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Victoria Finlay
Victoria Finlay is the critically acclaimed author of Fabric: The Secret History of the Material World and Colour: Travels Through the Paintbox, and a former arts editor of the South China Morning Post. She studied social anthropology and has travelled around the world in search of stories about her subjects, from color to jewels to fabric to the arts. In addition to writing, Victoria has worked in international development.
She’s conducted cars for Porsche and led the Hong Kong Philharmonic Orchestra – now she’s returned home for her first post-Covid concert
The China Gallery at Britain’s Manchester Museum, funded by a Hong Kong businessman, celebrates the historic bonds between China and the English city.
Manchester’s Esea Contemporary – formerly the Centre for Chinese Contemporary Art – will now focus on East and Southeast Asian art, with its inaugural exhibition opening on February 18.
London’s National Gallery and V&A museums have sent some of their treasures for exhibition in mainland China and Hong Kong, reflecting a strong period for Sino-British cultural exchange.
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In partnership with:Hong Kong Arts Festival
Reiko Sudo’s description of what characterises a fabric from Japanese textile innovator NUNO could apply to her own journey – her family used to say she did the things her seamstress grandmother couldn’t do in her life.
Laila uses the recorded voices of everyone in its small audiences of three or four people to influence its sound, which visitors can even control with gestures.
Author Victoria Finlay traces the fascinating origins of China’s silk industry, from moth larvae to an ancient emperor’s new clothes, in this edited excerpt from her latest book.
Vanessa Cheung, the granddaughter of Hong Kong’s ‘King of Cotton Yarn’, took a warehouse in Tsuen Wan and turned it into a co-working, retail and arts space. Now she’s done the same in the UK capital.
British choreographer Matthew Bourne talks about where he got his ‘Big Ideas’ for reimagining classic ballets The Red Shoes, Romeo and Juliet, Cinderella and Swan Lake, films of which are being shown in Hong Kong and New York.
When the curtain rises for the second act of Czech composer Leos Janacek’s opera Jenufa, staged by National Theatre Brno, the audience sees four rooms, each with a sole occupant, like a quarantine hotel.
Pianist Wu Qian, from China, and Russian violinist Alexander Sitkovetsky duetted and dated as teenagers at the Yehudi Menuhin School in the UK. Later they reunited, married, and now play in a trio with German cellist Isang Enders.
In partnership with:Leisure and Cultural Services Department
In partnership with:Leisure and Cultural Services Department
Michael Morpurgo’s moving testament to the thousands of horses that died during the first world war was based on a painting that never was; the stage adaptation will show at the Hong Kong Academy for Performing Arts in May.
Captivated as a five-year-old by a lone voice singing in a darkened barn, David Pountney has made a career of directing opera singers. He explains how he uses water as a metaphor for a character’s shifting mental state in Debussy’s opera
The West End adaptation of Mark Haddon’s bestselling book is coming to the 2018 Hong Kong Arts Festival. Joshua Jenkins talks about the sheer physical effort of playing the 15-year-old main character and the play’s positive effects on audience members who are on the autistic spectrum
In partnership withLeisure and Cultural Services Department
In partnership withLeisure and Cultural Services Department
In partnership withLeisure and Cultural Services Department
In partnership withLeisure and Cultural Services Department
In partnership withLeisure and Cultural Services Department
In partnership withLeisure and Cultural Services Department
Konstantin Lifschitz will do something few pianists have ever done – perform the cycle of Beethoven sonatas in sequence – over six days at the University of Hong Kong, beginning this week
In partnership withLeisure and Cultural Services Department
From a fringe theatre in Islington, to the West End and Broadway, to a Royal Variety performance, this slapstick comedy is going from strength to strength
In partnership withLeisure and Cultural Services Department
