香港唱片足印展

项目品牌: 待定

项目行业: 娱乐及文化

项目日期: 2026-07-24 10:00 2026-08-13 21:00

项目地点: 上海 WYSH翡悦里

项目名称: 香港唱片足印展


香港唱片足印展

2026年07月24日-2026年08月13日

上海 WYSH翡悦里

项目现场



7月23日至8月13日,香港电台「香港唱片足印展」登陆上海长宁WYSH翡悦里,作为「十大中文金曲・上海金曲汇」的核心板块,以香港流行音乐史为叙事基底,串联起沪港双城跨越四十年的文化共鸣。香港电台自1928年启播以来始终是华语流行文化的重要推手,而「十大中文金曲」自1978年创办至今,见证了张国荣、梅艳芳、四大天王等巨星的黄金时代。此次展览以130余张珍藏黑胶、历届金曲奖杯及绝版场刊为物质锚点,将私人聆听记忆转化为公共文化现场,既是对港乐黄金年代的文献式致敬,亦是以流行音乐为媒介的沪港城市对话。

从空间与造型来看,展览以深邃藏蓝为底色,辅以高饱和复古撞色构建沉浸式怀旧声场。入口处巨型黑胶装置作为视觉锚点和主打卡立面,以极强的符号性将访客瞬间拉入唱片时代。内部以轻量化模块化搭建划分四大主题展区:岁月黑胶馆藏长廊以线性陈列梳理音乐编年史;十大金曲奖杯陈列区以仪式化展柜呈现荣誉叙事;港式街景打卡组团复刻叮叮车、维港夜景墙与煤气灯老街,以高密度场景还原制造「可步入的香港」;电台视听互动空间则模拟RTHK直播间,模糊观展者与表演者的边界。柔和光影系统适配全天候拍摄需求,使每一帧画面自带复古滤镜,天然适配社交传播。

展期内的三日活动设计——首日金曲视听盛典、次互动点唱日、第三日集章兑礼日——构成了精准的内容营销节奏。首日以经典颁奖影像放映与黑胶鉴赏建立权威声量与情感基调;次日开放互动点唱与留言墙,将单向怀旧转化为双向情感投射,持续产出真实UGC素材;第三日以全域打卡集章联动限定文创兑换,将社交裂变机制嵌入观展终点,驱动访客在社交平台发布探店内容以换取抽奖资格。这三日并非孤立事件,而是层层递进的「体验—创作—分发」链路:展览空间本身即是内容生产场域,而三日活动则是触发传播的关键节点,使港乐的集体情怀通过持续的内容再生产,转化为今夏上海最具渗透力的跨城流行文化事件。


From July 23 to August 13, the RTHK Hong Kong Vinyl Footprints Exhibition debuts at WYSH Feiyue Li in Shanghai's Changning District, serving as the centerpiece of the Top Ten Chinese Gold Songs · Shanghai Gold Songs Festival . Rooted in the history of Hong Kong popular music, the exhibition weaves together a cross-city cultural resonance between Shanghai and Hong Kong spanning four decades. Since its launch in 1928, Radio Television Hong Kong (RTHK) has been a pivotal force in Chinese-language pop culture, while the Top Ten Chinese Gold Songs awards, inaugurated in 1978, chronicled the golden eras of Leslie Cheung, Anita Mui, and the Four Heavenly Kings. By presenting over 130 rare vinyl records, award trophies, and out-of-print programs, the exhibition transforms private listening memories into a public cultural arena—an archival tribute to Hong Kong's musical golden age and a city-to-city dialogue mediated by pop music.

Spatially, the exhibition employs deep navy as its base tone, punctuated by high-saturation retro color blocking to construct an immersive nostalgic soundscape. A monumental vinyl installation at the entrance serves as both visual anchor and primary photo backdrop, instantly transporting visitors into the record era. Inside, lightweight modular construction organizes four thematic zones: the Vinyl Archive Corridor presents a linear chronology of music history; the Trophy Display Area enshrines honors in ceremonial vitrines; the Hong Kong Streetscape Cluster recreates trams, Victoria Harbour night views, and gas-lit old streets, fabricating a "walkable Hong Kong" through high-density scenography; while the Radio AV Interactive Space simulates an RTHK broadcast studio, blurring the boundary between spectator and performer. Soft, adaptive lighting ensures optimal shooting conditions around the clock, lending every frame an inherent retro filter perfectly suited for social dissemination.

The three-day event structure—Day One featuring a classic awards screening and vinyl appreciation session, Day Two opening interactive singing and message walls, and Day Three launching a stamp-collecting circuit with limited-edition cultural merchandise redemption—forms a precisely calibrated content marketing rhythm. Day One establishes authoritative tone and emotional foundation through archival footage; Day Two converts one-way nostalgia into bidirectional emotional projection, generating authentic UGC; Day Three embeds social media mechanics at the exhibition's endpoint by incentivizing visitors to post exploration content on social platforms in exchange for lottery entries. These three days are not isolated occurrences but an interlocking chain of "experience—creation—distribution": the exhibition space itself is a content production field, while the three-day programming acts as the trigger mechanism for propagation, channeling the collective sentiment of Hong Kong pop music into Shanghai's most penetrating cross-city popular cultural event of the summer through sustained content regeneration.


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