2,000+
~40
30+
420,000+
About|關於|关于
Connecting Cultures, Bridging Times
跨文化 越時代
跨文化 越时代
The Summit seeks to bring together global leaders of arts and cultural institutions to promote international cultural exchange and cultivate long–term partnerships. Over 20 eminent cultural leaders and experts from 12 countries / regions, including heads of major cultural districts and internationally renowned arts and cultural institutions, will share their insights on a wide range of topics, from the contributions of cultural districts to social and economic transformation, the impact and challenges of digital technology on museums to post–pandemic cultural exchanges. Over 1,000 local, Mainland and overseas delegates will gather in the West Kowloon Cultural District and engage in fruitful dialogues and exchanges during the Summit, as well as participate in a wide range of arts and cultural events in different parts of Hong Kong to experience the diverse cultural landscape of the city.
To foster international cultural exchange and long–term partnership, during the Summit, WKCDA (including M+ and Hong Kong Palace Museum) will sign Memoranda of Understanding (MOUs) with more than 20 leading arts and cultural institutions from the Mainland and overseas. These MOUs cover extensive areas of collaboration, including co–organising and touring exhibitions and performing arts programmes, research, as well as professional training and development.
The Summit is the first international event to kickstart Hong Kong Art Week 2024, setting the scene for a week–long exciting events filled with artistic excellence and cultural festivities.
是次論壇旨在匯聚全球藝文機構領袖，促進國際文化交流，建立長期夥伴關係。來自12個國家／地區逾20位重量級文化領袖和專家，包括全球多位頂尖藝文機構的領袖，會就廣泛課題分享見解，從文化區對城市社會及經濟轉型的貢獻，到數碼科技對博物館的影響和挑戰，以及疫後文化交流等。逾千名本地、內地和海外代表將雲集西九文化區，在論壇期間作深入交流，並參與在香港不同地點舉行的多項文化藝術活動，親身體驗城中獨特文化景觀。
為促進國際文化交流和建立長期夥伴關係，西九文化區管理局（包括M+ 及香港故宮文化博物館）於論壇期間會與內地及海外逾20間頂尖藝文機構簽署合作意向書，涵蓋合辦及巡迴展覽和表演藝術節目、研究、專業培訓與發展等廣泛合作領域。
今次論壇將為2024年「香港藝術周」揭開序幕，展開融合藝術精粹與文化盛事的精彩一週。
是次论坛旨在汇聚全球艺文机构领袖，促进国际文化交流，建立长期夥伴关系。来自12个国家／地区逾20位重量级文化领袖和专家，包括全球多位顶尖艺文机构的领袖，会就广泛课题分享见解，从文化区对城市社会及经济转型的贡献，到数位科技对博物馆的影响和挑战，以及疫后文化交流等。逾千名本地、内地和海外代表将云集西九文化区，在论坛期间作深入交流，并参与在香港不同地点举行的多项文化艺术活动，亲身体验城中独特文化景观。
为促进国际文化交流和建立长期夥伴关系，西九文化区管理局（包括M+ 及香港故宫文化博物馆）于论坛期间会与内地及海外逾20间顶尖艺文机构签署合作意向书，涵盖合办及巡回展览和表演艺术节目、研究、专业培训与发展等广泛合作领域。
今次论坛将为2024年「香港艺术周」揭开序幕，展开融合艺术精粹与文化盛事的精彩一周。
About the West Kowloon Cultural District
關於西九文化區
关于西九文化区
To realise this vision, the HKSAR Government established the West Kowloon Cultural District Authority on 11 July 2008. The Legislative Council also approved an upfront endowment of HK$21.6 billion for developing and operating WKCD.
Spanning 40 hectares of reclaimed land, WKCD integrates arts and culture, education, open spaces, Hotel, Office and Residential developments, and Retail, Dining and Entertainment facilities. Upon completion, it will offer about 23 hectares of public open space, a two–kilometre harbourfront promenade, and a variety of arts and cultural facilities hosting world–class exhibitions, performances and events.
Core arts and cultural facilities in WKCD that are open to the public include the Xiqu Centre, Freespace, the Art Park, M+ and the Hong Kong Palace Museum. The Lyric Theatre Complex is under construction, with the target of completion within the 2025 / 26 fiscal year.
為實現此一願景，香港特區政府於2008年7月11日成立西九文化區管理局，負責推展西九計劃。立法會亦通過216億港元一筆過撥款，予管理局發展及營運西九項目。
西九文化區延伸40公頃的填海土地，匯集了精彩的文化藝術和廣闊的公共空間，酒店、辦公室和住宅發展項目及零售、餐飲和消閒設施。所有工程竣工後將提供約23公頃的公共空間，以及長達兩公里的海濱長廊，並設有眾多的文化藝術設施，以舉辦世界級展覽、表演節目和文化藝術活動。
區內主要文化設施包括戲曲中心、自由空間、藝術公園、M+ 和香港故宮文化博物館等經已開放，而演藝綜合劇場目前爭取在2025／26年度內完工。
为实现此一愿景，香港特区政府于2008年7月11日成立西九文化区管理局，负责推展西九计划。立法会亦通过216亿港元一笔过拨款，予管理局发展及营运西九项目。
西九文化区延伸40公顷的填海土地，汇集了精彩的文化艺术和广阔的公共空间，酒店、办公室和住宅发展项目及零售、餐饮和消閒设施。所有工程竣工后将提供约23公顷的公共空间，以及长达两公里的海滨长廊，并设有众多的文化艺术设施，以举办世界级展览、表演节目和文化艺术活动。
区内主要文化设施包括戏曲中心、自由空间、艺术公园、M+ 和香港故宫文化博物馆等经已开放，而演艺综合剧场目前争取在2025／26年度内完工。
Programme|活動日程|活动日程
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Topic: Cultural Districts’ Contributions to Social and Economic Transformation of Cities 文化區對城市社會及經濟轉型的貢獻 文化区对城市社会及经济转型的贡献 On the economic side, cultural districts stimulate innovation and investment, encourage collaboration between public and private sectors, and attract visitors from around the world with the holistic experience they offer. As a social infrastructure, cultural districts serve as gathering places for people of different backgrounds and cultures to exchange ideas and learn from each other. The vibrant ambience, iconic architecture and diversified programmes of cultural districts together create a lively environment that enhances people’s quality of life and transforms the city landscape. In Hong Kong, the 40–hectare West Kowloon Cultural District has emerged as a unique cultural precinct aiming to foster East–meets–West international cultural exchange and intercultural dialogues through its exciting array of arts and cultural programmes. In this plenary session, speakers will share their thoughts and insights on the multifaceted contributions of cultural districts in bringing transformative social and economic changes, and explore how cities can harness the power of cultural districts to enhance people’s quality of life, establish or revitalise the city’s branding and catalyse the development of other industries such as cultural tourism. 在經濟方面，文化區刺激創新和投資，鼓勵公私營機構的合作，並通過提供全面的體驗吸引來自世界各地的遊客。作為社會的基礎設施，文化區成為不同文化和背景的人才交流思想、相互學習的聚集地。文化區的活力氛圍、標誌性建築和多樣化的活動營造了理想的環境，提升了人們的生活質素，並改變了城市的面貌。 在香港，佔地40公頃的西九文化區已成為一個獨特的文化樞紐，旨在通過精彩的藝術和文化節目，促進中西方國際文化交流和跨文化對話。 於這節座談會，講者將分享他們對文化區在推動社會轉型和經濟變革方面的看法和見解，並探討城市如何利用文化區的力量提升人們的生活質素，建立或重塑城市品牌，以及催化其他產業（如文化旅遊）的發展。 在经济方面，文化区刺激创新和投资，鼓励公私营机构的合作，并通过提供全面的体验吸引来自世界各地的游客。作为社会的基础设施，文化区成为不同文化和背景的人才交流思想、相互学习的聚集地。文化区的活力氛围、标志性建筑和多样化的活动营造了理想的环境，提升了人们的生活质素，并改变了城市的面貌。 在香港，佔地40公顷的西九文化区已成为一个独特的文化枢纽，旨在通过精彩的艺术和文化节目，促进中西方国际文化交流和跨文化对话。 于这节座谈会，讲者将分享他们对文化区在推动社会转型和经济变革方面的看法和见解，并探讨城市如何利用文化区的力量提升人们的生活质素，建立或重塑城市品牌，以及催化其他产业（如文化旅游）的发展。
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Topic: Promise of Digital 數碼化的承諾 数码化的承诺
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Topic: Decentring Digital 數碼化的界限 数码化的界限
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Topic: Cultural Districts’ Contributions to Social and Economic Transformation of Cities 文化區對城市社會及經濟轉型的貢獻 文化区对城市社会及经济转型的贡献 On the economic side, cultural districts stimulate innovation and investment, encourage collaboration between public and private sectors, and attract visitors from around the world with the holistic experience they offer. As a social infrastructure, cultural districts serve as gathering places for people of different backgrounds and cultures to exchange ideas and learn from each other. The vibrant ambience, iconic architecture and diversified programmes of cultural districts together create a lively environment that enhances people’s quality of life and transforms the city landscape. In Hong Kong, the 40–hectare West Kowloon Cultural District has emerged as a unique cultural precinct aiming to foster East–meets–West international cultural exchange and intercultural dialogues through its exciting array of arts and cultural programmes. In this plenary session, speakers will share their thoughts and insights on the multifaceted contributions of cultural districts in bringing transformative social and economic changes, and explore how cities can harness the power of cultural districts to enhance people’s quality of life, establish or revitalise the city’s branding and catalyse the development of other industries such as cultural tourism. 在經濟方面，文化區刺激創新和投資，鼓勵公私營機構的合作，並通過提供全面的體驗吸引來自世界各地的遊客。作為社會的基礎設施，文化區成為不同文化和背景的人才交流思想、相互學習的聚集地。文化區的活力氛圍、標誌性建築和多樣化的活動營造了理想的環境，提升了人們的生活質素，並改變了城市的面貌。 在香港，佔地40公頃的西九文化區已成為一個獨特的文化樞紐，旨在通過精彩的藝術和文化節目，促進中西方國際文化交流和跨文化對話。 於這節座談會，講者將分享他們對文化區在推動社會轉型和經濟變革方面的看法和見解，並探討城市如何利用文化區的力量提升人們的生活質素，建立或重塑城市品牌，以及催化其他產業（如文化旅遊）的發展。 在经济方面，文化区刺激创新和投资，鼓励公私营机构的合作，并通过提供全面的体验吸引来自世界各地的游客。作为社会的基础设施，文化区成为不同文化和背景的人才交流思想、相互学习的聚集地。文化区的活力氛围、标志性建筑和多样化的活动营造了理想的环境，提升了人们的生活质素，并改变了城市的面貌。 在香港，佔地40公顷的西九文化区已成为一个独特的文化枢纽，旨在通过精彩的艺术和文化节目，促进中西方国际文化交流和跨文化对话。 于这节座谈会，讲者将分享他们对文化区在推动社会转型和经济变革方面的看法和见解，并探讨城市如何利用文化区的力量提升人们的生活质素，建立或重塑城市品牌，以及催化其他产业（如文化旅游）的发展。
