The INK SOCIETY is a limited liability non-profit making organization founded by a group of ardent enthusiasts in Hong Kong who share a common passion for art based on the ink tradition.
"The mission of the Ink Society is to foster a broader understanding and appreciation of modern and contemporary art that is based on or inspired by the ink traditions, and to support the establishment of a museum or other appropriate exhibition platform dedicated to its preservation, research, presentation and promotion within a contemporary context." ("Mission Statement")
Ink is a unique and continuing characteristic of the Chinese culture, but there is no museum or similar collecting institution in the world dedicated solely to its preservation, promotion and presentation. An Ink Museum is an original and differentiating concept, and Hong Kong has all the ingredients to make it happen - world class collections, dedicated scholars, experienced curators, a thriving and unrestricted art market and a powerful commitment to public service by its civic-minded citizens. We believe that a world class Ink Museum will become both a focal point for the local community as well as a destination for visitors from all over the region and the world.
Governance
The Ink Museum must be run by a legally established independent body. Since the tender documents were released, there has been growing general skepticism among the public, in particular the art community, about how a world class museum can be established and run on commercial principles. Art collectors, concerned about potential conflicts of interest that may compromise standards of quality, are reluctant to donate with their prized collections to the Ink or other museums, without clear guarantees regarding governance, management and financial support.
To address these concerns, we propose that an Ink Museum Board ("the Board") be established by statute to represent the Ink Museum during the planning and construction stage of the project and to oversee the management and operations of the Museum once it is completed. There are many examples of this proposed mode of governance and operation, for example, the Hong Kong Arts Centre Ordinance, the Hong Kong Arts Development Council Ordinance and the Hong Kong Academy for Performing Arts Ordinance.
Regarding the composition of the Board, we would seek to achieve an appropriate and balanced representation of government officials, financiers (including representative(s) from the successful bidder) and professionals. These representatives would be responsible for ensuring that the Ink Museum remains faithful to its mission of public service and maintains world class standards of management and operations, collection quality, programming integrity and financial standing. Members of the Ink Society need more time to deliberate further on these important issues, including the identification of appropriate Board members and the preferred mix of the Board members.
A code of ethics for the museum should be included in the proposed Ordinance. A sample of the code of ethics for museums is enclosed for reference.
The Board should be established as soon as possible to ensure a visible and independent body to act as an owner's representative during the planning, contract negotiation and construction process and to assist in monitoring compliance with the terms of the contract to be concluded between the Government and the successful bidder. With this goal in mind, the Board will be in a position to act as a bridge between the developers and Government, to provide information and advice and to highlight divergences, conflicts and failures that arise between planning and execution.
A world class museum must have a world class permanent collection. Therefore, the Board, once established, should work with the collecting community and the Government immediately to develop a system of assurances in order to secure the confidence of key collectors and provide a vehicle for the reception of future donations, either in the form of cash or collections, during the interim period from now to the physical opening of the Museum, scheduled at this moment for 2012.
Management
The Board will appoint the Director of the Ink Museum who will be accountable to the Board and responsible for the management of the Ink Museum. To ensure that the museum achieves the highest standard, a worldwide search for the best candidate will be undertaken by the Board. During the interim period prior to opening of the Ink Museum, the Board may appoint an interim director or project manager to represent the Ink Museum's interest during the planning period.
The Director will under the guidance and direction of the Board establish policy for the Ink Museum and be responsible for the running of museum, including the appointment of all staff, including curatorial and operational staffing. A proposed organization chart is attached.
Financial Support
In order to achieve world class museum status, we estimate that a minimum annual operating budget, including all program and support costs, but excluding art acquisitions and capital expenditures, to be approximately HKD 78 million, adjusted annually for inflation. This amount equates with the annual operating budget of the Hong Kong Museum of Art over the last five years, which has ranged from approximately HKD 78 million to its present reduced level of HKD 64 million. Based on our research, we believe that HKD 78 million falls at the low end of equivalent budgets for international world class museums.
