台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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展覽名稱 Exhibit


(Not) Just a Historical Document: Hong Kong-Taiwan Video Art 1980-1990s

展覽時間 Date

2018/04/07 (Sat.)- 2018/06/03 (Sun.)

展覽地點 Venue

MOCA Studio

門票 Admission

免費 Free

策展人 Curator

孫松榮 SING Song-yong / 林木材 Wood LIN

參展藝術家 Artists

王俊傑WANG Jun-jieh、毛文羽Comyn MO、沈聖德Jim Sing-tak SHUM、洪素珍HUNG Su-chen 、袁廣鳴YUAN Goang-ming、游靜YAU Ching、黃志輝WONG Chi-fai、麥志恆MAK Chi-hang、陳界仁CHEN Chieh-jen、陳錦樂CHAN Kam-lok、馮美華May FUNG、綠色小組Green Team、馮偉Ernest FUNG、鄭智雄CHENG Chi-hung、鄭淑麗CHEANG Shu-lea、榮念曾Danny Ning-tsun YUNG、鮑藹倫Ellen PAU

展覽介紹 About the Exhibition


Video art arose in Taiwan and Hong Kong around the same time in the early 1980s. Artists employed media that allowed convenient filming and immediate broadcasting to actively intervene in social issues. Comparing to the narrative films and documentaries produced in Hong Kong and Taiwan around the same period, the video art form that combined creativity and political statements did not catch too much attention, and because rather disadvantaged and marginal. Taking a retrospective look on the video art in Hong Kong and Taiwan during the 1980s and 1990s, the unique sensibility and insights demonstrated about historical incidents, in fact, introduce an opportunity to revisit and reflect upon the history given the tense political situation among Hong Kong, Taiwan and China nowadays.

The year 2018 serves as a vantage point to look back on historical incidents; it marks the twentieth anniversary of the handover of Hong Kong as well as the thirtieth anniversary of the lifting of martial law in Taiwan. Although the two places seem to have moved towards opposite ends of the political spectrum, Hong Kong and Taiwan have both undergone the Sino-British Joint Declaration in 1984, the lifting of martial law in Taiwan in 1987, the Tiananmen Square protests in 1989 and the transfer of sovereignty over Hong Kong in 1997. This exhibition features seventeen Hong Kong and Taiwan artists, together with twenty video artworks that are regarded as historical documents, of which their political statements will be forever effective.



Politics is unquestionably a common subject in these works, and it is closely related to the Cold War. Since the signing of the Sino-British Joint Declaration, Hong Kong artists have started a dialectic process regarding the crisis of identity, contemplating on the future and trying to find a way out against the fate that seems predetermined by others; artists in Taiwan have attempted to honour the image of dissidents who have voiced their critique of the state and media under the authoritarian regime. The Tiananmen Square massacre has become a shared trauma by artists in Hong Kong and Taiwan: the unknown future and probable predicaments, remembrance and expatriation as well as reflection and critique consequently formed the duo tones of Hong Kong video art before the handover of Hong Kong; on the other hand, video art in Taiwan demonstrated multiple perspectives that encompassed both local and international political situations while criticising state violence across the Taiwan Strait.


To confront historical incidents, artists have adopted poetic deployment to construct their videos, such as unmatching image and sound, juxtaposing text and picture, and the ensemble of different voices. Furthermore, cinematic rhetorical schemes including long take, chapter, and montage have been used alternatively in an elaborate and symbolic way to create mesmerising works. Archive images and historical scenes are interwoven together to create surprising results and reconstruct memory.


Hong Kong and Taiwan video art in the 1980s and 1990s as a form of political critique and aesthetic experiment is still faced with unresolved historical incidents after three decades. These artworks are not merely historical documents with realistic meanings; they are also a re-encounter between the beginning and the contemporary, which will re-initiate an interactive and diverse cross-regional dialogue.


作品介紹 About the Artworks

Making News Making History - Live from Tiananmen Square

鄭淑麗CHEANG Shu-lea

五頻道錄像Five Channel Video |彩色Colour |Channel 1-4: 30 min., Channel 5: 3 min.│1989|台灣Taiwan

1989年5月20日中國宣布了軍事法,鄭淑麗翌日從紐約飛到北京,借來中國導演陳凱歌的V8錄影機,每天騎腳踏車到天安門拍攝。外媒CNN節目《Live from Tiananmen Square》直播學運、中國政府把監視器佈滿廣場、學生手寫報散落地上……瘋狂媒體亂象以六四清場作結。

Martial law was declared in China on 20 May 1989. On 21 May, CHEANG flew from New York to Beijing with a tourist visa and a video camera endorsed by Chinese film director CHEN Kai-ge. This is a collection of videos made during her two weeks in China, reviewing the media frenzy that led to the inevitable military action on 4 June.

