Both Sides Now II – It was the Best of Times, it was the Worst of Times? 彼岸觀自在II: 最好的時代,最壞的時代?

Screening Event

10 Oct 2015, 3pm

Connecting Space Hong Kong, G/F, 18-20 Fort Street, North Point, Hong Kong


Both Sides Now II It Was the Best of Times, it Was the Worst of Times?

彼岸觀自在II: 最好的時代,最的時代?

JUL – DEC 2015

Brighton – Hastings – Hong Kong – Leicester – London – Manchester – Portsmouth – Shanghai – Wuhan

IntroductionPesented by videoclub (UK) and Videotage (HK), Both Sides Now – Somewhere between Hong Kong and the UK brought together internationally-recognised artists from the fields of video and film during a several month-long programme from June – August 2014. To build on the ideas posited from the success of Both Sides Now (2014), Videotage and videoclub are further initiating exchanges between the UK and Hong Kong, exploring the social and cultural connections and dynamics between the UK and China & Hong Kong.

In the new edition, Both Sides Now II It was the Best of Times, it was the Worst of Times?, videoclub (UK) and Videotage (HK) will collaborate with 15 art organisations in the UK, China and Hong Kong through extensive screenings, exhibitions and artists-in-residence programmes. The project will take place between July and December of 2015.

Both Sides Now is part of the new initiative Acentered – Reterritorized Network of European and Cnese Moving Image, which is a project umbrella that interlinks extensive media art institutions in China and Europe. To build on the ideas posited from the success of Both Sides Now, Videotage is planning to further initiate exchanges between Europe and China looking at the future of experimental moving image. Acentered will continue exploring moving image from regional, national and global perspectives. By initiating long-term collaborations between extensive European and Chinese art institutions, Acentered will aim to stimulate minds and broaden horizons for institutions and individuals alike on both sides of the world.

Curators (Alphabetised by last name): Isaac LEUNG (HK) and Jamie WYLD (UK)

Assistant Curators (Alphabetised by last name):
Angel CHAN , Iven CHEUNG, Kevin LAM, Christopher LEE and Florence WAI

Project Details

Both Sides Now II hopes to leverage the strategic location of Hong Kong as Asia’s premier art hub and re-engage moving image from regional, national and global perspectives, it aims to self-reference Hong Kong and China in comparison to various emerging artistic and cultural movements of the UK.

Both Sides Now II includes four distinct projects – (1) screening programme, (2) artists-in-residence programme, (3) curatorial & artists’ talks, and (4) exhibitions. These four projects will take place throughout 2015 at various locations. Details of the projects are as follows:


Sequence Artist Name Work Title Year Duration Format
1 Ellen PAU Diversion 1990 5m39s DVC
鮑藹倫 兩頭唔到岸
2 Jo LAW Read Only Memory 1999 5m10s DVC
羅頌雅 純屬印象
3 CHOI Sai Ho The 1960s For Me 2014 5m23s Original footage : 720×576 dpi. Final output : 1920×1080 dpi. Color.
蔡世豪 我的六零年代
4 Kacey WONG Hongkongese Warning Squad 2014 3m5s TBC
黃國才 香港人警告部隊
5 MAP Office Under The Umbrella 2014 10m10s 4K – Blackmagic Cinema Camera, Stereo, Color
古儒郎 & 林海华
6 DDED Anti-riot Citizens vs Brutal Police 2014 0m21s Flash, Premiere
7 Valéry GRANCHER Admiralty Hong Kong October 28 2014 2014 15m38s H.264, Full HD
8 Birdy CHU The Interviews 2015 7m43s H.264
朱迅 我有嘢講
9 CHOW Chun Fai Repainting “Infernal Affairs” 2007 2m51s DC
周俊輝 重畫《無間道》
10 One Letter Horse Feature of Anti-Occupy Chinese University Movement 2014 3m32s H.264
一字馬 一字馬呈獻:反佔.中大.特輯
11 Chloe CHEUK Waiting For Another Round 2015 5m59s H.264, AAC
卓思潁 正等待下一輪
12 LAW Yuk Mui 445 2014 4m55s Full HD
羅玉梅 445
13 João Vasco PAIVA Action Through Non-action 2009 8m51s H.265
14 Angela SU Methods of Art 2015 57s DV
15 WONG Ping FRUITPUNCH – We Want More – MV 2010 5m44s 16:9 mov
黃 炳
Total: 91m10s

* Credits for CHOI Sai Ho’s works:

The 1960s For Me was commissioned and premiered at the 2014 Hong Kong Arts Festival.




