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Both Sides Now V looks at the way in which artist filmmakers are exploring Queer culture, using various film and video techniques, to explore aspects of Queer life in Hong Kong and the UK. British colonialism widely affected legal discrimination against LGBT people – specifically homosexual men (just as in Britain, female homosexuality was not recognised in colonies). As in many colonies, laws criminalising male homosexuality were slow to change in Hong Kong, with decriminalisation taking until 1991, as opposed to 1967 in the UK. In 2019, laws regarding equality for LGBTQ+ people are almost equal. Though reception to Queer people in the UK and Hong Kong varies widely geographically, generatioally and socially. With the rise of right-wing sentiments globally, the acceptance Queer people have enjoyed feels like it is in descent. In response to post-colonialism and the rise of rightwing opinions, we have curated this programme to show a range of artworks that explore Queer identity and culture. Filmmakers from both sides explore aspects of LGBTQI+ life – with artists from both the UK and Hong Kong making work that reflects upon Queer identity, life and creativity. Ever since video art first appeared as a medium, artists have been using portable cameras to explore the subversive potential of video and challenge mainstream discourse about identities. In Hong Kong, the late 1980s and 1990s witnessed a growing interest among avant-garde artists, who used video to claim a queer space amongst the mundane social codes. They disrupted the male hero’s central status in mainstream cinema’s narrative. They have also recounted unspoken stories and given voice to the marginalized in a time when homosexuality and many other identities were considered taboo. These artists have sought to complicate the understanding of what it means to be taken-for-granted and have reimagined the body, society and culture as a constant f lux, which has the potential to unpack norms and open society to transformation. Avant-garde and video art go hand-in-hand with the emergence of the feminist movement and the growing public visibility of the demand for LGBT rights.

– Isaac Leung (Videotage) & Jamie Wyld (videoclub)


In the last few decades, many societies have witnessed a radical change in promoting a diverse spectrum of non-normative sexual and gender identities. Queer communities, whose lives are organized around constant social alienation and exclusion, have evolved into a relatively more open community. On one hand, many societies are progressively creating more liberal laws, such as legalizing samesex marriage. The thriving gay bar scene, booming rainbow industry and increasingly popular LGBTthemed movies have built a stronger community and increased inclusivity for spectrums of sexual practices and gender. On the other hand, individual freedom and promises of diversity are increasingly fashioned by neoliberal discourses. The former border-crossing practices, f luid identities and peculiar imaginations are now commercialized, marketized and normalized. Almost every financial corporation has joined hands in sponsoring pride parades. In China, the LGBT market places is valued at approximately $300 billion dollars. The way that gay and lesbian people live is increasingly mediated by the new order of cultural economy. Queerness has been redefined and contradicted by the neoliberal reality. Apart from these changes, in many parts of the world, a parallel rise in violent homophobia has been promoted by right-wing extremists. Anti-LGBT abuse and victimization remains frequent. Queerness in our time has revealed that power dynamics appear to be shifting, complex and yet contradictory. How has queerness, once considered marginal or subversive, played a role in the radically shifting figurations of global politics? Both Sides Now V attempts to reconsider queerness by looking into historical perspectives and its relevance to the present. Through this collection of films, we aim to investigate personal experiences and problematize the various notions of “queer” from local and global perspectives. Both Sides Now is a tactical program that uses film and video to explore culture and society between different nations, the UK, China and Hong Kong, and beyond.

彼 岸觀自在V旨在探討一眾藝術家與影人如何探究酷兒文 化,以 及他們如何以用各種影像手法,探索英國與香港的 酷兒生活百態。 LGBT 群 體在法 律上備受歧 視,而男同性戀所受的歧 視尤 其嚴 重,此 現象背 後,有深 遠的英國殖 民主義影 響(女同 性戀無論在英國或殖 民 地,皆未受到重視)。香港 與 其他 殖民地一樣,要改變視同性戀為罪行的法律,需時十分漫 長。英國早在1967年合法化同性戀,香港卻要到1991年才 合法化同性戀。到2019年,英國和香港就LGBTQ +平權的 立法已大致相等,儘管不同地區、世代、羣體的人,對酷兒 的接受程度皆不盡相同。而右派情緒於全球崛起後,酷兒 群體得到的接納似乎越來越少。 為了回 應 後 殖 民 主 義 與 右 翼 思 想 的 崛 起,我 們 特 別 策 展 是次節目,展出一系列探索酷兒身份與文化的藝術作品。 來自英國和香港的影人,將藉流動影像展示LGBTQI+的生 活;兩地的藝 術家則會以作品反思酷兒的身份、生活與創 作。 自從錄像藝術出現,藝術家就憑手提錄影機,開拓一股顛 覆傳統的力量,挑戰主流對身份的敘 述。1980年代晚期至 19 9 0年代,香 港前 衛 藝 術 家 對 流 動 影像 的興 趣 越 來 越 濃 厚,用它在世俗社會規 範外開拓出一片酷兒天地。在主流 電影敘 述中,中心地位往往由男性主人翁佔據,這些藝術 家卻將這慣例打破。在同性戀等種種酷兒身份仍被視作禁 忌的 時 代裡,他們 講述 無 人知 曉的故事,為小眾發聲。這 些藝術家努力為理所當然的常態作更深層次的反思,將身 體、社會及文化重新構想成流 動的整體,令打破常規變得 可能,為社會變革打開了大門。女性主義興起、LGBT 權益 日益得到關注,都與前衛藝術和錄像藝術息息相關。

