ItalianCham Vol.15 Article Stories

June 2022

Magazine The era of decentralisation:

where does NFT place itself?

It’s On Like Hong Kong

by SZABOTAGE

ISSUE NO. 15

OUR SERVICES We connect people and promote business exchanges between Italy, Hong Kong and Macao since 1997.

The Italian Chamber of Commerce in Hong Kong and Macao is committed to fostering closer bilateral ties between Italy, Hong Kong and Macao.

The Chamber provides services including event management, translations and interpretation, market report and HR service.

● Industry and sectoral analysis ● Consumer insights ● Economic reports on selected countries ● Company business information report

MARKETS AND CREDIT ANALYSIS TRANSLATIONS AND INTERPRETATION

● Certified translation services of documents and certificates are available in Italian, English and Chinese ● Assists with certification of translations by the Home Affairs Department ● Interpretation service by Chamber’s staff or external professionals for business meetings, and fairs in Hong Kong and Macao

● Ad-hoc event organisation according to budget ● Venue booking, catering services, promotion, invitations, registrations and photo-taking during the event ● Collaboration with other members and F&B contacts

EVENT MANAGEMENT HR SERVICE

● Recruitment services package to assist you in recruiting new talents, including: ○ Job listings on the Chamber’s website, JobsDB and LinkedIn ○ Initial profile screenings and interviews on behalf of your company ○ Shortlisted candidates referrals to your company for final selection ○ Visa applications & extensions of: GEP, Training, IANG and Working Holiday*

CONTENTS

CHAMBER’S PATRONS

3

PRESIDENT’S MEMO

4

CHAMBER’S SPOTLIGHT

5

MEMBER’S SPOTLIGHT

11

COVER STORY

15

TAKE A COFFEE BREAK

29

PHILANTHROPY BY IWA

33

BUSINESS FOCUS

35

TALK OF THE TOWN

43

ART, CULTURE & LIFESTYLE

49

WHAT’S ON HONG KONG

55

Publisher The Italian Chamber of Commerce in Hong Kong and Macao Room 1006-07, 10/F, OfficePlus @Sheung Wan, 93-103 Wing Lok Street, Sheung Wan, Hong Kong Tel: +852 2521 8837 Email: icc@icc.org.hk Website: icc.org.hk

Official magazine distributor

CHAMBER’S PATRONS

ear members, associates and friends,

PRESIDENT ITALIAN CHAMBER OF COMMERCE IN HONG KONG & MACAO

“If it is true that the quality of our lives is proportional to our ability to live comfortably with uncertainty, we certainly found a playground to practise in.”

At the beginning of this endless pandemic, many of us thought that history was being recurrent. The “course and recourse” of Croce’s memory was once again inducing us to find patterns. Our first naïve thought was “here we are again, already seen with SARS, yet luckily not that deadly”.

Instead, we’ve been again reminded that history does not repeat itself, being just little humans running in circles, while Mother Nature is helping us to grow with new lessons. If it is true that the quality of our lives is proportional to our ability to live comfortably with uncertainty, we certainly found a playground to practise in.

Your Italian Chamber is no exception, despite the difficulties and a renewed Executive Committee and operating team, we feel we are managing the many transitions of these times in an orderly fashion, ready to adjust to constantly moving targets. Our pipeline of events and initiatives for the summer and especially the Autumn season is long and intense, and we hope and look forward to receiving your support and participation.

Last but not least, we want to extend here our very best wishes to our departing Consul General and honorary President of ICC Mr. Clemente Contestabile. From the deck of sailing boats to the soccer pitches on weekends and as a gifted speaker on many occasions, Clemente made us proud of being Italians. Despite the difficulties he was always there, close to all of us, smiling and attentive to everyone’s needs, delicate while authoritative and inspiring especially in difficult times.

It was a privilege to have met you Clemente in your capacity, we are happy to imagine that you will bring your unique humanity to warmly lead other Italian communities around the world in the coming years.

Sincerely, Ivano

PRESIDENT’S MEMO

Chamber's Spotlight

On May 18th, the Italian Chamber of Commerce in Hong Kong & Macao was delighted to host once again the event of “Authentic Italian Table”, a culinary initiative that began with the True Italian Taste project as part of the “Extraordinary Italian Taste” campaign.

The event began with a welcoming speech made by the ViceChairman of the Italian Chamber of Commerce, Mr. Davide De Rosa, followed by another speech by the Consul General of Italy in Hong Kong, Mr. Clemente Contestabile.

The event was held at the newly-opened restaurant Estro, founded

by Naples-native chef Antimo Maria Merone. His restaurant is particularly fitting under the theme of the event as not only are they careful in choosing authentic Italian products, but also they are aware of details in maintaining sustainability standards.

After the opening remarks, chef Antimo proceeded to welcome the guests to his restaurant and explained his deep connection to Italian cuisine while also reimagining traditional recipes with his creative and progressive style.

This type of event is necessary and evermore relevant as it aims to oppose the ‘Italian Sounding’ phenomenon: a practice in which words, images and geographical references are evocative of Italy but have no real connection with it.

The gastronomic lunch consisted of a six-course menu with respective wine pairings and each dish was individually presented when served to the guests. The menu included a fine selection of seafood such as blue-spotted sea bream and cuttlefish, all accompanied by flavourful garnish and condiments.

The event lasted three hours and the guests thoroughly enjoyed the experience as they had the opportunity to taste authentic Italian food and to welcome back in-person events after a long time.

SCMP AD Sponsors The Italian Chamber of Commerce in Hong Kong and Macao and its partners which include Boffi | De Padova, Bvlgari, Ferrari Group, Intesa Sanpaolo, JAS Worldwide and Pomellato would like to congratulate Italy and celebrate with everyone on this meaningful day.

National Day celebrations at Aqua After many months of virtual events, on June 2nd, in celebration of the Italian National Day, the Italian Chamber of Commerce in Hong Kong & Macao was delighted to hold an amazing celebration at Aqua to welcome our members and non-members in person.

The Italian National Day had allowed us to mingle and meet new people which we were pleased to see as our guests and partners had enjoyed the night admiring the stunning view of Hong Kong harbour while savouring an assortment of drinks and canapès.

We would also like to take this opportunity to thank our sponsor, Boffi | De Padova for the photo booth which we can proudly say that every guest has so much fun and enjoys very much!

And, our beverage sponsors include, Amaro Montenegro, Aperol Spritz, Cinzano, FIOL, VinoVeritas and PERONI together to enjoy the best drinking experience in town and celebrate this incredible day with us!

6

Chamber's Spotlight Supported by the Italian Chamber of Commerce, the Women’s Leadership Network Committee (WLN) is a network of women professionals based in Hong Kong. WLN Members regularly get together for networking events, business seminars on career advancement and informal gatherings. The WLN is an instrument for Hong Kong professional women who seek to expand their professional network, learn about Hong Kong companies’ best practices, exchange personal experiences and build strong relationships. The WLN also collaborates with other Hong Kong and Macao women networks, associations and NGOs to promote a more diverse, inclusive and therefore competitive environment in the local corporate scene.

Women’s Voice 2022 The Women’s Leadership Network (WLN) was conceived on the very idea to inspire, empower and innovate. As the pandemic moves slowly behind us, we need to think about how to re-focus on the future norm at the workplace and at home. Our first in person event of “Women’s Voice 2022” engages 5 different panelists at different career point to share their experiences and their “voices” throughout their careers, how it empowered them to do more and give back in their own approaches, as we are ten years in the fourth-wave of feminism movement. Globalization and technology have lifted many countries and economies out of poverty, however; it has also created social stratification within traditionally marginalized groups, a lot of women’s voices got muted as a result. How do we at WLN address some of these issues and to create more opportunities to get women’s voices heard in the future? In Hong Kong, we have seen many women influencers and leaders lobby corporations and government agencies to promote equal pay and expand maternity leave coverage in corporations and businesses. As of 2016, the ratio of women and men in the workforce in Hong Kong were virtually tied (49% women, 51% men) due to the higher education level of both genders and a mix of both traditional and western cultures. At WLN, we have continued to support the Italian Young

Mrs. Gloria Shum-Friedenberg Chair of the Women’s Leadership Network

WLN Launch 2013

Professionals (IYP) by creating one-on-one mentorship in the last 2 years.

During the pandemic, sustaining mentorship has suffered certain setbacks due to people moving on with their jobs to another city or country. How do we continue this journey in a more sustainable fashion to boost women’s confidence, break down more barriers and make a long lasting impact?

WLN 2015

Women’s voice has grown from demanding simple rights to vote in the early 1900’s to women empowerment nowadays through gender lens investing in sectors that could mobilize more capital to women’s education, childcare, healthcare and so on. In the long run these elements could also be integrated with United Nations Sustainable Development Goals (SDGs) and ESG to create real sustainable social structure and impact for women.

In the first event of 2022 for WLN, we will be focusing on the past experiences of all of our speakers and sharing their different thoughts to our audience, with a post pandemic recovery theme. We each have overcome stumbling blocks in our lives and careers learning something very unique from it. We’d like to bring all that to our audience into the discussion in order to share, inspire and empower the next generations of members to the Italian Chamber of Commerce in Hong Kong & Macao.

WLN (WomenInMedia) 2017

Looking ahead, there is no doubt that the women’s movement will keep on growing stronger and louder for the years to come, because at the end of the day, we are the OTHER HALF.

BREAKFAST TALK SERIES ON JUNE 8TH 2022 The Italian Chamber of Commerce in Hong Kong & Macao was delighted to have our first Breakfast Talk Series.

On June 8th’s morning, the topic of our first Breakfast Talk Series was a discussion on gender equality, career successes, resilience and empowerment!

In this talk, we were proud to present our all female speakers and moderator on our panel to give such an inspirational discourse.

During the Q & A section, we were pleased to see our guests enjoyed the talk as much as we do, and how the conversation brought great discussions.

Thanks to our amazing speakers, Irene Chu, Partner at KPMG China, Chiara Bertucco, Client Solutions Director at LHH, Francesca Busuito, General Manager, APAC, at Marvis and Monica Hong, Assistant General Manager, Retail at Hongkong Land limited, and moderator, Professor Véronique J. A. Lafon-Vinais for giving us an insightful talk.

And our beloved partners, Women’s Leadership Network, Italian Young Professionals and Pomellato for supporting the event and made the event successful!

Our respected speakers

Breakfast social

Q&A Sessions

Pomellato

8

Member's Spotlight

296 GTS and SF90 Stradale Assetto Fiorano

PRESIDENT OF FERRARI GREATER CHINA,

GIUSEPPE CATTANEO TALKS ABOUT KEY DEVELOPMENTS OF FERRARI IN HONG KONG What is the product roadmap of Ferrari like in Hong Kong?

In the past few years, Ferrari launched the Ferrari Roma, the SF90 Stradale and SF90 Spider, the Portofino M, and the 296 GTB. The introduction of the new Ferrari Roma has attracted many new young prospects and first-time buyers, mostly as a result of the revival of GT sports cars from the 50s and 60s. People are also excited about the two iterations of Maranello’s sensational plug-in 296 hybrid supercar, which was first unveiled to the Hong Kong market in GTB Berlinetta form in October last year. Very soon it will be followed by a local reveal of the recently launched GTS spider version, likely to be in the third quarter of this year. Both versions of the 296 are powered by an entirely new, shallow-angle, twinturbocharged 2.9-litre V6 engine. It is the first six-cylinder unit to appear in any Ferrari road car and is coupled to a powerful electric motor. Together, they produce an output approaching 830 cv and performance so sensational that it can only be imagined. To further the excitement, the highly anticipated Purosangue for which Maranello has now begun

a pre-launch teaser campaign, will also debut by the end of this year. Ferrari is entering a new segment with this new, incoming model and it is a segment we are creating on our own because we are combining several features, such as the performance of a pure, naturally aspirated 12-cylinder engine and an interior space of a four-seater. This will be a real Ferrari with four seats that will appeal to our top clients for enjoying a wide range of activities. Meanwhile, the firstever full-electric Ferrari will be unveiled in 2025, further diversifying the marque’s exhilarating supercars.

We see a lot of Ferraris around Hong Kong.

How would you describe the local market?

Ferrari has been in Hong Kong for 40 years and this is one of the most mature supercar markets in the region with a distinctive supercar culture. We have an extensive group of collectors, respected customers and enthusiasts in Hong Kong. It is also among our top markets with the highest density of Ferraris in the world. The current estimate is about 2,500 to 3,000 Ferrari car parc in this city, which is a huge number, and many of them are owned by the same person.

We understand that an official Ferrari Owners’ Club has been just set up in Hong Kong. What makes this new club so special to its members?

Hong Kong has always been an essential market for Ferrari. We have a great number of highly valued collectors, respected customers and enthusiasts. Setting up the Ferrari Owners’ Club of Hong Kong will provide the perfect foundation to celebrate the long and glorious history of the Prancing Horse and further cultivate a passionate community. This new FOCHK is the only official Ferrari-sanctioned Owners’ Club entity in Hong Kong and will be supported by the official Hong Kong dealer Blackbird Concessionaires. It will also join a worldwide network that currently comprises 45 clubs with a combined membership of more than 17,000 passionate Ferrari owners.

