Fu has split the gallery into four rooms: two exhibition spaces, a back-of-house office and a private salon where the gallerists can host meetings with collectors. “The salon occupies a third of the total exhibition area and incorporates a unique art display system adapted from the model first designed by Emmanuel [Perrotin] for the flagship showroom in Paris,” says Lung.

“The system, which we’ve named after our 'Salle de Bal' in Paris, is a series of floor-to-ceiling cases lined one behind the other on sliding tracks. It is integrated seamlessly into the wall, so that each case may slide in and out of view when required. This not only offers flexibility in the showcase of artworks, but it is also a little trick to generate a sense of excitement when revealing the pieces.”

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Perrotin isn’t the only gallery moving out of Central. Ben Brown Fine Arts and Hanart TZ Gallery have both given up their spaces in Pedder Building, the historic stone tower that previously housed many of the city’s galleries. Brown is moving to Wong Chuk Hang, while Hanart TZ Gallery is now based in Kwai Chung. Other galleries are also rumoured to be considering moving, many of them reluctant to pay Central's cripplingly high rents after a year that has seen the city rocked by protests and the Covid-19 pandemic. 

“We are grateful to have been part of the Central community, which has contributed to shaping the local art scene,” says Lung. “However, just like other businesses, galleries need to adapt to changing environments and circumstances, and we see the tendency to move out of Central as a positive natural force in the long term.”

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Lung is confident that collectors will be happy to cross the harbour. “Our collectors have been supportive of our move,” she says. “With Rosewood Hotel and Residences so close by where they can stay, and M+ and HKMOA a short distance away, our collectors—those residing overseas in particular—look forward to this art-culture-leisure experience once travelling is [allowed] again.”

The influence of Asia-based collectors has risen hugely since Perrotin opened in Hong Kong in 2012. “Back then, the rules of the game were made by Westerners. Their tastes defined the trends in the art world,” says Etsuko Nakajima. "We interpreted and translated these [trends] into the Asian markets. Now, that is reversed. Collectors in Asian markets have an important role in establishing trends in the art world. This can be seen in the current trend and [for] artworks by Asian artists such as Kaikai Kiki [gallery's] Madsaki, Mr. and Aya Takano [who are also represented by Perrotin]. The demand for their works is rapidly increasing.”
 

Like many galleries, Perrotin has launched an online viewing room and begun posting more content—including interviews with artists, podcasts and virtual tours of exhibitions—on its website since the beginning of the Covid-19 pandemic. In a world where so much can be done digitally, is it even necessary to have a physical gallery, especially one in a prime location in a city where property is notoriously expensive? Lung and Nakajima say yes.

“Online offerings and physical spaces serve different purposes,” says Nakajima. “[Our online platforms] have served us well to stay connected with our audience, especially during lockdown periods. However, galleries [need to] offer physical experiences to see artworks in person—these experiences are irreplaceable.”

Perrotin opens at K11 Atelier Victoria Dockside, 18 Salisbury Road, Tsim Sha Tsui on June 20. Find out more at perrotin.com

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