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Enid Tsui
Editor, Culture
Enid Tsui is the arts editor of the Post. Her previous posts include the Hong Kong correspondent and Asia companies and markets editor of the Financial Times, presenter on RTHK Radio 3 and editor-in-chief of CFO China, a magazine published by the Economist Group. She has an MA in art history and she is writing a book about Hong Kong.
Mindfulness workshops, jazz and classical music concerts, dance and drama events to feature in 24-day Fringe Festival 2025.
The American and Japanese artists known for masquerading as women from movies to critique society have their works up for comparison at M+.
Japanese actress best known for 1995’s Love Letter, who also had a stellar career as a singer, found dead at home, having cancelled a show.
Back in her home city, Chan hails improved HK Phil, and recalls her anger at concertgoers rejecting Russian music because of Ukraine war.
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Writer known for novels including My Fair Princess reportedly leaves suicide note saying ‘I choose this way to go home gracefully’.
Photofairs Hong Kong, slated for March 2025, scrapped by UK-based organiser because of unspecified ‘logistical constraints’.
‘An orchestra is a metaphor for collaboration,’ says music school head Damian Woetzel, a believer in power of arts to bring people together.
When Matthew Wong revealed he had bought one of Kahn’s paintings, Hong Kong collectors took an interest. At 78, Kahn has first show in Asia.
Cryptocurrency entrepreneur Justin Sun praises artist for creating Comedian artwork, before downing it on live stream at The Peninsula hotel.
Untitled (Yellow and Blue) by Mark Rothko, once owned by fugitive Malaysian financier Jho Low, fetches US$33 million at Sotheby’s auction.
For the Japanese fair’s 4th edition, art was shown not only in a gallery but at historic sites to deepen visitors’ understanding of Kyoto.
Salone del Mobile will show works from its SaloneSatellite permanent collection in an exhibition preceded by a spotlight of Hong Kong design.
The digital art extravaganza, whose 2024 edition was mesmerising, is in talks to launch in Hong Kong, but its co-founder has reservations.
Paris Art Week got a lift as Art Basel Paris moved into the city’s Grand Palais, attracting Hollywood stars and art lovers alike.
Director Jia Ding explains why his Opera Hong Kong production of rare Western work ‘that talks about China’ has to be historically accurate.
Heidi Chu quit in September for ‘personal reasons’, after the expo had been criticised by officials for its lack of community engagement.
Performed at the Hong Kong Cultural Centre, The Accountants is electrifying and deeply moving with themes of cross-cultural understanding.
Guillaume Cerutti explains Christie’s move to year-round sales at new Asia headquarters in Hong Kong, and challenges facing European market.
‘I felt I was really in the moment,’ Angela Chan says of her prize-winning performance at the Joseph Joachim Violin Competition in Germany.
US$27.6 million for early Van Gogh work a good price, observer says as Christie’s talks up results of auction where most bidding was low.
Glenn Lowry, director of New York’s Museum of Modern Art for 30 years, addressed the role of such museums during a visit to Hong Kong’s M+.
The new venue, which spans 4 floors in The Henderson and will hold first sales on September 26, signals a commitment to ‘prestige’ and Hong Kong.
Having its Asia premiere in Hong Kong, British choreographer Wayne McGregor’s Deepstaria pushes the boundaries of technology in dance.
Asia’s largest contemporary art exhibition, the 2024 Gwangju Biennale is enthralling, intriguing – and smacks of political correctness.
Co-head of Asian 20th century and contemporary art at Christie’s Hong Kong, Evelyn Lin is joining Pace as president for Greater China.
Hong Kong Performing Arts Expo, meant to promote the city as a global hub of culture, will feature a week of dance, theatre and networking.
The inaugural Art021 Hong Kong Contemporary Art Fair was granted the maximum allocation by the Mega Arts and Cultural Events Fund but disappointed in many areas.
Death, betrayal and the end of the world are covered in uninhibited 90-minute Cantonese play involving two adults and five children, and loosely based on a Greek tragedy.
Riotously funny and packed with celebrities, Black Comedy Di-Dar takes place in a Hong Kong secondary school that bribes students to help fulfil its requirement to promote traditional Chinese culture.
