Phoebe Man is a multimedia artist, independent curator, and Associate Professor at the School of Creative Media, City University of Hong Kong. Working across animation, video, installation, performance and participatory practice, she specialises in socially engaged art and community-based projects that foreground identity, dialogue and collective memory.

Her recent project series The Taste of Longing (2023–2026) explores food, memory, and identity. Using animation as a catalyst for collective remembrance, Man created Eight Tastes of Longing, which has screened at 4 festivals and exhibitions internationally, including the Nevada Women’s Film Festival (USA). A participatory installation version of the project has been presented in Taiwan, Japan, and Macau.

Man’s animation Post #MeToo (2022), developed as part of a socially engaged art project, received an Honorable Mention from the FOLCS International Short Film Competition in New York. The work has been shown at 20 international museums and film festivals. In 2020, she curated the group exhibition Post #MeToo Art, addressing sexual assault and related social issues.

Her practice always has audience engagement. Her participatory installation Erosion of Home (2015), addressing housing issues, was invited to exhibitions curated by the Hong Kong Museum of Art and presented at the Museum of Contemporary Art Taipei; over a two-month period, more than 6,000 visitors took part in its creation. Her edible sculptures and performance series Birthday Cakes (2014–15) were selected for a show organised by the Institute of Contemporary Arts (ICA), London, and were also invited to the Center on Contemporary Art (CoCA), Seattle. Since 2014, she has led 23 workshops titled If I Were, focusing on sexual violence in Taiwan and Hong Kong, with over 500 participants. In collaboration with the Taipei Women’s Rescue Foundation, she developed further public projects including One Person One Heart (2014) and Free Coloring If I Were (2018-2025). One Person One Heart is now a permanent exhibit at the Ama Museum—Museum of Peace and Women’s Human Rights in Taipei, with over 3,000 participants contributing to the work.

She curates local and overseas community art projects, including “Resonance Islands” in the Orkney Islands in UK and “Project C” for Fotan art community. Her research on community art has been published and presented internationally. Her paper “Creative Strategies for Hong Kong Community Art in Community Building” appeared in Hong Kong Visual Arts Overview 2020 (Chinese University Press, 2022). She has also presented research in the Hong Kong Visual Arts Yearbook (2017, 2020) and at conferences hosted by Seijo University (Tokyo), the National University of Ireland Galway, and Leiden University.

As a curator, Man is one of the founders of Para/Site Art Space and formerly served as Director of the Asian Experimental Video Festival (Hong Kong). She has curated screening programmes and exhibitions internationally, including projects for Over View (world tour, 2014–15), the Asian Experimental Video Festival in Macao (2011, 2015, 2017), EX!T 2010: Experimental Media Festival (Taiwan), and EXiS: Experimental Film/Video Festival (Seoul, 2009), as well as exhibitions such as Making the Familiar Unfamiliar @ Hong Kong Park (2009), Playground (Kao Yuan University, Taiwan, 2006), and Wo Man: Feminine Art Exhibition (Macau, 2001). Her writing has appeared in ArtAsiaPacific (2016) and other art and film publications.

Man’s artworks have been presented in more than 200 exhibitions and festivals worldwide, including Anthology Film Archives (2019), LOOP Barcelona (2017, 2019), Times Art Center Berlin (2018), Pori Art Museum, Finland (2016), National Museum of Modern and Contemporary Art, Seoul (2015), Cutlog New York (2014), the Shanghai Biennale (2004), the Venice Biennale (2003), the Gwangju Biennale (2002), and the European Media Art Festival (2001). Her book titled Phoebe Man’s Socially Engaged Art, was published in 2017, reviewing nine key works.

In 2017, Man was selected as one of four international artists for the Wapping Project Berlin Residency. She has received project grants from the Hong Kong Arts Development Council and awards/scholarships from organisations including the Hong Kong Independent Short Film & Video Competition, the Asian Cultural Council, the Hong Kong Museum of Art, and the Philippe Charriol Foundation. Marie Claire named her one of the ten “Smart Women of the 21st Century.” Her work My Mirror was featured in The Palgrave Handbook of Critical Menstruation Studies (2020), and her works have been discussed in publications including Asian Art (Pearson, 2014), The Art of Modern China (University of California Press, 2012), and Hong Kong Eye: Hong Kong Contemporary Art (2012).

Man holds a BA from The Chinese University of Hong Kong (1991), an MFA from the San Francisco Art Institute (2000), and a DFA from RMIT University (2012). She has also served in advisory and accreditation capacities, including as a Specialist for the Hong Kong Council for Accreditation of Academic and Vocational Qualifications, and was an Advisor/Examiner for the Hong Kong Arts Development Council.

多媒體藝術工作者，獨立策展人，香港城市大學創意媒體學院副教授。一九九一年香港中文大學藝術系畢業，二千年於三藩市藝術學院修畢藝術碩士課程，二Ｏ一二年完成墨爾本皇家理工學院藝術博士課程。

她專注研究和創作社會交往式藝術和性別議題的藝術。她的藝術作品曾於超過200個展覽和影展展出，於2022年收錄於法國AWARE：女性藝術家檔案、研究和展覽項目、2021年製作的社會參與式作品「後#MeToo」入圍超過17個國際影展和展覽，並於2022年紐約的FOLCS 國際短片大賽得到榮譽大獎，2019年獲邀到美國紐約經典電影資料館的「1970年代至今女權主義實驗電影」(2019) 參展。

