Sigg Prize 2025 希克獎2025
Sigg Prize 2025 希克獎2025
4 Jan 2026
This exhibition brings together new and recent works by six artists shortlisted for the Sigg Prize 2025. Established in 2018 by M+, this prestigious prize is open to artists born or working in the Greater China region and its diasporas. It aims to recognise important artistic practices in the region and to promote the strength and diversity of Chinese artists on an international platform. For the third edition, M+ will showcase the works of six leading contemporary artists, including Bi Rongrong, Ho Rui An, Hsu Chia-Wei, Heidi Lau, Pan Daijing, and Wong Ping.
The six finalists were selected by an international jury chaired by Suhanya Raffel (Museum Director, M+, Hong Kong), with members Maria Balshaw (Director, Tate, United Kingdom), Mami Kataoka (Director, Mori Art Museum, Tokyo), Gong Yan (Director, Power Station of Art, Shanghai), Glenn D. Lowry (the former David Rockefeller Director, Museum of Modern Art, New York), Uli Sigg (collector and member of the M+ Board, Switzerland), and Xu Bing (artist, Beijing).
Prize Winners
Heidi Lau (born 1987, Oakland, works New York and Macau) received her BFA from New York University. Drawing on ancient mythology and Taoist philosophy, Lau proposes alternate configurations of time and space through her ceramic practice, channelling generative diasporic perspectives through ritual, grief, and memory. She has held solo exhibitions at Green-Wood Cemetery, Brooklyn (2022), and the Macau-China Collateral Exhibition at the 58th International Art Exhibition – La Biennale di Venezia (2019). Her work has been presented in the Shanghai Biennale (2023); UCCA Dune, Beijing (2022); and the Shanghai Museum of Glass (2020).
Portrait of Heidi Lau. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Heidi Lau’s suite of ceramic sculptures Pavilion Procession (2025) is inspired by the creatures and monsters of the Shanhaijing, a Chinese mythological text. Her work resembles ancient spiritual relics arranged on an altar-like platform. They are positioned either close to the ground or suspended in midair, symbolising the connection between Heaven and Earth. A robotic spider sits at the centre, while a sculpture resembling a human spine hangs above. These hybrid beings embody Lau’s complex emotions surrounding the loss of loved ones.
Installation view of Heidi Lau’s Pavilion Procession (2025). Commissioned by M+, 2025. Photo: Dan Leung, M+, Hong Kong
Wong Ping (born 1984, Hong Kong, works Hong Kong) received his BFA from Curtin University in Perth. An animator and graphic designer, Wong creates vivid, dreamlike worlds that reflect modern society while alluding to social and political issues. He has held solo exhibitions at the Museum of Applied Arts, Vienna (2023); the New Museum, New York (2021); the Kunsthalle Basel, Basel (2019) and the Camden Art Centre, London (2019). His work has been presented at Somerset House, London (2024), and Leeum Museum of Art, Seoul (2022).
Portrait of Wong Ping. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Wong Ping’s new video installation Debts in the Wind (2025) is a toy-like playhouse setting, with artificial turf and a rooftop flagpole interrupting the space. Set on a golf course, the video follows ten characters, including a wealthy golfer, secret lovers, and an ancient tree. The film is voiced entirely by Wong, whose dialogue combines absurd humour with thought-provoking insights. Wong’s narration reveals the subtle relationships between these characters and delves into themes of violence, power, desire, and absence.
Installation view of Wong Ping’s Debts in the Wind (2025). Commissioned by M+, 2025. Photo: Lok Cheng, M+, Hong Kong
Finalists
Bi Rongrong (b. 1982, Ningbo, works Shanghai) received her MA in traditional Chinese landscape painting at Sichuan University in 2008, followed by an MFA in painting at the Frank Mohr Institute in the Netherlands. In recent years, her creative approach has involved collecting and extracting patterns from nature, architecture, and everyday objects. Working across various mediums, from painting and textile to animation and installation, Bi continually seeks new methods to forge organic connections between materials. She was a resident at TaDA – Textile and Design Alliance in 2024 and presented her work in the 4th Hangzhou Triennial of Fiber Art at the Zhejiang Art Museum in 2022.
Portrait of Bi Rongrong. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Bi Rongrong’s new work To Connect, To Cut, To Draw (2025) is a multilayered monumental textile backdrop that combines Chinese oracle bone script with geometric patterns inspired by ancient civilisations in Asia, Africa, and Europe. Supported by a grid-like metal structure, Bi uses weaving techniques, such as cutting, connecting, and withdrawing, to show how these patterns have evolved. Bi explores the diverse artistic contexts and cultural traditions that produced these designs.
Installation view of Bi Rongrong’s To Connect, To Cut, To Draw (2025). Commissioned by M+, 2025. Photo: Lok Cheng, M+, Hong Kong
Ho Rui An (b. 1990, Singapore, works Singapore) holds a BA in fine art and art history from Goldsmiths University and an MA in anthropology from Columbia University. Known for his lecture performances, Ho recently expanded his practice to installation and film, often mapping and tracing the forces that shape geopolitics, globalisation, and media production. He has held a solo exhibition at Kunsthalle Wien, Vienna (2021), and his work has been presented at Centre Pompidou, Paris (2024); Centre for Heritage, Arts & Textile, Hong Kong (2024); 14th Shanghai Biennale (2023); and Singapore Art Museum (2022).
