From now till 11 October 2019 (23:59 Hong Kong time; GMT + 8:00), WMA invites both photographers and artists worldwide to respond to the theme “Light”. Entries for the WMA Masters award and proposals for the WMA Commission grant must relate to the theme and context of Hong Kong.
WMA is delighted to announce an artist residency opportunity in collaboration with the FORMAT Festival. The residency, to take place partly in Derby during the next FORMAT Festival and partly in London, will be held from April 23-29, 2020. Artists who participate in the Light cycle of WMA Masters are eligible to apply by 31 October 2019 (23:59, HKT).
Is Artificial Intelligence a threat or opportunity for our society? How will AI affect the way we make decisions, carry out our daily tasks and interact with each other? This exhibition showcases the impressive innovativeness, curiosity and ability of self-learning of these students, who have demonstrated how AI technology can be integrated into everyday life to improve the quality of our lives and make us more productive.
Opportunity brings forth hope. Under the theme ‘Opportunity’, the ten award winners and finalists, including Melanie Catamin, Cheung Hoi Chung, Fong Hin Nam, Leung Kin Keung, Lo Yan Chi, Jerry Ng Sek Hin, Rex Wong Chak Hon, Wong Ka Wing, Kenji Wong Wai Kin and Yiu Tung Wing, share their thoughts and feelings about opportunities in Hong Kong by means of photography.
TRES, the grant recipient for the WMA Commission 2015 upon the theme of “Waste”, will present a pop-up exhibition titled ‘Here, There and Everywhere’ at the WMA Space from 25- 30 June 2019.
The WMA Open was created to serve as a public platform for discussion and a springboard for social transformation. The WMA Open Photo Contest 2019, themed “Opportunity”, received 232 entries for this cycle. A panel of judges selected ten finalists and also three winners out of ten finalists.
In 2017, WMA launched a crowd-sourced documentary film project, ‘1 July 2017—A Day in Transition’, from which more than 200 videos were gathered from the public. Through juxtaposing these videos, the current exhibition aims to present the dialogues and discussions that have been going on as WMA sets up the WMA video archive. When facilitating accessibility to the video archive, we are inviting more vocabularies and references regarding the categorisation and understanding of the videos in this archive: What are the narrative powers of these precious videos submitted by the public, other than being mere ‘footage’ of documentary? What is the urgency of recording the moment with moving image? These are, perhaps, the first two of some fundamental questions for our contemplation in the crowd-sourcing and video-archiving process.