Historical footage provided by Public Records Office, Government Records Service, the Government of the Hong Kong Special Administrative Region





Curatorial Talks


Country City Talk Date Time Venue Speaker
CHINA HK Curatorial Talk 10 Oct, 2015 4:45-6pm Connecting Space Iven CHEUNG, Kevin LAM & Christopher LEE


Video List

HK Angela SU 徐世琪
Artist Biography Angela Su received a degree in biochemistry in Canada before pursuing visual arts. By adopting existing scientific belief systems, Angela creates works that prompt us to contemplate our own being, our inscription in space and in time. Her biological drawings often combine the precision of scientific sketches with a mythical sense of aesthetic to challenge the audience’s visual sensory on the pleasure of pain. Not only has Angela been interested in exploring the perception and imagery of the body, through her performance-based works such as “One-Woman-Apartment” (2008) and “The Hartford Girl and Other Stories” (2012), she continuously investigate the tensionof the artist’s dualistic state of being when under physical endangerment or distress.Angela’s works have been exhibited in the 2nd CAFAM Biennale, 17th Biennale of Sydney, Artists’ Film International 2014/2015, Rossi & Rossi and Saatchi Gallery in London.

徐世琪畢業於加拿大多倫多大學科學系及安大略美術學院視覺藝術系。徐氏藉助現存的科學信仰系統,創作出引發人思考的作品,驅使觀眾探討自身存在、細味人類在時間與空間內留下的刻痕。她的生物畫作結合了科學化掃描的精準與美學所流露的神秘色彩,挑戰我們對生態及進化系統的看法。徐氏喜歡探索有關人體的想像與觀點,透過 “One-Woman-Apartment” (2008) 及 “The Hartford Girl and Other Stories” (2012)等以表演為主的作品,她努力不懈地探索藝術家在面對生命威脅或壓力時,個人在雙重身份之間的拉扯。徐世琪的作品曾在第二屆CAFAM雙年展,第17屆悉尼雙年展,Artists’ Film International 2014/2015,Rossi & Rossi及Saatchi Gallery展出。

Synopsis Methods of Art (2015, 57s, DV) 

This video was created in response to an artist interview conducted by curator

Johannes Hedinger for his project ‘Methods of Art’ (MoA), an international video

archive of artist interviews initiated in 2013 in Germany. The interview can be viewed



此錄像作品是爲對應瑞士策展人Johannes Hedinger與徐世琪的藝術家訪談而創


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HK Birdy CHU 朱迅
Artist Biography “Birdy Chu is an artist studied Graphic Design at the Hong Kong Polytechnic University, film & video production and advanced photography in Canada. Birdy has worked as photojournalist, video director and lecturer. His works have been shown in film festivals in Britain, Iceland, Japan, Australia, Poland, Holland, Hong Kong and Macau. He later obtained his Master in Visual Art Administration at the Hong Kong Baptist University and set up Art Casa which promotes photography and art education. 

His solo Photography Exhibition held in Canada at 2009 & 2013. He was selected as the finalist of the Hong Kong Contemporary Art Biennial Awards 2009 and finalist of the Hong Kong Art Prize 2013. He employs visual images to show his concerns on social development and leaves evidence to this ever changing city.





2009年於加拿大舉辦了個人攝影展 [十二 . 城記],同年於香港浸會大學獲取藝術行政碩士,成立影畫家,推廣攝影及藝術教育,更憑錄像入選香港藝術雙年獎。2013年入選亞洲當代藝術獎。


朱迅 一直以攝影及錄像去關注社會發展,為消失中的風景留下見證。

Synopsis The Interviews我有嘢講 (2015, 7m43s, H.264) 

Walking through the occupy zones, I’ve asked different persons about their views, their aspirations about the movement; what did they observed, encountered through these days. Clear demands from the interviewees with video footages showed us their strong beliefs and faiths are holding firmly.


我帶著相機,走過佔領街頭;接觸不同人仕,訪問他們的意見,對佔領運動的期望,經歷過些什麽…… 透過觀察、感受、交流,嘗試在香港這重要的時刻,見證雨傘運動的點點滴滴。

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HK Chloe CHEUK 卓思潁
Artist Biography Chloe Cheuk obtained her Bachelor of Art (Honour) degree in Creative Media from City University of Hong Kong. She works simultaneously in installation, interactive media, photography and video. She focuses on the emotional connection with mechanical devices, exploring ordinary objects and their encounter to bring about dialogue and multiple implications.Her individual and collaborative works have been selected to participate in local galleries and overseas arts festivals, which includes 20th International Symposium on Electronic Arts (Dubai) and Ars Electronica (Austria). She participated an Artist-in-Residence program in Ars Electronica Centre (Austria) in 2014 and being selected as supported artist of year 2014-15 by soundpocket (HK). She also received Special Mention Award at the 19th ifva Festival (Interactive Media Category).