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Topic: Promise of Digital 數碼化的承諾 数码化的承诺
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Topic: Decentring Digital 數碼化的界限 数码化的界限
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Topic: Rethinking Museum Interpretation in a Global Context 全球視野下對博物館詮釋的新思考 全球视野下对博物馆诠释的新思考 What should museums of the twenty–first century look like? How should they present and interpret local and global art, cultural, and historical objects, and engage visitors and communities? What does it mean to be a truly international museum? With the aim of fostering international understanding and exchange, the Hong Kong Palace Museum will host a panel discussion on 26 March 2024 with a series of thought–provoking presentations followed by discussion. Directors from major museums in the Mainland, France and Spain will explore these pressing issues we face today and share their insights into how museums creatively embrace the changing landscapes in the twenty–first century. Topics include audience and community engagement, innovative display strategy, inter–cultural exhibitions, and the intersections of art, science, and technology. 二十一世紀博物館的面貌應是怎樣？博物館應該如何展示和詮釋當地及全球的藝術、文化和歷史文物，並吸引訪客和不同社群參與？何謂真正國際化的博物館？ 為了促進國際交流、增進相互了解，香港故宮文化博物館將於2024年3月26日舉辦一場具有啟迪意義的專題討論，當中包括一系列的演講和討論。來自內地、法國和西班牙重要博物館的館長將探討當今博物館面臨的緊迫課題，分享他們對博物館如何透過創新應對二十一世紀新局面的真知灼見。專題討論的主題包括觀眾和社區參與、創新性的展陳策略、跨文化展覽，以及藝術、科學與技術的交融。 二十一世纪博物馆的面貌应是怎样？博物馆应该如何展示和诠释当地及全球的艺术、文化和历史文物，并吸引访客和不同社群参与？何谓真正国际化的博物馆？ 为了促进国际交流、增进相互了解，香港故宫文化博物馆将于2024年3月26日举办一场具有启迪意义的专题讨论，当中包括一系列的演讲和讨论。来自内地、法国和西班牙重要博物馆的馆长将探讨当今博物馆面临的紧迫课题，分享他们对博物馆如何透过创新应对二十一世纪新局面的真知灼见。专题讨论的主题包括观众和社区参与、创新性的展陈策略、跨文化展览，以及艺术、科学与技术的交融。
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Topic: New Ways of Collaborating and Sharing in the Post–Pandemic Era: International Perspectives 後疫情時代合作與共享的新方式：國際視角 后疫情时代合作与共享的新方式：国际视角 With the aim of fostering international and inter–institutional partnership, the Hong Kong Palace Museum will host an inspiring panel discussion on 26 March 2024 with a series of presentations followed by discussion. Directors from major museums in Asia, Europe, and North America will share their expertise and envision together new models of collaboration and resource sharing in the post–pandemic era. Key themes include international travelling exhibitions, training and professional development, research, conservation, education, collection access, and digital collaboration. 為了促進國際和機構之間的合作，香港故宮文化博物館將於2024年3月26日舉辦一場具有啟迪意義的專題討論，當中包括一系列的演講和討論。來自亞洲、歐洲和北美重要博物館的館長將分享他們的專業知識，共同思考後疫情時代合作與資源共享的新模式。 專題討論的主題包括國際巡迴展覽、專業發展與培訓、學術研究、文物保護、教育、藏品利用和數碼領域的合作。 为了促进国际和机构之间的合作，香港故宫文化博物馆将于2024年3月26日举办一场具有启迪意义的专题讨论，当中包括一系列的演讲和讨论。来自亚洲、欧洲和北美重要博物馆的馆长将分享他们的专业知识，共同思考后疫情时代合作与资源共享的新模式。 专题讨论的主题包括国际巡回展览、专业发展与培训、学术研究、文物保护、教育、藏品利用和数位领域的合作。
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Topic: Rethinking Museum Interpretation in a Global Context 全球視野下對博物館詮釋的新思考 全球视野下对博物馆诠释的新思考 What should museums of the twenty–first century look like? How should they present and interpret local and global art, cultural, and historical objects, and engage visitors and communities? What does it mean to be a truly international museum? With the aim of fostering international understanding and exchange, the Hong Kong Palace Museum will host a panel discussion on 26 March 2024 with a series of thought–provoking presentations followed by discussion. Directors from major museums in the Mainland, France and Spain will explore these pressing issues we face today and share their insights into how museums creatively embrace the changing landscapes in the twenty–first century. Topics include audience and community engagement, innovative display strategy, inter–cultural exhibitions, and the intersections of art, science, and technology. 二十一世紀博物館的面貌應是怎樣？博物館應該如何展示和詮釋當地及全球的藝術、文化和歷史文物，並吸引訪客和不同社群參與？何謂真正國際化的博物館？ 為了促進國際交流、增進相互了解，香港故宮文化博物館將於2024年3月26日舉辦一場具有啟迪意義的專題討論，當中包括一系列的演講和討論。來自內地、法國和西班牙重要博物館的館長將探討當今博物館面臨的緊迫課題，分享他們對博物館如何透過創新應對二十一世紀新局面的真知灼見。專題討論的主題包括觀眾和社區參與、創新性的展陳策略、跨文化展覽，以及藝術、科學與技術的交融。 二十一世纪博物馆的面貌应是怎样？博物馆应该如何展示和诠释当地及全球的艺术、文化和历史文物，并吸引访客和不同社群参与？何谓真正国际化的博物馆？ 为了促进国际交流、增进相互了解，香港故宫文化博物馆将于2024年3月26日举办一场具有启迪意义的专题讨论，当中包括一系列的演讲和讨论。来自内地、法国和西班牙重要博物馆的馆长将探讨当今博物馆面临的紧迫课题，分享他们对博物馆如何透过创新应对二十一世纪新局面的真知灼见。专题讨论的主题包括观众和社区参与、创新性的展陈策略、跨文化展览，以及艺术、科学与技术的交融。
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Topic: New Ways of Collaborating and Sharing in the Post–Pandemic Era: International Perspectives 後疫情時代合作與共享的新方式：國際視角 后疫情时代合作与共享的新方式：国际视角 With the aim of fostering international and inter–institutional partnership, the Hong Kong Palace Museum will host an inspiring panel discussion on 26 March 2024 with a series of presentations followed by discussion. Directors from major museums in Asia, Europe, and North America will share their expertise and envision together new models of collaboration and resource sharing in the post–pandemic era. Key themes include international travelling exhibitions, training and professional development, research, conservation, education, collection access, and digital collaboration. 為了促進國際和機構之間的合作，香港故宮文化博物館將於2024年3月26日舉辦一場具有啟迪意義的專題討論，當中包括一系列的演講和討論。來自亞洲、歐洲和北美重要博物館的館長將分享他們的專業知識，共同思考後疫情時代合作與資源共享的新模式。 專題討論的主題包括國際巡迴展覽、專業發展與培訓、學術研究、文物保護、教育、藏品利用和數碼領域的合作。 为了促进国际和机构之间的合作，香港故宫文化博物馆将于2024年3月26日举办一场具有启迪意义的专题讨论，当中包括一系列的演讲和讨论。来自亚洲、欧洲和北美重要博物馆的馆长将分享他们的专业知识，共同思考后疫情时代合作与资源共享的新模式。 专题讨论的主题包括国际巡回展览、专业发展与培训、学术研究、文物保护、教育、藏品利用和数位领域的合作。
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Venues|地點|地点
We will be hosting more than 1,000 delegates at the Xiqu Centre for the Opening Ceremony and Plenary Session of the Summit on the morning of 25 March 2024.
Panel Discussion Sessions will be conducted at M+ in the afternoon of 25 March 2024 and at the Hong Kong Palace Museum on the morning of 26 March 2024.
Livestreaming will be available for all sessions of the Summit.
我們將於2024年3月25日上午在戲曲中心舉辦高峰論壇的開幕式和座談討論，預計將有超過1,000人出席。
專題討論將分別於2024年3月25日下午和3月26日上午，在M+和香港故宮文化博物館舉行。
高峰論壇的所有會議均會提供網上直播。
我们将于2024年3月25日上午在戏曲中心举办高峰论坛的开幕式和座谈讨论，预计将有超过1,000人出席。
专题讨论将分别于2024年3月25日下午和3月26日上午，在M+和香港故宫文化博物馆举行。
高峰论坛的所有会议均会提供网上直播。
At its heart, the HKPM is a cultural resource that belongs to the community of Hong Kong. It is a dynamic platform that inspires community engagement, fosters cross-cultural dialogues and works to promote creativity and interdisciplinary collaboration. Through research, exhibitions and publications, as well as educational, cultural and professional exchange programmes, the Museum builds international partnerships and helps position Hong Kong as a hub for art and cultural exchanges between China and the rest of the world.
A fresh and contemporary interpretation of traditional architectural aesthetics, the HKPM building houses nine galleries covering a total of 7,800 square metres, a 400-seat auditorium, a museum shop and several restaurants. Designed by Hong Kong-based Rocco Design Architects Associates, the building draws inspiration from both Chinese art and architecture and Hong Kong’s urban environment. Three atriums connect the different floors of the HKPM vertically, referencing the horizontal spatial configuration of the Forbidden City along its central axis and embracing a spirit of bringing Chinese heritage to modern audiences. The HKPM building has won the HKIA Medal of the Year in HKIA Annual Awards 2022/23 from the Hong Kong Institute of Architects.
