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, historian, writer and research-based interdisciplinary artist, devotes herself to intermedia arts, Critical Theory and media archaeology, as meaningful extension of her PhD training in Cinema Studies.


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, she seeks organological views of art’s relation to other existential domains. The two-arm emphasis on theory and artistic experiments results in some inter-disciplinary courses she has designed in her teaching at the School of Creative Media (SCM 1998-2023): on the criticality of micro/meta narrativity, new materialism’s contribution to media archaeology, automatism and rule-based creativity in pre-digital and digital artmaking, visual ethnography, sound art, and generative art & literature. She has also designed, at SCM, Hong Kong’s first university-level courses in visual ethnography (2007 undergraduate, 2012 graduate level), sound art, and generative art & literature. 


As a montage artist, she considers images material facts as much as rich perceptual surfaces that defy the figuration-abstraction split. Her videos have appeared in documentary and experimental venues, including International Short Film Festival Oberhausen, Traverse Video (Toulouse), LOOP Barcelona, Jihlava International Documentary Film Festival (Czech Republic), the Open City London Documentary Festival, Rencontres Internationales Paris/Berlin, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Centre (New Delhi), International Women's Film Festival in Seoul, and the Asian Experimental Film/Video circuits in Seoul (EXiS), Taipei (EXiT), Macao (EXiM), and Kuala Lumpur (KLEX). C3A (Cordoba, Spain) had her video art retrospective in 2021, after dedicated solo features in EXiM (2015) and EXiS (2017). Two of her expanded cinema works in the form of automated multi-channel projection have traveled within and outside Hong Kong: Door Games, Window Frames: Near Drama (2012- ) and Vaulting Space (2014- ).


Some of Lai’s historiographic experiments take the form of (self-)archiving activities, such as 1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji (Shanghai Biennale 2012-13) and two iterations of Mnemonic Archiving: a Dispersive Monument in Singapore (2016) and HK (2017) at Pearl Lam Galleries, which explore the spatial-visual logic of connectivity among memory objects. Archiving and experimental historiography are also central to Lost Texture at H-Queen’s “Exit Strategies” (2019 with FPC), Ruminations: a Montage of Hong Kong's (Post)Coloniality (2018, Osage), Threshold Crossing: the Cartographic Imaginary (2018, CityU), Blasting Modernities 1930s: Techniques of the Self (2017, Para Site) and more. She also plays with chronologies to process her media archaeological research, such as Object-Subjectivities (2016, “No Reference,” Videotage) and her curatorial statement in the form of an interactive art piece, Object-Subjectivities, a Techno-Art Saga (2018-19, “Algorithmic Art,” City Hall).


By 2021, she has completed two editions of her video Manifesto project, seeking a deeper view of HK’s media art practices. Floating Projects (FP, 2015- ) is her participatory art experiment on sustainability as “collectives.” Her concern for art-tech dialogues prompted her to found the Writing Machine Collective (2004- ), a research base new media art series evolving into educational programs, then epitomized in her curatorial experiment “Algorithmic Art: Shuffling Space and Time” (2018-19).


Lai will retire from her full-time professorship on 30 June 2023, and will continue to focus on her on-going historiographic projects for deeper history of HK’s media art history and methodological issues in media archaeology. She will also seek opportunities to carry on her commitment to pedagogy on dialogues between the arts, the sciences and technology, while advancing into a new phase of artistic practices.


Her works have been acquired by M+ (2019), Video Bureau (2015), and the Power Station of Art. She was “Artist of the Year 2017 – Media Art” (ADC). In 2022, online video zine D-Normal/V-Essay was a winner of Ars Electronica’s “State of the ART(ists) Initiative (2022, Linz).




實驗歷史書寫作為庫存活動的作品包括第九屆上海雙年展的《1906-1989-2012:廣州-香港-上海-安吉》、在新加玻和香港兩度就地裝置的《記憶存庫記我城 :流散的碑誌》(2016/2017)等,直指存在的物理基礎。


黎的作品為M+、錄像館、上海當代藝術博物館等收藏。她是香港藝發局的「年度藝術家(媒體藝術)2017」。2022年,她策劃的《平地數碼》網上錄像誌獲奧地利林茨「電子藝術」頒發《State of the Art(ist)》獎項。




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:


Traverse Video 2023, Toulouse, France (2023.03.15)


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)


Selected 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: 


Review of 3 video works by Linda Lai by Simone Dompeyre, the Festival Director of Traverse Video 2019: https://traverse-video.org/catalogue_2019/Catalogue-livre_Rencontres%20Traverse%202019_L'Exp%C3%A9rimental-recherche-art.html#p=114 

http://theculturetrip.com/asia/hong-kong/articles/the-10-best-hong-kong-artists-where-to-find-them/ [Culturetrip] 


[review on installation work at the 9th Shanghai Biennale 2012 第九屆上海雙年展 2012-2013]


"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 2024