China-based platform Museum 2050 was initiated in 2017 to consider the cultural and social impacts the exponential museum growth in the region will have by mid-century and how this growth will affect audiences and ideas about existing museum frameworks. Additionally, the platform has a distinct focus on being a resource for young people from all over China, many of whom largely work and inhabit these institutions, as well as providing a place to converse, share ideas and create a vibrant museum community. With a focus on the date 2050, the platform hopes to evolve into a lasting forum in which the questions raised can be further explored over the coming years.

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Nicole graduated from UCL in Classics and read for an MSc in Visual, Material, and Museum Anthropology at Oxford and was selected to be a Schwarzman Scholar at Tsinghua University in Beijing. Her broad arts experience includes working at Sotheby’s and Cambridge’s Fitzwilliam Museum and writing for ArtAsiaPacific. She has worked as the International Communications Officer for the Long Museum, home to China’s largest private collection. Nicole is passionate about unlocking the potential of private museums in China. An advocate for stronger arts curricula in the Chinese education system, she hopes that Museum 2050 will initiate more fluid conversation between international art institutions and China.


Leigh Tanner is currently Deputy Director of Yuz Foundation. She previously worked in the Research and Exhibitions Departments of the Shanghai Project, an interdisciplinary ideas platform launched in 2016 at the Shanghai Himalayas Museum. Her time at the Shanghai Project as well as earlier experiences in the curatorial departments of the International Center of Photography and the Museum of Modern Art, New York, have led to her believe passionately in the importance of institutions and the potential for their innovation, most especially in the context of China. She completed her BA in Art History from Stanford University and MA in Critical and Curatorial Studies from Columbia University.


Director of Media Strategy and Communications

Aishan Zhang is an independent curator who has worked internationally at the intersections of curation, arts administration, and communication strategy for non-profit organizations and auction houses, including The Art Institute of Chicago, Museum of Contemporary Art Chicago, Long Museum and Sotheby’s. Zhang holds a BA in Art History from the School of the Art Institute of Chicago. Her research areas include Chinese contemporary art and media studies–with a particular focus on the boom of virtual art museums and its effect on art. She is passionate about bridging art and technology to expand accessibility, foster learning, and bring people together.




卢迎华, 艺术史家、策展人。她是墨尔本大学艺术史博士学者,现任北京中间美术馆馆长。她是 frieze艺术杂志特邀编辑,也是《Exhibitionist》编委会成员之一。2011年她担任威尼斯双年展金狮奖评委。她也是2018年威尼斯建筑双年展菲律宾国家馆的评委会成员之一。2012年,她担任第九届光州双年展的联合策展人、第七届深圳雕塑双年展联合策展人。2012年至2015年,她担任深圳OCAT艺术总监及首席策展人。2013年,她获得泰特美术馆研究中心亚太计划的首个特邀研究学者奖金。她也是2017年美国艺术史研究机构协会(ARIAH)首届“东亚学者奖”的四位获奖者之一。


Executive Director of Asia Society Hong Kong Center

S. Alice Mong became the Executive Director of Asia Society Hong Kong Center (ASHK) in August of 2012. Prior to ASHK, she worked in New York for almost a decade in the non-profit sector in senior management position.

While in New York, Mong was the Director of the Museum of Chinese in America (MOCA) from 2009 till 2011. She left MOCA in July 2011 after successfully transforming the museum from a New York Chinatown institution to becoming a leading national museum. Mong also served as the Executive Director for the Committee of 100 in the United States, a Chinese-American non-profit membership organization founded by architect, I.M. Pei and cellist, Yo-Yo Ma. Prior to her time in New York, she worked in Hong Kong from 1992 to 2002. She is a graduate of Ohio State University and received her EMBA from Kellogg and Hong Kong University of Science and Technology.


Manuela and Iwan Wirth Lecturer in Modern and Contemporary Asian Art, The Courtauld Institute of Art

Wenny Teo (张温惠) received a BA in History of Art and English Literature from the University of York (2003), and a MA (2004) and PhD (2011) in History of Art from University College London. Her doctoral thesis, ‘One World, One Dream: Contemporary Chinese Art and Spectacle’, supervised by Professor Briony Fer, examined the highly ambivalent relationship between contemporary Chinese art and spectacle from China’s ‘open door’ reforms in 1978 to the historical watershed of the 2008 Olympic Games in Beijing. Her research currently centers on socially engaged and participatory East and Southeast Asian art, subversive practices, geopolitics, language art and online visual culture.

Prior to joining The Courtauld as the Manuela and Iwan Wirth Lecturer in Modern and Contemporary Asian Art in 2012, she worked as a curator at the Museum of Contemporary Art, Shanghai, and as curatorial assistant at Tate Modern. In 2014, she was an associate curator of We Have Never Participated: The 8th Shenzhen Sculpture Bienniale and in 2016 she co-curated, A Beautiful Disorder: Contemporary Chinese Art at the Cass Sculpture Foundation in Chichester, UK.


Assistant Professor, HKU Faculty of Architecture

Ying Zhou is an architect and assistant professor at the Department of Architecture at HKU. Her research interest on the growth of cultural industries and their institutional frameworks in East Asian cities developed from working with Kees Christiaanse at the Future Cities Lab of the Singapore-ETH Centre and with Herzog & de Meuron at the ETH Studio Basel. She has published and exhibited in Critical Planning, Urban China [城市中國], Frieze, LEAP [藝術界], at the Shenzhen Biennale, Haus der Kunst in Munich, Swiss Architecture Museum, amongst others. Born in Shanghai, Ying holds a B.S.E. from Princeton, a M.Arch. from the Graduate School of Design at Harvard and a Ph.D. from the ETHZ.