*本作品為亞洲首映Asian Premiere


她說為何是我 She Said Why Me

馮美華May FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|7min. 31sec.|1989|香港Hong Kong


A woman travels, blindfolded, from an ancient countryside temple to a bustling city. Her surroundings change, but her sense of unease lingers. The director uses a distinctively female perspective to combine the past and present. Made in December 1989, the film expresses a sense of anxiety permeating Hong Kong during that time.


城市影像 Image of a City

榮念曾Danny Ning-tsun YUNG、馮美華May FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 24sec.|1990|香港Hong Kong


This video juxtaposes scholar Ackbar ABBAS’s text on identity politics with images of Hong Kong throughout the decades before the 1997 handover, including the 1967 riots and the 1989 parade in support of the Tiananmen Square protesters. As quoted from the narration, “Only something that's about to disappear becomes an image.”


思藏 Private Collection

毛文羽Comyn MO

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 54sec.|1990|香港Hong Kong


Private Collection reflects upon how perception is affected by memory, time and mood. If one can spend 24 hours a day experiencing what he/she was yesterday, what is reality then? This work combines footage ranging from personal travelogues to World War II images, resulting in an intimate video diary.


卡拉 [ 超住(你)嘅 ] OK   Here's Looking at You, Kid

鮑藹倫Ellen PAU、游靜YAU Ching、黃志輝WONG Chi-fai

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 21sec.|1990|香港Hong Kong


This video provides a provocative look at the history of Hong Kong as a British colony in Asia, as constructed by the media. It combines TV commercials, British Government footage and films made during the Japanese occupation in the form of karaoke to evoke a “typical” Hong Kong experience.


re-touch (1)

陳錦樂CHAN Kam-lok

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 10sec.|1995|香港Hong Kong


A woman picks up and starts reading the book The Hero in History: A Study in Limitation and Possibility by Sidney HOOK. Her image juxtaposes with found footage of the 1967 riots showing thousands demonstrating on the streets as if it was a carnival. Truthfulness and limitations of recorded images are brought into discussion.


歷史如何成為傷口 How Was History Wounded

王俊傑WANG Jun-jieh、鄭淑麗CHEANG Shu-lea

單頻道錄像Single Channel Video│彩色 Colour|28min. 24sec.|1989|台灣Taiwan


Three commentators sit in a news studio in front of a TV discussing the Tiananmen Square massacre as reported by local and foreign media. This film aims to examine the politics of image and the image of politics through commenting on the topics of democracy, media control, consumption and commercialism.



鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│彩色Colour|7min. 55sec.|1989-90|香港Hong Kong


Images of World War II and the Gulf War speak of the emotional trauma in the wake of the Tiananmen Square massacre. The unforgettable image of a student confronting a tank is replaced by a dancer standing in front of the background of a scratchy super-8 projection. This video is a comment on the notions of motherland, history and war.


估領袖 TV Game of the Year

鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│彩色Colour|5min. 58sec.|1990|香港Hong Kong


Five people play the game of “Simon Says” with LI Peng as the leader; May FUNG, YAU Ching, Arthur CHANG and Alice POON are supposed to follow LI’s actions. It seems to go well at the beginning, yet no one can stand dictatorship. Some walk off in a huff while some continue. After all, only the leader sticks it out.


錄像桌子 Videotable

榮念曾Danny Ning-tsun YUNG、沈聖德Jim Sing-tak SHUM

單頻道錄像Single Channel Video│彩色Colour|11min. 15sec.|1984|香港Hong Kong


Videotable is a conceptual piece centring on a table, which is a recurring theme and motif in YUNG’s theatre works. A series of dialectical questions asking where ‘the centre’ is, whether it should turn left or right, whether you are centering on faithful to art….This work points towards power structures both in the political world and the art world.


兩頭唔到岸 Diversion

鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|5min. 40sec.|1990|香港Hong Kong


Produced one year after the 1989 Tiananmen Square protests, Diversion focuses on the immigration flush in Hong Kong. By combining footage from various sources, including government newsreels of the Victoria Harbour swimming contests in the 60’s, this video illustrates a personal reflection of a collective memory.



洪素珍HUNG Su-chen

單頻道錄像Single Channel Video│彩色 Colour|3min. 31sec.|1984, 1987|台灣Taiwan


East/West is a video with two channels of sound, based on the artist’s citizenship interview. It shows a mouth split in half, with one half speaking English and one half speaking Chinese. Occasionally, the two halves come together to create a whole. The half-mouths reflect the artist’s struggle and conflict in reconciling two cultures.


閃光 Flash

陳界仁CHEN Chieh-jen

單頻道錄像Single Channel Video│黑白B&W|3min. 30sec.|1983-84|台灣Taiwan


After the first bank robbery in Taiwan happened in 1982, the three oligopolistic TV stations repeatedly screened the surveillance video of the robber LEE Shih-ke carrying a gun and crossing the bank counter. To the director, LEE’s action symbolised the transgression of law and the reclamation of his right of name.


