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Harnessing Innovative Technologies to Drive Cultural Mobility and Foster Global Exchange

HONG KONG SAR – Media OutReach Newswire – 16 June 2026 – The Hong Kong University of Science and Technology (HKUST), in collaboration with the Center for Metaverse and Computational Creativity at HKUST(Guangzhou), presents the SURREALITY Mixed Reality (MR) × Artificial Intelligence (AI) Digital Art Cross-City Exhibition. As part of HKUST’s 35th-anniversary celebrations, an exclusive media preview of the world’s first large-scale, cross-regional MR × AI digital art exhibition was held at the University’s Clear Water Bay campus.

Showcasing selected works by renowned international and Chinese Mainland digital artists, as well as faculty and students from both campuses, the exhibition integrates creativity with Virtual Reality (VR), MR, and AI technologies. It transforms the campus into a global hub for arts innovation and technological excellence.

The exhibition will open at HKUST(GZ) tomorrow and run through July 31, 2026, before returning to Hong Kong for public engagement. This exhibition exemplifies HKUST’s visionary commitment to driving cultural mobility and fostering international exchange through innovative technologies.

Prof. Nancy IP, President of HKUST, remarked, “This event signifies a major milestone for HKUST in its pursuit of integrating technology, humanities, and cross-regional innovation. The national 15th Five-Year Plan released this year explicitly supports Hong Kong in deepening its development as the East-meets-West centre for international cultural exchange. In 2024, the HKSAR Government also introduced the Blueprint for Arts and Culture and Creative Industries Development, outlining plans to develop diverse arts and culture industries with an international perspective, and to establish international platforms that foster East-meets-West arts and cultural exchanges. Local universities play a pivotal role in advancing these initiatives.”

“HKUST’s Strategic Plan 2031 identifies the integration of innovation and the humanities as a key direction for the University’s future development. In line with this vision, we established Hong Kong’s first Division of Arts and Machine Creativity, which is committed to creating an innovative platform that fosters the fusion of technology and art while nurturing a new generation of creative talent with strong interdisciplinary perspectives. Hosting initiatives such as SURREALITY and the HKUST AI Film Festival exemplifies this direction and is poised to develop into prominent international platforms that fosters arts and cultural exchanges between China and the rest of the world,” she added.

Prof. Lionel NI Ming-Shuan, President of HKUST(GZ), stated, “‘SURREALITY’ is not only the world’s first large-scale MR × AI art exhibition, but also a powerful showcase of the strengths of HKUST and HKUST(GZ) in interdisciplinary studies and computational creativity. As a flagship initiative under the ‘One HKUST, Complementary Campuses’ framework, the two campuses have welcomed artists and young creators from 23 countries and regions, redefining the boundaries of knowledge production and artistic expression through the seamless fusion of the virtual and the real. At a time when the nation is strategically advancing future industries and the Greater Bay Area is accelerating the development of new quality productive forces, the digital ‘Portal’ connecting Clear Water Bay and Nansha represents far more than a technological breakthrough—it embodies a forward-looking model of educational collaboration, where engineering converges with aesthetics, algorithms with poetry, and global vision with local engagement. At thirty-five years old, HKUST remains youthful and dynamic. Guided by this founding aspiration, HKUST(GZ) will continue to advance in step with HKUST, writing a new chapter of integrated innovation and talent development in the Greater Bay Area.”

SURREALITY showcases the integration of AI-generated artworks with the physical campus environment, creating an immersive experience through spatial computing and real-time rendering technologies. Across the two campuses, nearly 50 works by more than 70 digital artists from the United States, Germany, Russia, Australia, Bolivia, Singapore, Korea, the Chinese Mainland, and Hong Kong are featured. Presented in innovative and striking forms, these exceptional works from around the world highlight HKUST’s strong commitment to advancing interdisciplinary integration.