To ensure the financial independence of the Ink Museum and to deflect concerns about possible conflict with the private sector interests that might compromise standards of quality, an appropriate structure of guaranteed financial support must be established.
While the form of the financial structure is open to discussion, we suggest some preferred alternatives. They are:
The establishment of an upfront independent endowment ("Endowment") sufficient to generate adequate income to cover all expected operating costs, including staff and non-staff expenses, as well as acquisition and programming needs. This endowment would be set up as a trust, to be managed according to policy set and approved by the Board.
Another possibility is the establishment of an endowment of a smaller amount, for example USD 50 million, supplemented by regular guaranteed payments by the developer ("the Operating Subsidy") of approximately HKD dollars 58.5 million. The combination of annual income generated by the endowment, in this case estimated to be USD 2.5 million, and the annual operating subsidy from the developer would provide the total annual operating support for the museum.
The Board will have the ability from time to time raise additional funds to cover expenses for special acquisitions, programmes and other enhancements undertaken by the Ink Museum. It is our opinion that a healthy museum attracts broad-based financial support and the Ink Museum would actively seek, through a managed fundraising strategy, to raise additional endowment and operating funds from local charitable organizations, private donors, as well international or corporate sponsors.
All income and expenses of the Ink Museum will be subject to external audit.
Collection
The Ink Museum undertakes to develop the finest collection in the world of modern and contemporary art based on or inspired by the ink tradition. In the initial stages the Ink Museum intends to seek donations from key collectors in the Hong Kong and through its relationships and friends broaden this core to include contributions from other Chinese and foreign collectors around the world. The Ink Society already has the support of some of the most important scholars, experts, and collectors of Chinese modern and contemporary art in the world, and therefore we sincerely believe that we will be able to attract the highest level of collection, assuming of course a satisfactory governance structure and guarantee of durable long lasting financial and professional management support.
Programmes
Interim programmes. Prior to the opening of the Ink Museum, the Board should devise programmes to educate and engage the public through a systematic strategy of community outreach which will seek to raise interest in and understanding of the ink tradition through a series of lectures, seminars, slide shows, short courses, performances and exhibitions, on issues of ink based art, including calligraphy, to be scheduled from now until the opening date (2012).
Long term programmes. Upon the opening of the museum, the Chief Curator in conjunction with the Director, and the other departments of the museum, will develop and execute a rich and in-depth program of exhibitions, drawn both from the permanent collection of the museum and from loans from institutional and private collections in the region and around the world.
In addition, the museum will embark on an energetic community outreach programme which will include education for school children, working in conjunction with the local schools, public programmes for adults and a whole host of workshops, fairs, and activities directed at engaging the widest possible community and their interests and involvement.
The Board will also endeavor to create alliances and strategic relationships with other museums and cultural organizations in the region, namely, China, Korea, and Japan, to organize joint activities to promote the ink tradition in this and other parts of the world, for example, by collection sharing, lending support to traveling exhibitions and international symposiums.
Design
The credibility and stature of a museum is often implicated, even defined, by its architecture. It is our goal that the architecture of the Ink Museum achieves landmark status. To this end, we propose that an international architectural competition to be judged by a panel of leading specialists in the area of museum direction and design. This panel could include: Arata Isozaki, Tokyo-based architect; IM Pei; Thomas Krens, Director of the Guggenheim Museum; Nicholas Serota, Director of the Tate Gallery; Wang Qingzheng, Deputy Director of the Shanghai Museum; Fan Di'an, professor at the Central Academy of Fine Arts; and Hou Hanru, independent curator of contemporary Asian art.
Members of the Ink Society will continue to debate the best structure for the establishment and operation of the museum. We will also continue to refine our strategy and plan our next steps.
However, as we concentrate on the broad structural issues, which will be the main focus of this initial planning period, we remain open for discussion and debate and sincerely welcome all comments and input from the community. On our part, we are committed to providing constructive guidance and to engaging professional feedback during this vital negotiation and development period.