For more information, please visit the Hong Kong Palace Museum website.
香港故宮文化博物館已經成為香港社區的文化資源；作為一個活力充沛的平台，它將積極推動社區參與、鼓勵跨文化的對話與合作，並增強文化創造力和跨領域合作。博物館透過學術研究、巡迴展覽和出版，以及教育、文化和專業人士交流計劃，建立全球合作夥伴關係，鞏固香港作為中外文化藝術交流中心的地位。
香港故宮文化博物館由香港知名的嚴迅奇建築師事務所設計，這座現代建築物展示了對傳統美學的全新演繹，其靈感來自「中國傳統建築」、「中國藝術」與「香港城市景觀」三大元素。館內設有九個合共7,800平方米的展廳、一個可容納400人的演講廳、一間商店和數間餐廳。博物館三個中庭空間的設計，參照了紫禁城中軸水平遞進的空間佈局，以垂直的中庭設計將不同樓層連成一體，以傳統建築美學連繫現代世界。香港故宮文化博物館榮獲香港建築師學會頒發的2022/23全年境內建築師大獎。
想了解更多，可瀏覽香港故宮文化博物館網站。
香港故宫文化博物馆已经成为香港社区的文化资源；作为一个活力充沛的平台，它将积极推动社区参与、鼓励跨文化的对话与合作，并增强文化创造力和跨领域合作。博物馆透过学术研究、巡回展览和出版，以及教育、文化和专业人士交流计划，建立全球合作伙伴关系，巩固香港作为中外文化艺术交流中心的地位。
香港故宫文化博物馆由香港知名的严迅奇建筑师事务所设计，这座现代建筑物展示了对传统美学的全新演绎，其灵感来自「中国传统建筑」、「中国艺术」与「香港城市景观」三大元素。馆内设有九个合共7,800平方米的展厅、一个可容纳400人的演讲厅、一间商店和数间餐厅。博物馆三个中庭空间的设计，参照了紫禁城中轴水平递进的空间布局，以垂直的中庭设计将不同楼层连成一体，以传统建筑美学连系现代世界。香港故宫文化博物馆荣获香港建筑师学会颁发的2022/23全年境内建筑师大奖。
想了解更多，可浏览香港故宫文化博物馆网站。
M+
Designed by a global team of world-renowned architecture firms, Herzog & de Meuron in partnership with TFP Farrells and Arup, M+ is both monumental in its architectural form and radically open in its position in the urban landscape. Located on the Victoria Harbourfront, the M+ Facade is embedded with LEDs for screening moving image works. The Facade’s custom-designed cladding draws inspiration from traditional Chinese roofs. The museum building is in a structure not simply anchored in its surroundings, but also formed by them.
For more information, please visit the M+ website.
由世界知名建築師事務所Herzog & de Meuron與 TFP Farrells和奧雅納共同設計，其設計外型和開放寬敞的建築特色，於城市中罕見獨特，是香港重要地標之一。大樓屹立於維多利亞港，外牆設有LED大型屏幕「M+幕牆」，展示M+流動影像作品。
大樓幕牆訂製的陶瓦，乃啟發自傳統中式屋頂設計。大樓的具體設計不單建基於四周環境，更與之相輔相成。
想了解更多，可瀏覽M+網站。
由世界知名建筑师事务所Herzog & de Meuron与 TFP Farrells和奥雅纳共同设计，其设计外型和开放宽敞的建筑特色，于城市中罕见独特，是香港重要地标之一。大楼屹立于维多利亚港，外墙设有LED大型屏幕「M+幕墙」，展示M+流动影像作品。
大楼幕墙订制的陶瓦，乃启发自传统中式屋顶设计。大楼的具体设计不单建基于四周环境，更与之相辅相成。
想了解更多，可浏览M+网站。
The Xiqu Centre consists of two theatres, a seminar hall and eight rehearsal studios. The 1,075-seat Grand Theatre is a world-class venue tailor-made for professional xiqu performances, fitted with an orchestra pit and state-of-the-art lighting and sound equipment. The Tea House Theatre was designed to recreate the intimate atmosphere and experience of a traditional tea house, offering Chinese tea and dim sum during performances. It is also suitable for small-scale performances of regional xiqu genres or traditional music.
The eight-storey Xiqu Centre was designed by Bing Thom Architects (now Revery Architecture) and Ronald Lu & Partners. The striking architectural design embodies the essence of the xiqu art form, with the concept of “flow” or “qi” interpreted in the fluid movements of the building and the use of curved planes, arched openings and circular paths. The Atrium has a large podium and is light and spacious, with doorless entrances that open to the outdoors, making it an attractive destination any day of the week, even at times when no performances are taking place.
For more information, please visit the WKCDA website.
戲曲中心由兩個劇院、一個演講廳和八個排演室組成。擁有1,075個座位的大劇院為專業戲曲表演而設，配備最先進的燈光和音響系統。茶館劇場則配備當代中式傢俱，重現精緻典雅的傳統茶館環境和體驗，觀眾可一邊近距離欣賞戲曲表演，一邊品茶和享用精美點心。
樓高八層的戲曲中心由譚秉榮建築事務所（現稱Revery Architecture）及呂元祥建築師事務所設計。戲曲中心的外型設計充分體現了戲曲文化的精粹，從流線外型到空間的鋪排處理，呈現出「氣」的概念。戲曲中心中庭設計四通八達，每天迎接無數觀眾與訪客。
想了解更多，可瀏覽西九文化區網站。
戏曲中心由两个剧院、一个演讲厅和八个排演室组成。拥有1,075个座位的大剧院为专业戏曲表演而设，配备最先进的灯光和音响系统。茶馆剧场则配备当代中式家俱，重现精致典雅的传统茶馆环境和体验，观众可一边近距离欣赏戏曲表演，一边品茶和享用精美点心。
楼高八层的戏曲中心由谭秉荣建筑事务所（现称Revery Architecture）及吕元祥建筑师事务所设计。戏曲中心的外型设计充分体现了戏曲文化的精粹，从流线外型到空间的铺排处理，呈现出「气」的概念。戏曲中心中庭设计四通八达，每天迎接无数观众与访客。
想了解更多，可浏览西九文化区网站。
Major Sponsor|主要贊助|主要赞助
Travel Partner|旅遊夥伴|旅游伙伴
Hotel Partner|酒店夥伴|酒店伙伴
Technology Partner|科技夥伴|科技伙伴
Media Partners|媒體夥伴|媒体伙伴
Akiko Miki
International Artistic Director, Benesse Art Site Naoshima, Japan
Akiko Miki has formerly worked as Chief and Senior curator, Palais de Tokyo (Paris, 2000 – 2014), Co–director, Yokohama Triennale 2017 and Artistic Director of its 2011 edition among others. As curator, she has curated many international exhibitions including 1998 Taipei Biennial and currently involved in curatorial team of Bangkok Art Biennale 2024. She also served as guest curator of many large–scaled group shows as well as solo projects of Japanese artists such as Nobuyoshi Araki, Hiroshi Sugimoto, Takashi Murakami at major museums in Asia and Europe including Barbican Art Gallery (London), Taipei Fine Arts Museum, National Museum of Modern and Contemporary Art (Seoul), Mori Art Museum (Tokyo), Yokohama Museum of Art, Kyoto City KYOCERA Museum of Art and Hirosaki Museum of Contemporary Art. By having been involved in the project of Benesse Art Site Naoshima since its early period, she edited a book “Insular Insight – Where Art and Architecture Conspire with Nature” (Lars Müller, 2011) about the project, which received the DAM Architectural Book Award.
Dr András Szántó
New York-based cultural strategy consultant and author, United States
András Szántó advises museums, foundations, educational institutions, and corporations on cultural strategy and programme development, worldwide. He earned his PhD in sociology from Columbia University. A widely published author, his writings have appeared in The New York Times, Artforum, Artnet News, and The Art Newspaper, among other publications. As a consultant, he advises some of the world’s leading cultural institutions and corporate art programmes. He has lectured on art business at the Sotheby’s Institute of Art and has directed the National Arts Journalism Programme at Columbia University. At the Metropolitan Museum of Art, he helped launch and oversee the Global Museum Leaders Colloquium, a series of seminars for museum directors. He is a frequent moderator of the Art Basel Conversations series. Born in Budapest, he has curated exhibitions on Hungarian art of the 1960s and 70s. His most recent books are The Future of the Museum (2020) and Imagining the Future Museum (2022). He lives in Brooklyn.
Bertrand Lortholary
Ambassador of France to China
Mr. Bertrand Lortholary became Ambassador of France to China in March 2023.
Bertrand Lortholary joined the Ministry of Foreign Affairs after graduating from the Institute of Political Science (Sciences-Po) in Paris, the University of Paris-Dauphine, the National Institute of Oriental Languages and Civilizations (INALCO, studying Chinese), and from the National School of Administration (ENA, in the 1997 “Marc Bloch” graduation year).
He began his career at the Quai d’Orsay as a member of the Directorate for Africa and the Indian Ocean, where he mainly covered the conflict in the Great Lakes region in Central Africa. He later joined the Political Affairs General Director’s staff from 1998 to 2001.
His career led him, first to Washington, as an exchange diplomat at the State Department, then at the French Embassy, where he covered Asian and African political issues, between 2002 and 2005. After Washington, he served as senior counsellor for political affairs at the French Embassy in China from 2005 to 2008.
From 2008 to 2012, Bertrand Lortholary served as senior advisor for Asian and Pacific affairs to the President of the French Republic.
He was appointed Consul General of France in New York in 2012 and completed his mission in the United States in August 2016. He then served as French Ambassador to Vietnam from 2016 to 2019.
Before taking up his position as director for Asia and Oceania in October 2020, Bertrand Lortholary served as chief diplomatic advisor to the Prime Minister of the French Republic.
Bertrand Lortholary joined the Ministry of Foreign Affairs after graduating from the Institute of Political Science (Sciences-Po) in Paris, the University of Paris-Dauphine, the National Institute of Oriental Languages and Civilizations (INALCO, studying Chinese), and from the National School of Administration (ENA, in the 1997 “Marc Bloch” graduation year).
He began his career at the Quai d’Orsay as a member of the Directorate for Africa and the Indian Ocean, where he mainly covered the conflict in the Great Lakes region in Central Africa. He later joined the Political Affairs General Director’s staff from 1998 to 2001.
