David Clarke is both an art historian and a visual artist. Trained in London, he moved to Hong Kong in 1986 to take up employment at the University of Hong Kong, where he worked till 2017. Clarke’s art historical research has been primarily in the areas of American and Chinese art history, and his sole-author books include: The Influence of Oriental Thought on Postwar American Painting and Sculpture (1988);  Hong Kong Art: Culture and Decolonization (2001);  Water and Art (2010); and Chinese Art and its Encounter with the World (2011). As a visual artist Clarke has exhibited his work in Hong Kong and around the world on more than sixty occasions during the last thirty years, including several one-person museum shows in Hong Kong and an extensive one-person exhibition in Britain. He has published two photo books concerning Hong Kong: Reclaimed Land: Hong Kong in Transition (2002) and Hong Kong x 24 x 365: A Year in the Life of a City (2007). Recent projects have focused on artistic collaboration: he undertook a dialogue with performance artist Kwok Mangho, with the composers Chan Hing-yan and Joyce Wai-Chung Tang (who have both separately written musical compositions in response to Clarke’s photographic images), and with creative writer Xu Xi (a word/image dialogue was published in 2016 as Interruptions by the University Museum and Art Gallery, HKU).  Clarke is the founder and academic director of the Hong Kong Art Archive (, and has played major public service roles for organizations such as the Hong Kong Arts Centre, the Hong Kong Arts Development Council, the West Kowloon Cultural District Authority, and the College Art Association.  A series of 73 lectures by Clarke on modern art is freely available online at

祈大衛身兼藝術歷史學家及視覺藝術家。他於倫敦受訓練,從1986年起移居到香港並任職於香港大學至2017年。祈氏主要的藝術歷史研究領域為美國與中國藝術歷史,他的個人著作包括: 《The Influence of Oriental Thought on Postwar American Painting and Sculpture》 (1988);  《Hong Kong Art: Culture and Decolonization (2001);  《Water and Art》 (2010); and 《Chinese Art and its Encounter with the World》 (2011)。作為視覺藝術家,祈氏的作品在過去三十年間展覽於香港與全世界超過六十個場地,包括於多個香港的博物館的個人展覽以及於英國的大規模的個人展覽。他曾出版兩本關於香港的攝影集:《Reclaimed Land : Hong Kong in Transition》 (2002)及《Hong Kong x 24 x 365: A Year in the Life of a City》 (2007) 。最近的項目專注於藝術的合作:他進行了與行為藝術家郭孟浩、作曲家陳慶恩與鄧慧中的對話(他們都分別譜寫了樂曲回應祈氏的攝影圖像)、以及創意作家許素細(《Interruptions》,由香港大學美術博物館出版於2016年的一個文字/圖像的對話)。祈氏為Hong Kong Art Archive的創辦人與學術總監(,以及為多個組織擔當重要的公務角色,如香港藝術中心、香港藝術發展局、西九龍文化區管理局以及美國大學藝術協會。祈氏關於現代藝術一系列七十三節的講課現可於網上免費收看。

Guest Artist

Oscar Ho Hing-kay was formerly the Exhibition Director of the Hong Kong Arts Centre and Founding Director of the Museum of Contemporary Art in Shanghai. He was member of the Museum Advisory Group, which conceived the idea of ‘M+’ of the West Kowloon Cultural District, and one of the founding board directors of Asia Art Archive, and a member of the International Committee of documenta 13. He is the founder of the Hong Kong chapter of the International Art Critics Association. Currently he is an associate professor and director of the MA programme in cultural management at the Department of Cultural and Religious Studies of the Chinese University of Hong Kong and remains active as critic and curator.

何慶基曾任香港藝術中心展覽總監及上海當代藝術館的創館館長。他曾是西九龍文化區的博物館顧問小組成員,負責構思M+的理念;亞洲文獻庫其中一位創會董事;文獻展13 國際評審委員會成員。他是國際藝術評論人香港分會的創立人。他現任香港中文大學文化及宗教研究系副教授及文化管理文學碩士課程主任,仍然活躍為評論人與策展人。



Isaac Leung is a practicing artist, curator, and scholar in art and culture.

