Videotage 錄映太奇
Formation1986
FounderEllen Pau, May Fung, Wong Chi-fai, Comyn Mo
TypeNonprofit
Location
Board Chair
Kyle CHUNG
Linda Chiu-han LAI, Emilie CHOI Sin-yi, Jaime HSU Fangtze, and YU Ka Ho.
Websitehttps://www.videotage.org.hk/

Videotage (Chinese: 錄映太奇) is a Hong Kong-based non-profit art organisation dedicated to nurturing emerging media artists and the development of the local new media art community.[1][2]

Since 1986, Videotage has evolved from an artist-run collective to a platform fostering the promotion, presentation, creation and preservation of new media art. Videotage has organised numerous events and programs including exhibitions, presentations, festivals, seminars, workshops, performances, residency program and cultural exchange programs, as well as continually distributing artworks through its networks and publications.[3]

In 2008, Videotage has debuted Videotage Media Art Collection (VMAC), an offline and online video art archive that provides public access to historically important video artworks, event ephemera, and a collection of obsolete analog media art artefacts, offering a comprehensive documentary evidence and insight into the progression of art history and media over the past few decades.[4]

History

Origins

The name Videotage comes from ‘Video” and “Montage”[5] - was first used for the title of a screening program organised by the Phoenix Cine Club in June 1986, featuring works by Jim Shum, Neco Lo, Wong Chi-fai and David Som.[3] The program has offered a distinct focus on alternative time-based work, in which after the closure of Phoenix Cine Club, some of the artists member including Ellen Pau, May Fung, Wong Chi-fai and Comyn Mo adapted the name along with its experimental spirit, as the early formation of Videotage.[6]    

Videotage does develop but remains small. Without physical office space, the collective was para-sited at the headquarter of an avant-garde theatre group Zuni Icosahedron in Happy Valley between 1987 and 1997. Zuni's exhibition space often rented to Videotage for event hosting.[7] During the time, numerous collaborations have nourished between the two groups, including alternative performance documentation, early exploration of multimedia/theatrical productions, and co-curating screening, workshops, and festivals. The collaboration expands it outreaches to local cultural institutions such as Fringe Club, City Contemporary Dance Company, and Hong Kong Arts Centre. In 1996, Videotage, Zuni and Urban Council co-presents Microwave Video Festival - City Image.[8] The festival continues to operate as an annual video art festival for a decade, which later went independent and restructured to Microwave international New Media Arts Festival.

Oil Street Artist Village (1998–1999)

Office manager Fion Ng at the office of Videotage at Oil Street, 1999 ©Almond Chu

The space at Oil Street Artist Village (1998–1999) was Videotage's first office space. Located in the former Government Supplies Department Headquarters (GSDH) at Oil Street, North Point. With the establishment of Hong Kong Arts Development Council in 1995 and its funding support, Videotage has joined along with other artists' organisations to rent the unoccupied space creating the "first cultural hot spot" in Hong Kong.[9] Located on the 9/F of a tall block in Oil Street Artist Village, Videotage indeed shared the spacious room with some local artists. Videotage also rented a room on the 8/F of the same building for editing (with Media 100) and equipment storage. During the time in Oil Street, Videotage has collaborated with the fellow resident artists for a number of important projects,[10] notable events including Hong Kong Arts Festival 1998 Every Single Other Territory (My Own Idiosyncrasy Garden) Multimedia Performance,[11][12] Microwave Video Festival 98'- Sight and Site,[3] Video Circle (1999) installation exhibition (curated by Danny Yung, co-organised with HKUST Centre for the Arts),[13] Sick and Dizzy media art exhibition (partnered with A Griffith Artworks Project, Griffith University).[14]  

During a short period of time after the closure of Oil Street Artist Village, Videotage was temporarily situated in Cheung Sha Wan Abattoir, along with other artist tenants.[15][16]

Cattle Depot Artist Village (2001–present)

Located on 63 Ma Tau Kok Road, Ma Tau Kok, Kowloon, Hong Kong, the site was a former slaughterhouse named Ma Tau Kok Quarantine Depot (Chinese: 馬頭角牛畜檢疫站 or 馬頭角牛房), then later renovated into artist village in 2001. Videotage has moved in together with other artists groups that were originally tenants from Oil Street.[17]

Since then Videotage has evolved in a major shift in role - from organising media art programs to artist residency with the intention to create platform for emerging media artists to articulate, exchange and research on the new media arts form.[3] In the early days, Videotage’s productions has frequently shown and requested all over the world.[18] In the year 2002-2003, more than 30 titles were distributed to 18 festivals, and many of the festivals had dedicated educational programmes, seminars and workshops. Notable international participations included Gwangju Biennial (Korea), Videobrasil Festival, European Media Arts Festival (Germany), Image Forum Festival (Japan).[19]

As now Videotage have its own space, numerous of on-site exhibitions and residency showcases are organised. Recent notable exhibitions included Ersilia: Body of the Gateway Cities (2022), co-presented with FRAC Alsace, featuring Robert Cahen, Ellen Pau and Samson Young;[20] and No References: A Revisit of Hong Kong Video and Media Art from 1985,[21] with a series of talks, performances, and workshop situated in the Cattle Depot space.[21]

Governance

The current formation of Board of Directors are Kyle CHUNG[22] (chairperson), Linda Chiu-han LAI, Emilie CHOI Sin-yi,[23] Jaime Hsu Fang-Tze[24] and Kaho Albert YU.[25] Founder Ellen Pau remain as the long-term artistic director.