在過去的數十年,各地社會見證著性 /別打破尋常界限,發展 出寬闊的光譜。酷兒社群生活上時刻面對疏離與排斥,但他 們已進化成一 個 相對上較開放的群體。一方面,很多地方正 逐步制定更自由的法律,例如合法化同性婚姻;同志酒吧遍 地開花,彩 虹 產 業 蓬 勃 發 展,以LGB T 為主 題 的電 影越 來 越 受歡 迎,使這個 社羣更強大,能容納更多不同的性傾向及性 別。另一方面,新自由主義敘述塑造了更多元的社會,裡面每 個 人都享 有更大自由。過 往的種種 跨界行為、流 動身 份、奇 異構想,今日已得到商業世界和市場接受,漸成「正常」:幾 乎所有金融企業都有份贊助同志遊行;中國的LGBT市場,估 計價值 約3 0 0 0 億 元。同性 戀 者的生 活 漸受 新文化經 濟 秩 序 影響,新自由主義世界重新定義了酷兒,又否定了酷兒。而在 這 些 轉 變以 外,世 上 無 數地 方仍 有 極 端 右 翼 主 義 者 煽 動 恐 同,LGBT面對的迫害無日無之。我們這個 時代的酷兒,揭示 權力結構正不斷變化,當中的關係複雜而又矛盾。酷兒概 念 曾被視作小眾、危險,在急速轉變的環球政治中,它的角色為 何? 彼 岸觀自在 V 嘗試 重 探 歷 史,觀 照當下,重 新 審 視 酷兒的 概 念。我們希望 藉這一系列流 動影像,深 入 探討個人 經 歷,從 本地及全球角度,對形形色色的「酷兒」概念提出疑問。 彼岸觀自在是策略性項目,旨在從流動影像作品,探討中國、 香港和英國等各國文化及社會。

梁學彬(錄映太奇) Jamie Wyld (videoclub)



CURATORS INFORMATION 策展人資料 Jamie Wyld Jamie Wyld is Director of videoclub (, an artists’ moving image platform that delivers work across the UK and internationally, including exhibitions, screenings, commissions and residencies. videoclub was established by Wyld with artist Ben Rivers in 2005, since then it has grown into a global organisation, with activity in China, Taiwan, South Korea, Argentina, USA, and across UK at venues such as Whitechapel Gallery, CCA Glasgow, Minsheng Museum (Beijing) and Echo Park Film Center (LA). In 2013, he established This is Wyld, a creative agency working with the cultural sector and artists to help with production, fundraising and curating. Prior to this he worked at digital culture agency Lighthouse (Brighton), as Programme Curator, delivering projects with artists such as Kutlug Ataman and Laure Prouvost. Before this he worked as Digital Arts Programmer at Showroom Cinema (Sheffield), and as Visual Arts Officer for Arts Council England in London and SE England. Jamie  W y l d 是  vid e o c lub (vid e o c 的董 事。  vid e o c lub 是一 個 流 動 影 像平台, 透 過 展 覽、放 映、委 託 創 作 與 藝 術 家 駐 留 計 劃,把 流 動 影 像 作 品 帶 到 英 國 以 至 世 界 各 地。videoclub 由 Wyld 與藝 術家 Ben Rivers 於 20 05 年創 辦,自此逐 漸 發展成國際機構,與 中國、台灣、韓 國、阿根 廷、美國與 英國各地的場 地合 作,包括  W hite c hap e l  Gall e r y、CC A Glasgow、民生現代美術館(北京)、Echo Park Film Center (洛杉磯)。 2 0 13 年,他 創 立了  T h is is W y l d,一 個 與 不 同 文化 領 域 和 藝 術 家 合 作以協 助 其 製 作 作品、 籌 款 及 策 展 的 創 意 機 構。在 此 之 前,他 於 數 碼 文化 機 構   L i g h t h o u s e(布 賴 頓)擔 任 節 目策 展 人,與 K u t l u g   A t a m a n   和   L a u r e    P r o u v o s t   等 藝 術 家 合 作 策 劃 節目。更早 期 他 亦曾 在 Showroom  Cinema(錫菲)擔任數碼藝術節目策劃及於倫敦與英格蘭東南的英格蘭藝術委 員會擔任視覺藝術主任。

About videoclub 關於 videoclub videoclub is a platform for artists’ film and video. videoclub’s intention is to support artists, by showcasing artists’ film, video and moving image work to the public to increase public engagement with artists’ moving image, and to create opportunities for critical engagement with contemporary art work. videoclub’s work combines national and international touring programmes, exhibitions and commissioning. v i d e o c lu b是 一 個 推 廣 藝 術 家 流 動 影 像 的 展 演平台。他 們旨在 鼓 勵 藝 術 家,透 過 放 映 藝 術 家 的 電 影、錄 像 及 流 動 影 像 等 作 品,以 製 造 更多 機 會 讓 大 眾 能 夠 認 識 及 評 論 當 代 藝 術 工 作。videoclub的工作除了參與國內外的展出計劃外,還包括展覽策劃,以及委托創作等。


Isaac Leung 梁學彬 Isaac Leung is a practicing artist, curator, and scholar in art and culture. In 2003, Leung received an Honorary Fellowship of a Bachelor of Fine Arts at the New Media Art Department of the School of the Art Institute of Chicago. In 2013, Leung was appointed as the Chairman of Videotage. During his tenure, he initiated and participated in projects that included exhibitions, workshops, lectures, publications, online projects, and symposia. Some of these include 40 Years of Video Art in Germany and Hong Kong (Hong Kong and Germany), The 12 th Venice Biennale International Architecture Exhibition (Italy and Hong Kong), Perpetual Art Machine (USA), Time Test — International Video Art Research Exhibition (China), ISEA Festival (Hong Kong, China), Both Sides Now (Hong Kong, UK, and various countries), Loop Barcelona (Spain), One World Exposition (Hong Kong), China Remixed (USA), Clockenflap (Hong Kong), and Art Basel Crowdfunding Initiative (Hong Kong). Leung has taught at the Education University of Hong Kong, the Hong Kong Baptist University, the City University of Hong Kong, and the Hong Kong Polytechnic University. He is currently Assistant Professor BA program in Cultural Management, The Chinese University of Hong Kong. 梁學彬身兼藝術家、策展人及藝術文化研究學者。 在 20 03 年,梁學彬 獲 頒 美國芝 加哥藝 術學院的新媒體藝 術系美術學位榮譽院士。2013 年, 梁氏被委任為錄映太奇的主席。任內推動並參與多個新媒體藝術計劃,內容包括展覽、工作坊、 講座、出版、網絡計劃及專題討論會,當中有二零零六年德國及香港錄像藝術四十年(香港和德 國)、威尼斯雙年展國際建築展(意大利威尼斯,香港)、Perpetual  Art  Machine(美國紐約)、時 間測試:國際錄像藝術研究觀摩展(中國)、電子藝術交流協會藝術節(ISEA Festival)(香港)、 彼岸觀自在(香港,英國和各國)、Loop 巴塞羅那(西班牙)、平行世界(香港)、China Remixed (美國)和巴塞爾藝術博覽會眾籌項目(香港)。梁氏曾任教於香港教育大學、香港浸會大學、香 港城市大學、以及香港理工大學。梁氏現擔任香港中文大學文化管理文學士課程助理教授。