His career led him, first to Washington, as an exchange diplomat at the State Department, then at the French Embassy, where he covered Asian and African political issues, between 2002 and 2005. After Washington, he served as senior counsellor for political affairs at the French Embassy in China from 2005 to 2008.
From 2008 to 2012, Bertrand Lortholary served as senior advisor for Asian and Pacific affairs to the President of the French Republic.
He was appointed Consul General of France in New York in 2012 and completed his mission in the United States in August 2016. He then served as French Ambassador to Vietnam from 2016 to 2019.
Before taking up his position as director for Asia and Oceania in October 2020, Bertrand Lortholary served as chief diplomatic advisor to the Prime Minister of the French Republic.
Betty Fung
CEO, West Kowloon Cultural District Authority, HKSAR
Mrs Betty Fung was appointed by the West Kowloon Cultural District Authority (WKCDA) Board as Chief Executive Officer of WKCDA with effect from 15 October 2021.
Mrs Fung joined the Administrative Service of the Hong Kong Government in 1986. Since then, she had served in various bureaux and departments, including as Press Secretary to Chief Secretary and Financial Secretary, Assistant Director of Trade, Deputy Government Chief Information Officer and Deputy Secretary for Education and Manpower.
In 2007, Mrs Fung was appointed Director of Information Services who was the Government’s chief advisor on public relations and publicity matters. She was appointed Director of Leisure and Cultural Services from 2009 to 2014 to oversee the development and management of cultural, sports and recreation facilities in Hong Kong including museums, public libraries and performing arts venues. As Permanent Secretary for Home Affairs from July 2014 to April 2018, she oversaw the formulation of culture, sports and district administration policies and was actively involved in the implementation of the West Kowloon Cultural District project including the Hong Kong Palace Museum project.
Mrs Fung was Head, Policy Innovation and Co-ordination Office from April 2018 to November 2020 prior to her secondment to WKCDA as Acting CEO between December 2020 and June 2021.
Mrs Fung was awarded the Chevalier de l’Ordre National du Mérite in 2020 for her contributions towards fostering cultural cooperation and exchange between France and Hong Kong. She has been elected Executive Committee member of the Association of Asia Pacific Performing Arts Centres (2023 to 2025).
Mrs Fung joined the Administrative Service of the Hong Kong Government in 1986. Since then, she had served in various bureaux and departments, including as Press Secretary to Chief Secretary and Financial Secretary, Assistant Director of Trade, Deputy Government Chief Information Officer and Deputy Secretary for Education and Manpower.
In 2007, Mrs Fung was appointed Director of Information Services who was the Government’s chief advisor on public relations and publicity matters. She was appointed Director of Leisure and Cultural Services from 2009 to 2014 to oversee the development and management of cultural, sports and recreation facilities in Hong Kong including museums, public libraries and performing arts venues. As Permanent Secretary for Home Affairs from July 2014 to April 2018, she oversaw the formulation of culture, sports and district administration policies and was actively involved in the implementation of the West Kowloon Cultural District project including the Hong Kong Palace Museum project.
Mrs Fung was Head, Policy Innovation and Co-ordination Office from April 2018 to November 2020 prior to her secondment to WKCDA as Acting CEO between December 2020 and June 2021.
Mrs Fung was awarded the Chevalier de l’Ordre National du Mérite in 2020 for her contributions towards fostering cultural cooperation and exchange between France and Hong Kong. She has been elected Executive Committee member of the Association of Asia Pacific Performing Arts Centres (2023 to 2025).
Dr Chase F. Robinson
Director, Smithsonian’s National Museum of Asian Art, United States
Dr Chase F. Robinson has been director of the National Museum of Asian Art since December 2018. During his tenure, the museum has launched initiatives that have increased the number of visitors on–site and online, expanded the collections by over 5,400 works, built out its network of community– based and international partnerships, established itself at the forefront of provenance research, and nearly doubled the size of its board of trustees. A highly regarded scholar of Islamic history and culture, Robinson previously served as provost (2008 – 2013) and president (2013 – 2018) of the Graduate Center, the research campus of the City University of New York. Robinson has authored or edited nine books and more than forty articles that span the geographical and chronological breadth of the Islamic Middle East. They include A Medieval Islamic City Reconsidered: An Interdisciplinary Approach to Samarra (2001), Texts, Documents and Artefacts: Islamic Studies in Honour of D.S. Richards (2003), and the first volume of The New Cambridge History of Islam (2010). His book Islamic Civilization in Thirty Lives: The First 1,000 Years (2016) was translated into several languages. Robinson received his doctorate from Harvard University’s Department of Near Eastern Languages and Civilizations.
The Hon Henry Tang
Chairman of the Board of the West Kowloon Cultural District Authority, HKSAR
Mr Henry Tang is currently a Standing Committee Member of the National Committee of the Chinese People’s Political Consultative Conference, Chairman of the Friends of Hong Kong Association, President of The Légion d’Honneur Club Hong Kong Chapter and Chairman of the Shanghai Tang Junyuan Education Foundation. Mr Tang served as a Member of the Legislative Council and the Provisional Legislative Council of Hong Kong for seven years from 1991, and was a Member of the Executive Council of the HKSAR from 1997 to 2011. In 2002, he was appointed Secretary for Commerce, Industry and Technology of the HKSAR Government. He was promoted to Financial Secretary in 2003, and later served as the Chief Secretary for Administration from 2007 to 2011. He was Chairman of the Board of WKCDA from 2008 to 2011. Before joining the HKSAR Government in 2002, Mr Tang was a leading industrialist in Hong Kong. He served as Chairman of the Federation of Hong Kong Industries and as a General Committee Member of the Hong Kong General Chamber of Commerce from 1995 to 2001.
In 1991, Mr Tang was appointed the Justice of the Peace. In 2000 he was awarded the Gold Bauhinia Star by the HKSAR Government, and in 2009 he received Hong Kong’s highest honour, the Grand Bauhinia Medal.
In 1991, Mr Tang was appointed the Justice of the Peace. In 2000 he was awarded the Gold Bauhinia Star by the HKSAR Government, and in 2009 he received Hong Kong’s highest honour, the Grand Bauhinia Medal.
The Hon John KC Lee
The Chief Executive of the Hong Kong Special Administrative Region
Mr John Lee was born in 1957. He joined the Hong Kong Police Force in 1977 as a Probationary Inspector of Police and was promoted to Deputy Commissioner of Police in 2010. He served in a variety of posts in the Force, including Assistant Commissioner (Crime), Director of Crime and Security and Deputy Commissioner (Management). He holds a Master's degree of Public Policy and Administration from Charles Sturt University in Australia.
Mr Lee was appointed Under Secretary for Security in 2012 and Secretary for Security in 2017. During his service in the Security Bureau, he was responsible for the formulation of security policies covering law and order, immigration and customs control, fire and emergency rescue services, correctional services, government flying services and other areas. He also oversaw and coordinated the work of six disciplined services departments and two auxiliary forces under the Bureau.
Mr Lee was appointed Chief Secretary for Administration in 2021. Apart from assisting the Chief Executive in policy administration, Mr Lee was also responsible for supervising the work of nine policy bureaux, harmonising the work which straddled across different bureaux and departments, as well as promoting a good relationship between the Executive Authorities and the Legislature.
Mr Lee won the Chief Executive Election of the Hong Kong Special Administrative Region on 8 May 2022, and was appointed as the sixth-term Chief Executive by the Central People's Government on 20 May 2022. Mr Lee assumed office on 1 July 2022.
Mr Lee was appointed Under Secretary for Security in 2012 and Secretary for Security in 2017. During his service in the Security Bureau, he was responsible for the formulation of security policies covering law and order, immigration and customs control, fire and emergency rescue services, correctional services, government flying services and other areas. He also oversaw and coordinated the work of six disciplined services departments and two auxiliary forces under the Bureau.
Mr Lee was appointed Chief Secretary for Administration in 2021. Apart from assisting the Chief Executive in policy administration, Mr Lee was also responsible for supervising the work of nine policy bureaux, harmonising the work which straddled across different bureaux and departments, as well as promoting a good relationship between the Executive Authorities and the Legislature.
Mr Lee won the Chief Executive Election of the Hong Kong Special Administrative Region on 8 May 2022, and was appointed as the sixth-term Chief Executive by the Central People's Government on 20 May 2022. Mr Lee assumed office on 1 July 2022.
Katrina Sedgwick
Director and CEO, Melbourne Arts Precinct Corporation, Australia
Katrina Sedgwick is the inaugural Director and CEO of Melbourne Arts Precinct Corporation (MAP Co), established to harness the collective creativity of the Melbourne Arts Precinct and delivering Australia’s largest ever cultural infrastructure project. The $1.7 billion transformation of the Melbourne Arts Precinct encompasses The Fox NGV Contemporary, upgrades to Arts Centre Melbourne and an 18,000sqm urban garden. MAP Co also oversees the management of Federation Square, and leads the amplification of a single continuous arts, civic, and cultural precinct stretching from Federation Square through Southbank.
Prior to MAP Co, Katrina was Director and CEO of the national museum of screen culture ACMI, Head of Arts for ABC TV, founding Director / CEO of the biennial Adelaide Film Festival and the multi award winning slate of the Adelaide Film Festival Investment Fund, producer for the Adelaide Festival of Arts (1996, 1998 and 2000) and the artistic director of Come Out ‘99 and Adelaide Fringe 2002. She has held many committee and board roles with a wide range of creative industry and arts organisations.
In 2020, Katrina was awarded an Order of Australia Medal for her services to performing arts, screen industries and visual arts administration.
Prior to MAP Co, Katrina was Director and CEO of the national museum of screen culture ACMI, Head of Arts for ABC TV, founding Director / CEO of the biennial Adelaide Film Festival and the multi award winning slate of the Adelaide Film Festival Investment Fund, producer for the Adelaide Festival of Arts (1996, 1998 and 2000) and the artistic director of Come Out ‘99 and Adelaide Fringe 2002. She has held many committee and board roles with a wide range of creative industry and arts organisations.
In 2020, Katrina was awarded an Order of Australia Medal for her services to performing arts, screen industries and visual arts administration.