她的個人和合作作品曾於本地畫廊及海外藝術節展出,如ISEA國際電子藝術研討會(阿聯酋-杜拜)︒作品曾獲得「香港獨立短片及錄像比賽」特別表揚獎,並於林茲電子藝術中心和林茲電子藝術節(奧地利)展出︒隨後獲Burger COLLECTION和歐盟文化中心合作組織支持在該中心的未來電子藝術實驗室進行駐留計劃︒現為聲音掏腰包「藝術家支援計劃」2014-15 年度獲選支援藝術家︒

Synopsis Waiting For Another Round正等待下一輪 (2015, 5m59s, H.264, AAC) 

“Waiting for Another Round” is about the wheel, a symbol of the ruthless encroachment of urbanization. After the clearance of occupied sites, Cheuk patrolled the streets and documented the process of wheels devouring every inch of the remaining trace of the protest over 20 days. As the wheels roll on, different protest sites join together and fall apart endlessly.



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HK CHOI Sai Ho 蔡世豪
Artist Biography Choi Sai-ho, a multimedia musician and media artist, has obtained a Master of Fine Arts in Creative Media at the City University of Hong Kong in 2008. He was selected as the first Hong Kong musician to join the Red Bull Music Academy 2006 in Melbourne; the Best of Hong Kong Indie 2009 Number One by Hong Kong Time Out Magazine, the CNNGO Best Hong Kong bands in 2011. He received the Award of Young Artist (Media Arts) by “Hong Kong Arts Development Awards 2012”. The participated performances include Clockenflap Music & Arts Festival (2011, Hong Kong), Electron Festival 2012 (Switzerland), Worldtronics 2012 (Germany), the 42nd Hong Kong Arts Festival “Images of Hong Kong – A concert of new works inspired by Ya Si’s Poetry” (2014), etc. His works were appeared in Perform Media Festival 2006 (USA), VideoBrazil Festival 2007 (Brazil), and more. He has held his solo multimedia concert “Audio-visual live” in 2010 and “An Audiovisual Concert: Live.Planet.Noise” in 2013. 

多媒體音樂人蔡世豪,2008年於城市大學創意媒體學院碩士畢業,首位代表香港參與澳洲墨爾本舉行的「Red Bull 音樂學院」的香港音樂人(2006),香港 Time Out 雜誌 The Best of Hong Kong Indie 2009 第一位,2011年CNNGO十大最佳香港音樂單位,並獲2012香港藝術發展獎:藝術新秀獎〔媒體藝術〕。演出包括:香港Clockenflap 2011音樂與藝術節、瑞士 Electron Festival 2012、德國 Worldtronics 2012、第42屆香港藝術節《形象香港:也斯詩作命題音樂會》(2014)等。展覽或作品放映包括:美國 Perform Media Festival 2006、巴西 VideoBrazil Festival 2007等。至今已舉行兩場個人多媒體音樂會《聲.影.演》(2010)及《星.音.演》(2013)。

Synopsis The 1960s For Me我的六零年代 (The 1960s For Mewas commissioned and premiered at the 2014 Hong Kong Arts Festival. 《我的六零年代》由2014香港藝術節委約。)

(2014, 5m23s, Original footage : 720×576 dpi. Final output : 1920×1080 dpi. Color. )


Drawing inspiration from the sounds, instruments, style, texture, mixing and record back spinning of 1960s pop music (the likes of The Beatles, The Doors, The Velvet Underground), modern sampling methods (such as the remixing styles of Unkle, Amon Tobin and the composing styles of The Chemical Brothers) is used to re-present, synthesize and “musicify” the content of Ya Si’s poems. It also references the line from Bob Dylan’s 1960s classic Blowin’ In The Wind, “The answer is blowin’ in the wind”, to correspond to the line in Ya Si’s poem that pays tribute to the song. This is recited in a recording by singer-songwriter Jing Wong.


The Hong Kong historical footage of the 1960s is used to construct the visual.



Historical footage provided by Public Records Office, Government Records Service, the Government of the Hong Kong Special Administrative Region


借鑒六十年代流行音樂(如披頭四、The Doors、The Velvet Underground 等)的聲音、樂器、質感、混音特色、倒播處理等,再嘗試以現今電子音樂拼貼方法〔如 Unkle、Amon Tobin 混音(remix)六十年代音樂,或如 The Chemical Brothers 等電音單位的歌曲創作手法般〕重新展現、組合,並「音樂化」也斯在詩中提到的內容,當中亦借用了卜戴倫在六十年代紅極一時的經典歌曲《Blowin’ In The Wind》的一句歌詞「The answer is blowin’ in the wind」回應和延伸也斯詩中的「答案啊,我的朋友是在風中飄動」,由同樣是唱作人的本地創作歌手黃靖錄音朗讀。






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HK CHOW Chun Fai周俊輝
Artist Biography Graduated from the Chinese University of Hong Kong, the Department of Fine Arts (BA and MFA), Chairman of Fotanian Artist Village. In 2012 he ran the election of the Hong Kong Legislative Council, the Sports, Performing Arts, Culture and Publication constituency. Recent exhibitions include Liverpool Biennial, and Saatchi Gallery. Received awards include “Hong Kong Arts Centre 30th Anniversary Award Grand Prize”, and “the Sovereign Asian Art Prize”. 

