≡ 鲍蔼伦 Ellen Pau
大运动之红筹 The Great Movement : Red Stock
1997，2019重制
单频录像投影装置 Single channel video installation
尺寸可变 Dimensions variable
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist and Edouard Malingue Gallery
开幕 Opening: 2019.11.14 | 6 - 8 pm展期 Duration: 2019.11.15 - 2020.01.09马凌画廊 | 香港 | 香港中环德辅道中33号6楼 Edouard Malingue Gallery | Hong KongSixth floor, 33 Des Voeux Road Central, Hong Kong
(Scroll down for English version)
“大动作”是著名媒体艺术家鲍蔼伦(1961年，生于中国香港)在香港马凌画廊的个展。她今次一反传统，身份两用，以策展人身份策划个展，主轴概念是身体所能与及的。作为香港艺术界的翘楚，鲍蔼伦选取一系列她个人的录像作品，透过注入新(作)元素以及重制过程，以沉浸式装置形式展出。展览结合声影色味，让观者意识到个人的物理存在以至其存在意义，就在当下、这里及我们每个人所占据的空间以外。
“大动作”的名字起源来自鲍氏于1997年的录像作品《大运动之红筹》，作品特意在这次展览重制并作开场之用，手中一点红，仿似彗星踪迹般穿越透明屏幕。游走于这次展览中，这里的氛围是黑暗的、宁静的，中间穿插着断续的感受与思考。
鲍氏于1982年香港理工大学获得其放射诊断文凭，及后于玛丽医院任职放射技师至今，她的工作让她的日常不断地接触人体以及生与死，为她的作品刻下对这些关要题目的印记。鲍氏对艺术形式具有广泛的兴趣，除主要以录像与新媒体为创作平台，她对音乐、诗歌与舞蹈均有涉猎。她于80年代开始接触表演及录像媒体，是亚洲先锋录像艺术家之一，作品贴近科技发展，同时关注社会议题。1986年，她与黄志辉、冯美华、毛文羽等共同创办本地录像艺术元老组织录映太奇(Videotage)。这次展览作为她的多元生活经验的反射面，把她的多重身份观照于创作之中。
结合了她的新旧思维，“大动作”展透示着感性触觉；1999年的《录像肚脐》指涉的是当时的科技崛起以及其于民主之中所扮演的角色，里面糅合着不同的观点并顾首了大卫·乔斯利的著作《反馈：录像艺术的媒体生态学》。当电视随着星尘于黑洞的来生回转飞舞之际，录像本身阐述了生命的流逝、时间及空间旅途或平凡的日常，这些种种建构成我们存活中的世界。另一件是2019的新作《意志的幽灵》，由一道慢慢在墙上溶化的红蜡与投映的影像所呈现的重叠交错，它的色调与流动构成穿流着生命的血肉之身，那度热力增添了现实的存在感，对照着穿插其中的科技痕迹。
就在展览的转角位置，是2019年的另一件作品《现实的幽灵》，是较为“轻巧”的光影装置。作品由一系列的水滴滴向热板而构成，每一次接触均以物理性消失而告终；由液态到雾态的转化过程被快速捕捉下来，并及后通过一系列感应器让观众听见转化的声音。这用以诱发观众更细心去观察展间中的细节，那些淡淡的气味、这里的氛围及在每个角落所存在的，并不单单指涉在画廊墙壁上的，还有在展间内外所沵漫渗透着的。
这次展览是一趟旅程，鲍氏抓住我们的身体，让我们受感着自身的存在，由科技层面去反观当下我们的形态、由我们而所产生的，以及我们所遗下的。
‘The Great Movement’, the solo show of, and curated by, Ellen Pau (b. 1961, Hong Kong, China) at Edouard Malingue Gallery, Hong Kong, is akin to a series of bodily encounters. A key figure in Hong Kong’s art scene, Ellen Pau brings together some of her historical video works alongside new and reworked pieces in the realm of immersive installation. Engaging the senses from every angle - sight, sound, heat, smell - the visitor is plunged into an awareness of their own physical presence and a contemplation of what it means to be, to exist, here, now, and beyond that, the space each of us occupies.