In 2003, Leung received an Honorary Fellowship of a Bachelor of Fine Arts at the New Media Art Department of the School of the Art Institute of Chicago. Since then, his works have been exhibited in over 30 venues across the globe, including Zolla/Lieberman Gallery (USA), Para Site (Hong Kong), Videotage (Hong Kong), Connecting Space (Hong Kong), MOCA (Shanghai), and Venice Biennale of Architecture (Italy). 

In 2013, Leung was appointed as the Chairman of Videotage. During his tenure, he initiated and participated in projects that included exhibitions, workshops, lectures, publications, online projects, and symposia. Some of these include 40 Years of Video Art in Germany and Hong Kong (Hong Kong and Germany), The 12th Venice Biennale International Architecture Exhibition (Italy and Hong Kong), Perpetual Art Machine (USA), Time Test – International Video Art Research Exhibition (China), ISEA Festival (Hong Kong, China), Both Sides Now (Hong Kong, UK, and various countries), Loop Barcelona (Spain), One World Exposition (Hong Kong), China Remixed (USA), Clockenflap (Hong Kong), and Art Basel Crowdfunding Initiative (Hong Kong). In addition to his contributions to Videotage, Leung has also served as advisor and assessor for diverse international institutions, previous services include projects presented by Home Affairs Bureau (Hong Kong), Hong Kong Arts Development Council (Hong Kong), and Prix Ars Electronica (Austria).

In the same year of 2013, Leung received his PhD degree, specializing in the contemporary Chinese art market. Leung has given lectures at several prominent conferences, including Transmediale (Germany), International Arts Leadership Roundtable 2016 (Hong Kong), Art Basel Salon (Hong Kong), and ARCO Contemporary Art Fair (Spain). Leung will serve as Assistant Professor in the Department of Cultural and Creative Arts of the Hong Kong Education University in July, 2017.


在2003年,梁學彬獲頒美國芝加哥藝術學院的新媒體藝術系美術學位榮譽院士。自此梁氏作品見於逾30多個世界各地場館,包括Zolla/Lieberman Gallery(美國)、Para Site(香港)、錄映太奇(香港)、Connecting Space(香港)、上海當代藝術館(上海)、以及威尼斯建築雙年展(意大利)。

2013年,梁氏被委任為錄映太奇的主席。任內推動並參與多個新媒體藝術計劃,內容包括展覽、工作坊、講座、出版、網絡計劃及專題討論會,當中有二零零六年德國及香港錄像藝術四十年(香港和德國)、威尼斯雙年展國際建築展(意大利威尼斯,香港)、Perpetual Art Machine(美國紐約)、時間測試:國際錄像藝術研究觀摩展(中國)、電子藝術交流協會藝術節(ISEA Festival)(香港)、彼岸觀自在(香港,英國和各國)、Loop巴塞羅那(西班牙)、平行世界(香港)、China Remixed(美國)和巴塞爾藝術博覽會眾籌項目(香港)。近年梁氏積極推廣影像及媒體藝術的國際交流,同時堅定支持探索跨領域合作以及創新創業。在錄映太奇以外,梁氏曾兼任各個國際機構的顧問和評核員,包括民政事務局(香港)、香港藝術發展局(香港),以及電子藝術大獎(奧地利)。


2013同年,梁氏獲得他的博士學位,專門於當代中國藝術市場。梁氏曾於數個著名會議演講,包括Transmediale(德國)、國際文化領袖圓桌交流會(香港)、巴賽爾藝術展(香港),以及ARCO Contemporary Art Fair(西班牙)。梁氏曾任教於香港中文大學、香港浸會大學、香港城市大學、以及香港理工大學。梁氏將於2017年7月擔任香港教育大學文化與創意藝術學系助理教授。

