Wen Wen holds a Master of Arts in Cultural Management from The Chinese University of Hong Kong, a Master of Management in International Arts Management (MMIAM), and a Bachelor of Laws in Sociology from Nanjing University.
In 2011, she founded Hermark Culture Media (Beijing) Co., Ltd., an agency dedicated to providing tailored and professional arts management. The company encourages artists to push their creative boundaries and curates high-quality, cross-disciplinary performances from abroad. Since its founding, Hermark has facilitated cultural exchanges with more than 600 artists from all over the world—including the United States, the United Kingdom, France, Germany, the Netherlands, Norway, Poland, Austria, Monaco, and Qatar—and has presented more than 400 public art events in China. In addition to performances, Hermark carries out a wide range of public-interest art education initiatives to expand cultural accessibility.
Wen also has extensive experience in international cultural exchange, having led her team in planning and delivering major national programs such as the China–Brazil Year of Culture, the 50th Anniversary of China–France Diplomatic Relations, and the China–Qatar Year of Culture.
Are you an artist? How did you become interested in arts and culture?
I’m not an artist, but I am a passionate lover of the arts. My father was a music enthusiast; he even made a violin by hand and played it for me when I was a baby. Later, he took me to explore Beijing’s cultural landmarks, museums, and galleries. I basically grew up immersed in culture and art. Poetry, beauty, and creativity have always been part of my life.
I also want to mention my love for Beijing, the city I grew up in. Beijing is truly China’s cultural capital, full of history, heritage, and creativity. Living in this city gave me nourishment and endless inspiration.
Can you tell me about Hermark Culture? Where did the idea come from?
I wanted to promote arts education and accessibility. I believe culture and art are not just entertainment or commercial products, but also part of our identity, a symbol of rights, and a bridge toward universal values. For me, art is like air and water—something everyone should have the right to access and enjoy.
Art and culture are also deeply tied to identity. A concert, an artwork, or an exhibition can change how people view history, society, and even themselves. We all ask, ‘Who am I?’ ‘Where do I come from?’ ‘Which community do I belong to?’ Artists provide us with fertile ground for these reflections. As an arts manager, I see my role as that of a mediator, building bridges between artists and audiences.
Our company’s English name, Hermark Culture, was suggested by my friends. “Her mark” means “her imprint.” We emphasize the value of female arts managers and other underrepresented groups in the cultural ecosystem. Since its founding, more than 95 percent of our staff have been women. Hermark has grown from a “baby” in 2011 to what I now call a “teenager.” It is not only my personal achievement, but also the collective result of colleagues, arts managers, administrators, and artists. Together we define who we are, and together with them, we define the direction of Hermark.
How does the business operate?
Our operating model is actually quite straightforward. At its core, it’s about promoting international cultural exchange. On the one hand, we bring international artists to China on tour, so that local audiences can experience a diversity of artistic forms. On the other, we take Chinese artists abroad, giving them the chance to present their work on the international stage.
From a financial perspective, part of our revenue comes from ticket sales, working with presenters such as theatres and festivals to cover production costs. We also actively apply for grants, both from Chinese and international cultural foundations, as well as support from governments and embassies. We often collaborate with socially responsible companies, which might sponsor our events or integrate artistic content into their own objectives. It is precisely through this diversified mix—box office, grants, and sponsorships—that our projects can operate in a relatively sustainable way.
In terms of programming, we always insist on balancing paid performances with free educational activities. Public activities such as workshops, lectures, open rehearsals, or backstage tours may not generate direct revenue, but they are invaluable for audience development. They help people engage more deeply with the arts, and over time, cultivate a loyal audience base that strengthens the cultural ecosystem as a whole.
Of course, the biggest challenge is to find the balance between commercial interest and social impact. A purely commercial project follows a very different logic from one that is purely educational. But in reality, we must carry both responsibilities: to generate enough revenue for sustainability, while also contributing to arts education and cultural outreach. For arts managers, this balancing act is a constant part of our work.
So overall, our business model can be described as “coexistence of public good and market orientation.” On the one hand, we rely on box office, grants, and partnerships to sustain operations; on the other, we continually invest in educational activities to cultivate audiences and expand artistic impact. It is not an easy path, but it is precisely this combination of profit and non-profit elements that allows art not only to survive, but to truly create social value.
Can you share what your typical day is like?
Right now my life is in a very special stage, so a “typical day” looks very different than it did before. I had a baby last year, and this year I’ve also been studying French. So these days my daily rhythm is basically a cycle of son – French – work, and because I’m based in North America, I usually connect with my colleagues in China late at night to handle projects and meetings.
If I look back to my “pre-baby” days, the rhythm was completely different. My life was almost always on the road. I was constantly traveling to meet artists, see performances, visit partners, or negotiate business collaborations. I loved catching the earliest flights or the first high-speed trains, because they were rarely delayed and allowed me to arrive just in time for a morning meeting. I had a little habit of always carrying an eye mask and earphones: once on board, I would put them on, play Max Richter’s music, and fall asleep within seconds. That way, I could use every bit of travel time to recharge.