錄影遊戲 Video Game

榮念曾Danny Ning-tsun YUNG

單頻道錄像Single Channel Video│彩色Colour|12min. 35sec.|1986|香港Hong Kong


A game that expects only passive listening from the players is called “Dialogue”. Video Game penetrates the facade of the so-called dialogue and foregrounds the power inequality between the interlocutors. It can be seen as a metaphor of the futility of Hong Kong striving to voice its opinion in the 1997 handover negotiation.


離位 Out of Position

袁廣鳴YUAN Goang-ming

單頻道錄像Single Channel Video│彩色Colour|6min. 59sec.|1987|台灣Taiwan


YUAN is highly adept at combining symbolic metaphors with technological media. His works vividly illustrate contemporary human conditions. Despite its original emphasis on the dialectical dialogue between moving image and sculpture, Out of Position will be re-represented as a single-channel video work in this exhibition.



王俊傑WANG Jun-jieh

單頻道錄像Single Channel Video│彩色Colour|13min. 7sec.|1988-89|台灣Taiwan

作品以戲謔諷刺的手法,批判台灣解嚴前後的媒體,譏諷當時政權。正襟危坐的播報員背後,墨鏡男子搞笑啃蘋果;插入李登輝就職總統的畫面,配上馬戲團小丑進場的音樂;孫中山也好,《第一滴血》的藍波也好,開外掛結果還是GAME OVER。

After the martial law was lifted in the nascent democratised Taiwan, WANG, without any source of reference, created five video artworks including FACE/TV, addressing criticism against mass media and political hegemony. Using a satirical approach, he questiones if the images we saw on TV are identical to the objects being captured.


綠色電視台開播片 Green TVs Inaugural Film

綠色小組Green Team

單頻道錄像Single Channel Video│彩色Colour|11min. 57sec.|1989|台灣Taiwan


For a long time the KMT government has held a monopoly over Taiwan’s TV channels, using the lack of channel bandwidth as an excuse for its stranglehold. During the build-up to the elections at the end of 1989, Green Team set up a satellite transmission channel on its own, poking a hole in the KMT’s argument.


9523 Ninety Five / Two or Three

馮偉Ernest FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|5min. 45sec.|1995|香港Hong Kong


Six years after the 1989 Tiananmen Square massacre, FUNG uses a ping-pong to symbolise the fact that Hong Kong is merely being pushed from one side to another, leaving one coloniser only to find herself in the arms of another. Decidedly blank and expressionless, men in the video are nothing but transporters of the ping-pong.


石頭記備忘錄 Memorandum of the Rock

榮念曾Danny Ning-tsun YUNG

單頻道錄像Single Channel Video│彩色Colour|20min. 25sec.|1998|香港Hong Kong


YUNG superimposes 4-letter idioms on the bright and colourful image of a parade at the Tiananmen Square. The idioms dissolve one after another and become more and more irrelevant and even vulgar. YUNG appropriates the aesthetics and rhetoric of the Communist Party of China and puts them into a hilarious play.


東方紅 East is Red

鄭智雄CHENG Chi-hung、麥志恆MAK Chi-hang

單頻道錄像Single Channel Video│彩色Colour|1min. 50sec.|1993|香港Hong Kong


East is Red is made in one shot. The lighter with young Chairman MAO’s photo imprinted on it, the blurred TV screen, the music ‘East Is Red’, all connote light or brightness. The lighter falls after several loops of the song. This video aims to convey sarcasm and skepticism, through a superficial touch on the subject matter.




相關教育活動 Educational Programs


時間 | 2018/04/22 (SUN.)  14:00   

主講 | 孫松榮 、 林木材、鄭淑麗

集合地點 | 台北當代藝術館一樓活動大廳 (免購票)






時間 | 2018/05/05 (SAT) 13:00-15:00

「檔案之眼:紀實影像的類型邊界」Documentation / Documentary: Another Way of Seeing

主持人Moderator | 林木材 Wood LIN

與談人Speakers | 馮美華、鄭淑麗、王智章(綠色小組代表)/參展藝術家

May FUNG, CHAENG Shu-lea, WANG Chih-chang, representative of Green Team /Artists



時間 | 2018/05/05 (SAT) 15:30-17:30

「迴返現場:1980-90s港台錄像交會」Revisit: 1980-90s Video Art Scene in Hong Kong and Taiwan

主持人Moderator | 孫松榮 SING Song-yong

與談人Speakers | 榮念曾、沈聖德、王俊傑、袁廣鳴/參展藝術家

Danny Ning-tsun YUNG, Jim Sing-tak SHUM, WANG Jun-jieh, YUAN Goang-ming /Artists


* 現場座位有限,請事先報名

點我報名 (已額滿,現場開放12:45候補入場)


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