Hallucinatory Hereafter is a screening program that comprises of post-1980s works from the Videotage Media Art Collection (VMAC) by artists active in Hong Kong, mainland China, and Taiwan. The selection represents a fragmented and futuristic reality and explores the metaphoric and hallucinatory nature of video art.

「隨後．幻象」特約放映節目展示了取自「錄映太奇媒體藝術庫藏」（VMAC），來自香港、大陸及台灣藝術家於1980年代後的作品。節目作品呈現支離破碎的未來風格，並探索錄像藝術的隱喻性及幻性。

Hallucinatory Hereafter, a guest programme by Videotage, comprises works from its Videotage Media Art Collection (VMAC), and features works by artists active in Hong Kong, mainland China, and Taiwan after the 1980s—a time of historical rupture and sociopolitical tension. The selection explores the metaphoric and hallucinatory nature of video art through its cinematography, narratives, and techniques.

Each work represents a fragmented, cyberpunkish, futuristic, and imaginative reality. Angela Su’s The Afterlife of Rosy Leavers and Linda Lai’s Voices Seen, Images Heard shatter our conventional linear perception; Comyn Mo’s Can Fish See the Same Face Twice and Nose Chan’s Aftermath highlight the absurdity of our daily encounters; and the essay film One-way Street on a Turntable by Anson Mak provides an alternative narrative to the often-told stories of Hong Kong. The works in this programme resist rational readings and celebrate the essential features of moving image.

「隨後．幻象」特約放映節目取自「錄映太奇媒體藝術庫藏」（VMAC），作品來自香港、大陸及台灣藝術家，橫跨1980年代後——見證種種歷史動盪及社會政治角力的時代。作品透過攝影、敘事和技巧，探索錄像藝術的隱喻性及幻性。

節目中的作品呈現出一種支離破碎、瀰漫着科幻感和未來風，及富於想像的現實。徐世琪的《Rosy Leavers的前世今生》和黎肖嫻的《看得見的聲音，聽得見的形象》打破我們平常對事物的線性理解；毛文羽的《無魚面見能相同》和陳序慶的《迴光（軀體悼念）》點出我們日常中的荒謬；麥海珊的散文電影《唱盤上的單行道》為老生常談的香港故事賦予不一樣的論述。它們不僅顛覆我們對現實的理解，亦彰顯出流動影像的本質。