Navigating through ‘The Great Movement’, the atmosphere is dark, quiet, pregnant with pauses for feel and thought. The exhibition takes its title from the 1997 work ‘The Great Movement: Red Stock’, reformulated specifically for this show and on display at the entrance; it displays a red dot at the centre of a transparent screen on which a video light writes as a comet trails on the palm. A graduate from Hong Kong Polytechnic University, Pau’s interest in human body could be traced back to her diploma in Diagnostic Radiography in 1982 and the fact she worked as a radiographer in Queen Mary Hospital in the presence of humans, bodies, life and death.
Ellen Pau rose to prominence in Hong Kong’s art scene out of her intense interest in video art, new media art, as well as other art forms such as music, poems, performances. One of the earliest pioneering video artists in Hong Kong, Pau’s body of work is engaged with technological developments at the time as well as social livelihood issues. Testament to this engagement is in 1986 she co-founded Videotage, Hong Kong’s oldest video artist collective and earliest archive for media art, with Wong Chi-fai, May Fung and Comyn Mo. As such, one could conceive the exhibition ‘The Great Movement’ as an amalgamation of her multiple lives, interests and impacts, as a radiographer, artist, and pioneer of the arts scene.
Combining historical and new, site-specific works ‘The Great Movement’ has a human sensitivity running throughout. ‘Video is a Hole’ (1990) refers to the rise of technology and its role in democracy, the proliferation of different points of view, and harks to the book ‘Feedback: Television Against Democracy’ by David Joselit. While television follows the constellation of stardust whirling around the afterlife of a black hole, video engages the fleeting life stories, lost journeys and ordinary encounters that make up the world surrounding us. Across from the display is the major site-specific installation ‘The Spectre of the Will’ (2019), which involves a slowly cascading wall of melting red wax, superimposed by hanging images. The tone and movement seem to reference flesh, what we’re made of and the life that runs through us. Adding to this sense is an element of heat emanating from the walls, bringing the artwork into the realm of a human presence, which contrasts with the technological inquest of the opposite work.
Breaking through, around the corner of the exhibition, is a comparative installation of light, both in terms of tone but also levity. ‘The Spectre of the Real’ (2019) comprises a series of drips falling onto hot plates, each contact culminating in a physical evaporation. The sense of evolution alluded to throughout the exhibition is brought into sharp contemplation here as the state of liquid to mist is rapidly captured and beyond that, heard, through a series of sensors. One is then prompted to consider other details throughout the exhibition: the faint smell, the aura and presence each corner occupies, not limited to the walls of the gallery space but pervading through and throughout.
As such, ‘The Great Movement’, brings the visitor through a journey. Pau engages our bodies, prompting each and everyone to reflect back on their physical beings, the form they are currently taking, what is emanating from us, and what we’re leaving behind - from technology to the more primal.
艺术家简介 About the artist
作为香港艺术界的翘楚，鲍蔼伦通过创作让观者意识到个人的物理存在以至其存在意义，就在当下、这里及我们每个人所占据的空间以外。鲍氏出生于中国香港，1982年于香港理工大学获得放射诊断专业文凭，随后进入玛丽医院担任放射科专业医护人员。同时，出于对专业工作以外的录像、新媒体艺术，甚至音乐、诗歌、舞台等艺术形式的强烈兴趣，她开始涉猎艺术创作。在此之外，鲍蔼伦亦参与成立包括录映太奇、微波国际新媒体艺术节在内的多个重要文化机构，致力于香港艺术及文化上的推广、策展、教育工作。
作为香港最早活跃于实验录像创作的艺术家之一，她于1984年制作了第一部超8格式的录像作品《手套》。她的早期作品最初在本地的小型放映会与观众见面，自1987年起步上国际舞台。在创作了一批单频道录像作品后，九十年代初起，鲍蔼伦尝试在录像创作中融入雕塑、声音等元素。鲍蔼伦的作品始终紧贴时代技术发展，以探索视觉艺术语言的可能性。而她对香港政治环境、社会民生、以及城市人类生活变迁的关注，则是贯穿这逾三十年创作生涯的另一重要主题。
在专业工作与艺术创作之外，鲍蔼伦亦致力参与香港艺术及文化的推广、策展、教育工作。 1986年，她与黄志辉、冯美华、毛文羽合力创办录映太奇——香港最早的录像媒体艺术家组织及媒体艺术文献库。1996年，她创办微波国际新媒体艺术节，以展览、讲座、工作坊等多样形式为香港观众一年一度带来丰富的艺术体验。鲍蔼伦更于2014年同时开始担任香港艺术发展局电影及媒体艺术组主席，以及西九龙文化区M+博物馆的购藏委员会成员。
