Linda Chiu-han Lai 黎肖嫻

FP Project Experimenter, Writer, Artist, FPC Founder. FP Editor (Floating Teatime, D-Normal/V-Essay, FP publications)

Linda Chiu-han LAI, Associate Professor (intermedia arts, Critical Theory, media archaeology) at the City University of Hong Kong’s School of Creative Media (SCM), is a research-based interdisciplinary artist. After completing her Ph.D. in Cinema Studies at New York University, she has sought meaningful connective extension to other relevant artistic and theoretical endeavors, including conceptual-materialist investigation of moving images, visual ethnography, generative thinking in narrativity, and experimental art and art pedagogy.

She persists in artistic creation as the practice of theory, rooted in a dynamic feminist sensibility. A critical researcher in the History of Everyday Life, her artistic and scholarly works are often historiographic experiments interrogating urbanity, visual and material culture. The two-arm emphasis on theory and artistic experiments results in some inter-disciplinary courses she has designed in her teaching: the criticality of micro/meta narrativity, socially engaged art premised on Critical Theory, posthuman new materialism’s contribution to media archaeology, and automatism practices in pre-digital and digital art history. She has also designed, at SCM, Hong Kong’s first university-level courses in visual ethnography, sound art, and generative art & literature. The Writing Machine Collective (2004- ), a HK-based new media art group she found, is one of several regular projects to make computational thinking and its relevance to contemporary art vivid and comprehensible to artists and the general public, through exhibitions and educational programs.

Though broadly known for her videography in the international art venues, she creates in different artistic mediums to turn art-making into criticism, history-writing, gaming and voyages of discovery. Her digital and non-digital works have been shown in key venues in many cities in Europe, Asia and the US, including the International Short Film Festival Oberhausen, the Open City London Documentary Festival, LOOP Barcelona, Rencontres Internationales Paris/Berlin, the Jihlava International Documentary Film Festival in the Czech Republic, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Centre (New Delhi), and the various Experimental Film/Video Festivals in Seoul (EXiS), Taipei (EXiT), Macao (EXiM), Kuala Lumpur (KLEX) and Hong Kong (HKEX). EXiM and EXiS have exhibited her works in dedicated solo features in 2015 and 2017 respectively, and C3A (Cordoba, Spain) had her retrospective in 2021 (Feb-June), with a selection of 10 works.

Lai considers herself a montage artist: to her, images are intensely rich perceptual surfaces that defy the binary division of representation and abstraction. Many of her works also deploy the notion of an archive and self-archiving, including her large-scale installation “1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji,” commissioned for the 9th Shanghai Biennale 2012 at the Power Station of Contemporary Art, which is also a piece of experimental history playing with childhood memory, the use of everyday objects and folk material, the postal history of Hong Kong and family stories. Lai seeks for intermedia moments and modes of connectivity, be it conjugation, modulation, combinatorial logic, or permutation… Her more recent projects include site-specific Mnemonic Archiving (Singapore 2016, 2.0 in Hong Kong 2017) and Lost Texture at H-Queen’s “Exit Strategies” (2019 with FPC). She is also working on a research project on HK’s animation history with Winnie Yan and Terrie Cheung, and just completed the 2nd edition of the Manifesto project on videography with Elaine Wong, Emilie Choi and Winsome Wong in May 2021, both aimed for a broader and deeper history of HK’s media art history. 

 Floating Projects (2015- ) is her participatory art experiment on modes of sustainability in art-making and artists’ associations as “collectives.”

 Lai’s concern in dialogues between the arts, the sciences and technology has persistently marked her teaching, artistic creation and curatorial experiments, and will continue to occupy a significant place in her future research.

M+ has completed acquisition of three of her videos and one automatic projection (3-channel combinatorial narrative) in June 2019. In 2016-17, Video Bureau (Guangzhou, Beijing) completed archiving 26 pieces of her videography (2000-2015). Her large-scale installation, “1906-1989-2012,” is now part of the Power Station of Shanghai’s permanent collection. In May 2018, she was awarded “Artist of the Year 2017 – Media Art” by the Hong Kong Arts Development Council [].