她的參與式藝術相當受歡迎，2023-2026有關食物和身份認同的作品「想念的滋味」在台灣、日本和澳門展出。2022年在台北樹火紀念紙博物館展出的參與式展覽「紙陪你」因觀眾反應熱烈，原本三個月的展期延長至半年。其他參與式藝術包括食物雕塑「生日蛋糕」，於2015年獲邀在倫敦Institute of Contemporary Arts策劃的展覽中展出，後又獲邀在西雅圖的Center of Contemporary Art展出。同年在台北當代藝術館展出的「食咗我隻居？」反應熱烈，有超過6000個觀眾參與作品創作。2014年與台北婦女救援基金會合作的「如果我是」則在台灣與香港舉行過25個工作坊，超過500人參與。之後與該會繼續合作工作坊「來一起吧！」（2018年6月）、展覽「一人一心」（2014年）。後者更成為阿嬤家-和平與人權博物館的長設作品。她在香港亦有參與創作公共藝術，擴增實境（AR）作品「你好嗎？」「A」2018年在香港文物探知館和恒生管理學院展出。2009年則帶領超過100個學生在「藝綻@冬日」的香港公園創作公共藝術「尋常不尋常」。2006年及2010年獲邀到台灣墾丁、高苑科技大學、碧潭等地與公眾創作當地的心靈地圖公共藝術作品。

其他獲邀參與的國際性藝展，包括LOOP 巴薩隆拿（2019, 2017），芬蘭波里藝術博物館的「東亞錄像 」（2016)，韓國國立現代美術館的亞洲電影和錄像藝術論壇 (2015) 、巴西聖保羅SESC藝術展2012、2010臺北縣公共藝術計畫 – 河流3：《藝起趣碧潭》、上海雙年展(2004)、威尼斯雙年展(2003)、光州雙年展(2002)及德國歐洲媒體藝術節(2001)等。

文晶瑩2017年獲Wapping Project 選為留駐柏林的四位國際藝術家之一。她亦成功取得多個香港藝術發展局資助藝術計劃及得過多個獎項，包括第六屆香港獨立短片及錄像比賽公開組優異獎、香港藝術館市政局藝術獎、夏利豪基金會藝術比賽雕塑組季軍，及獲發亞洲文化協會獎助金。1998年她被瑪利嘉兒雜誌選為廿一世紀傑出女性。

她的作品收錄於全球性的出版社Palgrave Macmillan 的書 The Palgrave Handbook of Critical Menstruation Studies (已超過200萬下載) ， 美國培生（Pearson）的教科書《Asian Art》（亞洲藝術）（2014）、意大利雜誌VideoFocus（2014）、美國加州大學出版的書《The Art of Modern China》(當代中國藝術)（2012）、意大利Parallel Contemporary Arts Limited出版的書《Hong Kong Eye： Hong Kong Contemporary Art》（香港眼：香港當代藝術，2012）內。

文晶瑩是獨立策展人。她曾策劃超過30個展覽和影展，推廣香港實驗短片、裝置藝術、社會參與式藝術和社區藝術，2014年曾發起香港亞洲實驗錄像節並任總監。她曾策劃的節目和展覽，包括「大C承傳」火炭藝術社區的教育計劃和有關性暴力議題的「後#MeToo藝術」聯展(2020) 。 2015年策劃香港錄像藝術節目給”Over View”(概覽)錄像藝術展作世界巡迴展出。討論二次創作的「二手料、原創片：香港實驗短片」 於四個地方舉行，包括香港伙炭藝術家工作室開放計劃2011、吉隆坡實驗電影及錄像節2011、澳門牛房倉庫辦的亞洲實驗影像活動和香港錄映太奇 ，其他節目包括「越線」EXiM 2017 －兩岸四地實驗動畫活動、EX!T 2010台灣國際實驗媒體藝術展–香港實驗電影/錄像(2010) 、尋常不尋常(2009-10)、首爾國際實驗電影/錄像節–香港實驗電影/錄像(2009)、好玩場 (2006-7) 、有人做過 – 多媒體藝術裝置展(2002) 、女也 – 女性藝術作品展(2001) 。

研究方面，她於2017年由香港藝術發展局資助出版《文晶瑩社會交往式藝術》一書，總結和反思她近四年創作的九個作品。她研究社會交往式藝術的美學和果效，喜歡與觀眾對話創作，享受知識互有對流的經驗，作品的過程是重要的，結論是開放的，由藝術家主導轉變為與觀眾主導，作權力上的轉移，這是一種民主的表達和多元觀點的實踐。

她亦於不同的研討會發表香港社區藝術美學研究。2020年在愛爾蘭國立高威大學、2019年在荷蘭萊頓大學、2018年在加拿大艾蜜莉卡藝術及設計大學。

她的香港社區藝術的研究發表在《香港視覺藝術年鑑》(2000年, 2017 年) ，所發表的藝評文章主要是有關策展、裝置、網絡、行為、錄像、觀念藝術、香港藝術、文化政策、女性藝術及社會交往式藝術，文章發表於《ArtAsiaPacific》雜誌（2016）、《台灣以左, 亞洲之右: 實驗電影的亞洲實踐與研究》書（2015）、台灣電影欣賞季刊（2012）和一些實驗電影的專書內。她2015年曾到西雅圖的Washington Bothell大學講學，2016年又主持過國際性會議 ISEA (International Symposium on Electronic Art)。

她是Para/Site藝術空間的其中一位創辦人，曾任香港藝術發展局藝術教育組委員及藝術評審員、香港教育統籌局藝術教育組課程發展議會藝術教育委員會委員，現任香港學術及職業資歷評審局專家。