ItalianCham E-Magazine Vol. 21 (March 2024)

March 2024

italiancham

Magazine

Art and Identity: How Art Reflects and Shapes Collective and Individual Identities, and Cultural Heritage

The Art of Exceptional Hospitality: Strategies for Creating Extraordinary Guest Experiences

ISSUE NO. 21

CONTENTS PRESIDENT’S MEMO

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CHAMBER’S PATRONS

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CHAMBER’S SPOTLIGHT

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MEMBER’S SPOTLIGHT

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COVER STORY

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TAKE A COFFEE BREAK

BY ILLY

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PHILANTHROPY BY IWA

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BUSINESS FOCUS

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APERITIVO TIME BY CAMPARI GROUP

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ART, CLTURE & LIFESTRYLE

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WHAT’S ON HONG KONG & MACAU

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Publisher The Italian Chamber of Commerce in Hong Kong and Macao Unit 1102-03, 11/F, 299QRC, 299 Queen’s Road Central, Sheung Wan, Hong Kong Tel: +852 2521 8837 Email: icc@icc.org.hk Website: icc.org.hk

DAVIDE DE ROSA, PRESIDENT ITALIAN CHAMBER OF COMMERCE IN HONG KONG AND MACAO

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Dear Members and Friends,

It is my pleasure to introduce the March issue of our respected ICC e-magazine. In this edition, we delve into captivating topics that intersect the worlds of business and art. Our featured articles explore "The Art of Exceptional Hospitality: Strategies for Creating Extraordinary Guest Experiences" whilst our cover story tells us about the profound influence of art on identity, cultural heritage, and the economic value of artworks in "Art and Identity: How Art Reflects and Shapes Collective and Individual Identities, and Cultural Heritage" and in "Art and Business: An Exploration of Art Markets, Gallery Systems, and the Economic Value of Artworks."

In the first segment, "The Art of Exceptional Hospitality: Strategies for Creating Extraordinary Guest Experiences", we recognize the paramount importance of delivering exceptional hospitality experiences in today's competitive business landscape. We explore strategies that businesses can adopt to create remarkable guest experiences, elevating their brand reputation and fostering customer loyalty. By drawing insights from the art of hospitality, we aim to inspire our readers to reimagine their approach to customer service and unleash the potential for innovation and excellence within their organizations.

Moving on to our cover story, "Art and Identity: How Art Reflects and Shapes Collective and Individual Identities, and Cultural Heritage", we embark on a journey to understand the deep intertwining of art and identity. Art has long been a powerful medium through which individuals and communities express their unique identities and preserve cultural heritage.

We explore the various ways art reflects and shapes collective and individual identities, acknowledging its transformative power and its ability to transcend boundaries and ignite dialogue.

Furthermore, we delve into "Art and Business: An Exploration of Art Markets, Gallery Systems, and the Economic Value of Artworks". This thought-provoking article examines the intricate relationship between the art world and business. We shed light on the dynamics of art markets, the functioning of gallery systems, and the economic value of artworks. By exploring the intersection of art and commerce, we aim to provide valuable insights into this multifaceted industry and its impact on the global economy.

As always, we encourage our contributors and readers to engage in meaningful discussions and share their perspectives on these topics. We believe that the fusion of art, business, and hospitality can lead to innovative strategies, transformative experiences, and sustainable growth.

Thank you for your ongoing interest, support, and contributions to the ICC e-magazine.

Together, we can continue to explore the ever-evolving landscape of business and the arts, driving positive change and fostering a vibrant global community.

Warm regards,

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CHAMBER’S PATRONS

Chamber’s Spotlight

Design Between Traditional and Innovation: Sustainability in the Italian Manufacturer Process In the spirit of fostering inclusiveness, innovation, and sustainability, the Consulate General of Italy in Hong Kong, the Italian Cultural Institute, the Italian Trade Commission (ICE), and the Italian Chamber of Commerce in Hong Kong and Macao united to celebrate Italian Design Day on March 14. This year's theme, "Manufacturing Value," resonated with the Ministry of Foreign Affairs and International Cooperation and the Ministry of Culture, setting the tone for the 2024 edition.

A fascinating panel discussion titled "Design Between Tradition and Innovation: Sustainability in the Italian Manufacturing Process" took center stage at Tai Kwun, organized in partnership with the Hong Kong Polytechnic University - School of Design. Walter Mariotti, Editorial Director of the esteemed architecture and design magazine Domus, moderated the discussion as a Testimonial of the Italian Design Day in Hong Kong.

The panel showcased four distinguished Italian designers and artists, namely Andrea Bonaceto, Tiziano Guardini, Piergiorgio Robino, and Gianni Giuffrida, alongside four local experts. Together, they delved into the realm of sustainability within Italian design manufacturing, exploring its impact on architecture, fashion, art, and furniture. Adding to the ambience, Italian-design chairs were generously provided by the esteemed showroom "Andante", a leading importer of high-end Italian furniture in Hong Kong.

Carmelo Ficarra, the Consul General of Italy in Hong Kong emphasised the profound cultural influence of Italian design, as it is permeated through its exquisite products. The event served as a platform to celebrate Italian excellence and the fusion of tradition and innovation within the design realm.

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Among the featured artists, Andrea Bonaceto has garnered widespread acclaim for his artistic practice, seamlessly blending visual art, poetry, and technology. His exceptional talent has earned him prestigious accolades, including the Forbes 30 Under 30 Italy 2019, the Talented Young Italian Award, and Fortune 40 Under 40 Italy 2023. Tiziano Guardini, renowned as the "designer of nature," has made a remarkable impact in fashion. His innovative approach to fashion, ECOuture, has gained significant recognition, being embraced by renowned platforms such as Milan Fashion Week and showcased in groundbreaking exhibitions like "Fashioned From Nature" at the V&A Museum. Piergiorgio Robino, a functional artist, is recognized for his experimental work with new materials, particularly resin. Architect Gianni Giuffrida, a member of the ARB (Architects Registration Board) and the RIBA (Royal Institute of British Architects) since 2013, has spearheaded numerous projects across Europe, the Middle East, and Asia. His portfolio includes notable structures like the Air Traffic Control Tower in Istanbul and the Higold Headquarters in Foshan.

In addition to the panel discussion, the Italian designers and artists conducted educational activities at prominent universities in Hong Kong, engaging with students through lectures and meetings. Meanwhile, Walter embarked on a captivating journey exploring the East Kowloon Cultural Centre, along with other cultural venues, and contemporary architectural marvels throughout the city. His experiences will contribute to an upcoming publication on Hong Kong architecture, to be featured in Domus. in the following months.

The Italian Chamber of Commerce in Hong Kong and Macao proudly celebrated Italian Design Day, highlighting the indelible mark of Italian creativity and craftsmanship on the global stage. This momentous event reinforces the bond between business and artistic expression, underscoring the Italian Chamber of Commerce's commitment to promoting collaboration and excellence within the local business community.

