是劉國松的「月亮」。我意思是，這畫多麼令人驚嘆！這是我每天都會路過的一幅作品，它不刻意地引人注意，但當你經過它時，除了駐足觀看別無選擇。

You know at the beginning when I asked you a question and you go, "Hello"? It threw me off. 

Do you want to start again? 

No, I think it's a good outtake though! 

Hello. 

Hello... again. Once upon a time in 1970, three gallerists in a small city in Switzerland created a show that they simply called 'Art'. That became Art Basel. It's now in Basel, Miami, and Hong Kong, and it's a celebration not only of contemporary art, but a celebration of life, particularly now. It feels very moving to be here with you and everybody. But as the person who put this show together, what's your message to the thousands of people are ready here in this hall.

It's so rewarding at the end of the day to feel the support, to see everyone pitching in together. I mean, I told you this story before James, the moment the Hong Kong public knew that we were having a show, the phones just never stopped ringing. And it was from friends, it was from you supporters, generally with one question, what can I do to help? And this is something that I believe I don't think happens in every city. And for that I remain eternally grateful, very, very thankful. But also, you know, what very, very encouraged and inspired.

One of the reasons for that encouragement and that sign of hope is that we're surrounded by 130 galleries, even more than last year, and amongst those 130 are 11 that are completely new to the Art Basel experience. Meaning, they've not participated before in any of your global fairs. Yet they chose Hong Kong. Does this mean that people still see Hong Kong as a place for business and culture, and more deeply as an international gathering point?

You know what, I think it's very reassuring. It's also really an honour. And if you think about Hong Kong's ambition to be a cultural hub, it's not "to be"... I think we are a cultural hub, we have been, and I believe that, I believe that them showing up, this is such a huge sign, a positive sign for all of us to know that we've still got ‘it’. We just need to stay on course and work harder to get there. You know what I mean?

This is deeper than just an art show. You have collaborations with public institutions, including world-class museums, like M+ with whom you co commissioned this extraordinary illumination by the artist Ellen Pau, moving across a 65-meter LED screen overlooking the Victoria Harbour. I was one of the few that was privileged to see it as it happened. And I heard people say, despite all the bureaucracy in Hong Kong, it couldn't have happened, even in London or New York. Is that an exaggeration?

Is that true, really? Is that what someone said? 

That's what a few people said around me.

I've never thought of it that way. I mean, now that I looked back at a number of the public projects that Art Basel has commissioned over the sort of 10 years that we've been in Hong Kong, I feel, perhaps the right and the way that to be honest, every time we wanted to do a public project where we thought, okay, this is going to be impossible. But all it took was really a couple of, all it took was really just trying to explain to people what it is that we're trying to do and trying to find the right, how do you say collaborators? And we've managed. If you think about it, we've worked with the trams, we've lit up the ICC tower before. And now to be able to light up M+ is really a great honour. And perhaps I think maybe that person is right and I'd like to think that anything with art is possible here.

Is there one work that has you stopping each time you go by... and you must walk this floor dozens of times in a few hours?

Wow, too many to choose. But perhaps because the work is right behind me, I will have to say Liu Guosong's 'moons'. I mean, how groovy is that? And this is the one work I walk pass every day and it doesn't even scream for attention, but you have no choice but to look at.