Portrait of Ho Rui An. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Ho Rui An’s Figures of History and the Grounds of Intelligence (2024) and his newly commissioned text-based work A History of Intelligence in ((South)(East)) Asia (2025) examine the complex dynamics between systems of power and AI technology. Ho explores how narratives shift when images are removed from their historical contexts and reinterpreted through machine learning. Set within a bed of sand, the installation features two screens: the left shows Ho’s lecture with an entry point of a realist painting by Singaporean artist Chua Mia Tee, expanding into topics such as colonial history, machine learning, and tech-driven governance. The right screen shows images accompanying his lecture, generated by AI in real time. A History of Intelligence in ((South)(East)) Asia presents a detailed timeline of international events from the 1940s to 2025 that reveals the complex dynamics between state power and the digital world.
Installation view of Ho Rui An’s Figures of History and the Grounds of Intelligence (2024), courtesy of the artist; and A History of Intelligence in ((South)(East)) Asia (2025), commissioned by M+, 2025. Photo: Lok Cheng, M+, Hong Kong
Hsu Chia-Wei (b. 1983, Taichung, works Taipei and Maastricht) graduated from Le Fresnoy – Studio national des arts contemporains in 2016. As an artist, filmmaker, and curator, Hsu works primarily in moving image, exploring transregional history and memory as well as the connections between humans, materials, and places often overlooked in dominant history. In 2018, he held a feature screening exhibition at the Mori Art Museum, Tokyo. His work has been presented at Hong Gah Museum, Taipei (2024); 3rd Thailand Biennale, Chiang Rai (2023); 10th Asia Pacific Triennial of Contemporary Art, Brisbane (2021); and esea contemporary, Manchester (2019).
Portrait of Hsu Chia-Wei. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Hsu Chia-Wei’s video installation The Sound of Sinking (2025) explores the intersections of regional history and collective memory through shipwrecks in the Taiwan Strait. Hsu’s work uses a combination of virtual reality and archaeoacoustics, an interdisciplinary field that studies archaeological sites through sound. Hsu weaves sonar data, experimental music, and local folk songs into an immersive underwater soundscape. At its centre, a buoy ball with an attached VR headset plays footage that combines an animated ship with a live feed of the exhibition space. It is surrounded by images of archaeological artifacts displayed across the floor. The work reveals how historical narratives are constructed and explores the boundaries between reality and virtuality.
Installation view of Hsu Chia-Wei's The Sound of Sinking (2025). Courtesy of the artist. Photo: Dan Leung, M+, Hong Kong
Pan Daijing (b. 1991, Guiyang, works Berlin) is an artist and composer whose artistic practice lies at the intersection of visual art and music. Informed by her background as a composer, musician and performer, Pan engages primarily with sound, film, performance, installation, and choreography. Pan has held solo exhibitions at Haus der Kunst, Munich (2024); Tai Kwun Contemporary, Hong Kong (2021); and Tate Modern, London (2019), with an upcoming exhibition at Walker Art Center, Minneapolis, in 2025. Her work has been presented in Musée du Louvre, Paris (2023) and 13th Shanghai Biennale (2021).
Portrait of Pan Daijing. Photo: Dan Leung, M+, Hong Kong
Artwork presented at Sigg Prize 2025 Exhibition:
Pan Daijing’s installation Bent (2025) combines elements of performance, sound, light, and sculpture into a sensorial experience tailored to the gallery space. The steel railings on the floor, the ladder by the window, the shadowy bodies on the screens, and the irregular chrome objects echo viewers’ movements around the space. As with much of Pan’s work, this commission uses sound as its main element to heighten the viewer’s awareness of their sensations and emotions.
Installation view of Pan Daijing’s Bent (2025). Commissioned by M+, 2025. Photo: Dan Leung, M+, Hong Kong
Members of the Jury
- Suhanya Raffel (Museum Director, M+, Hong Kong)
- Maria Balshaw (Director, Tate, United Kingdom)
- Gong Yan (Director, Power Station of Art, Shanghai)
- Mami Kataoka (Director, Mori Art Museum, Tokyo)
- Glenn D. Lowry (the former David Rockefeller Director, Museum of Modern Art, New York)
- Dr Uli Sigg (collector and member of the M+ Board, Switzerland)
- Xu Bing (artist, Beijing)
Nominating Committee:
- Amy Cheng (senior curator, Singapore Art Museum, Singapore)
- Ying Kwok (senior curator, Tai Kwun, Hong Kong)
- Chelsea Liu (curator, Ullens Center for Contemporary Art, Beijing)
- Sam I-shan (independent curator, Singapore)
- Wang Weiwei (curator, CHAT, Hong Kong)
- Xiaoyu Weng (artistic director, Tanoto Art Foundation, Singapore)
Each edition awards HKD 1,000,000 in total, with HKD 100,000 for each shortlisted artist and the remaining amount granted to the winner. For the 2025 edition, each winner receives HKD 300,000.
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Sponsor’s Message
At Cathay, promoting arts and culture has always been close to our hearts, we are proud to be the Lead Sponsor of this exhibition at M+, and to support this exhibition through our cargo and passenger flight services, helping to nurture these artists’ development.
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