Today, 19 selected works premiered at the Clear Water Bay campus, where MR-enhanced creations transform the HKUST campus into an immersive, technology-driven art space. By wearing MR headsets, visitors can freely explore three exhibition areas: Living Currents, Future Fables, and Beyond Mind. Several projects created by HKUST(GZ) faculty and students stand out as highlights, with The Gate—built on a metaverse concept—emerging as the centerpiece of the exhibition. As the armillary sphere slowly turns and the portal comes into view, visitors can step inside and instantly traverse the virtual spaces of both campuses, experiencing a groundbreaking sense of cross‑campus, seamless connectivity that embodies the vision of “One HKUST, Complementary Campuses.” Another featured work, Kunpeng, symbolizes a spirit of boundless freedom. A giant fish leaps from the nearby Port Shelter in Sai Kung and transforms into a soaring roc that ascends powerfully into the sky. Its majestic presence delivers a striking visual spectacle. The piece The Twinworld Tree creates a dynamic living system formed by the World Tree and virtual life, symbolizing the interdependence of all things, like the tides.

The exhibition also features an MR recreation of a classic work—GFP Bunny, created by internationally acclaimed contemporary artist, Prof. Eduardo KAC, who is also Professor of Art and Technology Studies at the School of the Art Institute of Chicago. Since its debut, this piece has sparked global reflection on genetic modification, bioethics, and the boundaries of art. Mr. ZHANG Yishuai, a PhD student in the Thrust of Computational Media and Arts at HKUST(GZ) and a computational artist, presents Echoes of Earth 2.0, offering a forward-looking perspective on AI and interstellar civilizations. This work enriches the exhibition with a visionary reflection on humanity’s aspirations for the future.

Several VR digital art pieces are also on display, including Astra, created by Ms. Eliza MCNITT— Venice Immersive Grand Prize winner and renowned American writer and director—which offers visitors a unique journey of exploration into the universe. Mr. Benedict YU, a VR visual artist from Singapore, presents Mother’s Body Remembers, utilizing LiDAR to capture movements and combining VR with tactile interaction to rekindle visitors’ memories of family connections. The HKUST XRIM Lab‘s work, Unfolding Touch, enables a soft-robot-mediated handshake between the Clear Water Bay and Guangzhou campuses, integrating sensing and tactile replication to create a shared touch experience across distance. Other works include My Flower, which invites viewers to experience the daily challenges faced by people with Alzheimer’s disease. A short animation, The Cat Ghost, which narrates the relationship between ancient Chinese people and cats from the Western world, is also screened.

Prof. Pan HUI, Chair Professor of Emerging Interdisciplinary Areas at HKUST, Acting Head and Chair Professor of the Thrust of Computational Media and Arts, and Director of the Center for Metaverse and Computational Creativity at HKUST(GZ), introduced the core concept of “SURREALITY.” He explained that as technologies such as AI, spatial computing, and MR rapidly evolve, digital worlds are transcending screens into real spaces and becoming deeply integrated into people’s daily life. SURREALITY explores a new form of reality that may emerge in the future—a scenario where the virtual and the physical are no longer distinctly separate but collectively form the environments in which we perceive, interact, and live. Through artistic creation and immersive experiences, the exhibition offers audiences a glimpse into this transformative vision, prompting reflection on how technology is reshaping humanity’s understanding of reality.

The exhibited works come from numerous internationally renowned artists, showcasing the remarkable fusion of creative arts and digital technology. Several prominent participating artists also joined today’s event to introduce their works, fostering cross-regional cultural and arts exchanges. They include Prof. Benjamin SEIDE, media artist, VFX expert, and Associate Professor in the School of Art, Design and Media at Nanyang Technological University; Ms. Katerina SEMENKO, a Russian conceptual phygital artist and International Design Award recipient; and Dr. Adam NASH, an Australian digital virtual artist and Honorary Fellow of RMIT University.
Hashtag: #HKUST #HKUST(GZ)

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About The Hong Kong University of Science and Technology

The Hong Kong University of Science and Technology (HKUST) (https://hkust.edu.hk/) is a world-class university known for its innovative education, research excellence, and impactful knowledge transfer. With a holistic and interdisciplinary pedagogy approach, HKUST was ranked 6th in the QS Asia University Rankings 2026, 3rd in the Times Higher Education’s Young University Rankings 2024, and 19th globally and 1st in Hong Kong in the Times Higher Education’s Impact Rankings 2025. Eleven HKUST subjects were ranked among the world’s top 50 in the QS World University Rankings by Subject 2026. In addition, in the Times Higher Education World University Rankings by Subject 2026, HKUST’s Computer Science discipline which encompasses areas such as artificial intelligence and machine learning, has been ranked No. 1 in Hong Kong for ten consecutive years. Our graduates are highly competitive, consistently ranking among the world’s top 30 most sought-after employees. In terms of research and entrepreneurship, over 80% of our work was rated “internationally excellent” or “world leading” in the Research Assessment Exercise 2020 of the Hong Kong’s University Grants Committee. As of May 2026, HKUST members have founded over 1,900 active start-ups, including 11 Unicorns and 22 exits (IPO or M&A).