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Chamber’s Spotlight

Unveiling the Vibrant and Evolving Art Scene On the occasion of Art Month, the Italian Chamber of Commerce in Hong Kong and Macao presented "Hong Kong as an Art Hub” on March 20, 2024. The event brought together influential figures from various art institutions to discuss Hong Kong's evolving art landscape. Fabio Rossi, Gallery Principal of Rossi & Rossi, moderator of the event, with Angelle Siyang-Le, Director of Art Basel Hong Kong, Claudia Albertini, Senior Director of Massimodecarlo, Dee Poon, President of Brands and Retailing at Tessellation Group and Board member of the West Kowloon Cultural District Authority, M Plus Museum Limited, and Yuri Van Der Leest, Art Collector and Managing Director of Teneo, as featured speakers. Their insights revealed a vibrant ecosystem fostering creativity, diversity, and community engagement.

Hong Kong's art scene has witnessed a remarkable transformation since the 1990s, as acknowledged by Fabio. The city exudes a vibrant cultural energy, with the number of contemporary galleries increasing from a few to 54. Non-profit organizations promoting the arts have flourished, reaching more than 30. Tai Kwun Cultural District and the recently opened M+ museum have played a crucial role in showcasing modern and contemporary Asian art, positioning Hong Kong as an uncharted territory for artistic exploration.

Over the past decade, Hong Kong's art community has received significant institutional commitment, as Yuri emphasised. Establishing M+ and other cultural initiatives has fostered inclusivity, vibrancy, and representation within the local art scene. This shift from a museum-centric approach to a thriving ecosystem encompassing galleries, community engagement, and diverse artistic practices has been instrumental. Hong Kong's art landscape has evolved into a dynamic community beyond traditional institutions, thanks to the people's and government's energy and support.

The speakers discussed shaping the global perception of Hong Kong as more than just a business-oriented art destination. In Dee's view, Hong Kong can position itself as a global art powerhouse by cultivating a narrative that transcends traditional Western perspectives. Its role as a bridge between cultures attracts international artists and showcases local voices abroad. As highlighted by Claudia, embracing diversity and uniqueness has the potential to draw artists, collectors, and enthusiasts from around the world.

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Hong Kong Art Basel has become a significant platform for showcasing the city's cultural diversity and facilitating artistic exchange. Angelle emphasized Hong Kong's central location in Asia, making it an ideal host city for the renowned art fair. Through its focus on Asian artists and culture, as well as collaborations with local institutions such as M+, Hong Kong has become one of the most important art destinations.

The presence of the fair acts as a catalyst for emerging and established artists to gain global exposure.

Securing long-term financial support remains a challenge for Hong Kong's art ecosystem, as emphasized by Dee. Bridging entrepreneurship and art, leveraging the city's business landscape, and creating innovative art offerings are essential steps in overcoming this challenge. Continued institutional support, nurturing local artists, and fostering an entrepreneurial spirit are key to propelling the city's cultural growth. With a strong foundation and a devoted art community, Hong Kong is poised for future innovation and sustained artistic excellence.

Rather than viewing competition among Asian art centers negatively, the speakers underlined its potential to accentuate each city's unique strengths.

Hong Kong's advantageous position, tax-free environment, cultural melting pot, and openness to foreign cultures set it apart. Collaboration and cooperation among these art centers contribute to the growth and vitality of the entire region, benefiting artists, galleries, and audiences.

The event celebrated Hong Kong's remarkable evolution into a vibrant art destination driven by institutional support, community engagement, and a passion for artistic expression. As Hong Kong continues to enrich its art scene and attract global attention, its position is solidified as a beacon for creativity, diversity, and artistic innovation.

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Member’s Spotlight

A CULTURAL CANVAS UNFOLDS MONDRIAN HONG KONG With properties around the world in Barcelona, Bordeaux, Cannes, Dubai, Ibiza, LA, London, Miami, New York, Seoul, Singapore and more, Mondrian makes its debut in Hong Kong with the brand’s foray into Greater China, instilling the city with a refreshed take on luxury lifestyle and hospitality.

Located on Hart Avenue in vibrant and convenient Tsim Sha Tsui with captivating harbour views and seamless access to the city, the recently opened Mondrian Hong Kong hotel introduces a bold new perspective to the region, pushing boundaries with its oversized imagination and appreciation of local Hong Kong.

The hotel’s immersive, gallery-like interiors beginning with underwater photographer Christy Lee Rogers’ dancing goddess mosaic wall lining the lobby’s entrance, feature designs from local artists dotted throughout the hotel and the wild imagination of Karin Krautgartner and her interior design house, byKK. Inspired by Hong Kong’s fishing village heritage, water plays an integral part in the hotel’s art and design aesthetic, offering guests a connection to the local community and its inspirations mirroring life in the city. These locally inspired design details stimulated by the city’s history add authenticity, with General Manager, Dirk Dalichau saying,

“The vision is the hotel as a progressive and imaginative community, a place to connect, have fun, be challenged, experiment, and come away inspired. Travel and business are beginning to boom again, Hong Kong is buzzing, Kowloon is transforming, the centre of gravity is shifting, the whole West Kowloon Cultural District is amazing and the nightlife is truly 24-7.”

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ith land and water as its inspirations, resident to the hotel are Mondrian’s two captivating dining venues; the globally-acclaimed Carna by Dario Cecchini and Avoca, located on the hotel’s top two floors, taking guests on a destination dining journey with amazing views.

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onceptualised by Tuscany’s Dario Cecchini, named the “world’s greatest butcher” by the New York Times and a star on Netflix’s show “Chef’s Table”, brings his maverick passion to the Italian steakhouse. Focusing on a sustainable nose-to-tail dining ethos and charcoal-grilled delicacies, Dario and Executive Chef Daniele Milliani ensure that every cut of meat is respected and utilised in line with the 8th generation butcher’s philosophy of leaving the planet better than when it was found.

Going beyond the traditional steakhouse to offer sophisticated dining and weekend brunches with full Italian hospitality, Carna’s award-winning designer Joyce Wang, complements the ambiance with marbled ceilings, drapings, and bronze-hued lighting, enhancing the warm and welcoming experience for guests.

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voca, an innovative, lively bar serving handcrafted cocktails and bites from nourishing breakfasts to late night cocktails, welcomes guests to its buzzing, contemporary vibe. Decked out in plush seating with harbour views, dramatic art and local street chic illustrations, Avoca’s locally-inspired concept has resulted in a menu of unique cocktails taking inspiration from Hong Kong’s favourite foods and flavours paired with creative dishes fused with local elements.

We invite Italian Chamber Members and guests to a taste of life more Mondrian. With genuinely friendly service, a commitment to sustainability and reduction in environmental impact throughout the hotel, and 324 rooms to choose from including 12 two-bay suites with incredible cityscape and harbour views, guests will feel a connection to the city, its local artistry and the link to water whilst they’re here.

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ith 324 sleek rooms, including 12 two-bay suites, Mondrian connects to the spirit of the city through clever and nuanced designs that reference Hong Kong's rich history and feature work from local artists. It also embodies a commitment to sustainability and reduction in environmental impact throughout the hotel, providing the ideal space to dream after exploring the city's vast cultural offerings.

Follow us on LinkedIn, Instagram, Facebook or visit us on our website for more details or to make a reservation.

