Jiafan Weng is a curator, producer, project manager and creative consultant based in Hong Kong. Her practice extends from Hong Kong to mainland China, Australia and Spain, spanning exhibitions, live and immersive performance, art and technology, and art education, in programmes that have reached more than 400,000 people. Along the way she has worked with artists and thinkers including Roberto Alonso Trillo, Maurice Benayoun, Fronte Vacuo, Yuk Hui, Jiang Zhi, Leung Mee Ping, Xoán-Xil López, Jeffrey Shaw and Ken Ueno.

As Producer at MetaMaps (2024–26), she led a performance series developed between Hong Kong, Spain and Australia: from its premiere, manτεία, at Freespace, West Kowloon (2024; 350+ tickets sold), to 7O∆R at the Museo Interactivo da Historia de Lugo, Spain (2025) and Ground on Ground at Carriageworks, Australia (2025). She curated the series’ finale, Retrochronology (Eaton HK, 2026), an exhibition, screening and magazine launch that drew more than 700 visitors.

At Osage Art Foundation (2021–23), she coordinated and managed art-and-technology exhibitions and programmes, among them HKACT! Act 10: Daedalus Drones with composer Ken Ueno and Acts 11–13: Value of Values with lead artist Maurice Benayoun at Asia Society Hong Kong Center, Machine Visions, and Leung Mee Ping’s Souvenirs de Choses. She also managed the two-year Jockey Club Augmented Reality in Arts Education Project, bringing together 4 institutions, 16 secondary schools and more than 300 students and teachers.

Her curatorial projects include Giving Meaninglessness (Osage, 2023), Jiang Zhi’s solo exhibition No Secret Between Us Anymore (Osage, 2022), Jeff Cheng Tsz Fung’s solo exhibition I Need You (Artellex, 2025) and Where Comes Mulan 木蘭何處 by Tianyi Zheng in collaboration with Qiaochu Guo (Wuhan Photography Art Centre, 2025), which drew over 2,000 visitors.

She holds an MA in Creative Media (Curating Art) with Distinction from City University of Hong Kong and a BA in Media and Cultural Studies from the University of California, Riverside.