黎肖嫻

黎肖嫻為紐約大學電影研究哲學博士，香港城市大學創意媒體學院副教授，過去他曾擔任創意媒體學院的跨媒體批判專業的組長（2002-2010），現為創意媒體文學士本科生課程主任。黎氏為跨界的藝術創作者，以批判理論、女性主義視野、電影理論、敘事實驗和民俗田野法的多元結合進行學術及創作活動。二零零四年創辦新媒體群體 「文字機器創作集」，公開作品展已完成了四集，現為該群體的藝術總監。黎氏曾任多個媒體藝術計劃之策展人及評審。其實驗性錄像曾於奧柏荷辛、巴黎、巴塞隆拿、柏林、倫敦、伯明翰、漢堡、捷克的伊赫拉瓦、 維也納、台北、高雄、香港、吉隆坡、蒙特利爾、新德里、 首爾、 雪梨和數個美國的城市的媒體藝術節展出。

 

Linda Chiu-Han Lai

A Ph.D. in Cinema Studies (NYU) and Associate Professor at the City University of Hong Kong's School of Creative Media (SCM), Linda LAI has been a writer, trans-disciplinary artist and independent curator for contemporary media arts. She was the Expertise Group Leader for the School's Critical Intermedia Studies (2002-2010), and currently the Leader of the Bachelor of Arts in Creative Media.
Lai has regarded teaching as both a location for exchange with young people and that for research in pushing the limits of disciplinary boundaries. Evolving from her prime training in cultural and media/cinema studies, she has actively sought connective extension to other relevant art and cultural domains. With such an orientation, she has not only taught cultural studies subjects, contemporary art, film histories and theories, but also authored various innovative courses at SCM. For example, she started Hong Kong universities' first sonic art course in the context of contemporary art and cultural studies, as well as the course Generative Art & Literature, in which experimental literature and code-writing are examined together to illumine the nature of computational thinking. She has experimented with a new pedagogic model with her colleagues -- the "concept-driven workshop/laboratory" in which the teaching of theory and history is intensely integrated with art-making, and where a process-oriented approach re-defines artmaking as a passage of discovery through rule-driven experiments and hypothetical thinking across media. In this light, she has designed and taught a series of workshops on narrative explorations and experimentations with moving images. She also created SCM's first-year core "Writing & Creativity" in which students experience writing as the meeting point of creativity, intermedia thinking, self articulation and research.
Her critical and creative works in general have a strong concern for language and micro/meta-narrativity, grounded in a feminist sensibility that integrates critical theory, cultural studies and historiography. Her academic writings primarily interrogate the problems of history-writing. Most of her creative works have a visual, auto-ethnographic dimension. Her video art, installation and digital works have been shown in funded exhibitions in Hong Kong, and in art and film/video festivals in Oberhausen, Hamburg, Berlin, Paris, Birmingham, Barcelona, Madrid, Taipei, New Delhi, Kuala Lumpur, Kaohsiung and Seoul.  [go to -> video works and other art works ]
Of her various academic and sponsored publications, her personal favorites are two art-books. One is Crypto-glyph: Dialogues in Many Tongues in the Hidden Crevices of an Open City (2004) with Theresa Junko Mikuriya, a 288-page documentation of their 8 rounds of dialogues via photography and text. The book also carries her theoretical meditations on the dynamic relations between visuality and writing as a performance. Her next favorite is [Re-]fabrication: Choi Yan-chi’s 30 Years, the paths for interdisciplinarity in art (1975-2005) (2007), researched and edited for Para/Site Art Space's "Hongkong Artists in the 1980s" series. Her recent contribution includes the essay "Attempting a history of (new) media arts for Hong Kong: archaeology, literacy and education for artists" for the Hong Kong Visual Arts Yearbook 2007 (2008), a first essay of its nature to trace the fragments of events that would culminate in a history of Hong Kong's media art activities. Another essay, “What is the Writing Machine Collective (WMC)? – Many Beginnings,” has been contributed to a Videotage publication, Glow in the Dark – Spotting Art, Noise, Media in Hong Kong, to be coming out soon.
Her academic writings so far have a focus on urbanity, cultural memory and identity politics in cinema, as well as theoretical issues in cultural historiography and how to open up its horizons. The latest academic writing (in-progress) is a book chapter for an upcoming Hong Kong cinema anthology by Blackwell, in which she surveys the specific moddes of 'expanded cinema' in Hong Kong unique to the city's cultural economy.
Lai had been a juror for various editions of IFVA (Independent Film & Video Awards, Hong Kong) and the Bloomberg Emerging Artists Program, and adviser to the Museum of Art and Hong Kong Arts Development Council's Media Art sector. She is the founder and currently Artistic Director of the Writing Machine Collective (2004- ).
In her capacity as an educator and artist, Linda has worked with many young and aspiring art practitioners in Hong Kong. (01.2012)