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Cover Story

Art as an Expression of Identity Leang Seckon When Leang Seckon (Cambodia, b. 1970s) roamed the

Seckon understands that, so he meticulously collects folklores,

countryside of Prey Veng province as a young boy herding his cattle, he came to know the land, its rivers, crops and the people

objects and melodies that were testimony to history and worked them into his art. Scraps of fabric, old clothes, pieces of worn

living off its abundance. Born in the years of the US bombing of Indochina, he is no stranger to a life in displacement. His mother

leather, newspaper cuttings, and carton boxes, the artist utilizes the simplest materials from daily life to vividly reenact episodes from both Khmer history and his own life with an ancient

doesn’t remember the year of his birth because they were always on the move, escaping from place to place, hiding from the relentless shelling and bombing. War boils down life to the bare

sensibility which graced the facade of Angkor some one thousand years ago.

minimum, in the process banishing much of cultural heritage to obscurity.

If self-portraits are the age-old, and perhaps the most immediate, forms of representing oneself, today’s art and artists have turned to a plethora of mediums and practices to speak about themselves, relay their concerns, articulate their beliefs and ideologies, and describe their imaginations and hopes. Fiction writers may channel themselves and their alter-ego through fabricated characters, contemporary artists do much the same through visual means. For many, the issue of identity is their personal experience deeply rooted in both the history and contemporary reality of their homes, in Seckon’s case, in Cambodia’s many wars and conflicts.

Golden Flower Skirt (Sonphut Picar Mier) (2009) is one such example. The work is composed of patterns of Cambodian countryside life, gardens and rice fields, different types of houses and palm trees, all of which are common scenes but dear to Seckon’s heart. The violence that accompanied the artist throughout his adolescence makes its appearance in the work in the form of a military airplane. And with it, a story to which he bears witness: “Once a year we harvest and store rice in silos under the ground; these places were destroyed in the bombing campaigns. One day the people of my village were making a ceremony at the pagoda. A bomb fell from the plane at lunchtime onto the middle of the building, killing one monk. The shadow of the bomber still hangs over all of countryside life, more than 40 years on.”

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Golden Flower Skirt (Sonphut Picar Mier) 2009 Mixed media on canvas 150 x 130 cm

During years of displacement, Seckon’s mother owned only one skirt. Whenever a tear appeared in the fabric, she would mend it with any piece of scrap cloth she could find.

Over time, the skirt grew heavier and heavier with layers of patches. This is what the artist calls, the “heavy skirt”, which has become a recurring symbol in his works speaking about his memory of the war and his family’s endurance in hardship. Leang Seckon is the salt of the earth, he sewed his home, its past – be it grotesque or otherwise, and his journey through it onto the canvas. Constant mending, like a broken place picking up the loose pieces to get back on its feet; and constant sewing, like a person shaken by brutality coming face to face with a difficult history to heal.

The issue of identity has become ever more urgent for many artists in an increasingly globalized landscape to fathom what makes one truly unique in a myriad of multicultural narratives. The result is a socially and culturally motivated quest that demands an investigation of the self and a wider context.

Heavy Skirt (Somphut Mien.Domngun) 2009 Mixed media (Dimension variable)

Nortse In the practice of Nortse (b.1963, Lhasa), the attempt to situate

In the middle stands a modern man, dressed in a suit and tie over

oneself is inevitably intertwined with the changing face of the conventional Tibetan society. His work Group Photo (2007)

a simple Tibetan vest, complete with a tennis cap and a cellphone in hand. He is a product of our times. He can see but only with

decodes the multifaceted identity of a Tibetan artist in a turbocharged consumerist, materialist culture. It is a group photograph

one eye while the other is hidden behind a folded newspaper. On the right is the futuristic character. His human features are

of three personalities all played by the artist himself. The man on the left, holding a prayer wheel in one hand, is in red festive Tibetan attire embroidered with auspicious clouds, lotus and

obscured by a transformer’s mask, conventional clothing as we know it is substituted by a long sheet of tin foil around his chest.

This man is a projection of where, at least in Nortse’s eyes, not

dragon motifs. He is a man from the past, or rather, the face of a traditional society. The burden of history is necessary but weighs on the person, so much so that he is blinded by the plateau’s

just he as an individual but we collectively as humanity is going.

The three brothers are the trinity of the artist’s vision of a self from the past walking into the future.

ubiquitous prayer flags completely covering up his head.

Nortse actively observes the changes coming to his city, and in an almost melancholic way paints how the Buddhist belief which is synonymous with the traditional Tibetan society is at odds with the urban infrastructure building frenzy. PVC No.1 (2011-12) is a compelling portrayal of such a fracture. PVC, as an economic and practical material for pipes, is seen everywhere on the streets in Lhasa. Also flooding the streets in the city are cheaply printed name cards of repairmen for doors, windows, piping, and all kinds of menial jobs. In PVC No.1, the canvas is dominated by a broken waste pipe. From the cracks, a fragment of a Bodhisattva mural peeps out from the interior. Nortse explained, “To me, the waste pipe is full of filth, a place which you can never make clean again. I want to show my concern for Tibetan culture through the depiction of waste pipes.”

Group Photo 2007 Photograph, Edition of 10, 55 x 53 cm

Shaped by both individual or collective experiences, artists often claim multiple identities that intersect with multiple narratives. Through artistic expressions, artists recount these experiences that have sculpted them, comment on issues and subjects of their fancy or concern, and portray a picture of their vision. Some of these narratives resonate with us as viewers, lending a new identity to the works in the process; some help us understand and look at what has been always familiar to us from a new vantage point. This may be one of the most fascinating dimensions in contemporary art expression – a tableau of stories and visual poems born from environs and times contemporaneous to us.

PVC No. 1 2011- 2012 Mixed media on canvas130 x 130 cm 14

Cover Story

The Future of Art as a

Contested Space

by Michele Galeotto

As someone deeply involved in the creative industries, it is difficult to see things from the outside when reflecting on the future of art or its innovation. What I can shed light on are rather my thoughts, fears, and hopes for the future of art. To contextualize my perspective on the trajectory of contemporary art, I need first to provide some background about myself.

One revealing moment for me was in Rome visiting the Vatican Museums, realizing that most of the artworks exposed originally served one single purpose: to communicate the Papal States' narrative. It was meticulously crafted propaganda.

Since graduating from Tsinghua University's Academy of Arts & Design in Beijing, and over the past nearly two decades between Beijing, Shanghai and Hong Kong, I have worked with a multitude of diverse creative teams in the execution of commercial projects spanning from auto shows to product launches, to film production, photography, and experiential marketing. The common thread in my work has always been ‘communication’, and in 2020, in response to the surging demand for online content due to the pandemic, I established goodtakesonly, a creative studio focusing on video production, photography and animation design based in Hong Kong.

Whether it served the needs of the Pope's propaganda machine in Rome, soothed the existential struggles of a lonely and neglected alcoholic, or projected the social status of an aristocrat, we can always measure the success of an artwork by the effectiveness with which it delivers its message. Did it convince the plebs that the Pope had God's mandate? Did it successfully give vent to the existential struggles of the artist? Did it convince the other members of the aristocratic class that this facility was wealthier than the others? This is, in fact, the same way advertisers would measure the results of an ad promoting baby formula or a soda drink. So how do we judge where today's art is heading? We need to take a look at where it came from and how it transformed in the recent past.

Coincidentally, many of my clients happen to work in what we can call the 'art business'. To me, art is very difficult to separate from other forms of cultural expression. In fact, I see art as just another form of communication. When I was in school, I thought, or perhaps I was told so, that while design is purpose-driven, as with any service, art is self-fulfilling. But with the years, I grew to completely disagree with this statement.