As our brand evolves, we are seeking to further elevate the Ferrari ownership experience by working closely with the new Club and our dealer to craft truly unique, memorable experiences for the local Ferraristi family. These range from dinners, galas and charity functions to Concours d’élégance, as well as rallies, track days and client racing programmes. 2022 happens to be the 75th anniversary of Ferrari. The establishment of the new FOCHK marks a new milestone for the brand, our dealer Blackbird Concessionaires, the local Ferrari owners, as well as the global Ferrari family.

Company profile Ferrari is among the world’s leading luxury brands, focused on the design, engineering, production and sale of the world’s most recognisable luxury performance sports cars. The Ferrari brand symbolises exclusivity, innovation, state-of-theart sporting performance and Italian design. Its history and the image enjoyed by its cars are closely associated with its Formula 1 racing team, Scuderia Ferrari, the most successful team in Formula 1 history. Ferrari designs, engineers and produces its cars in Maranello, Italy, and sells them in over 60 markets worldwide, including mainland China and Hong Kong.

Established in August 2004, Ferrari Greater China now plays a central role in the Ferrari Asia Pacific market and maintains a pivotal position in Ferrari’s global strategy. Since arriving in China, Ferrari’s dealer presence has expanded rapidly with the development of a highly qualified national network.

The establishment of Ferrari (HK) Ltd. as a fully owned subsidiary of Ferrari S.p.A., is responsible for the importation of Ferrari cars directly into Hong Kong and Macao. Ferrari (HK) Ltd. solidifies the presence that the marque has long enjoyed and exemplifies the deep commitment Ferrari holds towards the Hong Kong and Macao clientele.

296 GTB

12

Member's Spotlight

Founded in 1985 in London by Anna Maria Rossi, who was later joined by her son, Fabio, Rossi & Rossi is today amongst the leading representatives of contemporary artists from the Asia-Pacific region.

A pioneer in the development of contemporary Asian art, Rossi & Rossi engages with major museums and private collectors worldwide. Prior to venturing into contemporary art in 2005, the founders have established a worldwide reputation as leading dealers in Indian and Himalayan art.

How would you describe Rossi & Rossi in 3 words?

Why? Innovative, dependable, committed.

Over the years, Rossi & Rossi has constantly evolved, expanded its areas of interest, and staged numerous groundbreaking exhibitions.

Rossi & Rossi has a sterling reputation in its industry and has established decade-long relationships with his clients.

We are dedicated to our profession and continue to grow and develop.

What are the special relationships between Rossi & Rossi and Hong Kong?

Rossi & Rossi ties with Hong Kong go back to 1975 when Anna Maria and her son Fabio, 12 years old when we first visited the city.

From the mid-80s they started to travel very regularly to Hong Kong for business and developed friendships which are still flourishing today.

In 2011, after more than 25 years of living in London, Fabio decided to relocate to Hong Kong. Since then, the main seat of the business of the gallery has become the city: we believe its thriving and developing art community offers tremendous opportunities.

What do you love most about your industry?

Art can be a constant source of wonder and surprises as it teaches us about history, current affairs, future world, inner life. One never stops learning or discovering something new.

It is an industry in which interpersonal relationships play a major role. It reveals the wondrous diversity that exist in this world but also how we are deeply interconnected.

14

s the world is slowly evolving and adapting to Web 3.0, people are becoming more and more aware of the emergence and importance of decentralised technologies in digital products, services, platforms and tools. One of which is the digital certification technology that is built on blockchain, namely NFT - and it has made its way into one of the top pop culture trends. However, with the hype mainly built around its speculative purposes and their high potential returns, NFT’s real world applications and its ability to generate and hold value has been controversial.

In this cover story, we would like to give an overview and introductory guide to the world of NFTs in the midst of all the overwhelming new developments. We will be discussing the local NFT scene with Blank Marketplace, the entrepreneurial opportunities of NFTs according to Fidinam and also give a quick guide to navigate through the legal aspect of NFTs. As for the creative innovation, art platform Artay is teaching us that there are no limits in the digital world by publishing art of different mediums such as music and photography with NFTs. To go more in depth and to understand how local artists have perceived the arrival of NFTs to the art market, we have also interviewed artists represented by Artay such as Kelvin Yuen, Simon Birch and DJ Sidtrus and Hong Kong’s first NFT urban artist Szabotage, with in-depth questions to explore their NFT journey and how they were capable of translating their works to digital. We hope that you will find this read insightful if you are investing in or just intrigued by the world of NFTs.

Cover Story How does the NFT trend influence the process of art creation and distribution?

NFT creates a new form of art production, hence the concerns for quantity and variation. One main advantage of using NFT is that a much larger scale of audience can be reached without consideration of cost and space limitations. Also, digital ownership could be shared in the form of NFT if legal rights are specified in the NFT contract.

More digital artists are coming to the NFT market and art becomes a lot easier to gain recognition with the power of connection on the Internet, compared to art in physical gallery settings.

Artay is a creative and marketing consultancy and they have created and published NFTs in collaboration with renowned artists from various disciplines.

With the help of Artay’s interviews with them, we are delighted to feature

SimOn Birch Kelvin Yuen Sydtrus and share their ambitions and artistic visions. As an NFT project collaborator and curator, Artay has also shared with us on the artists’ behalf what they think about the role that NFT plays in the art industry, and the dynamics between the market and creators and commented on the seemingly overhyped phenomenon.

What is the role of NFT in different art and creative industries?

We see NFT as a marketing tool or business strategy for branding and creative space for their communities. For example, a community can sell memberships by distributing NFTs as membership cards and using them as forms of art.

We manifest core values of the business and creativity of the artists with NFTs to enhance brand image and values.

What are the implications of the current seemingly saturated NFT markets and overhype?

The NFT market is not necessarily saturated because NFTs come in various forms and the most common ones you see on the market are digital avatars and they represent a concept behind a community. Since successful projects are dominantly avatars, it is understandable that people would think this space is full as they’re all very similar. In fact, as a technology, NFTs can improve sales and create marketing ideas & strategies for different businesses. Not a lot of people have the legal knowledge of intellectual property with digital assets to execute these ideas or strategies for commercial or artistic purposes. However, we believe the time will come when people start realising the importance of legal and structural strategies to adopt the technology of the blockchain into businesses and enhance their marketing and sales.

How does the market compare between arts published with NFT and without? And what are the implications of the difference?

For now, not a lot of people understand how NFT can be used as a marketing tool because of the lack of education in the field. So, most may have mistaken it as a tool for quick money instead of a strategic way to build brands. We believe the only players who will thrive in the NFT market will be those who understand the potential of the technology as it develops and the knowledge of the intellectual property.

The key message is that NFT can not only be in the form of pure art creation but also as a business marketing tool.

From the art side: It’s a big transformation in the industry when digital art ownerships can be given to a wider group of audiences. As exposure always turns out to be larger than artists’ expectations, we think it will boost creativity in the industry as more people are trying to express themselves in art comparatively.

From the Commercial side: A brilliant marketing strategy for attention grabbing in the space of sales and products. Branding and marketing will be boosted with the idea of NFT because it re-enhances the core values of a community by labelling it as a form of asset.

Simon Birch

is a British-born artist living and working in Hong Kong who is renowned for the kinetic, cinematic quality of his paintings which have been featured in art shows internationally. His most reputed project to date, The 14th Factory, became an art world phenomenon as 100,000 people attended to discover its first outpost in a disused factory in East LA in 2016.

The upcoming Hong Kong edition of The 14th Factory will be one of the largest independent art experiences in the world, the first project of scale globally post-pandemic, cementing Birch as one of the most diversely talented artists of our time.

Describing himself as an ambitious multidisciplinary artist, entrepreneur and practitioner, Simon Birch creates and presents his arts in various forms. There is no surprise that NFT is one of them as his vision extends beyond serving art dealers and galleries, to document his past achievements - from the first brushstroke to the latest installation project (14th Factory); setting a milestone for how far he has come, and acknowledging the transformation of the art industry, Birch marks the tipping point of his career by publishing his top 24 paintings ever with NFT. Drawing from his dark past, Birch believes that this is the opportunity to create something meaningful and impactful that can benefit young people and help bring out their potential in them.

Sydtrus

Kevlin Yuen

is a tremendous photographer and artist whose works give life to the pieces captured by his lens. Born and raised in Hong Kong, he has become the soul of the city’s landscape. At only 24, Kevin has been recognised by the International Landscape Photographer of the Year Awards and has also become a panel member of the institution.

Hong Kong’s natural landscape might not catch the eye or make the first impression on the outside world, but Kevin believes his home is not just a city but more. Presenting the most exclusive moments and the true soul of Hong Kong nature through his lens, Kelvin has been able to lead the world into his home with this one-of-a-kind art piece, which he desired to present after 5 years of preparation throughout his whole career. “Hong Kong is not just a city” will be presented in the form of NFT, with only one copy available.

is a Hong Kong-born self-taught DJ. He would play his tracks by himself in his bedroom, with no guidance on his musical journey. All he had was his desire to one day bring joy and hope to the people of Hong Kong.

Sidtrus would send free copies of his music and perform for free in clubs in hopes of getting more exposure and generating a fanbase. He believed he would eventually find someone who understands his dream and shares his vision, and his struggles would have paid off.

To this very day, Sidtrus still carries the same energy and passion that ignited his dreams. No matter what - whether he is performing on a million-dollar stage or alone in his bedroom - the DJ decks are his sanctuary. He believes there is no such thing as failure when following your truest desires. “Failure is only (for) the one who stops believing and gives up.”

Everything comes to those who believe, “keep dreaming until you are living in it.”

The NFT will be a single titled “Take Me Home” - reflecting on Sidtrus’ belief that every dreamer can one day find their way to where they belong no matter what difficulties lie ahead.

Hong Kong is Not Just a City - Kelvin Yuen

MY STORY - SIMON BIRCH

Take Me Home - Sydtrus

18

Cover Story SZABOTAGE is a highly recognized, prolific, street and contemporary artist. He relocated to Hong Kong and found fame in the local and international art world. Since then, he has exhibited internationally in sold-out solo shows, and worked on numerous collaborative, commercial, and private projects. SZABOTAGE is distinguished as the first street artist in Hong Kong to list NFTs. SZABOTAGE is best recognised by his signature Koi fish - an iconic symbol of strength, adversity and good fortune which features frequently throughout his work. SZABOTAGE has painted for the HK Walls Street Art Festival, was a finalist in the global phenomenon Secret Walls, and has given a TED X talk ‘Resilience is the Ultimate High’. Commissioned clients include Louis Vuitton, Jaeger-LeCoultre, Deutsche Bank, Evisu, Prada, and The Ritz Carlton.

NFT as a form of expression:

“It’s my expression: it’s my social commentary, it’s my wordplay, it’s my visual language but it also offers another dimension that continues beyond the physical realms.”

What was the journey like when transforming from street art to NFT and digital art?

I started my career as an architect, I specialised in 3D design for buildings before becoming a full-time street artist.

Creating art digitally was always part of my creative process before producing the finished piece on a wall or canvas so moving into the NFT space felt like a natural transition for me.

My first NFT collection was photographs of my physical street art murals. This allowed my art to live on in the metaverse forever when they may have been painted over in the real world. In my second NFT collection, I really wanted to connect my art studio practice with my digital creations. I created a unique collection of combined digital and physical art together. Upon purchasing the NFT the buyer also received the physical artwork.

Since immersing myself in the digital art space, I have been able to revisit and refine my digital skills; playing in a space that enables me to indulge my digital creativity. This transition continues and my latest collection is purely digital which will be launching this summer.

What are the rationales for making NFTs with your art?

It started with one of my collectors telling me all about it back in 2020 and my mind exploded, I was intrigued and up for trying something new. As my digital journey began so did the possibilities, the technologies, platforms and opportunities. I believe that NFTs are another way to share my creative expression, without limits. It’s a great way to connect and collaborate in an innovative environment.

My methodology for creating NFTs follows similar thinking for many of my physical pieces. It’s my expression: it’s my social commentary, it’s my wordplay, it’s my visual language but it also offers another dimension that continues beyond the physical realms.

What effects do NFTs have on your career?

NFTs have given me unexpected opportunities and exposure. I am working with Yat Siu, Animoca, Quidd and REVV Racing, who have given me time to focus on my creative visual language and more freedom to create

art for art’s sake. It’s given me space to develop my style and brings me closer to creating my vision.

I still create murals and physical art alongside my NFTs, having such a mix of formats enables me to use all of my different skills whether that is on top of scaffolding painting a wall in the hot summer sun, or creating at my desk in my office. It’s nice being able to bounce between them.

What kind of experience do you wish to deliver with NFT arts that are different from other forms of art?

Digital art allows me to do more, share more and say more with my art. I am able to deliver more interactivity by adding movement and sounds and creating a 4D experience. It’s so exciting!