About Videotage 關於錄映太奇 Videotage is a leading non-profit organization in Hong Kong focusing on the presentation, promotion, production and preservation of video and media art, serving artists in the expanding technological art and culture network. Since 1986, Videotage has developed itself from an umbrella for media artists, to a network of media art and culture for cross-disciplinary cultural productions, and platform to facilitate international exchange. 錄映太奇以香港為家,為非牟利藝術團體,專門推廣、創作並保存橫跨不同語言、形式和媒介 的錄像及新媒體藝術作品。自1986年成立而來,錄映太奇已從最初的錄像藝術家聚會,日漸發 展成為今時今日的國際媒體藝術網絡,鼓勵媒體藝術家透過其跨領域的藝術創作和交流平台 去探索、研究並關注社會上各項與民生、文化及歷史息息相關的重要議題。



DIFFERENCES DO MATTER 《大不同》 Anson Mak 麥海珊 1998, 3’00”

Differences Do Matter interpellates the concept of “difference” from sound and image, sexual identity, demonstrations and their representations on mass media. From the beginning of the video, the artist self-narrates the changes of her voice, then further explores the differences in her living environments, not a “tong chi identity (artist is bisexual), and engagements in social politics. The artist attempts to (re)present the differences and possibilities of herself in terms of identity and mode of thought between “I” and others from a self-reflexive exploration. In the end, the work reflects how images and subtitles affect the linguistic interpretation as problematic issue of cultural and political translation. While Differences Do Matter narrates personal stories and perspectives about “difference”, it also represents the relationship between “I” and the historical contexts.


《大不同》從聲音與影像、性身份、大眾傳媒的呈現以及街 頭運動,探究「不同」此概念。作者從自身出發,由一開始發 聲自述個 人 聲音就存在著變化與不同,延伸至 成長 居住環 境、不是「同志」身份(作者是雙性戀),後至社會政治,嘗 試呈現「我」與他者之間因為不同而形成身份與思想表達上 的分別和可能性。最後,作品反思影像及其採用的字幕如何 影響語議解讀,作為文化和政治翻譯的困難。當《大不同》 就「不同」述說個人故事與觀點 時,同時象徵「我」與時 代 環境的關係。


A GLASS OF WATER 《本是一清水》 Siu-man Wu 胡兆雯 2019, 4’30”

Lost, But Need Not Be Found (Left) I divide a glass of water into two. Considering my hand as a discrete object and a container, I transfer the water from a full glass into an empty one until the volume is even. In the splitting process, losses occur; water is dropped on the table and absorbed by my skin. The divided water thus cannot be combined into one again. The quality of the water is changed by my hand as it is mixed with skin cells and dust. Stand Straight, Oh No (Middle) A tilting glass of water displays a state of unstable stability. The water inside keeps a horizontal line even when the glass is in an inclined position. Therefore, it does not matter if the glass is stable or not, the water inside remains calm and steady.

作品透過不同物質(人與物)的互動,探討「人」與「人」、「 人」與「物」,及「物」與「物」之間的關係。以〈倚傍〉(中) 作出發點,縱然杯處於不穩定的傾斜狀態,其中的水卻平靜 而穩定。如何在充滿不 確定因素的環境 之中保 持關係的平 衡成為作品的重點。〈對話〉(右)表現了物質之間的互動, 其中包括了人與人的對話及人與物的角力。人的肢體、杯的 狀態,或是水的波動均為物質互動所產生的現象,而此現象 亦體現了關係的狀態。在〈佚 失〉(左)中,以手作容器,將 水一分為二。然而,水卻在過程中有所佚 失,使 之不能再合 二為一。而水的質量亦被手上的灰 塵或是 皮膚上的表 層組 織污染而變得渾濁。

Come On, You Know What I mean (Right) To maintain the balance of this glass of water, the two people use a finger to hold each side of the glass while they are having a dialogue. In the conversation, their emotion changes according to the context and it can be reflected by their body language or their fingers on the glass. 7


TEACH GERMAN WITH PETRA VON K ANT 《跟柏蒂娜學德語》 Ming Wong 黃漢明 2017, 8’00”

In 2007 just before moving to Berlin, I made Lerne Deutsch mit Petra von Kant / Learn German with Petra von Kant in which I tried to learn to speak and act like a German by closely emulating the actress Margit Carstensen in the role of fashion designer Petra von Kant, suffering a mid-life-career-crisis in Rainer Werner Fassbinder ś 1972 film Die bitteren Tränen der Petra von Kant (The Bitter Tears of Petra von Kant). In the time since I moved to Berlin, Petra von Kant’s expressiveness has given me the words (and attitude!) I needed to overcome similar moments of despair and desperation. From what started as an exercise for a self-designed “integration course” in Germany — who would have guessed? — ten years later I would find myself in the role of a professor at UdK, the University of the Arts in Berlin. 8