Vatican Museum, Rome

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For centuries, art has been deeply intertwined with craftsmanship. It takes years to learn how to paint, let alone the logistical costs of procuring the marble to learn how to sculpt. Thus, the accessibility to the production of art was largely limited to the ruling classes. They had access to the use of such a powerful communication tool and used it to perpetuate their narratives. But with each technological advancement—from the invention of the printing press to that of photography and computer-generated graphics, even more now with the advent of generative art—we witnessed a progressive democratization of accessibility to the arts. This led to the rise of new forms of art, deeply embedded in the social fabric of the working classes and not solely of the elites.

That's why, especially at the beginning of the 20th century, we saw the rise of artworks that challenged those elites and their narratives. It's probably not by chance that we remember Dadaism more for its iconoclastic outburst rather than its political contribution. However, besides its anti-war, anti-bourgeois, and anti-art antics, after the Bolshevik Revolution, the movement took a sharp political turn, merging anti-fascist propaganda with leftist organizing. Take the work of Hannah Höch and of John Heartfield, for example, in which they clearly denounced the rise of the 'Military-Industrial Complex.' This form of radicalisation in the themes explored by the artists continued for decades.

Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919

Take Picasso's Massacre in Korea, in which he denounced the Sinchon Massacre where over 30,000 Koreans were massacred by US troops and right-wing militias. Or the work of Brazilian painter Tarsila do Amaral, who was in part inspired by her husband Oswald de Andrade's Anthropophagite Manifesto, which literally called Brazilians to devour European styles, ridding themselves of all colonial influences. Many of these artworks were taking a proactive approach to in engaging the current political discourse.

Pablo Picasso, Massacre in Korea, 1951

This peaked in the late 50s and throughout the 60s with the Situationist International, a collective of avant-garde artists and intellectuals, who attempted to synthesize a comprehensive critique of modern capitalism. They described the official culture as a "rigged game," where reactionaries used a precise mechanism to defuse the role of subversive artists and intellectuals. According to their theory, artists and intellectuals that accept such compromises are rewarded by art dealers and praised by the dominant culture. This process, which they called 'recuperation,' takes subversive ideas, trivializes and sterilizes them, and then safely incorporates them back, adding new flavors to the old dominant culture, which they described as the society of the spectacle. The situationists thought that to counter this, we needed to engage in acts of 'Détournement'—a way of turning expressions of the capitalist system and its media culture against itself. Almost like an early attempt at making memes before the internet came about.

But this peak was also the beginning of the end, as by 1979, with the election of Thatcher and then the election of Reagan, neoliberalism arrived. In the decades that followed, the phenomenon the situationists called 'recuperation' began to be fuelled by the demolition of the welfare state: galleries and museums saw huge cuts in public funding and started to be forced to source private sponsorships. Big corporations seized the opportunity to whitewash their image and influence public discourse.

Once you looked closely at the boards and benefactors of museums, it increasingly looked like a front set up to disguise the wealth of war profiteers and slum landlords. For the conventional art market, the 1980s can be seen as the beginning of the restructuring of art into a neoliberal business model. Bit by bit, most of what we used to call art was being commodified and absorbed into the neoliberal system. Art pieces turned into gigantic gambling chips and forms of ostentatious wealth display.

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Cover Story

The cultural landscape reverted back to the era where only powerful families could patronise the artists, and just like back then, they would do so to have them produce artworks that were functional to their ideologies. Today's art products look like art but lack that essential function of art and have no real cultural significance. In the past few years, especially with the rise of NFTs and collectibles flooding the art market, the tokenisation of art reached its final form, with the full transformation of art from a form of expression to a form of investment (at best) or a form of corporate propaganda (at worst).

Kent Monkman, The Scoop, 2018

While this may sound extremely bleak, we're recently seeing a few cracks in this system. The wind is starting to turn in another direction. As we witness the rise of a new multipolar world order, we also witness the awakening of the national consciousness and pride of populations that were previously colonised. Art is a powerful building block in the process of constructing identities, whether it is of individuals, communities, or even nations. Thus, we see today a massive movement calling for the repatriation of stolen artworks from the colonial era. Just take a ride through some of the comments on social media posts of the British Museum, for example. The repatriation of art becomes a symbol of the struggle towards liberation. Moreover, a growing number of artists and grassroots activists are exposing and pushing back against the collusion of the military-industrial complex and the art world. It is in line with this that I've come up with my series of artworks for this exhibition.

KAWS 'GONE' at Skarstedt Gallery NYC | Sidewalk Hustle

While the world is marred by multiple sparks that threaten to ignite the entire prairie, the art industry often veers away from engaging in meaningful discussions about these critical issues, opting instead for a path of extreme tokenization. I could have written about how AI is going to change everything, but to me, especially now that we are almost completely liberated from the constraints of the craft, and technology makes it much easier to create images, innovation is about being adventurous, taking risks, and, first of all, about reconnecting with the real political discourse in the struggle against the reactionary forces that have been sterilizing the art world for the past 50 years.

About the author Michele Galeotto is an advertising creative director based in Hong Kong. Over the span of nearly two decades residing in Beijing, Shanghai and Hong Kong, he has helmed different multicultural creative teams in the execution of a broad spectrum of commercial projects across the region —from auto shows to product launches, to film production and experiential marketing. In response to the surging demand for online content in 2020, Michele established goodtakesonly, a creative studio focusing on video production, photography and animation design.

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Cover Story

All this allows for a tangible impact on our contemporaneity, sometimes initiating real processes of economic and social development. In history, there are clear examples of how art has been a catalyst for

Art and Identity

How art reflects and shapes collective and individual identities, and cultural heritage We are all aware of the existence of art. We have studied it at school, we have happened to go to the museum at least once in our life, or we have seen works of art in newspapers and sometimes even in advertisements that surround us, most of the time without knowing they were artistic works. Despite being aware of it, we do not truly know it, and I am not referring to the educational aspect. Indeed, we risk having a wrong vision of art, thinking it is only for a small circle of people or those who can afford it, or considering it boring or of no use in our daily lives.

Art is timeless, and its contribution varies depending on the historical reference point we attribute to it: it plays a fundamental role both in the history of civilizations and in our contemporary society. Art has the great ability to involve people, intrigue them, stimulate them, make them creative in a broad sense, and evoke emotions. For all this, it is not necessary to have academic studies or specific knowledge, but it is enough to have the desire and predisposition to create a deep connection between us and the work in front of us, a connection that leads us to create a relationship with art and, in a sense, with ourselves.

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change.

It

happened

during

the

Florentine

Renaissance after the Dark Period, when great artists initiated processes that had an impact on the development of society at that time and still stimulate people today, or it is happening nowadays in Saudi Arabia, where a development plan, "Vision 2030," has been initiated, in which one of the pillars is precisely cultural and creative development as it can have a virtuous cross-cutting impact on all other sectors.