Guest Artist

XU XI  Author of eleven books, most recently the novel That Man In Our Lives (C&R Press, 2016) and Interruptions (Hong Kong University Museum & Art Gallery/Columbia Univ. Press, 2016-17), a collaborative ekphrastic essay collection in conversation with photography by David Clarke.  Forthcoming books include a memoir Dear Hong Kong: An Elegy for a City (Penguin, July 1, 2017), Insignificance: Stories of Hong Kong (Signal 8 Press, 2018) and an essay collection This Fish is Fowl (Nebraska Univ. Press, 2019-20). 

Her short fiction & essays appear in numerous literary journals, including Upstreet (forthcoming), The Normal School, Hunger MountainThe Bellingham ReviewThe Iowa ReviewLake EffectGuernica DailyText (Australia), Wasafiri (UK) and in many anthologies All About Skin (Wisconsin), The Near and the Far: the WrICE Anthology (Scribe, Australia), The Jazz Fiction Anthology (Indiana), The Bedford Introduction to Literature (Bedford/St. Martin’s), O. Henry Prize Stories 2006 (Random House), Still (Negative, UK), among others.  Xu taught on the MFA in Writing faculty at Vermont College of Fine Arts and served as faculty chair.  She established and directed Asia’s only low-residency MFA in creative writing (closed, controversially, in 2015) and was Distinguished Visiting Writer-in-Residence at Arizona State University.  She co-directs Authors at Large, offering writing retreats and workshops internationally.  Her MFA is from the University of Massachusetts at Amherst.

A Hong Kong-born permanent resident, former Indonesian national and now a U.S. citizen, Xu long inhabited the flight path connecting New York, Hong Kong and the South Island of New Zealand.  She currently splits time between New York and Hong Kong.  Follow her @xuxiwriter: Twitter, Facebook, Instagram, LinkedIn.  

許素細 是十一本書籍的作者,最近出版的小說 That Man In Our Lives (C&R Press, 2016) 和 《Interruptions》 (香港大學美術博物館/哥倫比亞大學出版社, 2016-17),與祈大衛的攝影對話的合作性敘畫式文章集。即將出版的書籍包括傳記 《Dear Hong Kong: An Elegy for a City》 (企鵝圖書, 2017年7月1日)、 《Insignificance: Stories of Hong Kong》 (Signal 8 Press, 2018) 以及文章集 《This Fish is Fowl》 (Nebraska Univ. Press, 2019-20)。 


她的小說與論文見於眾多文學期刊,包括《Upstreet》(即將出版)、 《The Normal School》、 《Hunger Mountain》、 《The Bellingham Review》《The Iowa Review》《Lake Effect》《Guernica Daily》《Text》 (澳洲)、 《Wasafiri》 (英國) 與許多選集 《All About Skin》 (Wisconsin)、《The Near and the Far: the WrICE Anthology》 (Scribe, 澳洲)、《The Jazz Fiction Anthology》 (Indiana)、《The Bedford Introduction to Literature》 (Bedford/St. Martin’s)、《O.Henry Prize Stories 2006》 (Random House)以及《Still》 (Negative,英國) 等等。她曾執教於佛蒙特藝術學院寫作學系藝術碩士課程及擔任學系系主任。她創立並監督亞洲唯一低修業創意寫作藝術碩士 (已結束於2015年, controversially) 及曾是亞利桑那州立大學傑出訪問駐留作家。她聯合監督Authors at Large,於國際上提供避靜寫作營與寫作工作坊。她的藝術碩士來自麻省大學阿姆赫斯特分校。


她是香港出生的永久性居民、曾為印尼國民及現為美國公民,她長期來回於連接紐約、香港和紐西蘭南島的航線上。她現在分段逗留於紐約與香港。在 Twitter、 Facebook、 Instagram與 LinkedIn上追蹤她: @xuxiwriter 。