NFT also allows me to stay in touch with my creations. Once I release a collection I will always be able to follow its journey on the blockchain, creating provenance which is so easily lost in the physical art world.

How does the NFT trend influence the process of art creation and distribution?

I am quite a purist, I can only create what is true to my creative language, something I have been developing throughout my art career. I like to set my own trends not follow existing ones.

The blockchain presents so many options for distribution. There is so much clever technology that can play a part and one we will experiment with for the next drop, with Quidd.

Szabotage, painting a mural in awfully hot outdoors

What are the implications of the current seemingly saturated NFT markets and overhype?

On first impressions, it makes me anxious. It’s like that feeling when you come back from a nice holiday, you’ve just had a strong coffee and try to start work but everyone else is ahead and getting on with it! I am reassured though because art is my passion and my life. I am in it for the long game and I will always innovate and explore both digital and physical art. Neither market is going away, so I will continue to share on both. The hype has been prevalent in the real world for ages, and it is the same in the digital world. The audience will decide.

What is the role of NFT in different art and creative industries?

The Future Is Bright, SZABOTAGE

It is definitely pushing the boundaries of art and music and opening up the playing field for creatives. NFTs allow people to buy from and support creatives giving the buyer direct investment opportunities that are accessible globally.

How does the market compare between arts published with NFT and without? And what are the implications of the difference?

Comparing the market from my personal experience I have seen a great response for both. I see both markets as different yet interconnected. There is a great new market and a whole new audience which is enticing new collectors marking a new history in art collecting. One that is very traceable for the future. Its fast-moving pace and use of technology make it exciting and impactful.

BITCOIN BANDIT, SZABOTAGE

My forthcoming collection will be my most digital expression and will test how digital art can be published alone and it will tell me more about the differences between the two markets.

The concept pushes my iconic stencil language firmly into the metaverse and aims to entice the audience to speak their own narrative. The style started in my physical practice but since creating it in the purely digital format, it has taken it to new levels. It’s called Stencil Tongue, Do You Speak Szabotage?

But for a true answer, I will have to tell you once it launches.

Vocal, Do You Speak Szabotage, 2022, NFT, Digital

Image courtesy of @simonjnicol @chris_ls_foto @szabotage.me

20

Cover Story

Blank.art is a decentralized platform for artists and collectors of digital art powered by blockchain technology and smart contracts. The platform helps collectors and art lovers to discover and collect NFTS. It already hosted the launch of important artists collections such as Matt Kane and Sarah Zucker.

Blank.art

NFTS AND WEB3: BeyOnd the Aesthetic Value In the last few centuries, artworks have been sold following the same methodology. The traditional art market was made by curators, museums, galleries, collectors, and artists.

Today, something is changing. In the Web3 era, this equilibrium is changing - artists are free to produce and sell artworks directly to collectors; galleries are replaced by platforms; curators are replaced by the community. But what is happening? We have asked a few questions to Guido Mologni - co-founder of Blank.art.

What makes NFT valuable?

Nowadays people tend to consider aesthetic value as the most important factor when purchasing an NFT. Actually, successful artists and projects have proven that the real value goes beyond an artistic one. NFTs open new opportunities with a new mechanism of interactions between artists, collectors, curators and the Web3 players. In the traditional fine art world, the value was set by galleries, museums and big collectors. On the contrary, in Web3 we have new paradigms.

Artists like Pak, Matt Kane, and Beeple are successful because they understand this is a new game with new rules. They understand the importance of followers, smartcontract mechanisms, community, trust, co-ownerships, decentralization, scarcity, etc. It is a new world with new rules. NFTs are some sort of social media, they connect the buyer to new possibilities.

Can the NFTs re-shape the concept of social networks?

NFTs are a new way to connect with your audience and your community of followers, giving you new opportunities for engagement. Web3 is a Matt Kane - Gazers new virtual world without boundaries, open and accessible to everyone. In this system, people are connected through digital identities and the sense of belonging to a community has proven to be fundamental. Blockchain is creating new virtual communities, made of artists, collectors, crypto lovers and passionate individuals. If the real world is less global, the Web3 is becoming the new globalised virtual world.

We have heard and talked about Collection and Digital Art but what do Art NFT and 10k NFT really mean?

Pak - The Fungible

artworks with proven authenticity.

v Instead, if we talk about Art NFT, we see a new wave of artists who are reshaping the traditional Art World with new technology that enables new ways of getting paid, registering and trading.

Artists are now able to control their productions, decide the price, receive royalties and trade

Can you give us a brief history of NFT art?

The very first piece of NFT art is considered been created in 2014 by Kevin McCoy and Anil Dash through the network of NameCoin. In the same year, Robert Dermody, Adam Krellenstein and Evan Wagner founded Counterparty, an opensource internet protocol built on top of Bitcoin Blockchain.

Counterparty was groundbreaking because it allows for the creation of assets and NFTs by users. In 2015, we saw the born of Spells of Genesis and Force of Will, the first two NFT blockchain games. A year later in October 2016, the rapid emergence of the Rare Pepe project, which is considered by many, the beginning of the Crypto art movement. In July 2017, John Watkinson and Matt Hall launched Cryptopunks - the first 10k NFT collection generated on the Ethereum blockchain. All 10k Cryptopunks were freely claimable and available to be traded on blockchain in the following days.

A few months after, in October 2017, a Canadian company named Axiom Zen (named after Dapper Labs), launched Cryptokitties - a blockchain game which became so popular, that it caused one of the first congestion of the Ethereum network in December 2017. In the following months and 2018, we saw the emergence of the first marketplaces, such as OpenSea, SuperRare, MakersPlace and KnownOrigin.

Sarah Zucker - Mocking Sun

Can you offer a few examples of prominent social NFT Projects.

I think Matt Kane and Pak are two of the major artists in the NFT community.

Matt Kane is one of the most well-known crypto artists active from the early beginning. In 2021, he created Gazers a unique collection of 1000 pieces living on Ethereum Blockchain. Each piece has origins of the Moon’s phase and is connected to the lunar calendar. Every day at midnight, each layer and colour receives new instructions on how to rise and shine over the next 24 hours: a living piece of artwork built to coincide with our physical living space. As stated by the artist: “Gazers seek to create a community of collectors celebrating the change of our perceptions that happen over time, our collective goals in crypto and our love colour theory, astronomy and generative art”.

Pak is a pioneer artist active for more than two decades in the digital world. Some of his projects such as The Fungible Collection and The Merge have fetched world record results.

He has pushed boundaries in creating new NFT tokens which engage his audience through scarcity, FOMO (fear of missing out) and customised token mechanism. In his works, the audience becomes part of the performance; without the community, most of his works may not exist.

These two artists are just an example of how today NFTs are making art not only more valuable but also more accessible.

In the near future, the traditional market and the Web3 will probably merge in some way, creating new opportunities for creators, collectors and their communities.

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Cover Story

NFTS AS AN EVOLUTION OF FINE ART COLLECTING On March 29, 2022, Fidinam proudly hosted an event at the Swiss Pavilion at the Dubai Expo 2020, with around 100 attendees. With an incredible view from the pavilion’s rooftop, Fidinam celebrated its 60-year anniversary as well as looked into a topic receiving more and more interest: Non-Fungible Tokens (NFTs) specifically in the global art industry.

As such, we hosted a talk with Dr. Henrietta Tsui Leung, founder and CEO of Ora-Ora gallery in Hong Kong, Tyler Jackson Pritchard, a multidisciplinary artist based in Los Angeles and Antonio Signorini, a contemporary Italian artist based in Dubai - moderated by Riccardo Chesti, an Italian art dealer based in Hong Kong. Here we highlight some parts of this talk.

WHAT ARE NFTS? Riccardo has been following the development of blockchain and NFT technologies from their first appearance on the art market. He described an NFT as a unique, digital item with blockchain-managed ownership. The blockchain technology is a shared, immutable IT protocol that is used to testify that a specific digital product is unique and cannot be copied.

Therefore, an NFT is a safe way to undoubtedly identify a digital product.

Two characteristics set NFTs apart and make them an interesting and unique phenomenon. Firstly, it is the rarity of the digital item, testified by the blockchain. Secondly, is the tradability. On open marketplaces like OpenSea and Nifty Gateway there is the possibility to free-trade NFTs, using cryptocurrencies as payment method. As there are no intermediaries on these marketplaces, an NFT can be put up for sale as soon as it is purchased.

This is an interesting point when comparing NFTs with the traditional art market. Unlike collecting traditional art – where the value often increases slowly, but constantly and stable – NFTs can be flipped immediately and gain value on the momentum.

From left to right Riccardo Chesti, Antonio Signorini, Tyler Jackson Pritchard, Dr. Henrietta Tsui Leung

THE NFT ART SCENE IN HONG KONG Blockchain technology is growing fast in Asia, together with the interest in NFTs. Henrietta gave us a look into the role of Hong Kong in the NFT and art world: Hong Kong has been very vibrant in the development and the progression of cryptocurrencies.

Hong Kong is a large international financial hub, so when Web3 came alive, tech gurus, bankers, venture capitalist, fintech pioneers and many others have jumped into the development and taken on projects in both NFT creation and trading. The latter has been a vibrant scene since about three years ago.

One of the first digital art fairs in Asia, if not in the world, was held in Hong Kong in autumn 2021. The fair included 360° immersive art experiences, a diverse array of NFTs, new media art and other new and innovative digital offerings. One of the founders, Gillian Howard, had mentioned that due to the increase of interest in NFTs in the second half of 2021, they decided to start the fair to support the demand.

The fair sold over HK$70 million worth of fine art NFTs to around 27,000 collectors during about two weeks. The collectors came from all walks of life with an incredible age range between 13 and 102 years. 55% of the collectors who bought at the fair were 40 years old or less. 97% of them want to know more about NFTs and 70% wants to buy NFTs. These statistics has given the fair organizers confidence that they can stay, grow and include many more galleries in the next edition (Autumn 2022).

OPPORTUNITIES FOR ARTISTS From an artist point of view, NFTs are a beautiful opportunity for digitally-created artwork to be actually sold, Tyler explained. “In the past when you made a 3D object, there was no real way to sell the original file. For example, you would see art from a video artist in a museum or a show being played on a tv. Galleries would sometimes sell the actual tv including the video. However, now with NFTs, you can buy the video file, which is a more pure form of the artwork itself – especially when created digitally. 3D objects, animated videos and other types of digital art are truly artworks.

They are made on a computer, but they are some of the most advanced forms of artworks there are.”

DIGITAL ASSET PROTECTION The blockchain technology offers ‘smart contracts’, which can govern many things automatically as opposed to a regular contract. For example, within the smart contract one can include information about royalty sharing to the artist, how many original editions there are, which number of original edition it is, etc. Artists can also declare whether the owner owns the full commercial right or not.

When buying an NFT, one becomes the owner of a specific file, such as a jpg. However, the file is often still available for other people to see and use, which scares collectors. Comparing it with physical artwork, Riccardo explained it as: “Anybody can get a print of a Monet, however only one person can have the original.”

The premise of the blockchain technology revolves around decentralization and most jurisdictions have no specific NFT regulations as of yet. This may scare some customers, who are wary of scams and are unsure how to protect digital assets.

Fidinam has over 60 years of experience in advising individuals and families on how to protect their wealth and to pass it to future generations. In recent years, our services have extended to include advisory on digital assets protection as well.

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Cover Story

NFT

means “non-fungible token”, but many associate this short acronym with much more. For some, NFT is shorthand for describing the latest hype and yet another get-rich-quick scheme; for others, it is an indispensable feature of a new, emerging digital world, the “metaverse”. Admittedly, the current popularity of NFTs may suggest an ‘irrational exuberance’, pushing many to jump onto the new bandwagon. However, the potential of NFTs, beyond the hype, is yet to be determined. When the dust settles, several novels and useful applications of this technology are likely to emerge, impacting a variety of industries. In the meantime, an objective look requires us to steer away from polarized opinions in order to understand what NFTs are as well as the key legal and regulatory issues affecting this new phenomenon.

WHAT’S AN NFT? In essence, NFTs are digital certificates consisting of non-interchangeable units of data stored on a blockchain, that is a digitally distributed ledger. Here, records (or “blocks”) are linked together using cryptographic chains; each block contains a reference (or “cryptographic hash”) to the previous block, a timestamp, and other transaction data. Even though the underlying technology is the same supporting cryptocurrencies such as Bitcoin, NFTs, unlike a cryptocurrency, are not mutually interchangeable (or “fungible”).

Each NFT, even when part of a series or collection, is unique and distinguishable from others. The process of creating an NFT (referred to as “minting”) consists of turning a specific digital item – such as a picture, a document, or a sound file – into a record on the blockchain that will typically have a link to the item itself.

Once in the blockchain, any attempt to duplicate, change or tamper with the record on the blockchain representing the digital item is virtually impossible.

Hence, while the digital item can be duplicated (or screenshotted), its record on the blockchain is unique and immutable regardless of how many times the NFT changes hands.

In essence, NFTs perform two main functions from which they derive their value.