Through the consumption of art, we can better understand our roots, and the past that characterizes our identity, and value it in our present, allowing us to have a positive impact on intercultural relations and between different countries. We are living in a period of rapid evolution, where digital tools are drastically changing our habits, simplifying some processes, and allowing us to shorten distances both physical and temporal, thus also stimulating people more to explore new frontiers. As in all positive things, there is also a potential risk. I refer especially to the possibility of becoming lazy, thus reducing our creativity in favor of more standardized processes, or of greater individualism in an increasingly "social" world. It is therefore essential to properly apply technological innovation, which can become a valuable ally even to increase and facilitate the consumption of art. This, of course, can translate into new business opportunities in the cultural sector.

My strong passion for art and the sense of well-being I feel when experiencing it has led me to dedicate my working life to conveying to people the importance of approaching culture. I have therefore founded Particle, a company at the intersection of art and technology aimed at increasing people's engagement in cultural projects, attracting a larger audience, and helping the cultural sector to innovate its business model, making it economically more sustainable.

All this is done using technology to enhance the physical experience within cultural venues, extending it beyond the physical and temporal dimension.

Digital thus becomes an ally of physical consumption to attract an everwider audience, involve them, and break down any cognitive barriers, as well as keeping cultural projects alive while providing access even to those unable to physically attend.

For us, it is very important that digital is not a substitute for physical experience but an enabler. An example of this is the digital level that Particle developed for the Italian Pavilion at the 2023 Gwangju Biennale, promoted by the Italian Institute of Culture in Korea, which is still accessible on the Particle app even though the pavilion closed in July of last year.

Working on a greater and better consumption of art allows us to better understand our cultural roots, which have a direct impact on our daily lives and the prospective development of our society, as well as understanding more deeply not only our cultural identity but also that of other countries, thus generating opportunities for new and deeper intercultural bonds, which translate into greater stimuli and consequently also new business opportunities, thus initiating a virtuous circle.

Particle has developed "Fragility," an artistic project supported by the Italian Embassy in Malaysia, with the aim of actively involving different communities in art, thus showing both how art is transversal to a different audience and how it can unite different cultures.

In addition to the artistic community involved with artists, curators, and major Italian and Malaysian institutions such as ICA Milano and the National Art Gallery of Kuala Lumpur, we involved the diplomatic community participated with the Italian Ambassador to Malaysia, Maggipinto, and the Malaysian Ambassador to Italy, Castelino, the economic community with Venini and Royal Selangor, the academic community with students from Bocconi, UniKL, and Sunway University, and the scientific community with Digital Attitude. Art has been an incredible catalyst for cultural exchanges and generator of new ideas.

It is clear the fundamental role art plays in our society and the positive repercussions on relationships and social and business developments. It is therefore to promote its consumption at every level, creating greater cultural unity and bringing stimuli that we know can have incredible impacts on our daily lives.

Bruno Bolfo - Founder of Particle

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Take A Coffee Break by illy

TAKE A COFFEE BREAK BY ILLY ILLYCAFFÈ EXTENDS ITS PARTNERSHIP WITH ART CENTRAL HONG KONG WHERE IT PRESENTS THE LATEST ILLY ART COLLECTION DESIGNED BY LEE UFAN

ILLYCAFFÈ IS THE OFFICIAL COFFEE PARTNER FOR ART CENTRAL HONG KONG For illycaffè, contemporary art adds beauty to taste, according to the ancient Greek concept of kalokagathìa, which combines kalòs (beautiful) and agathòs (good) to create a new meaning in which beauty and goodness become inseparable: one depends on the other.

To make this concept tangible, in 1992 the company created the illy Art Collection cups. Through this project the company turned an everyday object into a blank canvas by inviting contemporary artists to express their creativity on the espresso cup that Matteo Thun designed for illy. Over the years, more than one hundred internationally renowned artists worked on this canvas.

During Art Central Hong Kong, illycaffè showcases the last illy Art Collection, designed by the artist Lee Ufan. Ufan, a painter and philosopher and a founding figure of the avantgarde Mono-Ha (School of Things) movement in Tokyo in the late 1960s, is renowned for his pursuit of essentiality. His philosophy is reflected in the design of the new illy Art Collection, characterized by reductionist painting with fluid lines and brushstrokes. Even the gesture in creating the artwork plays a significant role.

Ufan's artistic expression conveys the concept of encounter – that crucial moment in time and space when the brush meets the canvas. The cup's surface remains partially unpainted, emphasizing the connection between the white porcelain and the artist's creation. This deliberate choice prompts reflection on the significance of moderation and simplicity, encouraging us to be mindful of our surroundings and to focus on what Ufan refers to as "the world as it is."

In its edition, Art Central Hong Kong will feature over 80 galleries at the Central Harbourfront Hong Kong from March 28th to March 30th, along with a rich program of special projects and collaborations. Within the illy space, located in the fair's exhibition area, and other selected refreshment points, visitors, artists, and exhibitors have the opportunity to explore the new illy Art Collection. Additionally, they can take a moment to relax and savor the distinctive aroma of the illy blend.

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Philanthropy by IWA

AND

T

o the Italian Women’s Association, a non-profit organization with the goal of raising funds for charities through

social events and activities, Art has been one of the many ways used to serve charitable causes. Throughout the years, IWA’s members and non, have been invited to join a great variety of Galleries in Hong Kong, run by Italian and International owners, who have kindly collaborated with the Association, in many different ways.

From opening their doors and organizing talks with the artists to offering their spaces for events, catering and special gatherings, ending, in many cases, with a donation raised by part of the sold pieces.

Fine Art Asia

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BY IWA To mention some of these Galleries: Pekin Fine Arts with the guided tour at the exhibition Large Formats, Small Space; Massimo De Carlo exposing the first solo exhibition in Asia by artist Shannon Cartier Lucy; Soluna Fine Art with the paintings of an Italian artist, Raffaele Cioffi; The Indra and Harry Banga Gallery with the history of amber and nomads of North China, and Novalis Art Design with Radical Legacies.

On top of that, every year, IWA offers its members free tickets for guided tours at Art Basel and Fine Art Asia, besides organizing cultural events around the city, like exploring the murals and street art in Hong Kong.

Pekin Fine Arts Exhibition Large Formats, Small Piece

When did you start collaborating with the Italian Women’s Association and how many initiatives did you share?

We had done several successful events together with IWA such as:

HKDI Gallery Exhibition Italy: A New Collective Landscape

Recently IWA has been offered the opportunity to explore the exhibition Italy: A New Collective Landscape in collaboration with the ADI Design Museum, Milan, at the HKDI Gallery, displaying design projects from one hundred young Italian designers.

Among all, one of the longest partnerships between Art and IWA has been over the years with the Gallery Rossi & Rossi, and its Italian owner Fabio Rossi. To celebrate this historic collaboration, IWA would like to ask a few questions to Mr. Rossi, about himself, and his relationship with the Italian Women’s Association.

March 8th, 2021, Aperitivo at the gallery to coincide with the International Women’s Day visiting the Tsherin Sherpa: Spirits Empowered exhibition.

October 21st, 2021, Aperitivo with a guided tour

by Dr. Isabelle Frank Philosophers’ Clothes, a solo exhibition of Italian artist Vittoria Chierici.

March 8th, 2023, guided tour by Gallery Director Charles Fong of the two-artists exhibition featuring the work of Amal Lin and Nicole Wong.