《柏蒂娜的苦淚》為已故德國導演寧那‧華納‧法斯賓達中 的作品,講述一位事業有成的時裝設計師和女同性戀者—— 柏蒂娜,瘋狂地愛上了一個美麗的年輕女子,並試圖通過將 對方打造成時裝模特,把她牢牢拴在自己身邊。 黃漢明於20 07年準備動身定居柏 林前夕,「重拍」了《柏蒂 娜的苦淚》,取名為《跟柏蒂娜學德語》。黃漢明移居柏林 之時沒有參加語言課程,卻設計了一套「語言與文化融匯項 目」,將電影的高潮部分作為他聯結二者的紐帶。 作品中,他扮演成柏蒂娜,表演她情緒崩壞的一場戲,藉此 預演「自己作為一個超過35歲的單身、同性戀、少數族裔、 處 於職業生涯中期的藝 術家,在搬到柏 林以後 所可能 遇到 的情況中,會經歷的動作、情感以及要表達的言辭——例如 感到痛苦、絕望,或者潰不成軍。」


THE DRUM TOWER 《鼓樓西》 Fan Popo 范坡坡 2018, 17’52”

Drum Tower is located in the downtown of Beijing. It has witnessed the gentrification of this city and the government’s sealing up on small businesses. Kacchan is a senior school student who wanders through hutong every day, escaping from classes. Once by accident, he meets a vintage shop owner in a public toilet and is fascinated by her, Miss Mi. The identity of being a transgender brings some inconvenience to Miss Mi’s life, at the same time her vintage shop is faced with being demolished. Kacchan sees her life in his eyes but can’t do anything to help, until the very day comes…

北京鼓樓矗立在這 座帝都的中心,默 默注 視著城市正遭 遇 的激 烈變革:「拆牆打洞」的整治運動之下,無數 原本充 滿 活力的小商店和酒吧咖 啡 館 被 封牆關停。高中男生卡 醬成 日逃學在胡同里閒逛。一次廁所裡的偶然相遇,他對古著店 的老闆米姐 產生極大興趣。米姐的跨性 別身份讓 她遭 遇生 活中諸多的不方便,如今她的店面也面臨著關門的命運。卡 醬默 默凝 視著她的生活卻愛莫能 助,直到有天 這一 切真的 被摧毀…… 本片藝 術化的融合了性 別麻煩與 城市變 遷的 雙 重議 題,也 是中國第一部全部由跨性別演員主演的影片。

This f ilm combines the theme of sexuality and urban changes in an artistic way. It is also the first film in China where all the leading performers are transgender. 9


HANDCLAP/PUNCHHOLE Charlotte Prodger 2011, 9’46”

Handclap/Punchhole takes its name from two technical actions used in the film industry to synch recorded sound with celluloid. Conversely, Prodger displaces of sound and image here — to the point where they play out in inverse relation to the other: image is only present when sound is not, and vice versa. The installation includes a spoken word audio tape playing on a Sharp GF 767. Considered the holy grail of boomboxes, it was designed in 1982 to drown out all other boomboxes on the street. Here, it is competing with the mechanical clatter of silent images traveling through the film projector. While the film documents a small intervention — a queer countercultural body in an historical environment which has been repositioned into a mainstream tourist attraction — the tape on the boombox plays a collection of cross-pollinating oral histories describing the increasing obsolescence of analogue cinema simultaneously with the obliteration of gay cruising spaces: queer subjectivity brushing up against the limits of reproductive technology. 10

拍 板(H a n d c l a p)/ 穿 孔(P u n c h h o l e),意 指 電 影 製 作裡用菲林拍攝時兩種使錄製聲音與畫面同步的技 術。P r o d g e r在作品 裡 卻 故 意 令 聲 畫 不 同 步,甚 至 使 他 們 以 完全相反的方 式出現,即影像 僅在聲音不 存 在時出現, 反 之亦然。裝 置 方法 是 用一 部Shar p  GF  767 B o omb ox 揚 聲 器來 播 放 預 先 錄 製 的 錄 音 帶。被 視 為 B o o m b o x中 的 極 品,Shar p  GF  767 於 1982 年甫面世便在 街 頭 巷尾掀 起 風 潮。在 Prodger 作品中,Boombox 播放的聲音與放映機播 放默片菲林的機器聲並置、較勁。電影紀錄了歷史洪流中一 段小插曲 —— 一個被重新定位為主流旅遊景點的在歷史環 境裡,一個反傳統文化的酷兒身體,與此同時,Boombox 中 的錄音帶卻講述著一段段在群眾間口耳相傳的口述 歷史, 細訴 菲 林電影消亡與同志尋歡空間消失的故事。透 過酷兒 的主觀視角,輕輕觸碰媒體複製技術的限制。


SOMETHING SAID Jay Bernard 2017, 7’33”

In 1981, the New Cross Fire tragically claimed the lives of 13 young black people and was met with state, media and police indifference. Haunted by that history, and in the context of the recent rise of the far right, Something Said resurrects the spirit of  Yvonne Ruddock, whose 16th birthday was being celebrated the night of the fire.

1 9 8 1   年,英 國 倫 敦 新 十 字 區 一 個 派 對 發 生 大 火,造 成 1 3 名 年 輕 黑 人 死 亡。然 而,當 時 政 府、傳 媒 和 警 察 均 卻 對 慘 劇 投 以 冷 漠 態 度。儘 管 當 年 極 右 在 區 內 活 躍, 派 對 當 晚 又 引 起 鄰 居 糾 紛 ⋯⋯ 疑 點 重 重 但 結 果 無 人 需 承 擔 責 任,引 發 後 來   2 0 , 0 0 0   人 上 街 抗 議。多 年 後 歷 史 陰 霾 未 散,保 守 右 翼 勢 力 竟 又 再 崛 起,藝 術 家 決 意 在 Something Said 重現 Yvonne  Ruddock 的精神:當晚大火 前,Yvonne  Ruddock 正在慶祝其 16 歲生辰,卻不幸在火災 中逝世。



GOD IS WATCHING Matt Lambert 2017, 3’24”

The avant-garde performance artist, David Hoyle remembers his first visit to a gay club, and discusses the importance of safe spaces. Commissioned by Tate and Random Acts.