於香港中文大學藝術系先後取得藝術學士(BA)及藝術碩士(MFA)。現任「伙炭」藝術村董事會主席。2012年以藝術家身份參選香港立法會「體育演藝文化及出版界」。近期展覽包括利物浦雙年展(Liverpool Biennial)、薩奇畫廊(Saatchi Gallery)等。曾獲獎項包括「香港藝術中心三十週年大獎」、「Sovereign亞洲藝術獎」等。

Synopsis Repainting “Infernal Affairs” 重畫《無間道》(2007, 2m51s, DC) 

The Artist made 58 pieces of paintings from the movie Infernal Affairs. The 58 paintings were recorded in front of a television, which the movie was playing. A 3 minutes video was re-produced.

“The classics are books which exercise a particular influence, both when they imprint themselves on our imagination as unforgettable, and when they hide in the layers of memory disguised as the individual’s or the collective unconscious.” –Why Read the CLASSICS? Italo Calvino, 1981




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Artist Biography DDED, founded by Albert Leung in 2014, a team of original net animation (ONA), most of animation we make are based on the hottest topics from the society. 

DDED,由廣告創作人Albert Leung於2014年4月成立的網絡動畫團隊,以「偽8-bit」2D平面仿電視遊戲畫面的諷刺時弊動畫最為知名。

Synopsis Anti-riot Citizens vs Brutal Police防暴市民vs殘暴警察(2014, 21s, Flash, Premiere) 

September 28th

Location: Admiralty

Anti-riot Citizens vs Brutal Police

Civilians Equipment: Umbrella, Surgical Mask, Plastic Wrap

Police Equipment: Pepper Spray, Tear Gas Grenade, Rubber Bullet, AR-15 Semi-Auto Rifle

The Battle: 87 tear gas grenades were used against the protesters in one night by police force, civilians including students were aimed and threatened by loaded shotguns.

Students responded by yelling “shame on you! shame on you! shame on you!”.

Result: Students did not back down, the protest became 「Umbrella Movement」.

That night, Hong Kong lost, but i see a victory of conscience.



地點: 金鐘


市民裝備: 雨傘、口罩、保鮮紙

警察裝備: 胡椒噴霧、催淚彈、橡膠子彈、AR-15自動步槍

戰鬥過程: 警察一晚內向示威者發放87枚催淚彈, 並用雷明登散彈槍指嚇市民,以槍咀瞄準學生。

學生反擊: 高呼「可恥!可恥!可恥!」

結果: 學生沒有退下,更演變成「雨傘革命」。



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HK Ellen PAU 鮑藹倫
Artist Biography Ms Ellen Pau is a self-taught video artist.  Her early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. From there, Ms Pau dedicated her life in video art to the development of media art in Hong Kong. 

In 1986, Ms Pau co-founded Videotage, a media art collective in Hong Kong aiming at creating an umbrella organization for media artists, facilitating artistic and cultural exchange and promoting video and media art in Hong Kong. She is also the founding director cum curator of the Microwave International New Media Arts Festival.


Ms Pau works as an independent cinematographer, curator, art critic and researcher focusing on Asian new media arts. She also works as an art consultant for her newly founded company Inter-Act Arts. Her single channel videos and video installation works have been extensively exhibited worldwide in film festivals and art biennials. In 2001, ‘Recycling Cinema’ was selected and exhibited at the Hong Kong Pavilion in the 49th Venice Biennial.



鮑女士於1986年與友人合作創辦「錄映太奇」,以媒體藝術家作集結點,為媒體藝術家提供藝術創作和文化交流平台,促進錄像及媒體藝術在香港成長。 鮑女士亦是微波國際新媒體藝術節的創辦人及策展人。

鮑女士的藝術工作涉及電影、策展、藝術評論及研究亞洲新媒體藝術動向,她亦在其創辦的Inter-Act Arts中擔任藝術顧問一職。她的錄像作品及錄像裝置於世界多個電影節及藝術雙年展展出。在2001年,她以作品《循環影院》入選第49屆威尼斯雙年展,於香港館展出。

Synopsis Diversion 兩頭唔到岸 (1990, 5m39s, DVC) 

Produced one year after the June 4, 1989 incident, Diversion focuses on the immigration flush in Hong Kong. The Victoria Harbour swimming contest scenes of the 1960s by the Hong Kong Government are returned as absurd metaphors and black humor. No special editing equipment is used. The overlaying of images is not done electronically, but produced by recapturing the reflected image from the television screen. By combining footage from various sources- government newsreels of the swimming contests, educational videos on swimming performance video of the sequence of a burning newspaper goat-head floating down a stairwell- the video is a personal reflection of a collective memory.