May 19th, 2023, Aperitivo in the presence of the artist of Petit Rats, solo exhibition of Elisa Sighicelli, in collaboration with the Italian Chamber of Commerce in Hong Kong and Macao, the Italian Consulate and the Istituto Italiano di Cultura.

Mr. Rossi, can you tell us more about your work? When was your first Gallery opened in Hong Kong?

Rossi & Rossi was started in London in 1985 by my mother Anna Maria. In 1987, after finishing my university studies, I joined her in the business. In the beginning, our focus was exclusively on classical art from Northern India and the Himalayas. In 2005, we expanded our program, initially by representing Asian contemporary artists; more recently, we have also been showing Italian modern and contemporary art. I moved to Hong Kong in 2011 and opened our first gallery here in 2013 in the up-and-coming district of Wong Chuk Hang.

Rossi&Rossi exhibition Philosophers’ Clothes

Rossi&Rossi exhibition Tsherin Sherpa: Spirits Empowered

What made this collaboration special over the years?

The collaboration has mutual benefits. As a gallery, we are always looking for ways to expand our audience. We are also keen to support local charities. Therefore, when we collaborated with IWA, we allocated 10% of sales made during the events to the one specifically selected by the IWA committee.

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Business Insight

THE ART OF EXCEPTIONAL HOSPITALITY: Creating Extraordinary Guest Experiences

An article by Regent Hong Kong, written by Carole L. Klein Imagine entering a hotel where you feel a sense of serenity and majesty from the very first moment. The sound of a cascading fountain, a welcoming doorman, and a staff who acknowledge you by name and remember your preferences. That's what you'll experience at the reimagined Regent Hong Kong. The hotel offers a highly personalized journey that will make you feel at ease and provide you with service on your terms.

A cinematic stage, with technology working behind the scenes Regent Hong Kong’s Managing Director, Michel Chertouh says, “In the luxury hospitality space in which we operate, personalised service by highly trained, personable and empathic staff sets our guest experience apart. Technology works behind the scenes to support and enhance the operations and create a seamless journey for our guests”.

Regent Hong Kong leverages IHG's powerful partnership with Amadeus, the world's leading travel technology provider, to provide guests with a fully integrated global reservations system. Guests are contacted by a Regent Experience Agent, who provides an elevated level of personal service with one point of contact, from assisting in planning and personalizing the guest's stay - from pre-arrival through departure.

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In addition, the Regent Chat enables an enhanced experience and seamless service by connecting directly to the Regent Experience Agent and 24/7 Regent Service team for pre-arrival inquiries, special arrangements and assistance during the stay and even after check-out. Guests can then choose their preferred communication channel, WhatsApp, WeChat, Messenger or LINE. All employees are trained as Regent Masters, handling all types of inquiries with the support of the Regent Service Centre, a 24/7 service call centre for internal and external guests. The Regent Service Centre is supported by the latest technology systems which harmoniously blend high-tech innovation with highend luxury hospitality to elevate the guest experience and enhance guest satisfaction.

Regent Hong Kong is a luxurious hotel that aims to provide its guests with an unforgettable experience, Regent Hong Kong Service Centre Manager, Joyce Lai says, “We offer one point of contact for in-house service communications and external hotel enquiries, this means that you will have a seamless experience as the hotel's Regent Experience Agents will take care of all your needs”. All guest rooms at our hotel have telephones without numbers. Instead, they have a button that connects guests directly to our Regent Service Centre. We serve as a seamless liaison between guests and our Regent Experience Agents, who are responsible for looking after our guests.

Regent Hong Kong has selectively adopted some of these trends in keeping with its ultra-luxury positioning. For example, instead of having a printed directory and in-room dining menus in guest rooms, guests can access information and menus via the interactive IPTV system. They can also choose from hundreds of newspapers digitally on PressReader instead of conventional newspaper delivery, which has limited options. The hotel's 24-hour services are accessed via Regent Chat or by simply picking up the in-room phone, which connects directly to the 24-hour Regent Service Centre.

Additionally, we manage all restaurant reservations and in-room dining orders, using a variety of technology platforms. Our technology platform helps us manage restaurant reservations, guest history, tracking of guest inquiries and much more. Our onestop Regent Service Centre is the first of its kind, and with the help of innovative technology behind the scenes, we aim to provide a personalized level of service that is truly seamless for our guests.

Regent Hong Kong has implemented various technological advancements to improve the guest experience and its sustainability efforts. As part of the hotel's complete renovation, new equipment and systems have been installed to optimise energy efficiency. The guest rooms have LED lighting and temperature automation to save energy. The property has also maximised the use of natural light through the expansive harbourfront windows. Tino Kwan Lighting Consultants have created customised lighting modes for public spaces and guest rooms with mood settings that enhance the ambience, especially for the signature "Day-to-Evening Rituals" as the sun sets over Victoria Harbour. The Hong Kong Island skyline becomes a mesmerising "Symphony of Lights" as a result.

Another new initiative is the hotel’s BMWi7 all-electric limousine transportation, which helps reduce its carbon footprint. From the comfort of the hotel’s luxury limousine fleet, guests can enjoy wireless internet access, and via Regent Chat share special requests, from in-room dining to laundry collection, which are expedited upon arrival.

The technology integrated into the guestrooms at Regent Hong Kong has been designed to be userfriendly and approachable, ensuring that guests feel comfortable and empowered during their stay. “From the moment of reservation to the end of their visit, the online and virtual journey has been carefully crafted to enhance the overall experience without introducing any points of friction," explains Michel Chertouh.

Michel Chertouh emphasizes that, at Regent Hong Kong, the focus is on understanding and meeting the ever-evolving expectations and preferences of guests.

Technology plays a crucial role behind the scenes, enhancing guest satisfaction, convenience, and comfort. By leveraging technology, the hotel's highly trained staff can allocate their time to delivering a personalized touch, curating moments that leave a lasting impression on guests.

Michel continues, “Regent Hong Kong stands out in the competitive luxury hotel market by presenting itself as a rare haven of discreet luxury. With unrivaled cinematic views of Victoria Harbour and Hong Kong Island, their goal is to create immersive, multi-sensory guest experiences that blend design, service, dining, local culture, and art. The Regent Experience Agent serves as a single point of contact, along with Regent Masters, the 24-hour Regent Service Centre, and their Regent Chat, ensuring guests have a seamless and highly personalized journey with a natural flow and sense of calm.”

Recent Technology Trends in the Hospitality Space Several technology solutions and advancements have become more prevalent in the hospitality space during the pandemic. These include disinfecting robots, as well as more digital and contactless points. Some of these solutions are as simple as QR code links to restaurant menus instead of printed menus, and digital guest directories including in-room dining menus replacing printed collateral.

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Aperitivo Time

CELEBRATE EASTER WITH THESE 5 EXQUISITE COCKTAILS

by Cindy Chan, Marketing Manager, Campari Group Hong Kong & Macau As Easter approaches, it's time to gather with loved ones and revel in the spirit of joy and renewal. What better way to enhance the festivities than with a selection of delicious cocktails that you can enjoy with your family and friends? As we welcome the arrival of spring, Campari Group would like to invite you to explore a curated collection of 5 cocktails perfectly suited for Easter, and easy to make at home. From refreshing classics to innovative creations, these delightful libations are sure to impress your guests. Let's embark on a journey of taste and indulgence!

