Quote:

Through a journey that transgresses time and space, we dive into the transforming aesthetics, forms, and media in Hong Kong video art over the last 30 years, while witnessing the changes in the ideology and visual experience among video artists in different eras.

– John Chow, program curator and VMAC archivist

Curatorial Statement

Videotage is proud to present μs (microsecond) – a parallel time-space with the juxtaposition of local early and contemporary video works, converting the booth into a time machine traveling different eras, showcasing from the time of emergence of experimental works to the millennials works by artists from the new generation.

Since 2008, the Videotage Media Art Collection (VMAC) has been a founding institution devoted to the preservation and expansion of a rich and diverse collection of video and media art in Hong Kong, with materials dating from the later part of the 20th century to nowadays. With the aim of archiving, disseminating, and promoting media works produced in Hong Kong and beyond, the Collection illustrates the progression of art history and media over the last 30 years in the region.

Featuring part of the significant collections of VMAC, the showcase explores a diverse range of both local and non-local moving image works, traveling back and forth within the history of video art production.

By pairing up two videos of the early and present time : From early visual abstraction using TV signal feedback as paints and brushes, to the cutting-edge technology of programmed video and CG animation; from a personal video letter in VHS format to the avant-garde video covering the hidden struggles between modern family relation; from the early sampling technique of frames and motions from classic movies, to the latest approach of internet-found footages collage…These duos demonstrate not only the contrast in different times, media, and generations, but also the changing landscape of video art in Hong Kong, showcasing the huge spectrum of forms in video art history.

引言:

通過一次超越時空的旅程，我們深入探討了過去30年中香港錄像藝術的美學、形式和媒體轉型，同時見證了不同時代錄像藝術家的意識形態和視覺體驗的變化。

– 周皓風, 節目策展人與VMAC檔案員

策展人語

錄映太奇很高興呈獻μs（微秒） – 將本地早期和當代錄像作品並置的一個平行時空，將展覽空間轉換為一個穿棱時空的時間機器，展示從實驗作品的出現到新世代藝術家的千禧年代作品。

自2008年，錄映太奇媒體藝術庫藏（VMAC）一直致力於保存和擴展香港豐富多樣的錄像和媒體藝術庫藏，其藏品可追溯到20世紀後期至今。為了存檔、傳播和推廣香港及其他地方製作的媒體藝術品，庫藏展示了過去30年來的地區藝術史和媒體發展。

是次放映展示了VMAC部份最重要收藏品，在錄像藝術製作的歷史中來回穿梭，展示了各種各樣的本地和非本地流動影像作品。

通過來自早期和現在的兩個錄像：從使用電視信號反饋作為顏料和畫筆的早期抽象視覺，到程式編碼錄像和CG動畫的尖端技術;從VHS格式的個人錄像信件，到涵蓋現代家庭關係中隱藏鬥爭的前衛錄像;從經典電影的幀和運動採樣的早期技術，到互聯網尋獲的片段拼貼的最新方法……這些配對不僅呈現了不同時代、媒體和世代的對比，還展示了香港錄像藝術中不斷變化的景觀以及錄像藝術史中形式的寬闊光譜。

Date: 19-22/9/2019

Venue: Shanghai Exhibition Centre, 1000 Yan’an Road, Shanghai, China

Running Time: 60 mins, 45 seconds

Artworks:
Johnny AU – Pure Colour (1987, 07’54)
Eric SIU – Sliding Whites (2005, 08’42)
Gina Czarnecki – Infected (2001, 07’12)
HU Rui – Metropolitan Triangle Garden (2014/2015, 03’54)
Ellen PAU – The Fire Sermen (1988, 02’23)
Reynold Reynolds – Burn (2002, 09’58)
Nose CHAN – Replicate (2002, 03’29)
Linda LAI – Doors Medley (2014, 07’00)
Adam WONG – Ah Wai & Murphy (1999, 03’46)
Jennifer CHAN – Boyfriend (2014, 06’27)

Concepted by: Chilai Howard

Curated by:John Chow, Archive Coordinator

日期: 19-22/9/2019

地點: 上海市中心延安西路1000號上海展覽中心

放映長度: 60分45秒

藝術品:
歐子強  – 《Pure Colour》(1987, 07’54)
蕭子文 – 《溜．紅綠藍》(2005,  08’42)
Gina Czarnecki – 《Infected》(2001, 07’12)
胡芮 – 《大都會三角花園》(2014/2015, 03’54)
鮑靄倫 – 《The Fire Sermen》(1988, 02’23)
Reynold Reynolds – 《Burn》(2002, 09’58)
陳序慶 – 《Replicate》 (2002, 03’29)
黎肖嫻 – 《重重門。門對門。》(2014, 07’00)
黃修平 – 《阿偉與婉芳》(1999, 03’46)
Jennifer CHAN – 《男友》(2014, 06’27)

構想: 鄭智禮

策劃: 周皓風