Sometimes I would cover three or four cities in a single day, for example, starting the morning in Beijing, having a meeting in Shanghai by noon, and ending the evening in Guangzhou over dinner with colleagues, or artists, or exploring a local arts space. International trips were similar: every year, I flew abroad several times to attend premieres or festivals. The pace was incredibly intense—traveling during the day or having meetings, connecting with my team at night due to the time difference—but even with very little sleep, it felt exciting and fulfilling.
What is the process of starting a business in China like? Is it relatively easy? Did you have a lot of support?
I believe that entrepreneurship is both easy and difficult at the same time. It’s easy in the sense that if you have an idea, with such a large population and in a market as vast as China, you can find fertile ground. The difficult part is planning your ideas and bringing them into reality.
I have been very fortunate to receive a great deal of support along my entrepreneurial journey. My family has always stood by me. My father, for example, has invited my collaborating artists to dinners, making them feel at home. My husband has supported me through challenges; talking with me, taking me for walks, or bringing me closer to nature to help me draw inspiration and find solutions.
Beyond family, my colleagues and the artists I work with have also offered invaluable support—support that cannot be measured in money. Genuine human connection and sincerity are worth far more than financial contributions. I am immensely grateful to my colleagues, partners, and the artists who have walked alongside me.
I am also very thankful to my country. Without the framework of China’s friendly collaborations with other nations, I would never have had the chance to produce so many large-scale international projects, such as the 50th anniversary of China–France diplomatic relations, the Year of China in Brazil, and the Year of China in Qatar, to name a few. These projects were made possible thanks to the strong support of the government. I still remember, during my project in Qatar, there were more than 200 artists on stage, from both China and Qatar, performing side by side. Without support at the national level, it would have been nearly impossible for me, as an individual, to access such projects in my lifetime.
How have your past experiences contributed to you becoming an entrepreneur?
I actually started quite young. In 2010, when I was 25, I began working on my own projects, and by 2011 I had founded my own company. Looking back, there were a few key reasons why I chose this path at such a young age.
First, I have always had a strong desire for expression. Much like many artists create to express themselves freely, I launched projects to communicate my own ideas. I have always had independent observations and reflections on society and my surroundings, and I wanted to use arts projects as a way to share those thoughts.
Second, I developed my own aesthetic system. This aesthetic is not limited to technical skills in any single art form, but instead looks at works from cultural and social perspectives. My undergraduate studies were in sociology, so I tend to focus on the humanistic depth and social issues behind art. I want audiences to see not only the performance itself, but also a cultural landscape—something that reflects a broader human aesthetic and humanistic values.
Third, I have a personality that is both bold and persistent. Once I commit to something, I strive to see it through to the end. Of course, now that I have a child, I have to make more choices about where to invest my time and energy, and some projects must be scaled down. But whenever I do commit, I make sure to take responsibility—for the artists, for the partners, and for the audience. I do everything I can to mobilize resources, overcome difficulties, and bring projects to fruition.
What is something you wish you knew when you were launching Hermark Culture?
This is actually a difficult question for me to answer, because I’ve always felt that the things I didn’t know back then are precisely what shaped who I am today. Those gaps and imperfections were part of my personal and professional growth, and I don’t regret the state I was in at the time.
That said, if I had to name something, I suppose I wish I had known more about how to be a better leader from the very beginning. At the time, I had very little experience managing a team, so I had to learn everything through practice—by trying, failing, adjusting, and growing with my team.
What comes next for you? For Hermark Culture?
For me personally, the past two years have been a transformative period—a true turning point. I completed my MMIAM program at HEC Montréal, my second master’s degree. Through this experience, I made the transition from Asia to North America and went through a major period of adaptation.
Looking forward, I hope to facilitate more international collaborations. I would love to bring more of China’s culture abroad, so that international audiences can witness its essence and feel its emotional power. At the same time, I hope to introduce more international artists to Chinese audiences. Because cultural exchange is not just about exchange for its own sake—it is about realizing that we share common values, that we are all human beings, and that, based on love and peace, we can together appreciate the beauty of art and of life.
Can you share one thing, either personal or professional, that you’re proud of accomplishing this year?
Actually, there are three things I’m especially proud of this year.
First, my son is growing up healthy and strong. Raising a child is even harder than managing a company team—truly! Especially in the early stages, it requires your full physical and emotional presence, as if you’re doing several full-time jobs at once.
Second, I’ve continued learning French. Learning a new language isn’t easy, but I can now understand the news, read many articles, and even received a C1 score in a recent speaking test. I know I still have a long way to go, but reaching this point already fills me with gratitude. For me, language is the first step in cross-cultural communication. It’s like a key that opens new doors. Whether in my professional or personal life, I know this will be a vital tool in connecting with the world.
Third, I’ve grown internally. These past two years of studying and living abroad have taught me how to truly listen to myself. I’ve gained clarity about who I am and what I love. I’ve realized that no matter how circumstances change, I remain deeply passionate about my work. I hope the value of my life lies in helping foster understanding between cultures, and in helping others discover beauty in life, in the world, and within themselves.
I often think of each artistic project as a tiny seed that I plant in the hearts of the audience. Maybe it’ll stay there quietly. Maybe, one day, it’ll sprout or even bloom. That, to me, is the most magical part of art: it may not change things instantly, but it can leave a trace in someone’s heart and quietly grow over time.