在 這件作品 裡,英 國 前 衛 行為 藝 術 家  D av i d  H oy l e(他 的 其他 身 份 包 括:「反.變 裝 皇 后」[a n t i - d r a g    q u e e n]、前 衛 歌 舞 表 演 者、歌 手、導 演 等)回 憶 他 第 一次 到 同 志 夜 店 的 經 歷,同 時 暢 談 對 同 志 來 說 安 全 的 空 間 存 在 之 重 要 性。God  is  Wat ching 為藝術家 Mat t  L amber t 受英國泰特 美術館及 Random  Acts 委託而創作之作品。


WHERE WE ARE NOW Lucie Rachel 2016, 9’29”

A personal insight into the changing relationship between a young woman and her transgender parent. Ref lecting on their relationship with a newfound openness and sharing experiences of coming out, they wonder what the future looks like now the decision to transition has been made.

Where  We  Are  Now 以個人的角度出發,展現一個年輕女子 和其跨性別父/母親,以及兩人之間一直在變化的關係。他 們一方面以一種新的開放態度反思兩人關係,另一方面互相 分享他們出櫃的感受,這家人想知道,既然已決定接受種種 改變,他們的未來會是甚麼樣子。


UNITED KINGDOM  英國 Co-presented by videoclub, Videotage

SCREENINGS 放映 Through a series of screenings in the UK, Both Sides Now V looks at the way in which artists and filmmakers are exploring Queer culture, using various film and video techniques, to examine aspects of Queer life in Hong Kong, China and the UK. 透過一系列於英國舉行的放映節目,彼岸觀自在V旨在探討一眾藝術家與影像創作人如何探究酷 兒文化,以及他們如何以各種影像手法,探索香港、中國內地及英國的酷兒生活百態。

Fabrica Gallery (Brighton 布賴頓) Date 日期:25/4/2019, 7:15PM Address 地址 : Fabrica, Duke Street, Brighton BN1 1AG

Royal College of Art (London 倫敦) Date 日期:1/5/2019, 6:30PM Address 地址:Gorvy Lecture Theatre, Dyson Building, Riverside, 1 Hester Rd, London SW11 4AN

Vivid Projects (Birmingham 伯明翰) Date 日期:25/5/2019 (Time TBC) Address 地址:16 Minerva Works 158 Fazeley Street Birmingham B5 5RS

Phoenix Cinema and Arts Centre (Leicester 萊斯特) Date 日期:28/6/2019, 8:00PM Address 地址:4 Midland Street, Leicester LE1 1TG

John Hansard Gallery (Southampton 修咸頓) Date 日期:August 2019 (TBC, during Southampton Pride period) Address 地址:142–144 Above Bar St, Southampton SO14 7DU

ARTIST-IN-RESIDENCE 駐留藝術家: NICOLE PUN 潘浩欣 Artist Biography 藝術家簡介 Nicole Pun is a visual artist based in Hong Kong. She uses photography, video, performance to explore queer identity, desire and female representation. Her artistic practice involves collaborations and interviews with strangers. She received her MFA from California Institute of the Arts in 2014. She has a BSSc from the Chinese University of Hong Kong, with a background in Journalism and Communication. Her work has been exhibited in Circus Gallery in Los Angeles; Avenue 50 Studio in Los Angeles; SOMArts Cultural Center in San Francisco; McGroarty Arts Center in Tujunga; “In & Out” Nicole Pun Solo Exhibition at Lumenvisum in Hong Kong. She is the recipient of a number of grants and awards, including Yale-China Arts Fellowship, Emerging Artists Scheme of Hong Kong Arts Development Council, WMA Masters Special Mention Award and First Prize of Chiquita Canyon landfill art competition. 14

潘 浩欣,本 地 視 覺 藝 術 家,以 攝 影、錄 像 和 表 演 藝 術去 探 索同 性 戀 者的身 份 認同、慾 望 和女 性 身 份象徵,並 通 過 採 訪和邀 請陌生 人合作而獲到創作靈感。潘氏擁有香港中文 大學社會 科學學士學 位,主修 新聞及傳播士;並 於 2014 年 在 加 州 藝 術 學 院 取 得 藝 術 創 作 碩 士。她 的 作 品曾 於 多 個 地 方 展 出,包 括 洛 杉 磯 的  C i r c u s  G a l l e r y  與  A v e n u e  5 0 Studio、三藩市的 SOMAr ts  Cultural  Center、美國圖洪加 的 McGroar t y  Ar ts  Center 及香港光影作坊舉 辦個人展覽 「In&Out」。此外,藝術家潘浩欣獲得多項資助及獎項,其 中包括曾獲雅禮協會的「雅禮藝術家」名銜、榮獲香港藝術 發展局的「新苗資助」、WMA 大師攝影獎的特別嘉許獎 和 Chiquita Canyon landf ill ar t competition 的一等獎等。

Residency Period 駐留時間: 8/3–25/3/2019 Residence 駐場:The Marlborough Pub & Theatre (Brighton 布賴頓 )

TAIWAN  台灣 Co-presented by TCAC, videoclub, Videotage

SCREENINGS 放映 In collaboration with Taipei Contemporary Art Center, Both Sides Now V is having a showcase at Video Lounge from 4 to 12 May. 彼岸觀自在V將與台北當代藝術中心合作,由2019年5月4日至12日於台灣呈獻主題展示 的放映節目。

Taipei Contemporary Art Center 台北當代藝術中心 (Taipei 台北) Date 日期:4-12/5/2019 (Tue–Sun) (逢星期二至日) Time 時間:1:00–7:00PM Address 地址 : No. 11, Lane 49, Bao’an Street, Datong District, Taipei City, Taiwan 103 台灣台北市大同區保安街 49 巷 11號

About Taipei Contemporary Art Center 關於台北當代藝術中心 Taipei Contemporary Art Center (TCAC) is an open platform on which art practitioners can create, present, and exchange ideas. It embraces a wide range of aesthetic expressions, particular those that challenge institutional conditions, market values, and individual stardom. The mission of TC AC is to encourage ar tistic experimentations, promote international exchange, develop educational programs, and inspire critical thinking in the public sphere. As a facilitator of interdisciplinary and cross-cultural dialogues, TCAC examines the practice and organization of conceptual institutions through the ref lection of existing paradigms in the overall cultural environment, and responds to the demands of local art communities. Since 2010, TCAC has programmed more than 400 events, including various exhibitions, forums, talks, workshops, and performances.