First, they provide a mechanism for ascertaining the “provenance” of a digital item, since it is always possible to determine the origins of an NFT as well as all its subsequent transfers. For this reason, NFTs are also referred to as “decentralized digital certificates”. Second, NFTs introduce an element of scarcity in a digital world, where assets are typically not scarce as infinite copies identical to the original can be easily created. NFTs are minted to contain elements of rarity so to enhances their value and collectability. In this context, NFTs are also referred to as “digital collectibles”.

The digital assets ecosystem, in general, and NFT space, in particular, are constantly evolving. While the most extreme sales make the headlines (for the better or worse), behind the scenes there is a myriad of NFTs. Some are copycats of famous NFTs or counterfeits of well-known trademarks, some might have a disproportionate value that is artificially created with wash-trading practices, while others are simply tech fantasies with no real business prospects. Yet a few NFTs are emerging, advancing interesting applications that connect the digital and the physical world in new ways. In any respect, the success or failure of a given NFT is rarely about the digital token per se, and more often than not it is about the project behind it and the economic purpose justifying the sale and purchase of these digital assets.

ARE NFTS REGULATED? As with any new activity involving the investment of money and the prospect of a profit, it is important to understand whether, in any given jurisdiction, it qualifies as a regulated activity. With NFTs, the answer is: it depends.

The simplest NFTs are either certificates, like a bar code, or collectibles, like baseball cards, except in digital form.

This type of NFT does not currently trigger specific bans on cryptocurrencies and are not regarded as regulated activities, such as securities or other forms of investments.

They are purchased for their enjoyment or to be part of a certain community of afficionados. They might be also used to access to some experiences, such as art shows, concerts, or other activities.

However, not all NFTs are made equal. Recent trend to use NFTs as a medium of exchange or currency, either in a game or in the real world, are likely qualify as cryptocurrencies. In most countries, regulators are still racing to decide whether or not to regulate them. In Hong Kong, the Securities and Futures Commission (SFC) and Hong Kong Monetary Authority (HKMA) are currently working on guidelines to regulate the use of NFTs as a cryptocurrency.

Hong Kong, the SFC – similarly to the stance taken by U.S. regulators and others – indicated that fractional NFTs qualify as securities. Hence, any promotion, trading, or transfer of NFT should be regulated to protect investors and to maintain the integrity of the local market.

Over time, we should expect to see significant changes in the NFT regulatory landscape. Some of the existing rules will continue to apply, as it is the case for securities and capital markets laws. In a similar vein, outright frauds and other cybercrime (such as hacking of NFT wallets) can be dealt with existing criminal laws. Traditional accounting and reporting rules as well as anti-money laundering rules are likely to extend to any NFT deal. These rules generally apply to platforms, such as marketplaces, but they can extend to digital wallets and other intermediaries, requiring the implementation of so-called “know your customer” (KYC) protocols to profile and trace transactions. It is conceivable that NFT-based projects will need to comply with different anti-money laundering rules, depending on whether they qualify as cryptocurrencies, securities, art deals, or simply if they qualify as “virtual assets”, a new category introduced in 2019 by the Financial Action Task Force (FATF).

The situation is more complicated for NFTs that are created for the purpose of investing in physical assets. In this case, multiple holders are allowed to own a fraction of an original (physical) asset, such as a piece of art, a vintage whisky collection or a resort hotel. As the parties enter in such a transaction with the objective to participate in financial returns from the underlying asset through a fractionized ownership scheme (or “fractional NFT”), regulatory regime for financial services is likely to apply. For instance, in

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Cover Story

However, new rules might be introduced. There are sufficient indicia to indicate that wash-trading (where the value of an NFT is increased artificially through a series of fake sales) is a fairly common malpractice in the market and that some of the trading might hide illicit activities, thus funnelling money laundering. Such abuses might require the introduction of new

regulatory policies and penalties to protect the public. More broadly the current volatility in the cryptocurrency space is likely to trigger new regulatory changes, which are likely to affect the NFT space, if not directly, at least, indirectly. In fact, most NFTs are currently purchased through the use of cryptocurrencies.

WHAT IS OWNED? At a minimum, every NFT holder holds a digital certificate, that is a unique record on the blockchain connected to a digital item. In the absence of any specific contractual agreement, the holder of an NFT owns a piece of code with no right to own or use any real-world asset. This is why NFTs are defined and valued intrinsically as collectibles or certificates offering a representation of something, rather than evidencing (let alone create!) actual ownership.

If the creator of an NFT intends for holders to enjoy additional rights such as ownership or other rights linked to a physical asset, these will be stipulated separately in line with the legal requirements established in any given jurisdiction to create or transfer such rights.

The problem is even more salient for anyone who buys NFTs not from the creator but from another buyer. As the obligation between the creator and the first buyer is typically of personal nature, a separate agreement might be needed between the creator and any subsequent buyer to have legally enforceable contract. This is normally not an issue, if subsequent buyers acquire the NFT as a collectible, for its intrinsic value.

THE IP DILEMMA Another critical aspect concerns the intellectual property (IP) rights related to NFT representing any form artworks or other creative elements. Creators and buyers will need to ensure that they have the rights to use and commercialize all creative elements represented by the NFT. Moreover, the owner of such rights should ensure that they are assigned to the holders of NFT, who, in turn, will be able to enjoy the NFT without infringing any rights. For instance, the use of popular movies or comic-book characters in conjunction with an NFT may be problematic if not explicitly authorized by the IP owner. Legal actions have been already triggered in the U.S. and in Europe, leaving creators, curators, and buyers in the midst of a battle that depletes the underlying NFT of any value.

Finally, whenever an NFT is transferred, specific terms and conditions apply. In this context, the rights of enjoyment or use of any artwork related to the NFT should be clearly established in the terms accompanying the purchase.

All in all, prospective buyers need to evaluate carefully a series of elements. In addition to typical considerations concerning the rarity factor of the NFT and its functionality, it is key to assess: the specifics of the project beyond any NFT launch (who are people behind it? How IP rights are managed? what are the ultimate goals of the project?), the purpose of the transactions (is it a collectible, a digital certificate, an investment, or a mean of payment?) and the contractual fine print (what rights the buyers has? what is transferred? are you first buyer?)

WHAT IS THE FUTURE FOR NFTS? A digital certification that traces transactions, creates digital scarcity, and provides certifiable evidence of originality is a true innovation. An illuminating Opinion Piece published in the Guangming Daily, in October 2021, noted that, for NFT projects to succeed it is essential to “remain humble and cautious, and resolutely reject all kinds of speculation and hype related to NFT”.1 This is to say that NFT projects, whether in the arts or in other realms, should focus on developing applications that benefit society and users, rather than just another opportunity for price speculations.

For this purpose, creators of NFTs and anyone contemplating an investment in one should be guided by two key principles. First, the focus should be on the project rather than on minting NFTs per se. NFTs offer a novel and interesting opportunity to tap into the quickly evolving digital ecosystem and create bridges with the physical world. Even though the legal and regulatory landscape may change to address particular risks, the conditions to develop legitimate projects already exist now, in 2022. The seeds for the development of profitable, sustainable, and legitimate applications are sowed today.

Second, each project should be structured to take full advantage of available market opportunities within the boundaries of law. Legal rules and regulatory regimes are not in place to discourage innovation but to provide legitimacy to market players that are prepared to operate within such boundaries and afford basic protections.

NFTs offer an unprecedented range of touch points between creativity and value both in the physical and in the digital world.

Artists can digitally link NFT to their physical pieces and decide which ownership and/or use rights are bundled with the NFT when it is sold. When a collector decides to purchase such an NFT, they may hold a digitally authenticated NFT and the artwork itself. This simplifies the sales process, provides liquidity to the creator and subsequent owners, and has the potential to increase the exposure of the artwork and the artist. While the NFT might change hands many times, the physical artwork can remain on display to the public or sit in a storage vault. For this arrangement to occur, technology is not enough. Depending on the jurisdiction, different contractual structures must be in place.

Example of an NFT art

The same principles can be applied to NFTs of other genres. For instance, musicians can leverage on their community by issuing NFTs that generate royalties, which can be used to reward initial investors or support their activities. In a similar vein, the entertainment industry can issue tickets for events tin the form of NFTs. The process can revolutionize the industry, since tickets can be kept as collectibles after the event or as a membership token for free or discounted access to future events, threading together a community of fans. Similarly, bars, restaurants and clubs can offer loyalty programs whereby customers are issued NFTs based on their patronage can be traded and priced more transparently than any existing secondary markets.

Finally, on the cutting edge of what is possible with NFTs, closed ecosystems can be created to cater the need of specific industries or businesses. For examples, it might be possible to develop a new form of (digital) documents of titles to transfer goods and service, globally, regionally, or domestically. Hong Kong, owing to his status of international hub, is certainly in a privilege position to explore these applications.

The range of opportunities and business niches that NFTs can fill is limited only by our imagination… and law. Irrespective of the project, a proper legal assessment is needed. A legal due diligence is likely not only to complement but also to steer technological ambitions as well as business and marketing plans in this new space.

1 See Guangming Daily, NFT发展要低调务实 谨防炒作和捧杀 [The Development of NFT Should be Low-key and Pragmatic, Beware of Hype and Praise] (13 October 2021), available at https://finance.gmw.cn/2021-10/13/content_35229322.htm

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Tips on beating the summer heat GO TO THE BEACH

GO ON A JUNK BOAT PARTY

This is a no-brainer. What better way there is to cool down except striping down and having a summer dip at the beach? Challenge yourself this year by swimming out to the floating platform if you havenʻt! Donʻt forget to keep hydrated.

Enjoy the ocean breeze and a fun day with friends on a junk boat! Not only do most party boat rentals include fresh meals and facilities like Karaoke and Mahjong, but also water slides and blow-up floating castles.

EAT FRESH & HEALTHY

SWEAT IT OUT!

Fresh food does not only keep you healthy and in shape, but also keep you hydrated! Avoiding oily and heavy meals also means that youʻre not as sluggish when engaging in physical activities and it helps with sweating and digestion.

It might seem counter-productive, but by working the sweat out, you build heat tolerance and it definitely helps when youʻre out and about in the city. Try ice-skating if common sports are too intense for you.

Gear up: Use a cooling gel pad, portable electric fan, sunglasses and a cap

Back to Basic: Stay hydrated

Hong Kong is famous for its high density of skyscrapers and it can get very hot and humid sometimes as heat is trapped within the city. These items can be very handy when youʻre out. Keep them with you!

Everyone should have already known this. Body fluids are lost at a much higher rate in summer and it is important that you keep replenishing! Though, be careful not to over-hydrate. A good rule is that you consume liquid only when you feel thirsty; listen to your body!

Philanthropy by IWA

A message from Alessandra Bettiol, President of IWA “In this tough time, IWA showed its team spirit and strength, always looking for possible solutions in line with the rules in force.”

When I arrived in Hong Kong for the first time, a colleague of my husband, who has been living in this wonderful city for some years with his wife and children, suggested that I contact the Italian Association, since he found it very useful for his wife. She felt supported and involved in many activities, both entertaining and charitable. And so I did!

Since then, I have been knowing people I immediately felt a connection with and part of a charity project.

The Italian Women’s Association gathers women in Hong Kong, to share together recreational and cultural activities for charity purposes. Members register each year and pay an annual membership, which is entirely donated to charity. On top of that, they offer their free time and help to support initiatives.

Family hiking

The Association is formed by a committee which is annually elected by the members, including a President, VicePresidents, Treasurer, Secretary and Councillors. To be part of the committee, members are asked to bring their skills and experience to contribute to the final purpose of the Association.

After my first year as secretary, I covered the role of president for the next two. Those two years turned out to be very challenging, due to the protests first and the pandemic afterwards. In this tough time, IWA showed its team spirit and strength, always looking for possible solutions in line with the rules in force. During these last two years, financial support has been provided to different charities such as refugees without a shelter, mothers and children struggling, women victims of domestic violence and much more.

Money has been raised through regular monthly activities, like hiking and online classes, such as cooking and yoga.

In addition, IWA was also able to celebrate some of its regular annual events, like International Women’s Day on March 8th, the Day for the Elimination of Violence against Women on November 25th and its key event, “Il Mercatino di IWA”. In its last edition, the charity Market was held in November, instead of the first weekend of December, in a different location but with the same charitable spirit and philanthropic mood.

Part of the new committee, elected on the 23-5-2022

I take the chance, at the end of these last two years as president, to thank the “Angels” behind IWA. First of all, the Italian and local companies, whose donations and resources have always been valuable to the Association.

A special thanks to the local and Italian Institutions, particularly the Italian Consulate, in the person of Clemente Contestabile, Consul General of Italy in Hong Kong. Last but not least, thanks to the Italian Chamber of Commerce, who recognized IWA in 2021 with the title of Honorary Member of the Chamber.

Online yoga

I am confident all these collaborations with different Italian Institutions in Hong Kong will contribute more to the success of IWA’s charity mission and objectives.