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HK Jo LAW 羅頌雅
Artist Biography Jo Law works with divergent media to develop a materialist aesthetic engagement with everyday experiences. Her screenworks have recently exhibited in international programs including ‘No Trans-national–Liquid Borders and Empty Promises’ at the ISE Cultural Foundation, New York, (2012) and ’60-minute Cinema–Hong Kong: our home town’ in Manchester, UK (2012). Her works have won awards including the Silver Spire Award in New Vision at the San Francisco International Film Festival and Distinguished Award in the Hong Kong Independent Film and Video Awards. They have been collected by SBS Television, Australia, and Videotage, Hong Kong. She was the Australia Council’s artist-in-residence in Tokyo in 2008 where she produced the Autumn Almanac of Tokyo ( Her current projects include ‘Sixty Second Thoughts’ ( with Ali Jane Smith and ‘Slowing Down Time’ ( with Sue Healy, Louise Curham, and Michele Elliot, and ‘A World of Things’ with Redmond Bridgeman. Jo teaches at the University of Wollongong. 

Jo Law 擅長於借用不同的媒介來表現她那建基於日常生活經驗的美學。她近來的視像作品有於紐約的 ISE 文化基金會(ISE Cultural Foundation)展出的〈不跨國界:流動的邊界和空虛的承諾〉(2012)和於英國曼徹斯特展出的〈60分鐘電影—我家香港〉(2012)等。她曾於三藩市國際電影節及香港獨立短片及錄像比賽中獲獎,而她的作品亦為不同機構(如澳洲的SBS 電視台或香港的錄影太奇等)所收藏。於2008年她獲澳洲文化局選為東京駐住藝術家,並於東京完成〈東京秋天的生活曆〉(。現在的她正與不少的藝術家攜手創作,如與Ali Jane Smith合作的〈六十秒的思想〉(,與Sue Healy,Louise Curham及Michele Elliot合作的〈凝住時間〉,或是與Redmond Bridgeman合作的〈萬物世界〉等。

除了藝術創作之外,Jo亦於澳洲新南威爾斯州的卧龍崗大學(University of Wollongong)任教。

Synopsis Read Only Memory純屬印象(1999, 5m10s, DVC) 

I heard a boy say that he wants to record a shooting star on videotape, so that he could make a wish whenever he wants Elvis on TV again. Seemingly, comfort can only be found in late night television. The after-image of memory survives only as these.





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HK João Vasco PAIVA
Artist Biography João Vasco Paiva (b.1979, Portugal) is a Hong Kong-based artist who observes the complex and continuously shifting characteristics of objects and spaces. Interested in semantics – the visual language each structure, perimeter and component may possess – Paiva examines the particular lexicon of constructed, detruded or neglected units, systematically documenting, analysing and abstracting them to compose a process-driven composition that is simultaneously an artwork. At the heart of Paiva’s practice is an interest in deciphering the constructed sum of human activities, and using modes of production and fabrication to peel the intricate layers that comprise the structures of contemporary life. 

A graduate from the Porto Arts Institute, João Vasco Paiva moved to Hong Kong in 2006 to complete a Master of Fine Arts in Creative Media. Upon graduation with distinction in 2008, Paiva set to create works in multiple mediums, which consistently explore how urban spaces may serve as catalysts for aesthetic production. While Paiva’s work is intrinsically tied to Hong Kong, his work resounds with dense urban environments around the globe: it suggests that cities, regardless of location, share certain visual and physical characteristics that, following a process of documentation and abstraction, may be reduced to readable and informative truths.


At the core of Paiva’s practice is therefore an interest in deconstructing complex urban environments to create a set of identifiable codes: a universal urban alphabet, one may say. The aim of Paiva’s artistic process thus extends beyond mere simplification; it is about identifying a common language that reverberates both on a local urban level as well as on an international cosmopolitan level; it is about unveiling a linguistic system, which is shared by multiple countries and is intrinsic to our current age of hyper-modernity.

João Vasco Paiva is considered one of Hong Kong’s leading emerging contemporary artists and has been exhibited widely in museums as well as galleries from Hong Kong and Portugal to the UK, Australia, Hungary and New York. Recently, Paiva was selected for the Encounters section of Art Basel Hong Kong 2015 by Alexie Glass-Kantor, completed a residency at Lichtenberg Studios, Berlin and was part of a group exhibition at the Witte de With, Rotterdam as well a travelling exhibition at Artsonje, Seoul, OCT Contemporary Art Terminal, Shanghai and MAAP, Brisbane. Furthermore, Paiva held a major solo exhibition at the Orient Foundation in Macau and upcoming exhibitions include a solo show at Counter Space, Zurich. Finally, Paiva is the recipient of multiple awards, including the Hong Kong Emerging Artist Grant and the International Artist Support Grant awarded by the Calouste Gulbenkian Foundation in Portugal.










