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Uli is a visionary.

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We were sort of breat-stroking
around the castle, in the water

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and talking about
what was going on in China.

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I remember still how once

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The early period is really the most important of bridge to link
that Chinese contemporary out to the westerb because during the time nobody

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really know there so big art exists
in another corner of the world.

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And what does that art look like.

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The transformation of China
over the last 40 years

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is possibly the most consequential,
social economic political

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and maybe cultural transformation
that the world has seen.

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When that much change is
going on in a society

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that has that much influence and impact

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not only regionally but globally
we have to look to art as witness.

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Uli was the one who often saved these works
from just being physically damaged

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beyond repare. Many of the works were works
that he has found in attics


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that were going hot and in cold and that kind of thing.

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This is like all written in bamboo.

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There is for each one a bamboo stick.

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So like you know in ancient times
with a knife cut into the bamboo

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and then he did this print.

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And I remembered that Uli had said
in a few interviews that one day

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my collections should go back to China.
So I contacted him and went to see him

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when to Maounzee and spent a day with him

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basically looking at the collection and talking
and then start to talk about this project.

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Of course I had to convince him
that Hong Kong was also China.

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So it was like the most glorious thing,
the most fantastic donation

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and such a fantastic leap
for a museum forward.

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And shortly after a story started
in pop up, to start with in

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mainland China that were
sort of negative and suspicious.

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Of course this was a collection that
had quite a number of works

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that had been definitively produced
as part of underground movement.

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We had an extraordinary
architectural competition

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we had three Japanese teams and
three European teams and they\'re all

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among the most of amazing architects in the world
and the best proposal came from the Swiss team

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Hasling Demeral.

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It\'s my great pleasure to introduce to

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Dr Uli Sigg, the founder
of Chinese Contemporary Art Award

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with us tonight (applause).

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Good evening everyone.

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After this introduction you may
have expected Confucius.

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It doesn\'t really matter to me

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whether a 20-year-old girl or an 80-year-old
woman make the art work. What matters is

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the creativity that went
into making the art work.

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There is only one resource which is

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unlimited. It is human creativity.

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Ultimately, human creativity
will have to solve this.

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