I personally believe in this Association, and in the people who belong to it. Together we can bring strength and value to all the charities IWA supports, not only financially, but also by giving them greater local exposure.

e c n e s e r p n i t Even

On May 23rd, the Annual General Assembly of the Italian Women’s Association took place. For the third consecutive year, I have decided to complete my mandate as president, with the same grit and passion as the previous two.

Thanks to the precious work of my committee and all the members of IWA, always available to help and commit, I wish to consolidate what has been achieved in the past year and reach new heights.

As a final note, I hope for this coming year in more freedom of action, to give voice to all the members who make the Italian Women’s Association in Hong Kong so special.

Thanks, Alessandra President of IWA

Online aperitivo

“Together we can bring strength and value to all the charities IWA supports, not only financially, but also by giving them greater local exposure.”

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Business Focus

DELOITTE’S CLIMATE & SUSTAINABILITY “The challenges presented by the climate crisis are enormous and no organization can solve them singlehandedly. The greatest impact will come through the collective action of like-minded organizations, people, innovators and non-governmental organizations.”

– Punit Renjen, Deloitte Global CEO

Deloitte WorldClimate Climate change is not a choice. It’s billions of them.

Mitigating the impacts of the climate crisis is a monumental task. But together, we can drive positive change. Progress is possible if we act collectively, and it is vital that we all take urgent and immediate action.

To do our part to help the world achieve the goals of the Paris Agreement, Deloitte has launched WorldClimate, our strategy to drive responsible climate choices within our organization and beyond.

We recognize change starts within. Deloitte is committed to taking measurable, decisive action on climate change, empowering Deloitte professionals and engaging the broader ecosystem to create solutions that facilitate the transition to a low-carbon economy. At Deloitte, we engage and educate our employees on climate change impacts decisions about what they consume, use, and buy – to enable our people to make positive climate choices at home and work and amplify these through their networks.

From Deloitte’s new Sustainable Actions Index comes a portrait of people bringing sustainability into the mainstream.

Because our choices are profoundly shaped by their context— by what our friends, family, colleagues, and communities do—the impact of individual action can extend beyond the immediate effect, subtly influencing the behaviors of those around us.

Personal efforts toward living a more sustainable life matter.

It’s less about the individual emissions avoided by walking rather than driving and more about the example the act sets for others.

So how do we build societal support for a low-carbon transformation?

To help answer that questions, we created the Deloitte Sustainable Actions Index which shows how small shifts in attitudes can add up to big changes in where people work, what they buy, and what they expect from their leaders.

Our goal is to understand what inspires individual and collective action on sustainability-oriented behaviors. This analysis can be applied to understand how close (or not) we might be to societal tipping points in behaviors and identify the levers companies and governments can use to both respond to and encourage, the broader adoption of proclimate norms.

Constructing the Sustainable Actions Index To better understand the individual and collective roles that people play in addressing climate change and sustainability, we asked respondents to Deloitte’s Global State of the Consumer Tracker about how sustainability factored into three dimensions of their lives: in their personal choices, their civic participation, and in their workplace through asking the participants a series of questions: Personal choices: these questions asked about the sustainability choices people are making on a day-today basis. Do they recycle or compost? Have they taken measures to reduce energy usage or get their energy from renewable sources? Do they try to buy more locally, avoid or consume less meat, or choose more sustainable products?

Workplace concerns are related to people’s engagement with sustainability at their jobs. We asked questions about people’s expectations of their employer’s sustainability actions, how a potential employer’s position on sustainability would factor into their decision to accept a job, and if people would consider changing jobs to work for a more sustainable company.

Citizen actions, about a person’s likelihood of voting for a candidate who supports climate change actions; their support of regulations aimed at climate protection; their participation in climate protests or demonstrations; and if they have talked to public officials or their friends and family about climate change and the environment.

We asked these and additional questions of 23,000 respondents in 23 countries in September 2021. Respondents were concentrated in North America, Europe, and East and South Asia.

Across geographies, a “typical” sustainability standard-setter, among the respondents participating in the survey, identifies as female; is 25–44 years old; is a high-income earner; has felt worried or anxious about climate change recently; has at least one child at home, and experienced at least one climate event over the last six months.

There were five noteworthy demographic and attitudinal factors that especially correlated to people’s sustainability behaviors, namely: belief in climate change; direct experience of climate events; level of optimism about the prospects of global climate action; the presence of children at home; and age.

A sense of climate emergency tends to shape sustainable behaviors Not surprisingly, those who strongly believe climate change is an emergency also tend to be the ones working most actively to address it across all aspects of their lives. Twenty-four per cent of respondents who strongly believe climate change is an emergency were standard-setters for personal choices, but that falls to just 9% among those who only “somewhat believe” climate change is an emergency.

However, belief in a climate emergency doesn’t seem to matter when it comes to motivating citizen actions. This could suggest that climate change is a polarizing and motivating issue for people across the spectrum, but it might also indicate the degree to which actions to address climate change can enjoy widespread support—even among those who are more sanguine about global warming.

While this data cannot determine causality, the visceral experience of living through the impact of a changing climate appears to spur people to act (or at least consider acting) in their personal choices, in the public sphere, and their workplaces. A growing body of academic research supports this idea, although, in some countries, there are stark partisan divides. It is also possible that this is a relatively recent dynamic, as media coverage grows increasingly explicit about linking extreme weather to climate change and as the scientific community improves its ability to attribute events to global warming.

Within local geographies, climate-related disasters could prompt employee, customer, and constituent demands for more actions to mitigate and adapt to climate change.

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Business Focus A stake in the future translates to sustainability action Even if the world moves to rapidly reduce emissions, the worst impact of climate change still lies in our future. Having a tangible, visceral stake in that future—evinced by children at home—often translates to a greater likelihood of being highly engaged on sustainability issues across all three pillars of the index.

The desire to set an example for one’s children might also be at work; some research indicates that parents act in more climate-conscious ways when children are watching.

From behavior Change to system Change Addressing climate change demands systems-level transformations spanning energy, mobility, food, industry, and more. But that doesn’t mean individual attitudes and behaviors don’t have a role to play.

Shifting societal norms and actions can feed into the efforts of companies and governments, ideally creating positive-feedback loops that can lead to tipping points when adoption rapidly accelerates.

The index offers considerations for leaders across domains who seek to encourage sustainable behavior: Prepare for change: Understand when, where, and along which dimensions a tipping point in behavior could be reached, leading to rapid change. Assess whether your organization is ready for a shift in popular attitudes and actions.

Nurture a narrative of change: Optimism can fuel action.

Build a vision for your customers, constituents, and workers that shows the potential for a more sustainable future and a plausible path to get there.

Encourage change: Act in the areas where your organization can accelerate behavioral change among the constituents you speak to. If you are a retailer or produce consumer goods, how can you make the sustainable option also the goto option, one that doesn’t sacrifice performance or price?

Change the way you communicate with consumers through marketing and advertising to make sustainable choices more appealing. If you are in government, how can you translate growing support for climate action into actual policy? If you are an employer, how can you integrate climate and sustainability considerations into every part of the business in ways that meet workers’ expectations and help you attract and retain the best talent?

The world is mobilizing, belatedly, to address the climate crisis. Governments across the globe are deploying an array of policy and regulatory tools as they attempt to slash

emissions. Companies are setting net-zero targets, with broad implications for supply chains and business models.

A large and growing group of sustainability-minded citizens can help make these efforts easier and more impactful, so it behooves businesses and governments to enable individuals to become sustainability standard-setters.

“The world is at a turning point and the decisions we make today will be felt by the generations that come after us.

We believe a sustainable, prosperous future is within our collective reach. Businesses can join government and society by making strong commitments and transitioning toward sustainable practices.

Together, we will make the impact that matters.”

IRENA PICHOLA, PARTNER, SUSTAINABILITY CONSULTING CE FRANCESCO NAGARI, PARTNER, GLOBAL INSURANCE IFRS LEADER FRANCESCO VITALI, DIRECTOR, AP ICE LUCA PICCIONE, SENIOR CONSULTANT, AP ICE

38

Business Focus

GREEN TRANSFORMATION AND SUSTAINABILITY. WHAT ARE THE ROLES OF TECH COMPANIES?

BY FRANCESCO MUGGERI, VICE PRESIDENT, MARKETING AND APPLICATIONS, POWER DISCRETE AND ANALOG PRODUCTS, ASIA PACIFIC, STMICROELECTRONICS LTD.

Increasing population, indoor climate control, factory automation, and transportation have led to the fastrising energy demand. It is expected by 2030, the world’s demand for electricity will grow by more than 30% from 2021. It leads to strong concerns over carbon emission. As one of the worldleading semiconductor companies, STMicroelectronics (ST) can help, from a technology perspective, to decrease carbon emissions by shifting the current fossil energy to the new energy sources, such as solar and wind, more efficient energy conversion and smart usage of energy to reduce wastage.

Up to now, this environmental issue has been mainly driven by economic leading nations. In fact, China, Europe and the US together are accounted for more than 50% of the global carbon emission.

They have a clear path and a clear direction to reach carbon neutrality by 2050 and for China by 2060.

Major corporations have a clear responsibility and obligation to support the sustainability of our planet. At ST, sustainability has been in our DNA for more than 25 years. We are one of the first companies to commit to the United Nations Global Compact in 2000. We are proudly committed to becoming carbon neutral by 2027. To achieve this ambitious target, we have built a comprehensive program looking at all aspects of our business and operations such as the reduction of our greenhouse gas emissions as well as the increasing usage of renewable energies in our facilities.

We all strive to support reducing carbon emissions and global warming from

countries, corporations and individuals level. But how to make this happen?

We can first look into the three main areas of the energy supply chain: energy production, energy transmission and storage.

Nowadays, solar and wind are the most popular renewable energy sources and the improvement of technology enables efficiency and smart usage of electronic equipment. As a technology leader for semiconductors, ST has an important role in supply solutions and innovations from this perspective. We enable our customers by supplying semiconductor chips to build advanced solutions ranging from solar panels, power conversion inverters, meters, electric vehicle charging piles etc.

While on the transmission and energy storage stages, the semiconductor ICs can have a great contribution to saving energy. For transportation such as electric trains, electric trucks and electric vehicles, with the improvement in the battery charging and storage and extended milages on the road with lower power consumption.

Attempting to solve the issue of energy waste, we can take it from two different angles.

One is to increase efficiency. Another is to minimize the waste by introducing more intelligent usage, for example, artificial intelligence can help in the intensity of light in your dining room or factory floor accordingly to the detection of human presence.

Now let me give you more details on how ST’s semiconductor technologies affect your daily life from the environment and social applications that you may not be aware of.

As mentioned above on electric mobility, semiconductors enable large-scale vehicle electrification with a reduction in carbon emission, as well as the supporting infrastructure that makes it possible, these contribute to the shift from traditional vehicles to smarter, greener mobility solutions.

ST provides power solutions for renewable energy or smart grids. ST contributes to the transition to greener energy sources with high-efficiency and lowpower consumption components.

These allow for low-loss energy conversion in solar panels, wind turbines and smart grids using wide bandgap semiconductor technologies.

We also provide smart grid solutions, such as smart meters enabling energy utilities to manage their supply and demand, and allowing consumers to view their energy consumption in real-time.

In the smart building, farming and industry, ST’s products are used in a wide range of applications, supporting the evolution of industries to make factories and workplaces more intelligent, safer and more efficient. We provide devices to monitor, optimize, and clean gas emissions from any kind of motor engine, measure air pollution in cities, and purify the air.

We also offer a large product portfolio for energy monitoring and control in homes, buildings, and industrial facilities. The ability of our products and technologies to be more connected with their environment has been particularly instrumental in the agriculture industry.

Other than the environmental applications, let me introduce more on human welfare applications by semiconductor solutions that can provide social benefits by helping people lead safer and healthier lives.

Semiconductor solutions support the medical/ healthcare arena in developing innovative healthcare technologies, such as ultrasound imaging systems, and pacemakers. Embedded in electronic equipment, sensors, microcontrollers, power and analogue components, connectivity solutions and specialized ICs have been instrumental in the fight against the COVID-19 pandemic, enabling the design of virus testing kits, rapid testers, breathing ventilators, and social distancing applications.

Imagine we have the safety design systems and products that reduce accidents on the road, in our homes, cities, factories and workplaces. Just to name a few such as the development of LED lighting, pedestrian detection, driver somnolence detection, fire alarm, smoke detector, smart lock and access, surveillance, smart thermostats etc., these all technology advancements can help to make us safer.

Online transactions and payments become our daily routine, security solutions enable secure payment and authentication in a wide range of IoT devices, to protect privacy and assets by ensuring their confidentiality and integrity. ST has a product portfolio that includes a series of secure devices which, when embedded in connected systems such as alarms and smart door locks, protect against domestic robberies and car theft.

ST delivers intelligent and energy-efficient products and solutions that power electronics at the heart of everyday life. Per my introduction earlier, our chips and systems are found in billions of products. ST’s decades of experience in sustainability will be able to help our customers embark on their transition to carbon-zero, meeting external regulatory requirements in areas like ESG (Environmental Social and Governance) and ST will join hand with our customers to achieve the ambitious sustainability objectives going forward.

