Luke Ching Chin Wai

Luke Ching Chin Wai, Folk Art Series: Cockroach, 2006, video and double sided tape.
Nominated by Tang Kwok Hin, 一九八三 (1983).

Ching (HK) sees himself as a spontaneous observer of the city.  The cockroach is the first object he chose for his Folk Art Series. He is interested in the close relationship between folk art and everyday life, and the value of inheritance.  He aims to develop a form of folk art that is unique to the modern Hong Kong experience. Currently, there are over 4,000 people who have attended his workshops to learn how to use double-sided tape to make a cockroach.  He hopes that one day this will become an original folk art product from Hong Kong.


John Wong

John Wong, RuChu AR, 2020, 27 min, AR App.
Nominated by K11 Art Foundation.

RuChu, “如初” in Chinese characters, means “as the beginning”. This work is inspired by and based on I-Ching, the book of changes and a classic Chinese philosophical text that Wong (HK) has been studying over 10 years. He noticed an interesting and mesmerizing pattern hidden in the repeated keywords: Pattern visualisation is a core aesthetic in Wong’s work. The artist is interested to explore and trace back to the beginning of Chinese culture’s subconsciousness or ‘DNA’ through looking at the frequency of characters that appear in the full text, forming the pattern of our subconsciousness. The AR work displays the full text (4152 Chinese characters) of I-Ching as the visual base. A cursor runs from top left to bottom right. When the cursor hits any word or phrase that frequently repeats itself in the whole text, the same word or phrase (All) will be translated into English and pronounced in English by the computer. For example, “无咎” will become “NO REGRET”, “吉” will become “GOOD”, “凶” will become “BAD”, etc. The cursor loops the whole text again and again like a hypnosis with the I-Ching’s pattern analysis.


Hui Wai Keung

Hui Wai Kung, Re-Dürer, 2016, generated graphics from video game hacking.
Nominated by Angel Leung and Kyle Chung, Videotage.

Hui (HK) reworks three well-known engravings by Albrecht Dürer through hacking a video game to generate graphics.  He presents the result as a three-channel video installation (or screening). Hui is convinced that the ancient definitions of inspired melancholy from Pseudo-Aristotle are inscribed on Durer’s engravings.

“Our melancholy, as well as our lives, are classified into three types (or stages): imagination, reason, and intellect. I’ve reworked the concepts based on my own interpretation and emotion.” Hui Wai Keung

Having attempted various art forms, Hui Wai Keung is now focusing on digital media, such as game, generative or algorithmic art. Hui is now researching the topics of expanded space and perception, such as the visual study of the fourth dimension. He believes it is time for art to go back to sublime, but a new definition of sublime.


Elaine Wong


Elaine Wong, Tomorrow in a Glass, 2017, digital video.
Nominated by Bess Chan, Hong Kong International Photo Festival.

Wong (HK) received her Master of Fine Art (Creative Media) from the School of Creative Media, City University of Hong Kong in 2019.  She explores and unveils diverse daily encounters through experimentation, for example with a storm glass (now considered a decorative item but historically used to ‘predict’ the weather).  Tomorrow in a Glass generates unique videos from a video database, depending on real-time images captured with a webcam attached to a storm glass, to provide a forecast for the following day in Hong Kong. During the Peer to Peer: UK/ HK Festival, the storm glass will be placed in 4 different locations in Hong Kong, where online viewers can submit videos to be included in the database.

Insta @miss_elainewong
Facebook: /elainewongsukyin


Lindsay Taylor

Curator, University of Salford

Lindsay has led the strategic development of the University of Salford Art Collection since 2013, including brokering key partnerships with artists and arts organisations across the UK and increasingly China. She pioneered a new collecting policy based on three strands: Chinese Contemporary Art, About the Digital and From the North, reflecting her passion for supporting artists and for creating a collection that tells ‘a story of now’.  Working in partnership is at the heart of all activity, with most acquisitions being co-commissions.  Lindsay has expertise in curating exhibitions and developing public collections of contemporary art, particularly in underrepresented areas such as installation and digital art.  She has commissioned new work by numerous artists from the UK and China and continues to contribute to national debate about developing contemporary collections.  In 2014 she established a Graduate Scholarship Programme, supporting a small number of artists in their first year after graduation, now in its seventh year.

Previously Lindsay has held positions at the Harris Museum and Art Gallery, Preston, Tate Liverpool and The Walker, Liverpool. She is currently a trustee of the Peter Scott Gallery Trust at Lancaster University and on the advisory board for the Grundy Art Gallery in Blackpool.


Ying Kwok

Hong Kong

Instagram: @yingkwoks

Ying Kwok is an independent curator based in Hong Kong. She works with a diverse range of art and cultural institutions locally and internationally, from artist’s initiatives, art festivals, to public museums and the commercial sector. She always synthesizes different art forms in contemporary visual art, from site specific commissions, performances, to film and video. Kwok is the curator for Contagious Cities: Far Away, Too Close for Tai Kwun Contemporary and Wellcome Trust, the lead curator of LOOK International Photography Festival 2017, and curator at M+ for Samson Young: Songs for Disaster Relief as Hong Kong presentation at the 57thVenice Biennale. Before embarking on her independent career, Kwok was the curator at the Centre for Chinese Contemporary Art in Manchester UK, between 2006 and 2012. 

Apart from curating, Kwok also founded Art Appraisal Club with a group of local art professionals in 2014, in order to encourage critical thinking and initiating effective art discussions in Hong Kong. The group provides regular exhibition reviews and their articles are published in magazines, various cultural networks and their own bilingual journal, Art Review Hong Kong. In 2014, Kwok was awarded the Asia Cultural Council Fellowship. She is an international fellow in the Clore Leadership Programme 2018/19.