APEROL SPRITZ

GARIBALDI

Aperol Spritz is a classic Italian cocktail, known for its vibrant orange hue and refreshing taste. Its perfect balance of bitter and sweet flavors makes it an excellent choice for Easter brunches or outdoor gatherings. The Aperol Spritz captures the essence of the season, with its lively effervescence and citrusy undertones.

The Garibaldi is a vibrant and tangy cocktail that pays homage to Italy’s heritage, mixing together with Campari. Named after the Italian national hero, Giuseppe Garibaldi, this cocktail showcases the simplicity and beauty of combining Campari with freshly squeezed orange juice. Its bold color and refreshing taste make it an ideal choice for Easter celebrations.

INGREDIENTS: 90 ml Prosecco 60 ml Aperol 30ml Soda water Orange slice (for garnish)

INSTRUCTIONS: Fill a wine glass with ice cubes.

Add Prosecco, Aperol, top with a splash of soda water.

Garnish with a fresh orange slice.

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INGREDIENTS: 60 ml Campari 120 ml freshly squeezed orange juice Orange wheel (for garnish)

INSTRUCTIONS: Fill a highball glass with ice cubes.

Pour in Campari.

Add freshly squeezed orange juice.

Stir gently to combine.

Orange wheel (for garnish)

SPUMONI

The Paloma is a refreshing tequilabased cocktail that captures the essence of a sunny Easter afternoon. Its combination of tequila, tangy grapefruit soda, and zesty lime juice creates a vibrant and invigorating drink. The Paloma is a wonderful choice for those seeking a unique and lively cocktail experience.

OLD FASHIONED

INGREDIENTS 60 ml Espolon Tequila 90 ml grapefruit soda 15 ml fresh lime juice Salt (optional), for rimming Grapefruit wedge (for garnish)

INSTRUCTIONS Rim a highball glass with salt Fill the glass with ice cubes.

Pour in tequila and lime juice.

Top with grapefruit soda.

Stir gently to mix.

Garnish with a grapefruit wedge.

For a decadent Easter treat, try the Spumoni cocktail. Savor the delightful combination of Campari’s bitter notes, refreshing grapefruit juice, and the effervescence of tonic water. The Campari Spumoni is a sophisticated and vibrant cocktail that is perfect for Easter celebrations.

INGREDIENTS

PALOMA

The Old Fashioned is a classic cocktail that, with smooth and robust flavors. It is the perfect choice for those who appreciate the timeless appeal of a well-crafted drink. The combination of whiskey, sugar, and bitters creates a harmonious blend that is both comforting and indulgent.

INGREDIENTS

45 ml Campari 30 ml Grapefruit juice 30 ml Tonic water Grapefruit wedge (for garnish)

60 ml Wild Turkey Rye Bourbon 1 sugar cube 2-3 dashes bitters Orange peel (for garnish)

INSTRUCTIONS

INSTRUCTIONS

Fill a highball glass with plenty of ice.

Pour Campari and Grapefruit juice into the glass.

Stir gently and top up with tonic water.

Garnish with a grapefruit peel.

Place the sugar cube in an Old Fashioned glass and add a few dashes of bitters.

Muddle the sugar cube with the bitters until dissolved and fill the glass with ice cubes.

Pour in the Wild Turkey Rye Bourbon and stir gently to combine.

Orange peel (for garnish).

This Easter, elevate your festivities with a selection of exquisite cocktails that celebrate the flavors of Italy and the spirit of joy and renewal. Whether you prefer the vibrant Aperol Spritz, the historical charm of the Garibaldi, the timeless elegance of the Old Fashioned, the invigorating Paloma, or the indulgent Spumoni, these 5 cocktails are sure to delight your palate and impress your guests. Cheers to a memorable Easter filled with cherished moments and delectable libations! Salute!

Enjoy responsibly. Happy Easter!

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Art, Culture & Lifestyle

OFF THE BEATEN (ART) PATH

Discover Italy’s Unconventional Museums Italy, renowned for its rich cultural heritage and artistic masterpieces, is a treasure trove for museum enthusiasts. While the country is home to worldfamous museums like the Uffizi Gallery and the Vatican Museums, Italy also boasts a plethora of less-known museums that offer unique and offbeat experiences. In this article, we will explore six uncommon and particular museums in Italy that stand out for their distinct and captivating exhibitions.

MUSEUM OF FORGERY AND DECEPTION Museo del Falso e dell’Inganno

Museo del Falso e dell’Inganno, the Museum of Fake and Deceit, in the province of Biella, Piedmont region, exhibits major forgeries in history and enables visitors to provoke reflection on the concept of forgeries but also to develop the skills necessary to avoid deception. The museum aims to inform and tell the story of forgeries, raise questions and curiosity on the subject. The goal is precisely to provide a weapon of self-defense against today's falsehood and deception, but also to invite visitors to responsibility. It is also important to emphasize how forgeries have played a pivotal role in history for the positive as well as the negative.

MUSEUM OF ICE CREAM Museo del Gelato

MUSEUM OF CHOCOLATE

Italy's love affair with gelato is undeniable, and the Gelato Museum Carpigiani in Anzola dell'Emilia, near Bologna, pays homage to this irresistible treat. The museum delves into the history, science, and artistry of gelato-making, providing visitors with a fascinating insight into its evolution over the centuries. From ancient sorbets to modern-day gelato, the museum showcases vintage gelato-making machines, tools, and artifacts, offering a memorable and delicious experience for visitors of all ages. As you wander through the museum, you'll learn about the origins of gelato in ancient civilizations and discover how it became an art form in Renaissance Italy. You'll also have the opportunity to witness live demonstrations by gelato artisans who share their secrets and techniques.

Museo del Cioccolato

One of the most bizarre and interesting museums to visit in Italy, and certainly one of the most delicious, is definitely the Museo del Cioccolato, Museum of Chocolate. Located in Norma, in the province of Latina, Lazio region, it was established in 1995 with the aim of entertaining and delighting visitors. Through an interesting and well-researched tour, you go from appreciating old original machinery of an old chocolate factory to buying traditional products. Not only does the museum offer the opportunity to book product tasting at a very economical price but also to see the stages the plant underwent, from planting to processing. If you're thinking of a sweet alternative, this museum is perfect for you!

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MUSEUM OF SATIRE AND CARICATURE Museo della Satira e della Caricatura

For those with a passion for satire and caricature, this Museum is a must-visit. Nestled in the heart of Forte dei Marmi, a picturesque town in Tuscany, this museum houses a vast collection of satirical drawings, cartoons, and illustrations.

The exhibits provide a witty and thought-provoking commentary on politics, society, and culture, capturing the essence of Italian humour. Visitors can appreciate the artistry of renowned satirical artists and gain insights into the power of visual satire in shaping public opinion.

MUSEUM OF BORA

Museo della Bora - Magazzino del Vento

MUSEUM OF THE LOVE LETTER Museo della Lettera d’Amore

Love letters have the ability to evoke powerful emotions and tell captivating stories. The Museo della Lettera d'Amore, in the enchanting town of Montefiore Conca, in the Emilia-Romagna region, celebrates the art of letter writing and the beauty of romantic correspondence. The museum showcases a collection of love letters written by famous historical figures, poets, and ordinary individuals, each with its own tale of passion and devotion. Visitors can immerse themselves in the timeless art of expressing love through the written word, gaining a deeper appreciation for the sentiments that transcend time and culture.

