Hometown: Hong Kong
Lives and Works: Hong Kong
Linda Chiu-han Lai, Associate Professor of Intermedia Arts at the City University of Hong Kong’s School of Creative Media (SCM), is a research-based interdisciplinary artist. After completing her Ph.D. in Cinema Studies at New York University, she has sought meaningful connections to other relevant artistic and theoretical endeavours. She persists in artistic creation as the practice of theory. A critical researcher on the history of everyday life, her works focus on historiography, visual and auto-ethnography, urbanity, and popular culture. Her teaching revolves around
the criticality of micro/metanarratives. At SCM, she has also designed Hong Kong’s first generative art and literature university level courses.
She founded the Writing Machine Collective in 2004, a Hong Kong-based new media art group, and has organised and exhibited in five major group exhibitions on questions of computational thinking and contemporary art. Though broadly known for her videography in international art venues, she uses different artistic mediums to turn art making into criticism, history-writing, gaming, and voyages of discovery. Her digital and non-digital works have
been shown in key venues in many cities in Europe, Asia and the US, including the International Short Film Festival Oberhausen, Oberhausen, Germany; Open City Documentary Festival, London, UK; LOOP Barcelona, Barcelona, Spain; Rencontres Internationales, Paris, France and Berlin, Germany; Jihlava International Documentary Film Festival, Jihlava, Czech Republic; Women Make Waves Film Festival, Taipei, Taiwan; India International Centre, New Delhi, India; Centre of Contemporary Art, Toruń, Poland; and the various Experimental Film/Video Festivals in Seoul (EXiS), Taipei (EXiT), Macao (EXiM),Kuala Lumpur (KLEX) and Hong Kong (HKEX).
Lai considers herself a montage artist: to her, images are intensely rich perceptual surfaces that defy the binary division of representation and abstraction. Many of her works also deploy the notion of an archive and self archiving, including her recent work 1906-1989-2012: Guangzhou-Hongkong-Shanghai-Anji, commissioned for the 9th Shanghai Biennale 2012 at the Power Station of Contemporary Art. This is also an experimental history piece that plays with childhood memory, the use of everyday objects, the use of folk material, the postal history of Hong
Kong, and family stories. Lai seeks for intermedia moments and modes of connectivity, be it conjugation, modulation, combinatorial logic, or permutation. Floating Projects is her recent experiment on modes of sustainability in art-making and artists’ associations.
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