Laurent Salome
Director, National Museum of the Palaces of Versailles and Trianon, France
Laurent Salomé was the Deputy Director of the Museum of Grenoble from 1990 to 1995, the Director of the Museum of Fine Arts of Rennes from 1995 to 2001, the Director of the Museums of Rouen from 2001 to 2011 and the Director of Curatorial Affairs at the Réunion des musées nationaux – Grand Palais, where he was in charge of the exhibition programme of the Grand Palais and the Musée du Luxembourg in Paris from 2011 to 2016.
In 2016, he was appointed Director of the National Museum of the Palaces of Versailles and Trianon, where he pursued a firm policy of refurbishing the palaces, expanding the programming and enriching the collections.
He has organised over a hundred exhibitions including “A City for Impressionism: Monet, Pissarro and Gauguin in Rouen”, as well as many retrospectives at the Grand Palais in Paris devoted to major artists such as Hopper, Braque, Saint–Phalle, Velazquez and Hokusai. He has also been involved in many contemporary art projects, including most recently the exhibition of Claude and François–Xavier Lalanne in the gardens of Trianon.
Salomé is a graduate of the ESCP Business School in Paris and of the Ecole du Louvre. He also holds a degree from French National Institute of Cultural Heritage after he won first place in the competition for Curator of the Museums of France.
In 2016, he was appointed Director of the National Museum of the Palaces of Versailles and Trianon, where he pursued a firm policy of refurbishing the palaces, expanding the programming and enriching the collections.
He has organised over a hundred exhibitions including “A City for Impressionism: Monet, Pissarro and Gauguin in Rouen”, as well as many retrospectives at the Grand Palais in Paris devoted to major artists such as Hopper, Braque, Saint–Phalle, Velazquez and Hokusai. He has also been involved in many contemporary art projects, including most recently the exhibition of Claude and François–Xavier Lalanne in the gardens of Trianon.
Salomé is a graduate of the ESCP Business School in Paris and of the Ecole du Louvre. He also holds a degree from French National Institute of Cultural Heritage after he won first place in the competition for Curator of the Museums of France.
Dr Louis Ng
Museum Director, Hong Kong Palace Museum, HKSAR
Louis Ng has been the inaugural Museum Director of the Hong Kong Palace Museum since August 2019, overseeing the planning and construction of the museum which opened to the public in July 2022. He is currently responsible for the overall management and operation of the museum, supervising the development of its strategic vision and the delivery of its exhibition, research, collection, programming and education initiatives. He has also championed a number of international partnership initiatives, positioning the museum as a platform for dialogue among cultures around the world.
Throughout his career in the field of arts and culture, he had held research, curatorial and managerial positions at various museums. He served as the founding Director of the Hong Kong Museum of Coastal Defence, which opened in 2000, and held the position of Executive Secretary of the Antiquities and Monument Office in Hong Kong from 2002 to 2006. Before joining the West Kowloon Cultural District Authority, he served as Deputy Director of the Leisure and Cultural Services Department, HKSAR Government, where he oversaw the department’s culture–related institutions, including museums, performing arts venues and libraries. He earned his PhD degree from the Chinese University of Hong Kong, with a focus on Hong Kong history.
Throughout his career in the field of arts and culture, he had held research, curatorial and managerial positions at various museums. He served as the founding Director of the Hong Kong Museum of Coastal Defence, which opened in 2000, and held the position of Executive Secretary of the Antiquities and Monument Office in Hong Kong from 2002 to 2006. Before joining the West Kowloon Cultural District Authority, he served as Deputy Director of the Leisure and Cultural Services Department, HKSAR Government, where he oversaw the department’s culture–related institutions, including museums, performing arts venues and libraries. He earned his PhD degree from the Chinese University of Hong Kong, with a focus on Hong Kong history.
Ma Yansong
Architect, Founder of MAD Architects, China
Born in 1975 and graduated from Yale University in 2002, Ma Yansong founded MAD Architects in 2004. It is committed to developing futuristic, organic, technologically advanced designs that embody a contemporary interpretation of the Eastern affinity for nature. With a vision for the city of the future based in the spiritual and emotional needs of residents, MAD endeavours to create a balance between humanity, the city, and the environment. Their culturally rich architecture has gained widespread attention globally. Notable works include the Harbin Opera House, Quzhou Sports Park, Jiaxing Train Station, Yuecheng Courtyard Kindergarten, and the "Marilyn Monroe" Towers in Mississauga, Canada. Their ongoing public projects encompass the Lucas Museum of Narrative Art in Los Angeles, Fenix Museum of Migration in Rotterdam, and the Shenzhen Bay Cultural Park.
His recent exhibitions and art pieces include “Momentum” (Milan Design Week, 2023), “Universe” (Bi–City Biennale of Urbanism / Architecture, 2022), "Light" (Art in Fuliang, China, 2021), "MAD X" (Centre Pompidou, France, 2019); "Tunnel of Light" (Echigo–Tsumari Art Triennale, Japan, 2018); "Fifth Ring" (Milan Design Week, Italy, 2018); "Micro Garden" (Venice Architecture Biennale, Italy, 2016); "verso Est., Towards a Chinese Architectural Landscape" (MAXXI Museum, Italy, 2011); "Living" (Louisiana Museum of Modern Art, Denmark, 2011); "Feelings Are Facts: Olafur Eliasson and Ma Yansong" (Ullens Center for Contemporary Art, China, 2010); "China Design Now" (Victoria and Albert Museum, UK, 2008) and more.
His recent exhibitions and art pieces include “Momentum” (Milan Design Week, 2023), “Universe” (Bi–City Biennale of Urbanism / Architecture, 2022), "Light" (Art in Fuliang, China, 2021), "MAD X" (Centre Pompidou, France, 2019); "Tunnel of Light" (Echigo–Tsumari Art Triennale, Japan, 2018); "Fifth Ring" (Milan Design Week, Italy, 2018); "Micro Garden" (Venice Architecture Biennale, Italy, 2016); "verso Est., Towards a Chinese Architectural Landscape" (MAXXI Museum, Italy, 2011); "Living" (Louisiana Museum of Modern Art, Denmark, 2011); "Feelings Are Facts: Olafur Eliasson and Ma Yansong" (Ullens Center for Contemporary Art, China, 2010); "China Design Now" (Victoria and Albert Museum, UK, 2008) and more.
Maholo Uchida
Project Head, Center for Cultural Innovations at TAKANAWA GATEWAY CITY, East Japan Railway Foundation for Cultural Innovations, Japan
Maholo Uchida specialised in the combined field of art, technology, and design, worked at the Miraikan National Museum of Emerging Science and Innovation, and curated several exhibitions. She has participated in various museums, and awards as co–curator, jury, and advisor such as MoMA, Barbican Centre, and Good Design Award.
Makoto Fujiwara
Executive Director, Tokyo National Museum, Japan
Makoto Fujiwara joined the Ministry of Education, Science, Sports, and Culture in 1982, which became the Ministry of Education, Culture, Sports, Science and Technology (MEXT) in 2001. He also became the first Counsellor to serve in the Cabinet Secretariat of the Cabinet Affairs Office as a member of the MEXT that same year. He held various key positions in the MEXT as the Director of the Finance Division, Director–General of the Private Education Institution Department, Director–General of the Minister’s Secretariat, and Director–General of the Elementary and Secondary Education Bureau. In 2018, Fujiwara was appointed the Vice Minister of Education, Culture, Sports, Science and Technology, leading the operations in many fields such as education, culture, sports, and scientific technology. He was then appointed the 29th Executive Director of the Tokyo National Museum in 2022.
During his first year at the Tokyo National Museum, it was a milestone year for the Museum as it celebrated the 150th anniversary of its founding. He oversaw the special exhibition “Tokyo National Museum: Its History and National Treasures”, which was the first time the Museum displayed all of the National Treasures in its collection. The exhibition welcomed more than 350,000 visitors, and other anniversary events were held with great success. Recently, Fujiwara has been seeking ways to bolster strategic international exchange, under the slogan “Tokyo National Museum for the World”. He aims to strengthen the foundation of museum operations by securing increased support from public and private sectors. He continues to seek new opportunities that will pave the way towards another 150 years at the Museum.
During his first year at the Tokyo National Museum, it was a milestone year for the Museum as it celebrated the 150th anniversary of its founding. He oversaw the special exhibition “Tokyo National Museum: Its History and National Treasures”, which was the first time the Museum displayed all of the National Treasures in its collection. The exhibition welcomed more than 350,000 visitors, and other anniversary events were held with great success. Recently, Fujiwara has been seeking ways to bolster strategic international exchange, under the slogan “Tokyo National Museum for the World”. He aims to strengthen the foundation of museum operations by securing increased support from public and private sectors. He continues to seek new opportunities that will pave the way towards another 150 years at the Museum.
Dr Marcella Lista
Head Curator, New Media and Asia Pacific, Centre Pompidou, France
Marcella Lista is an art historian and curator. Since 2016, she is the Head Curator of the New Media Collection at Musée National d'Art Moderne – Centre Pompidou. Since 2020, her mission in this institution also covers researching and collecting in the Asia–Pacific region. Marcella Lista holds a PhD in Art History from Université Paris 1 Panthéon–Sorbonne. She has recently curated exhibitions with artists Ryoji Ikeda (2018), Hito Steyerl (2021), Hassan Khan (2022) and Saodat Ismailova (2023). She has conducted research and conservation projects related to Chris Marker's early computer–based installations as well as to the landmark postmodern exhibition "Les Immatériaux", originally held at Centre Pompidou in 1985. In 2023, Marcella Lista was responsible for the acquisition and exhibition of 18 art works related to the blockchain technology at the Centre Pompidou, in collaboration with curator Philippe Bettinelli.
Dr Maria Mok
Museum Director, Hong Kong Museum of Art, HKSAR
Maria Mok joined the Hong Kong Museum of Art in 1996, and is currently its Museum Director. She has extensive museum experience, previously curator in charge of different departments, including China Trade Art, Chinese Antiquities, Modern and Hong Kong Art, Education and Extension Services, and has curated and led a vast number of exhibitions and programmes. She is a specialist in China trade painting with a research focus on dating and authentication, and authored an extensive collection of published works with particular interest in the artistic interaction of global trade that includes Images of the Canton Factories 1760 – 1822: Reading History in Art (HKU Press: 2015) co–authored with Paul A. Van Dyke. Maria has a Bachelor's degree in Fine Arts Studies, a Master's degree in Chinese Historical Studies on Guangdong decorative arts of the Qing dynasty, a Doctoral degree on China trade painting, and a graduate diploma in Museum Studies.