台北當代藝術中心(TCAC)成立宗旨在於提供藝術家、策展 人、相關文化實踐者一個開放平台,一個用以發表、交換、創 造與分享的空間,容納超越一般藝術機構條件、市場機制以 及個人主義以外的美學表現。我們的核心價值任務在於創 造批判性的公共領域,經營國際交流,致力於前衛實驗性的 藝術發展和教育學習的多樣可能,在對文化環境提出省思的 同時,實踐觀念性藝術機構的組織樣貌,以回應在地之關鍵 需求與向未 來拓展的欲 望,並持續以 跨文化交流的節點運 作和探索。 自 2010 年營運至今,TC AC 主辦了超 過 4 0 0 場以上包括展 覽、論壇、座談、工作坊、表演等多類型的藝文活動。


HONG KONG  香港 Developed & Co-presented by Eaton HK, videoclub, Videotage

13/5–30/6/2019 Eaton HK (380 Nathan Road, Jordan, Kowloon, Hong Kong 香港九龍佐敦彌敦道 380 號)

SCREENING AND SHOWCASE 錄像放映及主題展示 The screening aims to explore aspects of LGBTQ life and reflect upon the power dynamics between queerness and contemporary society. The screening will be held at Eaton HK’s cinema Kino and the artworks will also be showcased in the thematic showcase at the lobby on G/F at Eaton HK. 香港放映將於Eaton HK 的戲院Kino舉行,探討LGBTQ生活和性別議題,反思酷兒與當今社會的 權力關係。是次放映作品亦將會於作為主題展示於Eaton HK地下大堂展出 。

Screening 放映會 Date 日期:24/5/2019, 8:00–10:00PM 地點:Kino@Eaton House, 1/F Eaton HK

Showcase 主題展示 Date 日期:13/5–30/6/2019 Venue 地點:Lobby G/F, Eaton HK

LGBTQ TALK AND PUBLICATIONS SHOWCASE LGBTQ 講座及書展 Three young creative minds engaging in different aspects of artistic creation will share their experience. Acclaimed poet Nicholas Wong , screenwriter/critic/ film director Jun Li, and activist/performance artist Castiel Wong, who has once been arrested for his performance art. The guests will have a conversation about using art as a form of expression of LGBTQ issues, which will be broadcast on Eaton Radio.

三 位 來 自 不 同 藝 術 媒 介 的 年 輕 創 作人 將 於 E a t o n   R a d i o 以  LGB TQ 的 創 作 為題 舉 行講 座,包 括 美 國 浪 達同志 文學 獎得主、本 地詩人黃裕 邦 (Nicholas Wong)、以《翠絲》探 討 跨 性 別 議 題 的 新 晉 導演 李 駿 碩  ( Jun  L i ),以及曾因行為 藝術被捕的社運人士兼行為藝術家黃榮鋒 (Castiel  Wong)。 他 們 將 探 討 如 何 以 藝 術 作 自 我 表 達 的 媒 介,記 錄 他 們 對 LGBTQ 議題的反思。講座將會於 Eaton  HK 的社區電台 Eaton Radio 廣播。

Spanning across many years, a selec tion of magazines, books, media art brochures and leaflets from Videotage Media Art Collection (VMAC) will showcase the path walked by generations of the LGBTQ community at Colony Kids on G/F Eaton HK.

另 外,錄 映 太 奇 媒 體 藝 術 庫 藏   ( V M A C )   亦 精 選了一 系 列 有 關   L G B T Q   的 雜 誌、書 籍、媒 體 藝 術 小 冊 子及 單 張, 在 Eaton  HK 地下大堂的 Colony  Kids 書架展出。展品橫跨 不同年代反映 LGBTQ 運動的發展,呈現酷兒社羣多年來的 轉變。

Talk Date 講座日期:1/6/2019, 5:00PM Venue 地點:Eaton Radio, LG Eaton HK Publication Showcase Period 書展日期:13/5–30/6/2019 Venue 地點:Colony Kids, G/F Eaton HK 16

SLOW DATING—HUMAN INSTRUMENTALITY PROJECT 慢會 — 人類補完計劃 Queer is FUN! Besides the art-themed programs, local artists Doreen Chan and Ip Wai Lung, together with Videotage Project Coordinators Joseph Chen and Kelvin Yiu, initiate and curate a queer social encounter program. A series of fun activities will be held under the LGBTQ theme to bring friends or hearts together riding on the wave of queerness. 酷兒就是好玩!除了藝術活動之外,Eaton HK、videoclub 和錄映太奇亦聯手帶來多個公眾活動, 以酷兒為題打破藝術與社區之間的界限。本地藝術家陳泳因與葉惠龍,聯同錄映太奇項目統籌陳 敬元及姚 玠廷合力策劃一連串以酷兒為主題的活動,讓一眾 LGBTQ 朋友 (或非LGBTQ 朋友) 齊 齊玩返日,又或認識新朋友,又或締結良緣,無任歡迎。

Date 日期:9/6/2019, 3:00–9:00PM Venue 地點:Eaton HK Registration 報名:Stay-tuned with Videotage’s Facebook and Instagram 請留意 Videotage Facebook 及Instagram