Paiva被視為香港最傑出的當代新晉藝術家之一,他的展覽遍及香港、葡萄牙、英國、澳洲、匈牙利與紐約。最近,Paiva獲邀參加了倫敦薩奇畫廊具開拓性的展覽《Hong Kong Eye》。他未來的動向包括在荷蘭Witte de With、OCT當代藝術中心上海館、澳洲布里斯班MAAP參與群展以及澳門東方基金會舉行個展。此外,Paiva曾獲得多個獎項,包括香港藝術新秀獎,以及葡萄牙Calouste Gulbenkian基金會所授予的國際藝術家支援獎。

Synopsis Action Through Non-action (2009, 8m51s, H.265) 

Action Through Non Action is a video performance where the artist uses his body as an interfering sensor to capture the rhythm caused by its presence in a crowd.

The performer stands still in the middle of a crowd in the most densely populated district in Hong Kong. The artist performs no action, even so interaction cannot be avoided, his presence creates an interference in the normal flow of the crowd.

The individuals change their paths, the presence of the performer originates multiple chain reactions. The touches of the elements of the crowd in the performer’s both arms are recorded through the use of several contact microphones connected to a recorder and a headphone set. The headphones isolate the performer’s audition, he can only listen to the sound of people touching him. The encrypted data originates a score that interferes with the video playback by controlling an optical flow algorithm. The video presented in the performance interference in its own documentation.


Action Through Non Action是一段視像表演。藝術家João Vasco PAIVA以他的身體作感應器,來捕捉他在人群之中所產生的旋律。



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HK Kacey WONG黃國才
Artist Biography Kacey Wong’s experimental art project investigates the space between men and their living environment with a social intention. He think being an artist is similar to being a detective, the case on hand is to investigate the self. Kacey was born in Hong Kong in 1970. He was the winner of 2012 HK Contemporary Arts Award given by HK Art Museum, Best Artist Award in 2010 and Rising Artist Award and Outstanding Arts Education Award given by the Hong Kong Arts Development Council in 2003. He studied architecture in Cornell University and received his Master of Fine Arts degree from Chelsea School of Art and Design and Doctor of Fine Arts Degree from Royal Melbourne Institute of Technology. He is the founding member of Art Citizens and Street Design Union which investigate artist’s and designer’s role in social political causes, also a former member of Para/Site Art Space. He is now an Assistant Professor at The Hong Kong Polytechnic University, School of Design’s Environment and Interior Design Discipline. His mobile tricycle project “Wandering Homes” was featured at the 2008 Venice Architectural Biennale in Italy. His floating house “Paddling Home” was performed on Hong Kong Victoria Harbour and his mobile bulk bed “Sleepwalker” was the star features during the 2010 and 2012’s Hong Kong & Shenzhen Bi-City Biennale of Urbanism \ Architecture exhibition. 


黃國才獲得多個藝術獎項,包括:香港藝術館主辦的香港當代藝術獎(2012)和香港藝術發展局頒發的最佳藝術家獎(2010)及藝術新進獎(2003)和藝術教育獎(2003)。畢業於康奈爾大學取得建築學學士,接著先後在切爾西藝術與設計學院和墨爾本皇家理工大學取得藝術系碩士及藝術系博士。他是Art Citizens and Street Design Union 的創辦成員,此機構主要研究藝術家和設計師與社會和政治之間的關係。他也是Para Site 藝術空間的前成員。現為香港理工大學環境及室內設計學院助理教授。


他過去的作品亦得到知名的世界藝術舞台上的青睞,例如:流動三輪車計劃-“Wandering Homes” 曾在威尼斯建築雙年展(2008)上展出、以「浮屋」為概念的“Paddling Home”曾於香港維多利亞港上展覽和流動散裝床“Sleepwalker” 亦曾在深港城市\建築雙城雙年展(2010)(2012)上展出。

Synopsis Hongkongese Warning Squad香港人警告部隊 (2014, 3m5s) 

Hongkongese Warning Squad is an artistic performance work by Hong Kong artist Kacey Wong performed on July 1st 2014 during the annual July 1st Demonstration. This work was inspired by the 〝warning banners〞 frequently used by the Hong Kong police to threaten peaceful demonstrators. The artist and his squad members engages the pubic with their warning signs as well as engaging the real police warning everybody the immediate danger the city is now facing. This work was very well received by the public generating cheers and claps on the streets and generated more than 15,000 〝likes〞in the news media network. Many citizens in Hong Kong felt the police are abusing their power when it comes to handling peaceful demonstrator and this work inspire the viewers to reflect about this issue.


