Centripetal explores how early generations of Hong Kong artists adopted video as a progressive art form, revealing how work in the medium has played a significant role in shaping the region’s art history. During the late 1980s and early 1990s, inexpensive portable cameras resulted in an increase in video production within the art world. In these works, the artists manipulate images, sound and text while incorporating unique montage techniques to reorient video from television broadcasting’s reverence for linear storytelling toward an experimental articulation of the cultural context of their times. Isaac Leung, chairman of Videotage, selected the videos for this screening program, drawing from the Videotage Media Art Collection (VMAC).

八十年代末至九十年代初，手提攝錄機的普及化，令錄像拍攝不再僅限於商業製作，更在藝術世界中掀起一波浪潮。不少藝術家自此探索這新媒體的顛覆性潛力，挑戰當時主流論述。錄像提供的自由度，讓藝術家們能嘗試以非敘事與非線性的方式來呈現訊息。再加上重疊影像和抽象等視覺表現手法，讓藝術家能以各種比喻呈現香港。藝術家透過掌控影像、聲音和文字，加上錄像獨有的蒙太奇技巧，令錄像這種媒介不再僅僅是電視上用來旁證事實的工具，更成為他們用來反思並連接身處時代文化的方式。《向心力》探視香港早期錄像藝術家，他們如何把錄像化為一種向前推進的藝術形式，重新檢視錄像藝術如何擔當起香港藝術發展的重要角色。此放映節目的錄像作品，均由梁學彬選自錄映太奇媒體藝術收藏（VMAC）——區內其中一個最具歷史價值的的錄像藝術庫藏。

日期 Date: 31 March 2019 (Sunday)
時間 Time: 2 pm
地點 Location: 香港會議展覽中心演講廳2
Theatre 2, Hong Kong Convention and Exhibition Centre
藝術家 Artists：毛文羽 Comyn Mo Man Yu, 馮偉 Ernest Fung, 洪強 Hung Keung, 馮美華 May Fung, 黃志輝 Wong Chi Fai, 游靜 Yau Ching, 鮑藹倫 Ellen Pau, 榮念曾 Danny Yung
策展人 Curator：梁學彬 Isaac Leung

毛文羽 Comyn Mo Man Yu, 《男人和女人》 Man and Woman, 7’48”
洪強 Hung Keung, Love, 9’11”
鮑藹倫 Ellen Pau, 《似是故人來》 Song of the Goddess, 6’05”
游靜 Yau Ching, 《錄像書簡1-3》 Video Letter 1-3, 10’45”
馮偉 Ernest Fung, 《95/23》 Ninety FiveTwo Or Three, 5’42”
黃志輝 Wong Chi Fai, 《教育電視》 Educational TV, 4’34”
馮美華 May Fung, 《她說為何是我》 She Said Why Me, 7’31”
榮念曾 Danny Yung, 《錄像桌子》 Videotable, 11’14”