Video Art Connective Videos: Berlin - Hong Kong 4/6

Connective Videos: Berlin - Hong Kong 4/6 ©Klaus vom Bruch, Ellen Pau

Thu, 28.06.2018

Goethe-Gallery, Goethe-Institut Hongkong

Hong Kong Arts Centre
2 Harbour Road
Wan Chai

A collaborative showcase of the Videoart at Midnight Edition (Berlin) and the Videotage Media Art Collection (Hong Kong) video art collections

Two veteran and pioneering video artists, Klaus vom Bruch (Berlin) and Ellen Pau (Hong Kong), will join forces in Connective Video 4/6, manifesting their unique vision in video-making side by side.  Vom Bruch is famous for his mediation and re-contextualisation between personal and national, banal and historical; two of his selected videos in Connective Video 4/6, Das Alliertenband and Das Duracellband, exemplify this trait succinctly. By intercutting between commercial, close-up of the artist himself and World War Two footage, vom Bruch effectively challenges the commonplace point of view in understanding the past. On the other hand, Time without End, a re-working of a less than thirty seconds clip from the Hollywood film Leave Her to Heaven, reveals a rather humorous and playful side of vom Bruch’s video practice.
 
Though living in a city with entirely different culture and tradition, Ellen Pau’s videos share thematic and stylistic similarities with the vom Bruch’s. Diversion and Song of the Goddess utilize existing visual material, archival footage of a swimming contest in 1960s in the former and excepts of a Yam Kim-fai/ Bak Shuet Sin film in the latter, to negotiate with the complicated colonial past and the ambiguous sexuality representation in popular entertainment respectively. Drained II, comparable to vom Bruch’s Time without End in terms of the novelty in video language, demonstrates Pau’s ability in transforming an unimpressive bit of footage into a breathtaking visual experimentation with the aid of the latest editing technology. Years after the completion of her early videos, as we can see in her 2003 video For Some Reasons and 2010 video Fanfare for the Common People, Pau’s inventiveness and sensitivity in appropriating visual element from various existing sources are as sharp as ever.    

Online registration
Berlin: Klaus vom Bruch
Alliiertenband, 1982, 10'43"
Duracell Tape, 1980, 9'55"
Time Without End, 1996 / 2017, 6'39"

Klaus vom Bruch
Klaus vom Bruch (b. 1952 in Cologne) studied at the California Institute of the Arts at John Baldessari and Bruce Nauman from 1975 to 1976 and a couple of semesters Philosophy, Art History and  Egyptology at the University Cologne until 1981. His first videotapes he produced in 1975.

Hong Kong: Ellen Pau
Drianed II, 1989, 05’40”
Diversion, 1990, 05’30”
Song of the Goddess, 1992, 06’50”
For Some Reasons, 2003, 05’12”
Fanfare for the Common People, 2010, 04’20”

Ellen Pau
Ms Ellen Pau is a self-taught video artist. Her early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. From there, Ms Pau dedicated her life in video art to the development of media art in Hong Kong. In 1986, Ms Pau co-founded Videotage, a media art collective in Hong Kong aiming at creating an umbrella organization for media artists, facilitating artistic and cultural exchange and promoting video and media art in Hong Kong. She is also the founding director cum curator of the Microwave International New Media Arts Festival. Ms Pau works as an independent cinematographer, curator, art critic and researcher focusing on Asian new media arts. She also works as an art consultant for her newly founded company Inter-Act Arts. Her single channel videos and video installation works have been extensively exhibited worldwide in film festivals and art biennials. In 2001, ‘Recycling Cinema’ was selected and exhibited at the Hong Kong Pavilion in the 49th Venice Biennial.

Connective Videos
Connective Videos: Berlin – Hong Kong is a new collaborative platform between Germany and Hong Kong, curated by Olaf Stüber (Videoart at Midnight, Berlin) and Isaac Leung (Videotage, Hong Kong), presented by Goethe-Institut Hongkong. The project encompasses the video art collections of the Videoart at Midnight Edition and the Videotage Media Art Collection. In multiple screenings throughout 2018, Connective Videos aims to learn, compare, and reimagine compelling stories told by various German and Hong Kong artists. It will consider histories across various geographical spaces and offer insights into our existing knowledge of video art production and archival practices.

The screening and the post-screening discussion will be moderated by Isaac Leung.
 
www.videoart-at-midnight-edition.info
www.vmac.org.hk
 

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