Videotage began to acquire full-time staffs from the continuous funding from HKADC since 1996. Notable team members include Connie Choi, Yvonne Lo, Fion Ng, Elaine Ng, Isaac Leung (chairman from 2013 to 2020), Alvis Choi, and Angel Leung.

List of significant exhibitions and programmes

See also

References

  1. ↑ CLARKE, David, and Hingkay Oscar HO, eds. Someone Else's Story - Our Footnotes: Contemporary Art of Hong Kong (1990-1999). Hong Kong: Hong Kong Arts Centre, 2002.
  2. ↑ Karacs, Sarah (2017-09-07). "In a Smartphone-Saturated World, Can Video Art Still Push Boundaries?". Zolima City Magazine. Retrieved 2022-11-24.
  3. 1 2 3 4 5 Lai, C. H. L. (2008). Attempting a history of (new) media arts for Hong Kong: archaeology, literacy and education for artists. In 香港視覺藝術年鑑 2007: Hong Kong Visual Arts Yearbook (pp. 97-183). 香港中文大學藝術系.
  4. ↑ "Videotage Media Art Collection (VMAC)". ALANA. 2019-03-19. Retrieved 2022-11-24.
  5. ↑ Pau, Ellen (1997). "Development of Hong Kong Video Art". VTEXT. pp. 54–57.
  6. ↑ CHAN, Lotus (April 2022). The First Artist Village in Hong Kong: Oil Street and Cattle Depot. pp. 114–117. ISBN 978-988-75977-0-4.
  7. ↑ 文晶瑩，〈香港實驗電影與錄像概況〉，《台灣以左，亞洲之右——實驗電影的亞洲實踐與研究》。台北：恆河出版社，2016，頁73-80。
  8. ↑ "Hong Kong Indies' Newsletter (Films, Video, Multimedia), No. 6". 1996 [December].
  9. ↑ "Fuel for thought in the history of Oil Street, Hong Kong". South China Morning Post. 2020-03-01. Retrieved 2022-11-24.
  10. ↑ ONE ON ONE: Ellen Pau on Danny Yung, Ellen Pau, Asia Art Pacific, Mar/Apr 2019. Retrieved from https://kiangmalingue.com/wordpress/wp-content/uploads/2019/11/201903-04-Art-asia-pacific.pdf.
  11. ↑ "The 51st Hong Kong Arts Festival 2023年第51屆香港藝術節". Hong Kong Arts Festival 香港藝術節. Retrieved 2022-11-24.
  12. ↑ Undated Introduction to Videotage 5, [Independent Initiative File (Hong Kong): Videotage]., Asia Art Archive
  13. ↑ Archive, Asia Art. "Z+ Submission to Here 'We Are at Oil Street'". aaa.org.hk. Retrieved 2022-11-24.
  14. ↑ "Sick and Dizzy: Floating Adrift in a Sea of Media 1999 by Queensland College of Art, Griffith University - Issuu". issuu.com. Retrieved 2022-11-24.
  15. ↑ Kam, Joyce (23 January 2009). "United We Stand". The Standard. Archived from the original on 4 June 2011. Retrieved 28 October 2009.
  16. ↑ 政府新聞處, 「立法會十三題：展覽及創作場地」, Archived on 27 June 2001 at the Wayback Machine
  17. 1 2 Michele Chan, 'Notes from a Slaughterhouse: On Abjection, Movement, and Hong Kong Identity', Yishu, Volume 15, Number 6, November/December 2016, pp61-66.
  18. ↑ Au-Yeung, S. [歐陽檉]. (2006). Hong Kong's Alternative Film and Video movement as an agent for social change. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR; pp.72-80. Retrieved from doi:10.5353/th_b3624369
  19. ↑ "IAS - Videotage". 2005-10-16. Archived from the original on 2005-10-16. Retrieved 2022-11-24.
  20. ↑ "連結之城：邊界城市的本質". 藝頻. 2022-03-30. Retrieved 2022-11-24.
  21. 1 2 "No References - Announcements - e-flux". www.e-flux.com. Retrieved 2022-11-24.
  22. ↑ "Kyle CHUNG".
  23. ↑ "Choi Sin-yi (Emilie)".
  24. ↑ "Fang-Tze Jaime Hsu".
  25. ↑ "Kaho Albert Yu".
  26. ↑ "鬧市觀賞超現實錄像 - 晴報 - 港聞 - 新聞頭條". skypost.ulifestyle.com.hk (in Chinese). Retrieved 2022-11-24.
  27. ↑ "One World Exposition: ambitious Chinese media art symposium in Hong Kong – event alert | Art Radar Asia". 2011-12-05. Archived from the original on 2011-12-05. Retrieved 2022-11-24.
  28. ↑ Ellen Pau, "Development of Hong Kong Video Art." VTEXT, June 1997, p.54 -57.
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