COMPANY PROFILE At ST, we are 48,000 creators and makers of semiconductor technologies mastering the semiconductor supply chain with state-of-the-art manufacturing facilities. An independent device manufacturer, we work with more than 200,000 customers and thousands of partners to design and build products, solutions, and ecosystems that address their challenges and opportunities, and the need to support a more sustainable world. Our technologies enable smarter mobility, more efficient power and energy management, and the wide-scale deployment of the Internet of Things and 5G technology. ST is committed to becoming carbon neutral by 2027. Further information can be found at www.st.com.

40

Business Focus

The importance of the in E Predominantly “E” ESG, which stands for “Environmental, Social and Governance”, has been at the centre of attention lately, together with the rising interest in sustainability and sustainable practices for companies and individuals.

There has been a significant increase in the amount of data collected relating to sustainability, and every industry is attempting to align on what the ESG approach mandates.

As increasingly more companies are praising their management for implementing sustainable plans into their business models and allocating bonuses according to ESG reports and performances, sustainability practices and disclosure can no longer be neglected.

According to CNBC, most of the companies who adopt ESG factors in their investment analysis tend to focus predominantly on the E as the leading criteria for decision making. The increased interest in the carbon market and carbon credits reflects this trend, especially in the context of afforestation projects. Who hasn’t come across at

least one program which claims to save the planet by selling a tree to offset your carbon emissions?

That is certainly a good idea to start, but there is simply not enough space on planet Earth to plant enough trees to compensate for everybody’s carbon emissions. What about the S, or social dimension of ESG? Not a lot of people or companies know that focusing on the S can help them save even more CO2 than simply focusing on environmental factors and, at the same time, support entire communities in addressing some of the biggest development challenges of our times.

An overlooked “S” The social sphere is often disregarded in discussions about offsetting and climate awareness, and it is also not taken into account from an impact point of view.

“Planet isn’t necessarily more important than people, it’s just easier to measure.

Investors like measuring things that they can put into their models, and carbon is easy to quantify.” This quote underlines how projects with a wider spectrum of impact can also produce carbon credits, and focuses the attention on the whole issue of including social practices into ESG reports through the so called “Social Impact Score”, which is meant

to predict the potential social benefits of an investment.

So why exactly is the S overlooked?

As the social element of an investment is more difficult to quantify, the world of impact investing seems rather risky to navigate, and the “S” tends to be disregarded. However, it can make a huge difference to the future of our planet and the fate of the climate crisis, as the E and the S are strictly and irrevocably interconnected. How so? As the developed world transitions towards a more stable, sustainable and greener economy and lifestyle, developing countries are still fighting for primary “benefits” such as access to electricity, or access to clean water.

Climate change could cause extreme circumstances triggering an exodus of people migrating to more developed areas, looking for better living conditions and opportunities. Thus, if social development is not properly managed, the consequences can be incredibly disruptive.

The consequences of climate change will certainly culminate in developing countries, as they are the ones who need to transition from rural to industrialised societies in a carbon friendly way, requiring significant resources and technologies to do so.

Investing in sustainable solutions for social development will not only help the environment, but will also allow developing countries to meet several Sustainable Development Goals set by the United Nations (SDGs).

The benefits of the social factor Caring about the environment is essential, but positively impacting people’s lives takes ESG to a whole other level. Some may wonder what the purpose of disclosing environmental or social impact is, and what they can get out of it. By proactively managing and disclosing environmental and social factors, businesses can generate new green investment opportunities, meet consumers’ demand for transparency in terms of sustainability practices and build a positive brand reputation. All of this would certainly allow companies to gain competitive advantage compared to those who fail to account for ESG factors, which will eventually be left behind in the sustainability race. In fact, the lack of regulations that force companies to disclose sustainability strategies is only a temporary shortcoming. Many countries already implemented regulations that mandate high-polluting industries to adhere to strict environmental standards. As these regulations are being drafted for many other industries, it is clear that being sustainable is no longer just a corporate “trend”, but a regulatory reality.

standard verified criteria to define the units of environmental impact such as carbon emissions avoided in the atmosphere. Similarly, social impact can be measured and quantified according to SDGs criteria, and accounted for in a special “Social Impact Score”. The only problem is that not many players in the offsetting scene offer a social impact calculator, choosing to focus on the easier “planting trees” option instead.

Plug The Impact fills this void by assembling all the pieces of this puzzle and creating projects that combine positive environmental and social impact.

Thanks to renewable energy solutions, we are able to provide electricity, clean water, irrigation systems, education tools and much more, to villages and communities where no such facilities have ever been installed before. Given the high environmental and social impact that providing clean energy to rural communities has, our projects make sure to generate double the amount of carbon credits that a simple afforestation project can produce.

The triumph of ESG

Measurability solutions

The three pillars of ESG are profoundly interconnected and require an integrated approach to maximise the benefits. Social and environmental issues are two sides of the same coin, and governance is the frame that ties all of them together. We can’t hope to deliver on the Paris Agreement commitments without taking into consideration all the factors of ESG, and companies should have the means to make informed decisions with regards to their sustainability strategies.

So how do we measure the S? And how can we make sure that it gradually gains the importance it deserves in ESG? As many might know, the E has some

Having the right connections, resources and expertise to guarantee the quality of one’s investment is of the utmost

importance, and that is why we founded Plug The Impact. With many years of experience dealing with public funds from governmental institutions and first hand experience implementing projects on the ground, our team has the right skills to provide a clear, transparent, high-quality review of the social and environmental impact that is being made.

It’s time to act.

Join our sustainability journey and let’s make an impact together.

Foundation Profile Plug The Impact positions itself as a connector between companies and individuals who want to transition towards carbon neutrality by supporting projects with a high environmental and social impact.

Impact investing goes hand in hand with environmental consciousness. Plug The Impact believes in this statement, and wants to guide environmental and social investments with transparency and authenticity. Our mission is to put our technical knowledge and expertise at the service of social empowerment and climate change.

Our ultimate goal is to encourage and support the economic and social development of rural communities across the world through a system that we call “Revolving Project Financing”. This system gives rural communities the means to autonomously thrive thanks to renewable energy solutions that can power their daily activities, creating a virtuous cycle of investments that can indefinitely multiply their scope and effect.

42

Talk of the Town Emerging in the late half of the 20th century, neon signs were a display of post-war prosperity and have been a defining visual element of Hong Kong. Various fields of industries and companies; restaurants, hotels, nightclubs, pawn shops, foreign companies and even mah-jong parlours all battling for attention with the brightest and biggest neon signs in the narrow streets, shaping one of the most iconic and distinctive scenes in the world. Awardnominated and globally acclaimed films like Transformers, Blade Runner and ChungKing Express were all inspired by the futuristic yet retro and nostalgic aesthetics that the neon glow creates. Though, this unique embodiment of the city’s versatility and cultural heritage is dying out due to various reasons and interest groups and NGOs are actively trying to preserve it.

THE GLOWING ARTEFACT OF HONG KONG’S VISUAL CULTURE:

NEON SIGNS The beginning: A symbol for rapid growth and prosperity There is no doubt about the level of influence in art and films and worldwide recognition that neon signs have gained.

On top of all the vibrant colours and glowing beauty, they possess the city’s cultural and historical significance; like an artefact that has been through the rich evolution of Hong Kong and witnesses the city as it becomes one of the busiest and diverse cities in the world.

During the industrialisation of Hong Kong in the 60’s and 70’s, people were becoming wealthier and living conditions were improving. This rapid emergence of middle-class citizens led to the increase of consumption power and affordability of luxury items.

The economic boom created a fierce competition in the commercial market, hence, the need for an effective method of advertising - attention grabbing with over-the-top signs in crowded streets

and on skyscrapers visible to everyone across the harbour.

Under British rule, there were not many restrictions and regulations for erecting over-hanging signs because the government not only did not want to interfere but also to facilitate commercial activities, especially with global brands flushing the market.

Also, given the state of technological advancement during that era, physical banners and signs were still prominent and most effective in the space of advertisement. This fight for attention turned into a competition for the biggest and brightest sign, composing the beautiful yet chaotic picture of glowing shapes and calligraphy overwhelming the narrow streets between old tenement buildings albeit concerns for safety risks and structural integrity. The glamourness of neon signs, from this point on, started becoming a symbol of status and reputation of the brand.

During its primetime, the record holder for the biggest neon sign according to

the Guinness World Record was once a sign for Marlboro in the 80’s, which was later overtaken by another sign in Hong Kong in 1999 - a giant dragon spanning 299 metres.

“Nathan Road, Hong Kong” by GothPhil is licensed under CC BY-NC-ND 2.0.

The inevitable downfall Though, it is exactly because of the rapid development and modernisation of the city, neon signs are eventually facing their inevitable demise. According to CityLife - a local tourism magazine - up to 90% of the main neon lights of the city have disappeared during the last 20 years. One of the many culprits would be regulations. As part of the Signboard Control System introduced by the Building Department, it was found that most signs constructed during the “golden era” do not conform to legal requirements and safety standards.

This led to a mass take-down operation aimed at removing unnecessary overhead hazards on the streets of Hong Kong.

Since 2006, about 3,000 “unauthorised” signs have been removed every year.^1 Regulations had not been historically strict, though. When neon signs were first introduced into Hong Kong in the 20’s, by-laws were made with the goal of not disrupting natural beauty. Despite multiple proposals for taxing sign owners (which were dropped under fierce objections and difficulty in enforcement) and temporary bans on operating under difficult weather conditions (because of a fire accident), regulations were never imposed to manage safety hazards.

It was not until the 2000’s when public concerns were raised and emergencies were reported that authorities started enforcing assessment and removal programs - one being Kwun Tong Renovation program, where many signs resided.

They are put in place to eliminate not only falling risks due to lack of maintenance, but also the dangerous process of installation and repair. As a result, unlawful signboards, especially ones that overhang and extend from walls of buildings, were ordered to be taken down. In 2009 alone, more than 5,000 signs were removed. Shop owners were not complaining, though.

According to Reuters, a public opinion poll in 2008 on energy conservation by the Council for Sustainable Development found 71 percent of over 80,000 people backed turning off neon lights in the small hours to conserve energy. Apart from the large consumption of energy, the light pollution by the blinding neon signs is just as detrimental. The city’s environmental protection department received some 50 complaints about light pollution in 2008, up from the 40 cases received in 2007, indicating a growing nuisance for the public.

The preceding downfall of the industry is worrying, with craftsmen reporting more than 100 pipe-bending working engineers during the peak down to more than 20 in 1995. Just 10 years later, there are only 7 people left. With production almost stopping, will neon signs head to extinction very soon?

Luckily, the glowing artefact is finally getting its appreciation and attention it deserves; ironically only after when it is most needed.

Perhaps as with every other innovation, neon signs were destined to be superseded by a newer innovation: LED lights.

Emerged in the 90’s, the diode technology is dominantly superior compared to the old-fashioned glass-bending craft which makes it irresistible to upgrade. LEDs beat neon tubes not only in energy usage, which makes it more cost effective, but also in durability - as they are not as brittle as glass which is more prone to breaking and takes a considerable amount of time and money to fix. This deters shop owners and corporations from continuing to use neon signs to save costs, further accelerating the decline of the industry. Even if it weren’t for the all-doing LEDs, environmental concerns were raised.

44

Talk of the Town

“Light” at the end of the tunnel In “light” of the seemingly imminent extinction (pun intended), preservation has gone into full effect initiated by interest groups and communities in recent years. Being a by-product of the booming era of Hong Kong, neon signs have become a tangible heritage for people to reminisce about the “good ol’ days”. They are beyond an iconography for the shops but for the cultural era they are in as well. Preserving them allows us to appreciate our past visual culture and the result of crosscultural dynamics; or they are simply just pleasant to look at.

“It is not until you have lost it then you realise how much it means to you” - a quote that is particularly fitting. When locals are used to seeing and living with neon signs for a long time, they wouldn’t be as much aware of the beauty of the signs as foreigners. Thankfully, designers and artists have been pushing the revival of the neon culture with indoor installations.

The art inspiration has, in turn, created a new group of audience, which helps maintain demand. People are starting to admire neon signs as an art form as we embrace it as part of our culture.

Maybe we can no longer roam around the once intoxicatingly illuminated streets, but with growing awareness and interest, a dying artform and industry is kept alive by organisations like Neonsigns.hk, as a featured section in M+ museum and HK Neon Heritage Group. Iconic signs like Sammy’s Kitchen (Neon Cow) and Kai Kee mah-jong parlour (Neon Chicken) were on the verge of going to waste, but owners were generous enough to donate them to M+, assigning them a new visual identity.

People might argue the neon signs are as good as trash if preservation means taking them away from where they belong and displaying them within the confined space of a museum. As doing so also means taking away the very values that they bring and the visual culture they represent. The neon signs serve and set an identity for the local community on top of commercial purposes. For example, they function as a landmark for people to navigate within the local community.