LGBTQ -THEMED PARTY LGBTQ 主題派對 To celebrate the LGBTQ and art communities in Hong Kong, an LGBTQ-themed party (curated by Videotage Project Coordinator Joseph Chen) will be held during Both Sides Now V. The party will include a drag performance by Shmily ( 施魅力 See how much I love You), local amateur drag queen who is over 70 years old but still shine with ageless fierce charm, DJ performances by Kelvin T, Alexmalism, and Misty Penguin accompanied with VJ performance by shealwaysresolume with footages by Kunt Arch to put a perfect end to Both Sides Now V. LGBTQ 主 題 派對(由錄映 太奇項目統籌 陳敬元策劃)將呈獻多個以酷兒為題的精彩演出!其中 包括年屆 70 歲的本地變裝皇后施魅力,年齡卻無阻其施展嫵媚,展現性別流動的魅力!當晚更會 有多位 DJ 表演,陣容有 Kelvin  T,  Alexmalism、Mist y  Penguin 以及 VJ  shealwaysresolume 的表 演。屆時為彼岸觀自在 V 於香港的一連串節目劃上完美句號。

Date 日期:15/6/2019, 9:00PM until late Venue 地點:Music Room, Terrible Baby, 4/F Eaton HK


EXHIBITION “BAD BODIES” 展覽「壞軀體」 Curator 策展人: Nick Yu 俞迪祈 Date 日期:13/5–30/6/2019 Time 時間:11:00AM–9:00PM Venue 地點:Tomorrow Maybe, 4/F Eaton HK

Samak Kosem Neverland 2017/ HD single channel video/ 13’02” in collaboration with Narasit Kaesaprasit and Anuwat Apimukmongkon

Curated by Hong Kong-based curator Nick Yu, the exhibition at art space Tomorrow Maybe takes inspiration from and gives interpretation of the theme “Queer”. Video artworks from Eisa Jocson, Isaac Chong Wai, Ip Wai Lung, Mary Maggic, Rob Crosse and Samak Kosem are selected under the theme “Bad Bodies”. “Bad” shall not be interpreted as of poor quality here, but of the non-conformist that resists the society’s normalisation of body image. The exhibition will showcase how queer people overthrow narrow understandings of gender identity and regain their autonomy fearlessly with their idea of bad bodies. 18

由 香 港 策 展 人 俞 迪 祈 策 劃 ,於 T o m o r r o w   M a y b e  藝 術 空 間 舉 行,從 另 一 角 度 回 應 彼 岸 觀 自 在 的 意 念 。 展 覽 主 題 為 「 壞 軀 體 」, 展 出 六 位 藝 術 家 莊 偉 、 葉 惠 龍 、 E i s a   J o c s o n、 M a r y   M a g g i c 、 R o b    C r o s s e   及   S a m a k    K o s e m   的 錄 像 及 媒 體 作 品。 策 展 人 以 彼 岸 觀 自 在 V 的 主 題「 酷 兒 」為 靈 感,從 軀 體 角 度 詮 釋 酷 兒。B a d   b o d i e s   非 指 低 等 的 身 體,而 是 指 推 翻 主 流 所 認 同 的 身 體 形 象,抗 衡 對 性 別 的 狹 窄 定 義, 大 膽 展 露 酷 兒 叛 逆 精 神。

Exhibition Blurb 展覽介紹 Bad, the disobedient, the non-conforming, the challenging, the transgressive — not substandard, not of poor quality. A gold-clad spirit desecrates a lotus pond with beer. A ‘Pondan’ Muslim revels in a genderless neverland. Eyelashes poke teary eyeballs. Trans-housewives concoct hormone cocktails. Older men cruise in the open sea. Counterfeit Snow Whites perform princess rituals. However disparate in form, geography, race and ethnicity, gender, and age, these works — by Ip Wai Lung, Samak Kosem, Isaac Chong Wai, Mary Maggic, Rob Crosse, and Eisa Jocson — respectively iterate on their own terms how bodies can be bad. Being good means acting the same perfect way — but there are so many ways to be bad. Creativity and genius can be bad. Fluidity and queerness can be bad. Enjoyment and exuberance can be bad. For Father and Mother, even autonomy and independence can be bad.

「壞」——指反叛,不順從,挑戰權威,越界;並非指低人一 等或劣質。 鍍 金 的 靈 體 以 啤 酒 褻 瀆 荷 花 池;穆 斯 林 變 性 人在 無 性 別 之分 的夢幻 樂園裡狂歡;用眼 睫毛 刺 探 彼 此 之 眼 球;跨 性 別家庭主婦調 製荷爾蒙 雞 尾酒;年 老男人在大 海中進行郵 輪 之 旅;冒牌白雪公主表 演公主的 儀 式。縱 使 涵 蓋 不同形 式、地理、種族與族群、性別、年齡,藝術家葉惠龍、Samak Kosem、莊偉、Mar y Maggic、Rob Crosse及Eisa Jocson的 作品卻不約而同自行演繹軀體何以變壞。 「好」重覆著完美模式,然而「壞」卻形形色色。創意和才華 是壞的,流動與酷兒是壞的,享樂和歡愉是壞的。 於父親和 母親而言,就連獨立與自治也可以是壞事。 社會規 範我體來保證 我們是良 民,我們卻寧願沉 醉於屬於 我們 的壞體。正如不良基因偶爾 會侵 入 遺傳系 統而帶來物 種機制的進化,那我們壞透的身體將會入侵高舉父權及所謂 「正常」的異性甚或同性戀樣式的社會制度。

Society normalizes our bodies to make sure we are good. We’d rather take flight in being bad. Just as the mechanisms of life have evolved by hacking our genetics with bad copies, we will use our bad bodies to hack the hegemonic systems of patriarchy, hetero-, and homo-normativity.

