From Pan Daijing’s visceral soundscapes to Wong Ping’s irreverent animations, M+ Hong Kong spotlights six finalists for the Sigg Prize 2025 (6 Sep 2025 – 4 Jan 2026). Here’s why the region’s most influential biennial award keeps global eyes—and markets—locked on Greater China.
Established in 2018 by M+, the Sigg Prize is the Greater‑China mirror to London’s Turner Prize and New York’s Hugo Boss—except the CHF 100,000 purse (≈ US $110,000) comes from titan collector Uli Sigg, whose 1,500‑piece donation seeded the museum’s collection.
The third edition arrives just as Hong Kong regains post‑pandemic momentum and mainland fairs pivot west. Translation: whatever debuts here will headline auction catalogues and biennial lists in 2026.
Bi Rongrong (Ningbo 1982, lives Shanghai) – Pattern archaeologist turning urban surfaces into immersive textile, AR, and painting hybrids.
Ho Rui An (Singapore 1990) – Sharp‑witted lecture‑performer tracing geopolitics through viral media and colonial archives.
Hsu Chia‑Wei (Taichung 1983, lives Taipei) – Film‑maker excavating forgotten trans‑regional histories via cinematic installation.
Heidi Lau (Macau 1987 / New York) – Ceramic conjurer channeling Taoist cosmology and diasporic grief into grotto‑like sculptures.
Pan Daijing (Guiyang 1991, Berlin) – Composer‑artist blending opera, choreography, and video into haunting sonic ecologies.
Wong Ping (Hong Kong 1984) – Digital satirist whose candy‑bright animations skewer social taboos with NSFW humour.
Market note: Four of the six already boast blue‑chip representation or museum retrospectives—expect primary prices to spike once the winner is announced in Dec 2025.
New commissions & recent works filling The Studio (B2) at M+, a 10‑metre‑high black‑box tailor‑made for video and immersive installation.
Pan Daijing’s multi‑channel audio labyrinth; Wong Ping’s latest animation projected floor‑to‑ceiling; Heidi Lau’s clay reliquaries glowing under theatrical light.
Documentation corners mapping each artist’s research—think Ho Rui An’s annotated trade‑route maps or Bi Rongrong’s field recordings turned textile swatches.
A public jury dialogue weekend in November where finalists debate alongside jurors like Glenn D. Lowry (MoMA) and Mami Kataoka (Mori Art Museum).
Pipeline power: Past Sigg nominees—Tong Kunning, Samson Young—landed Venice Biennale slots within two years.
Regional focus, global lens: The 2025 shortlist spans mainland China, Hong Kong, Macau, Taiwan, and —crucially—diaspora nodes (Berlin, New York, Singapore).
Institutional ballast: With Tate’s Maria Balshaw and PSA Shanghai’s Gong Yan on the jury, acquisitions often follow deliberations.
Whether it crowns Pan Daijing’s operatic minimalism or Wong Ping’s lurid satire, the Sigg Prize 2025 will crystallise the artistic preoccupations of Greater China’s most urgent voices.
For visitors, it’s a crash course in the region’s cultural soft power; for the market, a predictive index. Either way, come September, all eyes pivot east.
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