香港人警告部隊是一部以藝術表演方式拍攝的紀錄片,它於2014年7月1 日紀錄了七・一遊行示威。他的創作靈感源於近年不斷出現於警察對抗和平示威者的「警示標語」。黃氏及其警告部隊參與示威、舉起警示標語,亦與真正的警察警告大家面臨的城市危機。此作品大受廣大市民一致讚賞並在新媒體網絡上取得15,000的「讚好」,皆因普遍香港市民認為警方面對和平示威者時濫用暴力。而黃氏希望此片能夠令觀眾反思這議題。

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HK LAW Yuk Mui 羅玉梅
Artist Biography Law Yuk-mui graduated from the Master of Fine Arts (MFA), Chinese University of Hong Kong. She is the editor and researcher of The Library by soundpocket. In 2014, Law was awarded grant from ADC (Hong Kong arts development council) for having internship at curatorial department of Mori Art Museum in Tokyo. In 2010, Law was exiled by herself to Beijing and worked as editor for the magazines Art in China and Art & Investment. As an artist, her works were extensively exhibited in Asia, including “[en]counters:Is there love in this air?” Mumbai, India(2014), “Here are the years that walk between” special commission video project by Hong Kong Sinfonietta (2013), “The 2nd Beijing International Film Festival” (2012), “The Kuala Lumpur Experimental Film and Video Festival”(2011), “The 16th Hong Kong Independent Short Film & Video Awards”(2010), “Inter-city: Art in Busan” South Korea (2009). Her prose “migration, insomnia, dreams” is included in Pocket2: Say Listen . 

羅玉梅畢業於香港中文大學藝術碩士,現任職「聲音圖書館」編輯暨研究員。2014年獲香港藝術發展局獎學金赴東京森美術館策展部實習。曾任職北京《ArtinChina》、《藝術與投資》雜誌編輯。個人從事錄像、攝影、文本創作,散文作品「遷徙、失眠、夢」收錄於《聽者言》。主要展覽包括:「en]counters 2014 :Is there love in this air? 」, 印度孟買(2014)、香港小交響樂團特別委約錄像作品「走過的日子」(2013)、「第二屆北京國際電影節」(2012)、「KLEX 吉隆玻實驗電影節」(2011)、「香港第十六屆ifva短片節」(2010)、「Art in Busan: inter- city」, 韓國釜山(2009)。

Synopsis 445 (2014, 4m55s, FULL HD) 

445 is a play script I wrote during my sojourn in Beijing at the Beijing Jile Youth Hostel. It is a play about the sex industry in the Tuofangying area. When I was sorting out my hard disk later in 2014, I ran into the script I wrote in 2011, but could not locate the original video I shot at that time.

So I requested a friend from Hong Kong who was living in Beijing at that moment to shoot a video according to the script in one long take. I also used Wechat to contact three other friends of mine who were from the mainland – I call them J, P, and F – and asked them to recite a few lines with the recording function in Wechat. The lines were taken from our chats back in the days when I was in Beijing.

F: You haven’t whored, what the hell can you write?

J: This kind of things were common in our school (Sichuan Fine Arts Institute) back then. Our school is situated at the juncture of wealthy and poor districts, we know they [the sex workers] are called “boxed-lunch hooker.”

F: Clients this early, huh?

P: Yea! People wanna have sex when they wake up in the morning rather than at night

The wechat happened when J was in Kunming, P and F on Mount Fuji, and I in Hong Kong.



於是,我邀請了一位在北京居住的香港朋友,根據我的劇本內容拍攝一個一鏡到底的鏡頭同時我用微訊(wechat)聯絡三位內地朋友- J,P和F,邀請他們用微訊的錄音功能,幫忙演繹其中幾句白,而這些對白的內容正是當年大家閒聊時說過的話。

你又沒嫖過你寫什麼呀? -F


這麼早有人幫襯? -F

係o家! 朝早起身個陣比起夜晚更想搞野 -P


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HK MAP Office (古儒郎 & 林海華)
Artist Biography MAP Office is a multidisciplinary platform devised by Laurent Gutierrez (1966, Casablanca, Morocco) and Valérie Portefaix (1969, Saint-Étienne, France). This duo of artists/architects has been based in Hong Kong since 1996, working on physical and imaginary territories using varied means of expression including drawing, photography, video, installations, performance, and literary and theoretical texts. Their entire project forms a critique of spatio-temporal anomalies and documents how human beings subvert and appropriate space. 

MAP Office是一個綜合各類學科的平台,由兩位藝術家 – 摩洛哥出生的 Laurent Gutierrez 和法國出生的 Valérie Portefaix – 所組成。這兩位藝術家(說是建築師亦無不可)自九六年起就居於香港,用各式各樣的工具(繪圖,照相,錄影,裝置,表演,甚或文學和論說的形式)來表現他們對人類所處的空間的思考。無論是實質的或是想像而成的空間,都是他們的反思的題材。他們的作品既是對時空關係錯置的批判,同時也記錄了人類如何顛覆和重新定義空間。

Synopsis Under the Umbrella (2014, 10m10s, 4K – Blackmagic Cinema Camera, Stereo, Color) 

The production of the video grew organically with the production of the protest. Started in Hong Kong September 28th, the Umbrella Revolution has appropriated a large part of the business district in Admiralty, cutting the new government headquarter from the other parts of the city. Days and nights, protesters have been building a temporal city and consolidate the barricades. Beyond the claim for a democratic election of the chief executive, protesters have been fighting against the latent destruction of the social and physical fabric of the territory. In that sense, we are examining the making of the Umbrella Revolution as collective response to project possible future.



