Angela Su's works investigate the perception and imagery of the body, through metamorphosis, hybridity and transformation. Her research-based projects materialise in drawing, video, hair embroidery, performative and installation works, which explore the interrelations between our state of being and the advancement of technology. Central to these projects are video essays and texts that weave together fiction and facts, reality and fantasy. With focus on the history of medical science, her works question the dominant biomedical discourse, and contemplate the impact of technology on the past, present and future.

In 2019, Su was commissioned by Wellcome Trust to present a new project in Contagious Cities: Far Away, Too Close curated by Ying Kwok at Tai Kwun, Hong Kong. She has also participated in exhibitions in museums and institutions internationally, including So long, thanks again for the fish (Levyhalli, Suomenlinna, Helsinki, 2021); Sala10 (Museo Universitario Arte Contemporáneo, Mexico, 2020); 100 Drawings from Now (The Drawing Center, New York, 2020); Meditations in an Emergency (Ullens Center for Contemporary Art, Beijing, 2020); Woven (Focus at Frieze London, 2019); Artists' Film International (Whitechapel Gallery, London, 2019); Pro(s)thesis (Academy of Fine Arts Vienna, Austria, 2017); The 2nd CAFAM Biennale: The Invisible Hand (CAFA Art Museum, China, 2014); and the 17th Biennale of Sydney (Museum of Contemporary Art, Australia, 2010). In 2013, she published an artist novel Berty, and, in 2017, a science fiction anthology Dark Fluid, where she uses science fiction as a tool for social justice.

徐世琪的作品透過形態的蛻變、轉變與混合，探索對於身體的感知與意象。她以研究為基礎的創作時常以繪畫、錄像、髮繡布本、表演及裝置等形式呈現，檢視人類存在與技術發展之間的相互關係。這些作品中的核心，是虛構與事實、現實與幻想交織的錄像散文和文本。徐世琪的創作以醫學史為焦點，質疑主流的生物醫學論述，並思考科技對於過去、現在及未來的影響。

2019 年，徐世琪接受衛爾康基金會委約，參與名為《疫症都市》的項目，並於在香港大館由郭瑛策劃的展覽「疫症都市：既遠亦近」中展出相關作品。徐世琪的作品曾於多間國際重要博物館和機構展出，包括赫爾辛基芬蘭堡 Levyhalli 大樓的「喂！拜拜你條尾！」（2021 年）、墨西哥 Museo Universitario Arte Contemporáneo 的「Sala10」（2020 年）、紐約 The Drawing Center 的「100 Drawings from Now」（2020 年）、北京尤倫斯當代藝術中心的「緊急中的沉思」（2020 年）、Frieze London 的「Woven」（2019 年）、倫敦白教堂美術館的「Artists’ Film International」（2019 年）、奧地利維亞納藝術學院的「Pro(s)thesis」（2017 年）、北京中央美術學院美術館的「無形的手：策展作為立場—第二屆 CAFAM 雙年展」（2014 年），以及澳洲悉尼當代藝術館的「第17屆悉尼雙年展」（2010 年）。2013 年，她出版藝術家小說《Berty》；2017 年又編輯了科幻小說選集《暗流體》，以科幻小說為社會批判的工具。

Freya Chou is a curator based in Hong Kong and Taipei. She is a member of the 58th Carnegie International’s Curatorial Council (2022) and guest curator of Hong Kong’s participation in the 59th International Art Exhibition of La Biennale di Venezia (2022). She was in the curatorial team of the 6th and 7th Taipei Biennial (2008, 2010) and co-curator of the 10th Shanghai Biennale (2014). From 2015 to 2019, she worked at Para Site in Hong Kong as the institution’s inaugural Curator of Education and Public Programmes. During her four-year term, she curated exhibitions including Ellen Pau: What About Home Affairs?—A Retrospective (2018), Chris Evans, Pak Sheung Chuen: Two Exhibitions (2017), and Afterwork (co-curator, 2016). Chou has worked with several organisations on research projects. She has also edited and contributed writing to many artist books, magazines, and exhibition catalogues.

Chou is recently appointed as a co-curator of the 13th Taipei Biennial (2023) together with Brian Kuan Wood and Reem Shadid.

周安曼從事策展工作，目前定居香港及台北。她是第58屆卡內基國際展（2022）的策展諮詢成員，亦是代表香港參加第59屆威尼斯雙年展（2022）的客席策展人。2008至2014年間，她是第6屆及第7屆台北雙年展（2008、2010）的策展團隊成員，也是第10屆上海雙年展（2014）的聯合策展人。2015至2019年間，她任職於香港Para Site藝術空間，擔任首位教育與公共項目策展人，並在這四年間策劃展覽包括「當家當當家：鮑藹倫回顧展」（2018）、「Chris Evans、白雙全：雙個展」（2017），以及聯合策劃「工餘」（2016）。她與多間機構合作進行研究項目，並為多本藝術家專書、期刊和展覽目錄執行編輯工作及撰寫文章。

最近，她與穆柏安及 莉姆．夏迪德共同獲委任為第13屆台北雙年展（2023）的策展人。

Established in 1995, Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and special projects. The mission of HKADC is to support and promote the development of 10 major art forms in literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration, and contributing on policy research.

香港藝術發展局(藝發局)於1995年成立，是政府指定全方位發展香港藝術的法定機構。藝發局的角色包括贊助、政策及策劃、倡議、推廣及發展、策劃特別項目等。藝發局的使命為策劃、推廣及支持十個主要藝術形式包括文學、表演藝術、視覺藝術、電影及媒體藝術之發展，促進和改善藝術的參與和教育、鼓勵藝術評論、提升藝術行政之水平及加強政策研究工作，務求藉藝術發展提高社會的生活質素。

M+ is a museum dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. Located in Hong Kong’s West Kowloon Cultural District, M+ is one of the largest museums of modern and contemporary visual culture in the world, with a bold ambition to establish ourselves as one of the world’s leading cultural institutions. Our aim is to be a new kind of museum that reflects our unique time and place, a museum that builds on Hong Kong’s historic balance of the local and the international to define a distinctive and innovative voice for Asia’s twenty-first century.

M+是嶄新的博物館，致力於收藏、展示與詮釋二十及二十一世紀的視覺藝術、設計及建築、流動影像，以及香港視覺文化。位於香港西九文化區的M+規模可媲美世界知名的現當代視覺文化博物館，矢志於躋身世界頂尖文化機構之列。我們的願景是希望以香港中西薈萃的歷史特色為基礎，從身處的此時此地出發，為二十一世紀亞洲創立一座別樹一幟的新型博物館。