María Wills Londoño
Independent Curator and Former Director, Banco de la República Art Museums, Bogotá, Colombia
María Wills Londoño is an independent curator working and living in Bogotá, Columbia. She was previously Director and curator at large of the Banco de la República art museums in Bogotá (Museo de Arte Miguel Urrutia, Museo Botero, and Museo Casa de Moneda). Her main curatorial interests relate to the instability of the contemporary image and the revision of official historical accounts in art. Her curatorial project “The Life of Things” led to her selection as curator of the 2019 MOMENTA Biennial of the Image in Canada. In this endeavour, she critiqued categories that define cultural objects as exotic or “non–Western,” as well as other aspects of creativity in the crisis of consumer society. With her essay “The Centenary of The Bauhaus: Of Conveniences and Connections” (El centenario de la Bauhaus: de conveniencias y conexiones), she won the Simón Bolívar Prize for Journalism in 2019. In that text, she addressed the relationships between the critical foundations of the Bauhaus, contemporary art, and handicrafts. Londoño’s curatorial projects have been exhibited in such renowned institutions as the International Center of Photography, New York; the Jeu de Paume, Paris; the Cartier Foundation for Contemporary Art, Paris; the Photographers Gallery, London; the Círculo de Bellas Artes, Madrid (PHotoESPAÑA); the Centro de la Imagen, Mexico City; the Miguel Urrutia Art Museum of Banco de la República, Bogotá; the Bogotá Museum of Modern Art; and the Medellín Museum of Modern Art, among others. Londoño is currently working on a revision of the Museum collection based on countermodernities and more inclusive approaches to the definition of art.
Prof Michael John Gorman
Director Designate, MIT Museum, United States and Founding Director, BIOTOPIA Naturkundemuseum Bayern, Germany
Michael John Gorman is Founding Director of BIOTOPIA, a new museum of life sciences and environment in development in Munich, and University Professor (Chair) in Life Sciences in Society at Ludwig–Maximilians–University Munich. In summer 2024 he will start as Director of the MIT Museum. Previously Michael John was Founding Director of Science Gallery in Dublin, dedicated to igniting creativity and discovery where science and art collide. In 2012 he founded Science Gallery International with the goal of bringing Science Gallery experiences to a global audience, with Science Gallery spaces now being established in London, Melbourne, Bangalore, Atlanta, Monterey and other cities. Prior to founding Science Gallery, Michael John was Lecturer in Science, Technology and Society at Stanford University and has held postdoctoral fellowships at Harvard University, Stanford University and MIT.
Dr Miguel Falomir
Director, Museo Nacional Del Prado, Spain
Miguel Falomir Faus was named the Chief of the Italian and French Paint Department at the Museo Nacional Del Prado in 1997, then became the Deputy Director of Preservation and Research in 2015, a position that he had held until he became the Director of the museum in March 2017.
Falomir has curated many of the Prado’s exhibitions including, “Titian” (2003), “Tintoretto” (2007), “The Renaissance Portrait” (2008), “The Furies: Political Allegory and Artistic Challenge” (2014), “Lorenzo Lotto. Portraits” (2018) and “Mithological Passions” (2021) among many others. He has also been involved in the restoration of important works by Titian, Tintoretto, Veronese and Raphael.
Falomir graduated in Art History from Valencia University with an Extraordinary Prize. From 1990 to 1993 he was a FPI fellow for the Education and Science Spanish Ministry at the Spanish National Research Council (CSIC). In 1993, he obtained a PhD degree in Art History from Valencia University, and subsequently served as a professor at the university from 1994 to 1995, when he also received a Fulbright Postdoctoral Fellowship at the Institute of Fine Arts at New York University. From 2008 to 2010, he was the Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts of the National Gallery of Art (Washington, DC).
He is a member of the Comitato Scientifico de la Fondazione Tiziano in Pieve di Cadore (Italy) and has been an invited professor in Údine University (Italy) and UCLA (USA). In 2018, he was awarded Harvard’s I Tatti Mongan Prize in recognition of his outstanding findings in the preservation area.
Falomir has curated many of the Prado’s exhibitions including, “Titian” (2003), “Tintoretto” (2007), “The Renaissance Portrait” (2008), “The Furies: Political Allegory and Artistic Challenge” (2014), “Lorenzo Lotto. Portraits” (2018) and “Mithological Passions” (2021) among many others. He has also been involved in the restoration of important works by Titian, Tintoretto, Veronese and Raphael.
Falomir graduated in Art History from Valencia University with an Extraordinary Prize. From 1990 to 1993 he was a FPI fellow for the Education and Science Spanish Ministry at the Spanish National Research Council (CSIC). In 1993, he obtained a PhD degree in Art History from Valencia University, and subsequently served as a professor at the university from 1994 to 1995, when he also received a Fulbright Postdoctoral Fellowship at the Institute of Fine Arts at New York University. From 2008 to 2010, he was the Andrew W. Mellon Professor at the Center for Advanced Study in the Visual Arts of the National Gallery of Art (Washington, DC).
He is a member of the Comitato Scientifico de la Fondazione Tiziano in Pieve di Cadore (Italy) and has been an invited professor in Údine University (Italy) and UCLA (USA). In 2018, he was awarded Harvard’s I Tatti Mongan Prize in recognition of his outstanding findings in the preservation area.
Refik Anadol
Media Artist and Director, Refik Anadol Studio, United States/Turkey
Refik Anadol is an internationally renowned media artist, director, and pioneer in the aesthetics of data and machine intelligence. He is the Director of Refik Anadol Studio in Los Angeles and Lecturer in UCLA’s Department of Design Media Arts. Anadol’s work locates creativity at the intersection of humans and machines. Taking the data that surrounds us as primary material, and the neural network of a computerised mind as a collaborator, Anadol offers us radical visualisations of our digitised memories and expands the possibilities of interdisciplinary arts. Anadol’s site–specific data paintings and sculptures, live audio / visual performances, and immersive installations take many forms, while encouraging us to rethink our engagement with the physical world, collective experiences, public art, decentralised networks, and the creative potential of AI. Anadol’s work has been exhibited at venues including MoMA, Centre Pompidou–Metz, Art Basel, National Gallery of Victoria, Venice Architecture Biennale, Hammer Museum, Arken Museum, Dongdaemun Design Plaza, Ars Electronica, Istanbul Modern, and ZKM | Center for Art and New Media. Anadol has received a number of awards and prizes including the Lorenzo il Magnifico Lifetime Achievement Award for New Media Art, Microsoft Research’s Best Vision Award, German Design Award, UCLA Art+Architecture Moss Award, Columbia University’s Breakthrough in Storytelling Award, and Google’s Artists and Machine Intelligence Artist Residency Award.
Shaika Al-Nassr
Director, Museum of Islamic Art, Doha, Qatar
Shaika Al–Nassr is the Director of the Museum of Islamic Art Doha (MIA), Al–Nassr has held several positions at the museum and most recently the Deputy Director of Curatorial Affairs, where she is tasked to oversee the Museum’s relaunch in 2022. Before this role, Al–Nassr was Head of Exhibitions, a position she held since 2007. Al–Nassr has managed numerous exhibitions and projects and has also contributed to the MIA publications Unseen Treasures (Doha, 2010) and Reading Quranic Manuscripts (Doha, 2011).
After graduating from Qatar University, earning a bachelor’s in English Literature, her interests moved towards Islamic art and museology, which, through her experiences at MIA, led her to pursue a postgraduate degree in Islamic Art at the School of Oriental and African Studies (SOAS), in London in 2008 and in Museum Studies from University College London (UCL) in 2011.
In addition to her academic pursuits, Al–Nassr presented multiple academic papers internationally in the USA, Italy, Bosnia, and Japan.
After graduating from Qatar University, earning a bachelor’s in English Literature, her interests moved towards Islamic art and museology, which, through her experiences at MIA, led her to pursue a postgraduate degree in Islamic Art at the School of Oriental and African Studies (SOAS), in London in 2008 and in Museum Studies from University College London (UCL) in 2011.
In addition to her academic pursuits, Al–Nassr presented multiple academic papers internationally in the USA, Italy, Bosnia, and Japan.
Suhanya Raffel
Museum Director, M+, HKSAR
Suhanya Raffel is the Museum Director of M+ in Hong Kong’s West Kowloon Cultural District since her appointment in 2016. She leads M+ and oversees all museum activities, including acquisitions, programming, collections care, development, research, institutional collaborations, and museum operations. Since joining M+, Raffel has led the museum’s mission, broadening its international reach and championing its deep connection with its local community. In less than two years since M+ opened to public in November 2021, it has welcomed over 4.5 million visitors through its doors even with a three–and–a–half month closure due to COVID.
Previously, Raffel was the Director of Collections and then Deputy Director at the Art Gallery of New South Wales (AGNSW), Sydney, Australia (2013 – 2016), and held many senior curatorial positions, including Deputy Director of Curatorial and Collection Development from 2010 and Acting Director in 2012 at the Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (1994 – 2013), where she was instrumental in building the contemporary Asia Pacific collection and led its Asia Pacific Triennial of Contemporary Art.
Raffel has been appointed as the President of CIMAM, the International Committee for Museums and Collections of Modern Art (2023 – 2025), and has served on the CIMAM Board since 2016. She is also a member of the Bizot Group (2021 – ongoing) and is a Trustee of the Geoffrey Bawa Trust and the Lunuganga Trust, Sri Lanka (1994 ongoing). She was awarded the title of Chevalier in the Ordre des Arts et des Lettres by the French government in 2020 and the 2022 Sydney University Alumni Achievement Awardee for Cultural Contribution.
Previously, Raffel was the Director of Collections and then Deputy Director at the Art Gallery of New South Wales (AGNSW), Sydney, Australia (2013 – 2016), and held many senior curatorial positions, including Deputy Director of Curatorial and Collection Development from 2010 and Acting Director in 2012 at the Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (1994 – 2013), where she was instrumental in building the contemporary Asia Pacific collection and led its Asia Pacific Triennial of Contemporary Art.