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Artist Name One Letter Horse 一字馬
Artist Biography One Letter Horse is a self-initiated video production unit formed by four students from The Chinese University of Hong Kong (CUHK), producing online videos related to different social issues in Hong Kong. Our aim is to raise the public awareness and reflection to our society, in a humorous but serious manner with our own ideas and powers. 



Synopsis Feature of Anti-Occupy Chinese University Movement 一字馬呈獻:反佔.中大.特輯(2014, 3m32s, H.264) 

The Anti-Occupy Central..sorry, should be the Anti-Occupy Chinese University Alliance, are now protesting in The Chinese University of Hong Kong (CUHK) , to condemn the students who were instigated to occupy CUHK. Let’s see how the students participating the occupy movement “vigorously assaulted” the violent groups from the “Peaceful” Alliance.

「反佔.中大.聯盟」來到中文大學,聲討被煽動佔領中大既學生! 佔領中大既學生竟然仲暴力衝擊,和平理性探訪學生既私煙集團!

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Artist Biography Grancher is best known for selling Internet art in the contemporary art mainstream. In 1999, Grancher had a solo exhibit in a contemporary art museum in the United States, the Pacific Film Archive in Berkeley, California. Editions du Seuil at the time, published a book about him which was sold at the Pacific Film Archive[citation needed].Grancher’s art is a mix of conceptual and pop art references, sometimes with a sense of humour, sometimes appropriating the fads of the day.

When Grancher started in the art world in 1995, he used emails in his art to show the processes and exchanges of the Internet community (email art) in physical installations like ‘Alone’ (1995). In 1997 he used webcams in his project ‘webscape’, which dealt with the concept of “cybertime.” In 1998, Grancher experimented with pop art in his ‘webpaintings’ project. In 2002, as Google began to dominate the Internet, he launched the “Search Art” collaborative project by creating a piece called ‘Self Portrait.’ Google had become a buzz word in the art world.

In 2005 he exhibited and sold at FIAC, the international art fair in Paris, ‘the biggest Google paintings never (sic) produced.’


法國籍的Valéry Grancher以推廣網上藝術而在當代藝壇中別樹一幟。他的作品融合了概念藝術和普普藝術,興到之時還會挪用一下所謂的「時髦」,給作品添點幽默。


1995年出道伊始Grancher就來了個新嘗試,把自己和網上群體有關作品的電郵討論配合實體作品(如95年的裝置〈獨自〉)一併展出。兩年之後,他於〈網上風景〉項目中運用攝像頭來探討「虛擬時間」的概念。1998年Grancher於另一藝術計劃〈網畫〉中初次引入普普藝術的手法。1999年他於加州大學伯克萊分校的太平洋電影資料館(Pacific Film Archive)舉行個展。到2002年,時值谷歌於網上開始獨大,他發起了一個「搜尋藝術」的集體計劃,替用谷歌搜尋自己名字的頁面繪製了一幅〈自畫像〉,這迅即讓「谷歌」一詞於藝術界走紅。




Synopsis Admiralty Hong Kong October 28 2014 (2014, 15m38s, H.264, Full HD) 

A conceptual wandering during October 28 2014 in Wan Chaï Hong Kong, Occupy Central movement site, on the month birthday of this movement. As a foreigner we are in a center of a kind of local historical movement, without understanding the local language. We just have a kind of emotional feeling…



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HK WONG Ping黃 炳
Artist Biography Wong Ping is a Cantonese animator and director based in Hong Kong, mixing topics such as teenage lust, shame and sexual suppression with a surprisingly fresh and luscious colour palette. NOWNESS writes about him: “Wong Ping gives new meaning to NSFW… His gasp-inducing imagination feeds into our child-like curiosity to toy with social and cultural taboos”. He likes to hike, which gives him numerous randomly meaningless but beautiful inspirations.Wong Ping was selected as one of the Saatchi & Saatchi 2013 new directors and his works have been internationally screened and exhibited.

都只不過是一堆 NO WHY

Synopsis FRUITPUNCH – WE WANT MORE – MV (2010,5m44s, 16:9 mov) 

“We must survive, so we want more.”



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Curatorial & Artists’ Talks 

The Hong Kong Curatorial Talk 

Presenters:                          videoclub (UK) and Videotage (HK)

Venue Partners:                  British Council (HK) and Connecting Space Hong Kong – Zurich (HK)




合辦:                                       videoclub (英國) 及 錄映太奇 (香港)

夥伴:                               英國文化協會(香港) 及 Connecting Space Hong Kong – Zurich (香港)