This interesting and unique Italian museum is located in Trieste, in the Friuli Venezia Giulia region. The museum is dedicated to the 'Bora,' from which it takes its name, the famous and very strong wind that characterizes the city of Trieste. Defined as a laboratory or museum in progress, it is considered an unfinished and non-static space, but one in motion, like the wind itself, where visitors can find information about the wind and read the works of famous authors. One of the museum's most interesting collections is definitely the ‘Archive of World Winds’, a bizarre collection of canned winds, which is also available for purchase. There are currently more than 130 bottled, boxed, packaged winds from almost all over the world, an original souvenir to give to friends and relatives.

Italy is a renowned and well-known tourist destination, particularly for its wonderful cities, numerous places of interest, and famous museums housing extraordinary works of art. It is worthwhile, though, to visit these nice and definitely lesserknown museums as well. So what are you waiting for? Let yourself be surprised and amazed by these out-of-the-ordinary museums.

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What’s on Hong Kong and Macau

What’s on

HONG KONG & MACAU Art Basel Hong Kong 2024

Venue

Date

Hong Kong Convention and Exhibition Centre

28th - 30th March 2024

Art Basel Hong Kong is the largest international art fair in Hong Kong, showcasing premier galleries from both Asia and other parts of the world.

LEARN MORE Venue

Date

Various Location

25th March 2 June 2024

The event offers a comprehensive look at the diversity of the Asia Pacific region through a wide range of modern and contemporary artworks by established and emerging artists. Art Basel Hong Kong provides a platform for art enthusiasts, collectors, and industry professionals to explore and engage with the vibrant art scene in Asia.

ART@HARBOUR 2024

Experience the captivating fusion of art, science, and technology at 'Art@Harbour 2024,' a groundbreaking outdoor art project presented by the Leisure and Cultural Services Department (LCSD), alongside renowned international art collective teamLab, local Hong Kong artists, and collaborative partners.

This large-scale event will transform both sides of Victoria Harbour into an immersive wonderland of multiple outdoor art installations and digital art facades.

Hong Kong Seven

LEARN MORE Venue

Date

Hong Kong Stadium

5 April 20247 April 2024

The Hong Kong Sevens will return to the outstanding Hong Kong Stadium in April 2024, delighting the crowd.

LEARN MORE

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This eagerly awaited event brings together the world's best rugby players as well as a large number of loyal fans from all around the world. With thrilling Men's and Women's Sevens tournaments, spectators can witness over 70 thrilling matches. The stadium transforms into a vibrant carnival, as enthusiastic supporters cheer on the dedicated athletes who give their all on the playing field.

Venue

Date

Victoria Harbour

June 2024

Hong Kong International Dragon Boat Races

The Hong Kong International Dragon Boat Races is a highly anticipated event held in June each year. The event takes place along the waterfront of Tsim Sha Tsui East in Victoria Harbour. With over 100 local and international teams participating, the event exhibits this ancient sport's skill, teamwork, and thrill. The Hong Kong International Dragon Boat events feature top teams from Hong Kong and worldwide competing in a series of events over a jampacked weekend.

2024 Mega Ice Hockey 5's

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Venue

Date

Mega Ice, L10 Mega Box, Kowloon Bay

21 April 2024 4 May 2024

The 2024 Mega Ice Hockey 5's, the largest ice hockey competition in Asia, is set to showcase the talents of over 80 teams from across the globe.

LEARN MORE

Venue

Date

Various Venues

25th March 2 June 2024

This highly anticipated event will consist of two divisions: a youth division taking place from the 21st to the 27th of April 2024, and an adult division scheduled from the 29th of April to the 4th of May 2024.

The 48th Hong Kong International Film Festival

The Hong Kong International Film Festival, one of Asia's most esteemed platforms for filmmakers, film professionals, and movie enthusiasts, returns for its 48th edition. This highly anticipated event showcases a diverse selection of over 200 films, providing a unique opportunity to discover new works and appreciate outstanding cinema.

The visually striking key visual for this edition is titled 'A Portal to Another World'.

Cheung Chau Bun Festival

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LEARN MORE

Venue

Date

Cheung Chau

15 May 202416 May 2024

Experience the captivating Cheung Chau Bun Festival, one of the world's most unique local celebrations, which takes place on the picturesque island of Cheung Chau.

This festival brings together a mix of traditions, including the piu sik parade where children dress up as deities and stroll on stilts, vibrant lion dances, Taoist festivals, and the thrilling Bun Scrambling Competition. Visitors are transported into a world filled with tons of buns, papiermâché effigies, lion dancers, and ancient evil spirits.

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What’s on Hong Kong and Macau

12th Macao International Travel (Industry) Expo

LEARN MORE Venue

Date

Tam Kong Temple

15 May

LEARN MORE

Date 3 May 20247 July 2024

LEARN MORE

Venue

Date

Nam Van Lake Nautical Centre

8 June 2024 10 June 2024

The 2024 SJM Macao International Dragon Boat Races, organized by the Sports Bureau, SJM Resorts, and the Dragon Boat Association of Macao, will take place from 8 to 10 June at Nam Van Lake Nautical Centre. The event aims to promote water sports, celebrate Chinese heritage, and attract international visitors. With various races and cultural festivities, it promises an authentic dragon boat experience and contributes to Macao's sports tourism brand.

The 34th Macao Arts Festival offers a diverse lineup of enchanting performances, including reimagined classics and thought-provoking contemporary works. Highlights include Akram Khan's Jungle Book, Circa's Duck Pond, and Marcos Morau's Sleeping Beauty. With powerful productions like Macbettu, The Three Brothers, and The Fury of My Thoughts, as well as bridging Eastern and Western traditions in The Chairs and Under the Pagoda Tree, it's a vibrant celebration of the arts.

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Avenida da Amizade

Tam Kung Festival

2024 SJM Macao International Dragon Boat Race

Various Venues

Date 26 April 202428 April 2024

The Macao International Travel Expo (MITE), organized by the Macao Government Tourism Office (MGTO), is a vital platform for communication and collaboration between Mainland China, the international market, and Macao's tourism industry. As a UFI Approved International Event, MITE aims to position Macao as a global center for tourism and leisure. The upcoming 12th MITE will focus on diverse tourism and leisure development and inter-sectoral integration.

Celebrate the vibrant festival honoring Tam Kong, the revered child deity believed to govern weather and aid the ill. Highly regarded by the fishing community for generations, Tam Kong's significance is second only to the revered A-Ma, embodying the deep-rooted cultural heritage and spiritual devotion of the festival.

Join in the festivities featuring captivating Cantonese Opera shows, a lively street parade, and a mesmerizing dragon dance.

Venue

Venue

34th Macao Art Festival

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Get in touch with us!

ITALIANCHAMHK THE ITALIAN CHAMBER OF COMMERCE IN HONG KONG AND MACAO THE ITALIAN CHAMBER OF COMMERCE IN HONG KONG AND MACAO

ICC@ICC.ORG.HK +852 2521 8837 UNIT 1102-03, 11/F, 299QRC, 299 QUEEN’S ROAD CENTRAL, SHEUNG WAN, HONG KONG