For each sign that gets removed, the city just lost a bit of its character and completeness. Therefore, it seems the only way of giving a new life/ meaning to them would be to provide a place for display as it not only creates an opportunity to educate and inspire, but also keep them physically safe.

Hong Kong’s neon lights may not be shining as bright as they once were, and the city’s renowned spectacular packed night glow may be forever gone; but their legacy continues to live on and the flaunty yet elegant; familiar yet mysterious floating signs will stay glowing in a special place in everyone’s hearts.

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Talk of the Town

OLG - Luxury Logistics A HUB FOR LOGISTICS, TRANSPORTATION, SHIPPING AND STORAGE, AS WELL AS RESTORATION AND EXHIBITION.

F

ounded with the aim of assisting high fashion and jewelry customer when it comes to the logistics of interior design and visual merchandising, OLG has also become a logistics hub based in Chiasso (CH), Milan and Hong Kong for the storage, restoration, study, and exhibition of art works and fine wines, but also jewels and watches.

A place where clients can make use of various services to conserve and add value to their collection. More than

O

LG offers the full package: the possibility to restore, photograph, and view one’s assets in suitable spaces, but also to propose collaborations to add value to one’s heritage, by exhibiting or publishing it. More than just a supplier for other companies’ activities, then but a real partner for its clients, who can rely on a single interlocutor for a complete service. Collectors, art galleries, advisor, banking institutions, international fashion brands, luxury jewelry and design brands, but also private individuals who place their trust in OLG, entrusting us their precious assets for storage or to be moved and shipped around the world.

sq. meters dedicated to the preservation of luxury goods, with a temperature and humidity controlled cell that allows for the optimal storage of

bottles of wine.

Federico Fuochi CEO of OLG International SA answers these questions: What does luxury logistics mean today?

Armored, controlled spaces with constant system maintenance (Climate machines, alarm and video surveillance systems, smoke detectors…). Daily movement of art works, jewels and bottle of wine. A team dedicated to controlling the goods and their correct allocation, in every way (suitable packaging, condition reports, archiving…) and

It means being able to respond to the requests of our clients, offering a complete and personalized service based on their needs. It is essential to create a relationship of trust and have a network of valid partners to offer a complete service. We need to distinguish ourselves and show the customer the difference between general cargo service and “white gloves” service. Always be focus on every detail, follow the shipment from start to finish, avoid overlooking anything, and be ready to find the most suitable solution for every request. Logistics, transport, shipping, warehouse. But also, a restoration laboratory and exhibition center. The many facets of a company that makes excellence its baseline.

How was the company born and how has it evolved?

shipments per year.

OLG was founded several years ago with the aim of assisting high fashion and high jewelry customers when it comes to the logistics of interior design and visual merchandising. Then, it also became a logistics hub based in Switzerland, Milan and Hong Kong for the storage, restoration, custody, study and exhibition of artworks, fine wine but also jewelry, watches and cars. A place where clients can make use of various services, have a customized package to conserve and add value to their collection. www.olgworldwide.com www.bwlworldwide.com

Art, Culture & Lifestyle

STEFANO FOSSATI DIRECTOR ITALIAN CULTURAL INSTITUTE HONG KONG & MACAU

Optical art

MARINA APOLLONIO, CIRCULAR DYNAMICS N, 1968, ENAMEL ON WOOD WITH ROTATING MECHANISM, 86 X 86 CM.

AND ITS INTERACTION WITH “USERS”

Most people are used to associating the CIA, the 75-year-old “world’s premier foreign intelligence agency”, with political issues (coups d’état, counterterrorism actions, etc.) but few people know that the CIA played a role in moulding what Joseph S. Nye defines as the “soft power” of the USA. That is, the ability of a country to persuade others to do what it wants without force or coercion. Soft power is something close to “invisible power” that Italian Marxist philosopher Antonio Gramsci defined as “hegemony”.

Expressionist painting worldwide for more than 20 years.”

In a provocative article published in The Independent (Sunday 22 October 1995), Frances Stonor Saunders writes, “For decades in art circles, it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used modern American Art including the works of artists such as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract

Optical Perspective, the exhibition that Novalis Art Design presents during Art Central Hong Kong 2022, offers a rare opportunity to increase our knowledge of modern art and admire masterpieces by artists from the Optical Art movement.

The American artists supported by their government would have certainly played a fundamental role in global art history. This was also the case in the Italian Renaissance. After all, without Pope Julius II we could not admire the Sistine Chapel as it is now.

But it is also true that the treasure hunt is still open in the complex scenario of contemporary creativity.

“Optical Art,” writes Vera Canevazzi, curator of the exhibition whose representing artists come from a variety of experiences, “develops between the mid-1950s and the end of the 1960s, placing itself in continuity with the geometric/abstract experimentations of

the historical avant-garde movements at the beginning of the 1900s, such as Futurism, Constructivism and the school of Bauhaus whose instances were adopted by ‘kinetic’ artists through a renewed study of the relation between art, psychology and technology.”

Italian society, at that time, was undergoing a profound transformation and development due to the “Economic Miracle”. In that period (1958-63), “growth rates reached a level never previously attained in the history of the unified state, an average annual increase in GDP of 6.3 per cent. [...]

Industrial production more than doubled [...], with the engineering industry and petrochemicals leading the way. Above all, exports became the driving sector behind the expansion, with an average increase of 14.5 per cent per annum.

The effect of the Common Market was clear for all to see: the percentage of Italian goods destined for the EEC countries rose from 23 per cent in 1955 to 29.8 per cent in 1960 and 40.2 per cent in 1965.” (Paul Ginsborg, A History of Contemporary Italy, Penguin Books Ltd. Kindle Edition, p. 214).

t was also a period of intense artistic and aesthetic research. In 1962, Umberto Eco published Opera Aperta (The Open Work), “a significant work, both on account of the enduring historical usefulness of its concept of ‘openness,’ and because of the striking way in which it anticipates two of the major themes of contemporary literary theory from the mid-sixties onwards: the insistence on the element of multiplicity, plurality, or polysemy in art, and the emphasis on the role of the reader, on literary interpretation and response as an interactive process between reader and text. The questions the book raises, and the answers it gives, are very much part of the continuing contemporary debate on literature, art, and culture in general” (David Robey, Introduction to The Open Work, Kindle Edition). This new concept of “openness” of the work of art and the role of the “user” in its perception and evaluation is crucial in understanding Optical Art and most contemporary artistic movements.

“The optical artistic research,” writes Vera Canevazzi, “focuses on the human visive perception and the interaction between viewer and work of Art. It is based on theoretical principles of Gestalt psychology, according to which the

YVARAL, INSTABILITY, 1963, WOOD, METAL, ACRYLIC, 90 X 90 X 35 CM.

totality of what we perceive is not only characterized by the sum of the individual sensorial stimulations, but also by the shape that we give to the things that allow us to understand the object in its totality. The user’s role becomes fundamental because it is only through his perception that the work of Art fully takes shape.”

Optical Art was an international movement. The merit of the exhibition, Optical Perspective is to present a rich selection of its representatives: Marina Apollonio, Marcello Morandini, Horacio Garcia Rossi, Yvaral, Dadamaino, Armando and Herman de Vries.

After Art Central, some of the works will be displayed at the Novalis Art Design Gallery from 9 June till 25 June 2022.

Follow us on your favourite social media platforms and subscribe to our YouTube channel to see some of our live events that you might have missed. facebook.com/iichongkong instagram.com/italianculturalinstitute.hk twitter.com/IICHongKong youtube.com/iichongkong To learn more about upcoming Italian events you may contact: Italian Cultural Institute, Suite 3201, 32/F Central Plaza 18, Harbour Road, WanChai, Hong Kong www.iichongkong.esteri.it iichongkong@esteri.it

HORACIO GARCIA ROSSI, MOUVEMENT, 1964/1965, WOOD, PLEXIGLASS AND MISCELLANEOUS MATERIALS, 45 X 45 X 30 CM. THE FIRST WORK OF ART TO COMBINE LIGHT, WORD, AND MOVEMENT.

50

Art, Culture & Lifestyle Italy is a country where superstitions reign: from lucky charms to those always wearing the same clothes or shoes for a big event…And let’s face it, you also have your own “just in case” rituals, don’t you?!

The origins of such folk beliefs are the most varied: from Ancient Rome to our grandparents’ rural tradition. They have been handed down through generations, up to our days. And we bet in the future there will always be someone counting the misfortune years coming after breaking a mirror!

For all the superstitious out there, we are here to give you all the useful tips and secrets to drive away any bad luck. We will go through the most popular beliefs, the story behind and most importantly, the remedies!

Let’s find out some new dos and don’ts!

IT’S NOT TRUE… BUT I BELIEVE IT TOO! - ITALIAN FOLK BELIEFS AND REMEDIES SLEEPING CAN BE MORE DANGEROUS THAN YOU EXPECT!

The bed is our sacred place, the place where we leave our thoughts behind and give ourselves a well-deserved rest at the end of the day. But that’s not all.

Have you ever been told that the position you sleep in might not be the right one? According to popular belief, especially in southern Italy, it is advised to avoid sleeping with your feet facing the door. This position is in fact the same one in which deceased people are left to “rest”. Not only will this position bring bad luck, but it is also considered disrespectful towards the people who are no longer with us.

However, this is not the only Italian belief regarding our sleep.

Many believe that leaving a hat on the bed is bad luck for whoever sleeps in it. In the past, when someone was ill and would call for either the doctor or the priest, these people would usually come to take care of the ill and in the haste would leave their hats on the bed. This is why leaving a hat on a bed is a bad sign as it reminds of an eternal rest rather than a nap.

DO NOT OPEN THE… UMBRELLA!

In Hong Kong, always remember to take your umbrella with you before leaving the house. However, in Italy, remember not to bring your umbrella with you when entering the house!

According to an all-Italian belief, opening umbrellas indoors not only would be an inconvenience but would also bring a significant amount of bad luck. The origins of this superstition are several. One dates back to Ancient Rome when umbrellas were used as protection from both rain and sun. Whoever dared to open an umbrella indoors was not respecting the God of the Sun and therefore would bring a great deal of misfortune to the family. Later on, the superstition evolved into the idea that opening umbrellas indoors would bring financial troubles, as umbrellas were used to plug holes in damaged roofs.

The last and creepiest origin behind the superstition is that the shape of an umbrella is similar to a canopy, a tent that is usually held over the head of the priest who brings the final rituals to people on their deathbeds. This is why you should hurry to go buy an umbrella stand so that no one will bring an open umbrella to your house!

MIRROR, MIRROR ON THE WALL… This is one of the most common superstitions worldwide. Who has never broken a mirror? If this happens to you, there are more things you should worry about rather than just collecting the fragments. The popular belief is that breaking a mirror will bring seven years of bad luck to you. The reason behind the number seven might derive from the ancient Roman belief that a person’s life was renewed every seven years. This superstition is most likely linked to the symbolic value of mirrors: they have always been considered ‘magical’ objects, capable of duplicating everything, including people. This is why ancient people thought that damaging the reflected image of a person was somehow equivalent to harming the person in real life.

In ancient Greece, mirrors were used to foretell the future; if during the ritual the mirror slipped and broke, it would mean that misfortune was coming.

As the famous fairytale says “Mirror, mirror on the wall…” we should all try to keep it that way or we should be prepared to face a lot of bad luck!

MIND THE LADDER! What can be more dangerous than an umbrella? A ladder, of course!

The ladder is a common symbol in many religions, as it symbolises the path towards the ‘divine light’. Stepping under a ladder would clearly mean that you are going in the opposite direction. During the Middle Ages, the shape of the ladder resembled a triangle, the symbol of the Holy Trinity. Going under it meant breaking the sacred bond and attracting the sympathies of the devil. To avoid infernal encounters, the most intrepid Italians would walk under the ladder with their arms and fingers crossed. Another origin behind this superstition goes back to medieval times when enemies would try to take control of castles and try to go in by using ladders. In order to avoid the invasion, the guards of the castles would pour boiling oil or tar on the enemies who were climbing on the ladders. This might be why some people are reluctant to walk under ladders, even if nowadays the risk of having tar poured on you is low, you can still risk some paint falling on your hair, so you never know!

PUT THOSE FEET UP! “I’m sweeping the floor, put your feet up or you won’t get married”. Every Italian girl who is single has probably been told this at least once in her life. But you may wonder what the connection between cleaning and the chances of matrimony is. The belief suggests that sweeping over unmarried girls’ feet would wipe out their chances at marriage. This is probably due to the fact that in the past a woman who accidentally swept on her feet with a broom was not good at cleaning and therefore, not a suitable wife.

So if you are thinking of getting married soon, make sure to take a big step away from anyone who is sweeping the floor, just to play safe.