归根而言，鲍蔼伦是香港艺术界的开创性人物。她编织了一种既引人入胜又突破技术界限的艺术实践，并时刻保持对社会的反思。此外，在她的日常职业的医疗行为以及发起、领导文化活动的工作而言，她都为社会做出了重要贡献。由此，鲍氏通过多种途径和渠道，促使人们探索自我，以及我们所处的不断更生发展的时代。
鲍蔼伦的作品曾参加多个国际重要艺术展和电影节，包括香港国际电影节（1990、1993、1997、2000）、第八届国际女性影展（西班牙，1992）、哥本哈根文化基金会“货轮展” （丹麦，1996）、亚太区当代艺术三年展（里斯本，1996）、约翰尼斯堡双年展（1997）、光州双年展（2002）、利物浦双年展（2003）、悉尼国际电影节（2004）等。 2001年，她最重要的录像装置作品之一《循环影院》首展于第四十九届威尼斯双年展香港馆。
© 图片由艺术家和马凌画廊提供
Image courtesy of the Artist
and Edouard Malingue Gallery
A key figure in Hong Kong’s art scene, Ellen Pau (b. 1961, Hong Kong) raises our awareness of our own physical presence and ignites a contemplation of what it means to be, to exist, here, now, and beyond that, the space each of us occupies. Born in Hong Kong and a graduate from Hong Kong Polytechnic University with a diploma in Diagnostic Radiography in 1982, Pau has worked as a radiographer in Queen Mary Hospital ever since. Pau was plunged into the Hong Kong art scene by her intense interest in video art, new media art, as well as other art forms such as music, poems and performances. Beyond artistic creation, Pau has also been a leader in the promotion, curation and education of art and culture in Hong Kong through founding several important initiatives such as Videotage and the Microwave International New Media Arts Festival.
As one of the earliest pioneering video artists in Hong Kong, Pau produced her first super-8 film Glove in 1984. Her early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. After creating a series of single channel video works, Pau then traversed to incorporate sculptural elements and ambient sounds into her video installations during the early 1990s. Pau’s body of work has been a journey into the exploration of possibilities in visual art languages by always sticking closely to the current technological developments at the time. In tandem, a running theme and important motif throughout Pau’s thirty years of practice is her concern with Hong Kong’s political climate, social livelihood and the changes of urban lives.Besides her profession and artistic practice, Pau has been a key character in the promotion, curation and education of art and culture in Hong Kong. In 1986, she co-founded Videotage, Hong Kong’s oldest video artist collective and earliest archive for media art, with Wong Chi-fai, May Fung and Comyn Mo. In 1996, she founded Microwave International New Media Arts Festival, an annual event that consists of exhibitions, conferences, seminars, and workshops, bringing art experiences to thousands of Hong Kong audiences. In 2014, Pau was appointed by the Hong Kong Arts Development Council as a representative of the Art Form Group in Film and Media Arts, and in the same year, she also served on the interim acquisition committee of M+ in West Kowloon Cultural District.
Ultimately, Pau is a seminal figure in the Hong Kong art scene, weaving a practice that engages as well as pushes the boundaries of technology, while reflecting on society. Moreover, Pau has been a key contributor to society, through her medical activity as well as initiation and leading of cultural activities. As such, through multiple avenues and outlets, Pau prompts an exploration of the self and the times we are living in, ever shifting and evolving.
Pau's works have been extensively exhibited worldwide in film festivals and art exhibitions, including Hong Kong International Film Festival (1990, 1993, 1997 & 2000), 8th International Film Festival for Women (Spain, 1992), Copenhagen Cultural Capital Foundation, Container 96 (Denmark, 1996), Asia Pacific Triennial of Contemporary Art (Lisbon, 1996), Johannesburg Biennale (1997), Gwangju Biennial (2002), Liverpool Biennial (2003), Sydney International Film Festival (2004), among others. In 2001, Recycling Cinema, as one of her most significant video installations, was first presented at Hong Kong Pavilion in the 49th Venice Biennale.
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