Combined website 個人綜合網站: http://sweb.cityu.edu.hk/smllai/ Personal work archive (Art, all categories) 作品庫: http://www.lindalai-floatingsite.com/content/ **Public collection: Video Bureau (Beijing, Guangzhou) 錄像局(北京、廣州) file 055: http://videobureau.org/artist/linda-lai/ Vimeo 錄像頻道: https://vimeo.com/lindalai CityU Scholar: https://scholars.cityu.edu.hk/en/persons/linda-ch-lai(2ff630ba-2190-4a35-94c5-8d1de50aefb7).html Latest citation 最新報道:

打開演算藝術的黑盒:《演算藝術》策展人黎肖嫻訪談|曾泓 (2019.04.26)

多感官體驗 挑戰賞畫方式 梵高星夜遭「劏」開 (2019.04.26)

Recent citation 近期報道:

http://artradarjournal.com/2015/09/04/hong-kongs-occupation-points-linda-lai-interview/ [Art Radar] Older citation 曾被報道: http://theculturetrip.com/asia/hong-kong/articles/the-10-best-hong-kong-artists-where-to-find-them/ [Culturetrip] http://c8400.com/east-contemporary.com/2013/03/24/shanghai-biennale-2012-linda-c-h-lai/ [review on installation work at the 9th Shanghai Biennale 2012 第九屆上海雙年展 2012-2013]

http://etat-heath.blogspot.com/2012/02/i.html「台灣與香港新媒體藝術的契機 I:知識主體、感知與實踐」(採訪:貢幼穎/整理:貢幼穎),《數位荒原》No Man's Land (2012.03.14)

http://ecr229.culture360.asef.org/2013/03/24/shanghai-biennale-2012-linda-c-h-lai/ "Linda C.H. Lai at Shanghai Biennale 2012" https://www.youtube.com/watch?v=QpxhJrTMt14 Descriptions of Hearing, curatorial concept 《聽覺摹寫》策展論述 (2012.03.08) http://theendofbeing.com/2011/10/26/exploring-the-hidden-city-a-review-of-visual-ethnographer-linda-c-h-lai/ Academic writings 學術性文字: http://cityu-hk.academia.edu/LindaLai Recent coverage on the Floating Projects https://www.scm.cityu.edu.hk/sites/g/files/asqsls1771/files/newsletter/250_ACIM_Newsletter_Issue_02.pdf (pp. 14-15, ACIM Newsletter # 2) https://www.scm.cityu.edu.hk/sites/g/files/asqsls1771/files/newsletter/SCM_Newsletter_08.pdf (p. 9, ACIM Newsletter #7)   黎肖嫻, 香港城市大學創意媒體學院互媒藝術副教授,同時也是以研究主導創作的跨領域藝術家,有豐富的國際參展經驗。於紐約大學電影研究系取得哲學博士之後,不斷尋 究由電影延展開去的相關藝術和理論探索,一直不離不棄『理論就是行動實踐』的信念。在藝術創作和學術研究上,環繞歷史書寫、視覺和自傳式民俗志、都市研究 和資料類集之間的批判性關聯,核心總離不開敍事的政治性,強調語言活動的詭辯。從女性主義的觸覺思維出發,她的作品強調『差異』的無盡性,以抒演的策略不 斷的打開既定概念和操作成規。 黎肖嫻的實驗性錄影、數碼或混媒的裝置曾於歐美和亞洲的多個城市展出,包括德國奧柏豪辛國際短片節,首爾實驗電影錄影節,美國俄亥俄州雅典城的國際電影錄 像節、倫敦的開放城市紀錄片節、臺北女性影展、首爾國際女性影展、香港國際電影節等等。近作《1906-1989-2012》為第九屆上海雙年展 (2012)的受委參展作品。個人最喜歡的創作是一本260頁的書,記述了她和攝影家陳超敏(現居英國倫敦)八個回合的攝影與文字的跨媒對話遊戲。 2004年她創辦了香港為基地的新媒體群體「文字機器創作集」,至今已發表過五輯聯展,不斷探索電算思維與當代藝術的問題。 在創意媒體學院,她任教的科目包括當代藝術與媒體考古、媒體藝術、電影史和視覺理論與實驗性錄像創作的關係、文化研究和民俗志在批判和創作上的實踐,以及 書寫與創意。在香港大專界,她是首位設計和執教衍生性藝術與文學,以及從人文角度看聲音藝術的學者。「據點。句點」是最新近的實驗計劃,以資料庫及藝術工 場為基調,探索藝術群體組織的模式以及就地藝術創作、資源迴環再造、組織的持續性的問題。 2016-17年度,錄像局(北京、廣州)收集了她的 2000-2015 期間的26件錄像作品,作研究者參考之用。2018年5月,獲頒香港藝術發展局2017 “年度藝術家(媒體藝術)”。

Floating Projects Collective 2023