Raffel has been appointed as the President of CIMAM, the International Committee for Museums and Collections of Modern Art (2023 – 2025), and has served on the CIMAM Board since 2016. She is also a member of the Bizot Group (2021 – ongoing) and is a Trustee of the Geoffrey Bawa Trust and the Lunuganga Trust, Sri Lanka (1994 ongoing). She was awarded the title of Chevalier in the Ordre des Arts et des Lettres by the French government in 2020 and the 2022 Sydney University Alumni Achievement Awardee for Cultural Contribution.
Dr Thomas P. Campbell
Director and CEO, Fine Arts Museums of San Francisco, United States
Serving for over a decade as Director and CEO of two major US art museums – the Metropolitan Museum of Art from 2009 – 2017, and the Fine Arts Museums of San Francisco since 2018 – Thomas P. Campbell has dedicated his life to the preservation, study, and promotion of art as a gateway to human understanding.
Since joining the Fine Arts Museums in 2018, he has worked together with staff to strengthen the institution’s ties to local communities through an ongoing Free Saturdays programme, through key acquisitions and partnerships, and through an open invitational exhibition that celebrates creativity in the Bay Area. As part of the institution’s strategic plan, Campbell has centred Diversity, Inclusion, Equity, and Access as core values.
A distinguished art historian, he was educated at Oxford and the Courtauld Institute of Art, and joined the Metropolitan Museum of Art’s curatorial ranks in 1995. Following his appointment as Director, Campbell led a revitalisation and modernisation programme embodied in award–winning exhibitions and publications, major capital projects, and historic donations of works of art. During his tenure, attendance grew from 4.5 to 7 million visitors a year.
Since joining the Fine Arts Museums in 2018, he has worked together with staff to strengthen the institution’s ties to local communities through an ongoing Free Saturdays programme, through key acquisitions and partnerships, and through an open invitational exhibition that celebrates creativity in the Bay Area. As part of the institution’s strategic plan, Campbell has centred Diversity, Inclusion, Equity, and Access as core values.
A distinguished art historian, he was educated at Oxford and the Courtauld Institute of Art, and joined the Metropolitan Museum of Art’s curatorial ranks in 1995. Following his appointment as Director, Campbell led a revitalisation and modernisation programme embodied in award–winning exhibitions and publications, major capital projects, and historic donations of works of art. During his tenure, attendance grew from 4.5 to 7 million visitors a year.
Tim Reeve
Chair of East Bank Board, Deputy Director and Chief Operating Officer of Victoria and Albert Museum, London, United Kingdom
Tim Reeve has been Deputy Director and Chief Operating Officer of the Victoria and Albert Museum (V&A), the world's leading museum of art, design and performance, since 2013. Taking a strategic and operational overview of all museum activities, Reeve is also leading the creation of V&A East in the Queen Elizabeth Olympic Park, East London, which will see a new research and collections centre alongside a major new gallery and exhibition space. He also leads the V&A's international strategy and oversaw the opening of the V&A Gallery at Design Society in Shenzhen in 2017.
Before joining the V&A, Reeve was Director of Historic Properties at English Heritage. He is a graduate in Ancient History from Royal Holloway, University of London, and studied at the UCL Institute of Archaeology and INSEAD on its International Executive Programme. He is the V&A’s nominated director on the board of V&A Dundee, a trustee of the Canal and River Trust, a member of the Hunterian Strategic development Board, chair of the East Bank Board and was previously co–chair of the Exhibition Road Cultural Group.
Before joining the V&A, Reeve was Director of Historic Properties at English Heritage. He is a graduate in Ancient History from Royal Holloway, University of London, and studied at the UCL Institute of Archaeology and INSEAD on its International Executive Programme. He is the V&A’s nominated director on the board of V&A Dundee, a trustee of the Canal and River Trust, a member of the Hunterian Strategic development Board, chair of the East Bank Board and was previously co–chair of the Exhibition Road Cultural Group.
Dr Wang Chunfa
Director, National Museum of China
Wang Chunfa, PhD in Economics from the Graduate School of Chinese Academy of Social Sciences. He graduated from Lanzhou University with a master’s degree in economics and a bachelor’s degree in history. He was qualified as a Research Fellow in 2000. He once worked at the China University of Geosciences (Beijing) and the Chinese Academy of Social Sciences as a teacher and researcher. He was a visiting scholar to George Washington University, USA. Currently, he is Director of the National Museum of China, Chair of the museum’s Academic Committee, and Editor–in–Chief of Journal of National Museum of China.
As a long–time researcher in world economic history and science and technology policy, Wang is the author of numerous books, including Technology Innovation Policies: Theory and Instrument, National Innovation System and Prospects of Economic Growth in East Asia, etc. He co–authored The Modernization of Agriculture in Western Countries and Socialized Agricultural Service System in the United States: An Introduction to Agricultural Cooperatives. He is also the author of more than 100 papers such as FDI and Endogenous of Technological Capability Growth. He was a participant in the drafting of the Outline of China’s National Plan for Medium– and Long–Term Science and Technology Development (2006 – 2020).
Wang is the translator of The Growth of the International Economy: 1820 – 1990 and presided over the translation of numerous academic works. He held positions like Vice Chairperson of the Executive Council of the Chinese Association for Science of Science and S&T Policy, Vice President of the China Written Works Copyright Society.
As a long–time researcher in world economic history and science and technology policy, Wang is the author of numerous books, including Technology Innovation Policies: Theory and Instrument, National Innovation System and Prospects of Economic Growth in East Asia, etc. He co–authored The Modernization of Agriculture in Western Countries and Socialized Agricultural Service System in the United States: An Introduction to Agricultural Cooperatives. He is also the author of more than 100 papers such as FDI and Endogenous of Technological Capability Growth. He was a participant in the drafting of the Outline of China’s National Plan for Medium– and Long–Term Science and Technology Development (2006 – 2020).
Wang is the translator of The Growth of the International Economy: 1820 – 1990 and presided over the translation of numerous academic works. He held positions like Vice Chairperson of the Executive Council of the Chinese Association for Science of Science and S&T Policy, Vice President of the China Written Works Copyright Society.
Dr Wang Xudong
Director of the Palace Museum, on behalf of the Minister of Culture and Tourism, PRC
Wang Xudong graduated from Lanzhou University’s College of Earth and Environmental Sciences with a PhD in Geological Engineering. Prior to his tenure as the Director of the Palace Museum, Dr Wang served consecutively as the Deputy Director, Executive Deputy Director and Director of the Dunhuang Academy. His research work has focused primarily on the conservation of caves, ancient mural paintings, and earthen sites, as well as cultural heritage monitoring and early warning systems and preventive conservation. Since 1991, when he began his career in heritage conservation, he has presided over sixty conservation projects at nationally protected key cultural heritage sites, undertaken nearly twenty national, provincial, or ministerial level projects, and presided over or participated as a key member in over ten international collaborative projects with cultural heritage protection and management institutions in the United States, Japan, the United Kingdom, Australia, and other countries. As primary author, he has published over thirty academic papers and six monographs, including Key Earthen Site Conservation Technology Research and Normative Research on Ancient Mural Paintings. He has also received over ten national, provincial or ministerial–level science and technology awards, as well as the Ho Leung Ho Lee Foundation’s Science and Technology Innovation Award. Dr Wang has obtained more than twenty technical patents and led the compilation of five National and Industry Technology Standards. He has been merited with numerous awards, including “Nationwide Outstanding Scientific and Technological Worker”, “Top Innovative Talent in the Publicity and Culture System”, “Gansu Province May 1st Labor Medal”, “Excellent Ministry of Culture Expert”, “Outstanding Gansu Province Expert”, and “Gansu Province Advanced Worker”. He was selected as a fellow of the National Hundred–Thousand–Ten Thousand Talents Project and Gansu Province’s Leading Talents Project.
Dr Wang Xudong
Director, The Palace Museum, China
Wang Xudong graduated from Lanzhou University’s College of Earth and Environmental Sciences with a PhD in Geological Engineering. Prior to his tenure as the Director of the Palace Museum, Dr Wang served consecutively as the Deputy Director, Executive Deputy Director and Director of the Dunhuang Academy. His research work has focused primarily on the conservation of caves, ancient mural paintings, and earthen sites, as well as cultural heritage monitoring and early warning systems and preventive conservation. Since 1991, when he began his career in heritage conservation, he has presided over sixty conservation projects at nationally protected key cultural heritage sites, undertaken nearly twenty national, provincial, or ministerial level projects, and presided over or participated as a key member in over ten international collaborative projects with cultural heritage protection and management institutions in the United States, Japan, the United Kingdom, Australia, and other countries. As primary author, he has published over thirty academic papers and six monographs, including Key Earthen Site Conservation Technology Research and Normative Research on Ancient Mural Paintings. He has also received over ten national, provincial or ministerial–level science and technology awards, as well as the Ho Leung Ho Lee Foundation’s Science and Technology Innovation Award. Dr Wang has obtained more than twenty technical patents and led the compilation of five National and Industry Technology Standards. He has been merited with numerous awards, including “Nationwide Outstanding Scientific and Technological Worker”, “Top Innovative Talent in the Publicity and Culture System”, “Gansu Province May 1st Labor Medal”, “Excellent Ministry of Culture Expert”, “Outstanding Gansu Province Expert”, and “Gansu Province Advanced Worker”. He was selected as a fellow of the National Hundred–Thousand–Ten Thousand Talents Project and Gansu Province’s Leading Talents Project.
Dr Yannick Lintz
President, Guimet–National Museum of Asian Arts, France
Yannick Lintz began her career as the Director of the Musée des Beaux–Arts in Agen. Between 2000 and 2002, she was advisor for museums and heritage to Jack Lang, then Minister of Education. She then joined the Louvre Museum in 2003, where she was appointed Head of the Islamic Art Department in 2013, a position she held until her appointment as President of the Guimet–National Museum of Asian Arts, in 2022 by the President of the French Republic, Mr Emmanuel Macron.
She has curated numerous international exhibitions such as “Medieval Morocco”, and “The Splendours of Uzbekistan's Oases” at the Louvre Museum and abroad.
Her involvement in major cultural diplomacy initiatives translated into several large scale and ground–breaking projects with Arab countries, Central Asia and Iran, where she presented “Le Louvre à Téhéran” in 2018. In 2020, she organised a nation–wide event, deployed in 18 French cities, named “Islamic Art: A Past for a Present”. She has also developed an international expertise on Islamic Art Museums advising on their policies, narratives, and educational challenges.