STAY TUNED FOR THE NEXT EPISODE OF ITALIAN FOLK BELIEFS AND REMEDIES! 52

Art, Culture & Lifestyle

BALSAMIC VINEGAR - THE REAL THING Which is the firstborn: the Traditional Balsamic Vinegar of Modena, or the Traditional Balsamic Vinegar from Reggio Emilia? Reggio scholars assert, naturally, that theirs arose first: in 1046, 975 years ago. The Benedictine monk Donizo of Canossa cites it in his poetic biography Vita Mathildis, wherein the Holy Roman Emperor Henry III implores Boniface of Tuscany to give him some of “that prized vinegar said to be prepared perfectly there”. ‘There’ refers to the castle of Canossa, whose ruins are still visible in the province of Reggio Emilia. “That”, retort the people of Modena, “doesn’t count: the Canossa vinegar may have been ‘perfect’, but its description lacks the magic word: ‘balsamic’”. A word which, in 1747, we find in the Register of grape harvests and wine sales concerning the two secret cellars in the ducal palace in Modena, bearing the entry “a tub of white wine taken from the secret cellar on the orders of Antonio Lancellotti to refill the balsamic vinegar”. So, officially, the Modena vinegar was born first. Both agree on one thing: that the pedigrees of both Traditional Balsamic Vinegars, from Modena and Reggio Emilia, are rooted in the Roman era. Before taking a trip to ancient Rome, let us define real balsamic vinegar.

Three - and only three - vinegars can call themselves ‘balsamic’:

PDO TRADITIONAL BALSAMIC VINEGAR OF MODENA (TBVM) PDO TRADITIONAL BALSAMIC VINEGAR OF REGGIO EMILIA (TBVRE) AND PGI BALSAMIC VINEGAR OF MODENA (BVM).

Any other vinegar whose label boasts the title ‘balsamic’ is counterfeit, false as a tree-Euro banknote. These three vinegars are guaranteed by the EU, which has granted the two TBVs the PDO (Protected Designation of Origin) seal, awarding PGI (Protected Geographical Indication) status to the BVM. PDO is the top designation; TBV represents the soul of a territory: wine, must, history, climate, environment and people. PGI also guarantees the geographical origin and high quality of the product, but BVM has a briefer production process. The PDO TBVs of Modena and Reggio Emilia are like identical twins, so similar that even their mother would have trouble telling them apart. All phases of the product’s ‘gestation - production, transformation and elaboration - take place within one province.

The grapes are more or less the same (prevalently Lambrusco); the cooking times of the must are similar; the precious woods used for the barrels are the same; the ageing time in barrel sets of descending size is the same: at least 12 years. But those who want the best of the best, the Mona Lisa smile, wait even 25 years. What of PGI BVM? It is also an excellent Italian product, recognised by the EU since 2009. Of the three balsamic vinegars, it is the best-known and most sold worldwide, because unlike the aristocratic PDOs, it’s easy on the purse: it is a democratic vinegar, accessible to any gourmet wishing to enjoy this superb Emilian condiment without having to take out a loan. It is markedly different from the PDOs, admittedly, but it is nevertheless born of the same territory, the same people and the same history: that of the ancient Este duchies. Its regulations are less restrictive regarding types of grape and ingredients that can be added to the must (wine vinegar, caramel), methods, and ageing times. PGI is not decanted from barrel to barrel, nor is it progressively refilled. It can be sold after 60 days of ageing, but to ascend to a higher level of refinement, it must sit pretty in its barrel for at least three years.

And now, the million-Euro question: is there a link between the ancient Roman sapa, cooked must used as a sauce, and the balsamic vinegar of Modena and Reggio? Sapa derives from the Latin sàpere, ‘to possess taste’. Ovid, Pliny and Columella mention it. Apicius used defrutum - a cooked must less concentrated than sapa - on duck with prunes and roast lampreys, dishes which would send the Luculli and Trimalchios of the Eternal City into paroxysms of delight. More so than sapa, defrutum would seem to be related to balsamic vinegar.

It is known that the Romans already distinguished between wine vinegar and sapa. Martial seasoned his epigrams with salt and vinegar, a condiment that he particularly loved: “Without its vinegary bite / the self-same food no longer pleases me”. Sapa held out for centuries. Pellegrino Artusi (late 19th century) explains: “Sapa, which is none other than grape syrup, is versatile in the kitchen, having a special taste that suits various dishes”. He advocates dipping gnocco fritto (fried dough) or polenta into it. Gabriele D’Annunzio suggests mixing it with wine to invigorate those working in the fields: “Add sapa to the reapers’ wine”. Illustrious 16th-century gastronomers differentiated the condiments derived from wine.

Ludovico Ariosto, testifying to his simple tastes, distinguished vinegar from cooked must: “I’d rather have a turnip cooked at home / and skewered on a stick, and peeled, and sprinkled / with vinegar and sapa, than a thrush, / partridge, or boar in someone else’s house”. Bartolomeo Scappi, master of the culinary arts and secret cook to two popes, Pius IV and V, writes in his Opera dell’arte del cucinare (Art of Cooking) that vinegar, cooked must and verjuice are essential for preparing excellent dishes. He makes a fundamental distinction: the verjuice of which he speaks (alas, nearly forgotten today) is not vinegar, and, though made with cooked grape must, it is not balsamic, nor can it be even minimally related to it.

Firstly, the grapes for preparing it must be picked very unripe; secondly, its flavour is highly acidic, not sweet-and-sour; and finally, the technique for producing it is far less complex. The third element is cooked must. Might it have been balsamic vinegar? Perhaps, but Scappi, like the aforementioned Donizo, omits the magic word ‘balsamico’, which could have dated the birth of the traditional vinegar of Modena and Reggio centuries earlier.

History, which demands documents and sources, cannot subsist on ifs and mights. And history, manifesting the same patience as the PDO balsamic vinegar which ages for so

many years in wooden barrels, did eventually come up with a source: that order by Antonio Lancellotti to take a tub of white wine from the duke of Modena’s secret cellar in 1747 to refill the balsamic vinegar. Its fame spread from court to court. In 1764, the Chancellor of the Russian Empire, Count Mikhail Vorontsov, was on a diplomatic mission in Modena and implored Francesco III d’Este, Duke of Modena and Reggio, to send some bottles of balsamic vinegar to Catherine the Great. Ten years later, a letter accompanied the gift of four phials from one Antonio Boccolari, a restorer at the Este court, to the Milanese Antonio Tecchi: “I dare present Your Lordship with four small flasks of my Balsamic Vinegar”. By the late 18th century, balsamic vinegar was already wellknown and coveted. At the court of Ercole III d’Este, barrels and kegs of “balsamic vinegar in the style of Modena” were jealously guarded in the leftmost turret of the ducal palace.

Regrettably, such painstaking care could not protect the balsamic vinegar from the ravenous attentions of Napoleon, who raided the ducal vinegar stores in 1796, while also filching the artistic masterpieces of Guercino, the Carraccis, Reni and Giambologna. Still unsatisfied, France even tried to prevent the EU from conferring PGI status on Modena Balsamic Vinegar in 2009. Fortunately, they lost this battle at least.

Learning of the PGI vinegar’s retail profit of 970 million Euros (2017 data) must have been a bitter pill for France to swallow - not to mention the immense value of the PDO Traditional.

BY MORELLO PECCHIOLI HONORARY ACADEMICIAN FOR VERONA

The Accademia Italiana della Cucina has been present in Hong Kong since 2012.

The Delegation is headed by Savio Pesavento and welcomes new members, individuals who are passionate about food and knowledgeable about Italian cuisine.

www.facebook.com/ accademiaitalianadellacucinahongkong

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Art Hong Kong Palace Museum opening and exhibitions Opening in July 2022, the Hong Kong Palace Museum will present over 900 priceless treasures from the Palace Museum collection (Beijing). Many of these gems are on display in Hong Kong for the first time, while others have never been displayed to the public.

The nine galleries of the museum will regularly present special exhibitions featuring Chinese art and culture; art collections in Hong Kong and multimedia projects; art and treasures from other parts of the world in dialogue with Chinese culture.

Date: 2 July 2022 Venue: Hong Kong Palace Museum, West Kowloon Cultural District, Kowloon Info: https://www.westkowloon.hk/en/hkpm

Cinema Screenings at M+ Cinema Featuring three screening houses of various sizes, the M+ Cinema will have a series of feature films, documentaries, experimental cinema, and restored classics on show for the public which will also respond to the museum’s exhibitions.

Cinephiles can look forward to the premieres of restored classics such as the ever-classic Days of Being Wild by Wong Kar Wai and Xiao Wu by Jia Zhangke.

Date: starting on 8 June 2022 Venue: M+ Cinema, West Kowloon Cultural District, Kowloon Info: https://www.mplus.org.hk/en/cinema/

46th Hong Kong International Film Festival Founded in 1976, the Hong Kong International Film Festival (HKIFF) is Asia’s oldest international film festival and a pioneer in introducing Hong Kong, Chinese language and Asian cinema and filmmakers to the world.

The annual event is organized by the Hong Kong International Film Festival Society (HKIFFS), a charitable, non-profit and nongovernmental organization dedicated to the discovery and promotion of creativity in the art and culture of film. HKIFF46 has announced that Hong Kong star Aaron Kwok will return as the festival’s ambassador for the fourth consecutive year.

Date: 15 - 31 August 2022 Venue: hybrid approach of inperson and online screenings Info: https://www.hkiff.org.hk

Fairs Hong Kong Book Fair Launched in 1990, the annual Book Fair is organized by the Hong Kong Trade Development Council and takes place over several days. Visitors can buy books, printed matter, stationery, printing, compact discs and other multimedia publishing.

Date: 20 - 26 July 2022 Venue: Hong Kong Convention and Exhibition Centre, 1 Expo Drive, Wan Chai

Info: https://hkbookfair.hktdc.com/en/index.html

Hong Kong’s Ani-Com and Games Fair The annual Ani-Com and Games Fair (ACGHK) not only brings together comic books and anime fans, but also a great variety of gamers under one roof surrounded by limited edition comics, figures and other collectibles from Hong Kong, Japan and around the world.

The event is also well-known as a giant cosplay gathering, where fans dress up in their favourite characters.

Date: 29 July - 2 August 2022 Venue: Hong Kong Convention and Exhibition Centre, 1 Expo Drive, Wan Chai Info: https://ani-com.hk/2022ver/

Local Festivals Mid-Autumn Festival (中秋節)

Date: 10 September 2022

The Mid-Autumn Festival, also known as the Moon Festival or Mooncake Festival, is the second biggest traditional Chinese holiday after Chinese New Year. It traditionally falls on the 15th day of the eighth month of the Chinese lunar calendar, which is in September or early October on the Gregorian calendar; people celebrate the harvest and the Autumn season at the time of the full moon. In Hong Kong you can watch the fire dragon and lion dances (Tai Hang, Causeway Bay), enjoy festival food and drinks and lantern displays (Victoria Park).

People usually celebrate it by gathering for dinners, worshiping the moon, lighting paper lanterns, and eating traditional sweets called “mooncakes”.

Venue: various venues

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Opera “Don Pasquale” semi-staged opera Don Pasquale is a comic opera in 3 acts - composer: Gaetano Donizetti, Librettists: Giovanni Ruffini and Gaetano Donizetti The wealthy elderly bachelor Don Pasquale wants his heir and nephew Ernesto to marry a rich woman of noble birth. He tries to force Ernesto to accept an arranged marriage by threatening to disinherit him and drive him out of his house. Ernesto resolutely refuses to obey because he is in love with Norina, a young

widow. Dr. Malatesta, Don Pasquale’s personal physician and a close friend to both Ernesto and Norina, devises a scheme to help the young lovers and teach the old man a lesson through a punishing experience.

Date: 13 - 14 August 2022 Venue: TBC Info: https://www.operahongkong.org

Music “Mirror.We.Are” live concert MIRROR, the Canto-pop sensation debuted in 2018, will hold their first-ever Hong Kong Coliseum concert this July and August. This famous boy band consists of 12 members who have also participated in various drama series and reality shows.

Info: https://www.viagogo.com/hk/en/Concert-Tickets/C-Pop/ MIRROR-Tickets

Date: 25 - 31 July and 2-6 August 2022 Venue: Hong Kong Coliseum, 9 Cheong Wan Road, Hung Hom

“Reflections on Refractions” concert Joint Celebration Concert of Hong Kong City Hall 60th Anniversary & Hong Kong Arts Festival 50th Anniversary.

Hong Kong Sinfonietta, LCSD and Hong Kong Arts Festival, in collaboration with City Contemporary Dance Company, proudly present a rich music programme called “Reflections on Refractions” with arias by Charles Kwong, J. S. Bach and I. Stravinsky.

Date: 16 - 17 September 2022 Venue: HK City Hall - Concert Hall, 5 Edinburgh Place, Central Info: https://hksl.org/concert/reflections-on-refractions-sep-2022/

Note: Please check with the official websites and organisers about potential special arrangements for COVID-19 before attending the events

I want to thank everyone for reading and engaging with me over “What’s on Hong Kong” articles during the last few years. It has been an amazing journey that has come to an end as, while you are reading this last article, I have already left the country! I am very thankful for every one of you and hope you will keep reading the ItalianCham Magazine in the future.

Lia Campiglio

Ciao e a presto!

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