The amended rules, issued through Notification No. 19/2026-27 dated 2 June 2026, apply with immediate effect to silver powder, silver grains, silver of 99.9% purity or more, and other unwrought silver. The change adds a fresh approval layer to a trade channel that was already limited to nominated agencies, banks and qualified jewellers using authorised routes.

The affected ITC codes include 71061000 for silver powder, 71069110 for silver grains, 71069120 for silver containing 99.9% or more by weight of silver, and 71069190 for other unwrought silver. These categories fall within the broader heading for silver, including silver plated with gold or platinum, in unwrought, semi-manufactured or powder form.

Until the amendment, eligible imports could be routed through banks notified by the Reserve Bank of India, agencies notified by the DGFT, and qualified jewellers notified by the International Financial Services Centres Authority for imports through the India International Bullion Exchange. The new framework keeps those channels in place but requires a valid DGFT Import Authorisation before shipments can proceed.

The order marks a sharper shift in bullion management after curbs were placed in May on silver bars of 99.9% purity and other semi-manufactured forms. Together, the steps move a large portion of silver inflows away from a relatively open framework towards a case-by-case approval regime. The policy direction points to closer official monitoring of volumes, end-use and trade routing at a time when precious-metal purchases have added pressure to the external account.

Silver imports have climbed sharply, with the country’s import bill for the metal touching a record $12 billion in the financial year ended March 2026, compared with $4.8 billion a year earlier. April shipments rose 157% year on year to $411 million, underlining the scale of demand before the latest controls took effect.

The bullion market is likely to feel the immediate impact through slower approvals, tighter availability and wider domestic premiums if import authorisations do not keep pace with demand. Dealers have already been adjusting to a compliance-heavy environment, including the April publication of the list of banks authorised to import gold and silver until March 2029 after delays had held up consignments at customs.

The policy also comes after duties on gold and silver were raised to 15% from 6%, a move aimed at discouraging discretionary imports of precious metals. Higher tariffs and tighter licensing conditions together indicate a broader attempt to contain import demand, protect foreign exchange reserves and reduce pressure on the rupee at a time when oil and other commodity bills remain sensitive to global price swings.

Industrial users will be watching the authorisation process closely because silver is not only a bullion and jewellery metal. It is used in electronics, solar cells, conductive pastes, precision engineering, industrial chemicals and electrical components. Silver powder and grains are important inputs for manufacturers as well as refiners and jewellers, making clarity on approval timelines essential for supply planning.

Investment demand has become a larger part of the market’s momentum. Silver bars, coins and exchange-traded products have attracted interest from investors looking for exposure to precious metals, particularly when global uncertainty and currency volatility lift demand for hard assets. That trend has complicated policy choices because the same metal feeds both household savings and industrial supply chains.

The India International Bullion Exchange remains central to the formalisation of bullion trade through GIFT City, especially for qualified jewellers using the exchange route. By requiring DGFT authorisation even for eligible jewellers importing through IIBX, the amendment signals that institutional routing alone will no longer be treated as sufficient compliance for specified silver categories.

Silver dore imports by refineries continue under the existing licence framework with actual-user conditions where applicable, leaving the refining route distinct from the broader authorisation requirement for covered products. This distinction matters for refiners that process raw material into marketable silver, though they too are operating in a tighter policy environment.

Major supply sources for the country include the UAE, Britain and China, making the rule change relevant for global bullion flows as well as domestic trade. Suppliers may face slower shipment planning, while banks and nominated agencies will need to factor DGFT approvals into import schedules.

The immediate test for the new system will be administrative efficiency. A transparent and predictable authorisation process could help the government track sensitive inflows without disrupting legitimate industrial consumption. Delays, however, could push up local premiums, affect manufacturers dependent on imported feedstock and encourage buyers to shift procurement strategies.