As Guest Professor at the Sorbonne University (Paris, France) and at Senghor University (Alexandria, Egypt), she has taught courses on Museum Management and Heritage Education. She has extensive experience on Endangered Heritage through her previous position as Vice–Chairman of ICOM France from 2000 through 2009.
Dr Lintz is a Knight of the French Order of Merit and of the Legion of Honor as well as an Officer of Arts and Letters. She holds a PhD in Achaemenid History from the Sorbonne University and graduated as General Curator of Heritage.
She has curated numerous international exhibitions such as “Medieval Morocco”, and “The Splendours of Uzbekistan's Oases” at the Louvre Museum and abroad.
Her involvement in major cultural diplomacy initiatives translated into several large scale and ground–breaking projects with Arab countries, Central Asia and Iran, where she presented “Le Louvre à Téhéran” in 2018. In 2020, she organised a nation–wide event, deployed in 18 French cities, named “Islamic Art: A Past for a Present”. She has also developed an international expertise on Islamic Art Museums advising on their policies, narratives, and educational challenges.
As Guest Professor at the Sorbonne University (Paris, France) and at Senghor University (Alexandria, Egypt), she has taught courses on Museum Management and Heritage Education. She has extensive experience on Endangered Heritage through her previous position as Vice–Chairman of ICOM France from 2000 through 2009.
Dr Lintz is a Knight of the French Order of Merit and of the Legion of Honor as well as an Officer of Arts and Letters. She holds a PhD in Achaemenid History from the Sorbonne University and graduated as General Curator of Heritage.
Yat Siu
Co–Founder and Executive Chairman, Animoca Brands, HKSAR
Veteran technology entrepreneur / investor Yat Siu is a major figure in the open metaverse and blockchain gaming. He is the co–founder and executive chairman of Animoca Brands, a global leader in blockchain and gaming that is working to provide property rights for virtual assets via NFTs and related technologies. Yat began his career at Atari Germany in 1990. In 1995 he established Hong Kong Cybercity / Freenation, the first free web page and email provider in Asia. In 1998 he set up Outblaze, an award–winning pioneer of multilingual white label web services. In 2009, he sold Outblaze’s messaging unit to IBM, and pivoted Outblaze to become an incubator of projects and companies to develop digital entertainment services and products. One of those incubated projects is Animoca Brands, created in 2014.
Since 2018, Yat has been an advocate for the use of blockchain and NFTs in the gaming industry. With a strong vision of the potential of decentralised apps and assets, Yat quickly steered Animoca Brands to a leadership position in the open metaverse: the company has one of the largest blockchain portfolios in the world.
Yat has earned numerous accolades, including Global Leader of Tomorrow at the World Economic Forum, Young Entrepreneur of the Year at the DHL / SCMP Awards, and recognition as one of Cointelegraph's top 100 notable people in blockchain. A classically trained musician, Yat is a member of the advisory board of BAFTA (British Academy of Film and Television Arts) and a director of the Asian Youth Orchestra.
Since 2018, Yat has been an advocate for the use of blockchain and NFTs in the gaming industry. With a strong vision of the potential of decentralised apps and assets, Yat quickly steered Animoca Brands to a leadership position in the open metaverse: the company has one of the largest blockchain portfolios in the world.
Yat has earned numerous accolades, including Global Leader of Tomorrow at the World Economic Forum, Young Entrepreneur of the Year at the DHL / SCMP Awards, and recognition as one of Cointelegraph's top 100 notable people in blockchain. A classically trained musician, Yat is a member of the advisory board of BAFTA (British Academy of Film and Television Arts) and a director of the Asian Youth Orchestra.
HKPM
The Hong Kong Palace Museum (HKPM) aspires to become a leading cultural institution committed to the study and appreciation of Chinese art and culture. Opened in July 2022, HKPM is a collaborative project between the West Kowloon Cultural District Authority and the Palace Museum in Beijing. Featuring more than 900 precious treasures from the Palace Museum, including 166 grade-one objects, the opening exhibitions series constitute the Palace Museum’s largest loan to an institution outside Mainland China since its establishment in 1925.
At its heart, the HKPM is a cultural resource that belongs to the community of Hong Kong. It is a dynamic platform that inspires community engagement, fosters cross-cultural dialogues and works to promote creativity and interdisciplinary collaboration. Through research, exhibitions and publications, as well as educational, cultural and professional exchange programmes, the Museum builds international partnerships and helps position Hong Kong as a hub for art and cultural exchanges between China and the rest of the world.
A fresh and contemporary interpretation of traditional architectural aesthetics, the HKPM building houses nine galleries covering a total of 7,800 square metres, a 400-seat auditorium, a museum shop and several restaurants. Designed by Hong Kong-based Rocco Design Architects Associates, the building draws inspiration from both Chinese art and architecture and Hong Kong’s urban environment. Three atriums connect the different floors of the HKPM vertically, referencing the horizontal spatial configuration of the Forbidden City along its central axis and embracing a spirit of bringing Chinese heritage to modern audiences. The HKPM building has won the HKIA Medal of the Year in HKIA Annual Awards 2022/23 from the Hong Kong Institute of Architects.
For more information, please visit the Hong Kong Palace Museum website.
At its heart, the HKPM is a cultural resource that belongs to the community of Hong Kong. It is a dynamic platform that inspires community engagement, fosters cross-cultural dialogues and works to promote creativity and interdisciplinary collaboration. Through research, exhibitions and publications, as well as educational, cultural and professional exchange programmes, the Museum builds international partnerships and helps position Hong Kong as a hub for art and cultural exchanges between China and the rest of the world.
A fresh and contemporary interpretation of traditional architectural aesthetics, the HKPM building houses nine galleries covering a total of 7,800 square metres, a 400-seat auditorium, a museum shop and several restaurants. Designed by Hong Kong-based Rocco Design Architects Associates, the building draws inspiration from both Chinese art and architecture and Hong Kong’s urban environment. Three atriums connect the different floors of the HKPM vertically, referencing the horizontal spatial configuration of the Forbidden City along its central axis and embracing a spirit of bringing Chinese heritage to modern audiences. The HKPM building has won the HKIA Medal of the Year in HKIA Annual Awards 2022/23 from the Hong Kong Institute of Architects.
For more information, please visit the Hong Kong Palace Museum website.
M+
M+ is the first global museum of contemporary visual culture in Asia. Opened in November 2021, it features permanent collections rooted in Asia but defined, developed and examined from a global perspective. With a total of 33 galleries spanning 17,000 square metres, M+ is dedicated to collecting, exhibiting and interpreting visual art, design and architecture, moving images and Hong Kong visual culture of the 20th and 21st centuries. The museum also includes three cinema houses, two museum shops and a number of restaurants, as well as a member-exclusive M+ lounge. M+ also has a standalone Conservation and Storage Facility to house its 8,000+ collections and conservation laboratories.
Designed by a global team of world-renowned architecture firms, Herzog & de Meuron in partnership with TFP Farrells and Arup, M+ is both monumental in its architectural form and radically open in its position in the urban landscape. Located on the Victoria Harbourfront, the M+ Facade is embedded with LEDs for screening moving image works. The Facade’s custom-designed cladding draws inspiration from traditional Chinese roofs. The museum building is in a structure not simply anchored in its surroundings, but also formed by them.
For more information, please visit the M+ website.
Designed by a global team of world-renowned architecture firms, Herzog & de Meuron in partnership with TFP Farrells and Arup, M+ is both monumental in its architectural form and radically open in its position in the urban landscape. Located on the Victoria Harbourfront, the M+ Facade is embedded with LEDs for screening moving image works. The Facade’s custom-designed cladding draws inspiration from traditional Chinese roofs. The museum building is in a structure not simply anchored in its surroundings, but also formed by them.
For more information, please visit the M+ website.
Xiqu Centre
The Xiqu Centre opened its doors to the public in January 2019 as a world-class performing arts venue in the WKCD dedicated to the preservation, promotion and development of Chinese traditional theatre, in particular Cantonese opera. Presenting traditional xiqu performances, the Xiqu Centre strives to advance the legacies and traditions of this unique artform, while simultaneously encouraging artists to create new pieces or improve on existing works. It seeks to expand the audience base and encourage a new generation of artists for xiqu, sharing Hong Kong’s world intangible cultural heritage with an international audience.
The Xiqu Centre consists of two theatres, a seminar hall and eight rehearsal studios. The 1,075-seat Grand Theatre is a world-class venue tailor-made for professional xiqu performances, fitted with an orchestra pit and state-of-the-art lighting and sound equipment. The Tea House Theatre was designed to recreate the intimate atmosphere and experience of a traditional tea house, offering Chinese tea and dim sum during performances. It is also suitable for small-scale performances of regional xiqu genres or traditional music.
The eight-storey Xiqu Centre was designed by Bing Thom Architects (now Revery Architecture) and Ronald Lu & Partners. The striking architectural design embodies the essence of the xiqu art form, with the concept of “flow” or “qi” interpreted in the fluid movements of the building and the use of curved planes, arched openings and circular paths. The Atrium has a large podium and is light and spacious, with doorless entrances that open to the outdoors, making it an attractive destination any day of the week, even at times when no performances are taking place.
For more information, please visit the WKCDA website.
The Xiqu Centre consists of two theatres, a seminar hall and eight rehearsal studios. The 1,075-seat Grand Theatre is a world-class venue tailor-made for professional xiqu performances, fitted with an orchestra pit and state-of-the-art lighting and sound equipment. The Tea House Theatre was designed to recreate the intimate atmosphere and experience of a traditional tea house, offering Chinese tea and dim sum during performances. It is also suitable for small-scale performances of regional xiqu genres or traditional music.
The eight-storey Xiqu Centre was designed by Bing Thom Architects (now Revery Architecture) and Ronald Lu & Partners. The striking architectural design embodies the essence of the xiqu art form, with the concept of “flow” or “qi” interpreted in the fluid movements of the building and the use of curved planes, arched openings and circular paths. The Atrium has a large podium and is light and spacious, with doorless entrances that open to the outdoors, making it an attractive destination any day of the week, even at times when no performances are taking place.
For more information, please visit the WKCDA website.