Artists 藝術家 Isaac Chong Wai 莊偉 | Equilibrium No.6 –Distance 平衡6– 距離 Rob Crosse | Prime Time Ip Wai Lung 葉惠龍 | Qingdao Lotus Pond 青島蓮花池 Eisa Jocson | Princess Studies: Fantasy, Work and Happiness Samak Kosem | Neverland Mary Maggic | Housewives Making Drugs; Molecular Queering Agency 19


ARTIST-IN-RESIDENCE ROB CROSSE Rob Crosse completed his MFA in Fine Arts at the Slade School of Fine Art. Recent exhibitions include Solo Presentations (2018), Jerwood, London; Prime Time (2017) Grundy, Blackpool, and Clear as a bell (2016), Kingsgate Projects, London. His films have been screened as part of Different Ways, Lux, London, Transactions of desire, Institute of Contemporary Art, London, Slant : for the unsettling, Jerwood Space London, These Rotten Words, Chapter House, Cardiff, and Artist Film Weekender, HOME, Manchester. He has completed residencies at the Bemis Center for Contemporary Arts, Nebraska, U.S.A; Katara Art Center, Doha, Qatar; Foundation Marcelino Botin, Santander Spain and Woodmill, London.

駐留藝術家 :

Rob Crosse 於 Slade School of Fine Ar t 完成純藝術碩士。 他最近的展覽包括倫敦 Jer wood 的「Solo Presentations」 ( 2 0 1 8)、黑 池   G r u n d y   的「P r i m e   T i m e」( 2 0 1 7 ) 和 倫 教 K ing sg ate Proje c t s 的「C l e ar  as  a  b e ll」(2 0 16)。他 的 作 品曾在倫 敦  L u x 的「D i f f e r e n t   Wa y s」、倫 敦In s t i t u t e  o f C o n t e m p o r a r y  A r t 的「Tr a n s a c t i o n s   o f   d e si r e」、倫 敦 J e r w o o d  Sp a ce 的「Slan t : f o r  t h e  unse t t lin g」、卡 迪 夫 C h a p t e r   H o u s e   的「T h e s e   R o t t e n   Wo r d s」和 曼 徹 斯 特 HOME 的「Ar tist  Film  Weekender」中播映。他曾擔任美國 內布拉斯加的 Bemis Center for Contemporar y Ar ts 和卡塔 爾多哈Katara  Ar t  Center 的以及西班牙桑坦德 Foundation Marcelino Botin 以及英國倫敦 Woodmill 的駐場藝術家。

Residency Period 駐留時間:1/3–31/3/2019 Residence 駐場:Eaton HK

DEAR SAMUEL 2019, 9’30” Dear Samuel is a stor y about intergenerational desire exploring ideas of care and duty through the perspective of a younger man attracted to older men. Inspired by time spent with a group from Hong Kong called Gay and Grey and from Crosse‘s personal experiences, the work uses both narration and song to examine perceptions of an unequal power balance - be it personal or political - and the search for support during moments of vulnerability. Please feel free to sing along.

D e ar  Samuel 是一 個 關於跨 代慾望的故事,從偏愛老年男 人的年輕男子角度出發,探討老年/年輕關係中的責任和關 懷的理念。藝術家在香港駐留時,受到自身經歷及與年長同 志團體「晚同牽」相處所啟發而創下此作。作品透過同時使 用獨白和歌唱兩種手法,檢視對不平等權力關係的認知、觀 念——無論是個人或政治上,以及在脆弱無助之時尋求的互 助支持。

About Eaton HK 關於 Eaton HK Eaton Workshop is a global purpose-driven company and creative lab at the intersection of culture, media, hospitality, wellness, and progressive social change. With a vision to reimagine a hotel as an inclusive gathering place for changemakers and creatives, Eaton consists of distinct parts—Hotel, House, Media, Wellness, and Impact. Collectively, the pillars serve as an incubator for arts and culture, a beacon for sustainability, a hub for impact initiatives, a holistic healing center, and a global media presence. Eaton’s first properties are now open in Downtown, Washing ton, D.C ., and Hong Kong’s Jordan neighborhood, with ensuing locations to arrive in San Francisco, Seattle, and Toronto in the future. 20

Eaton Wor k shop 是 使 命 先 行 的 國 際 品 牌及 創 意 實 驗 室,屹 立 於 文 化、媒 體、酒 店、身 心 健 康 與 社 會 變 革 的 交 匯 點。E a t o n   W o r k s h o p   致 力 將 酒 店 變 成 創 新 變 革 之 士 和 創 意 一 族 的 匯 聚 之 地。E a t o n    W o r k s h o p 由 Hotel、House、Media、Wellness 和 Impact 五大支柱組成, 不但 是 藝 術 和文化的 搖籃,更是引領 可持續 發 展的 指 標、 變革項目的樞紐、全面的身心治療中心及全球媒體平台。首 批 Eaton  Workshop 酒店現已於華盛頓特區及香港佐敦開 幕,未來將進駐三藩市、西雅圖及多倫多等地。

SPAIN  西班牙 Co-presented by AFAIS, Spain Moving Image Festival, videoclub, Videotage

SCREENINGS 放映 In collaboration with Spain Moving Images Festival, Both Sides Now V is one of the programmes in the festival from 20 to 30 June 2019. 彼岸觀自在V會與Spain Moving Images Festival合作,納入為其節目之一,於2019年6月20日至30 日期間舉行放映。

Spain Moving Images Festival (Madrid 馬德里) Date 日期:23/6/2019 Festival Period: 20–30/6/2019 About Spain Moving Images Festival 關於 Spain Moving Images Festival Spain Moving Images Festival is the first and only festival of Asian AV experimentation, art-house cinema and art video from Asia that takes place in Madrid (Spain). It is especially dedicated to emerging Asian filmmakers and artists, but with an eye always on classics and pioneers. It is an ideal platform to present the most relevant and avant-garde current audiovisual works and creators from Asia.

Spain Moving Images Festival 是馬德里首個與唯一一個 以亞洲聲音影像實驗 創作、藝 術電影及藝 術 錄 像為中心的 錄像節,為亞洲新進電影人和藝術家而設,亦不忘經典和先 鋒作品。它是一個展示影像作品的理想平台,呈獻來自亞洲 各地的聲音影像藝術家及作品。


Co-presented by D.D.A – Contemporary Art, Videodrome 2, videoclub, Videotage

SCREENINGS 放映 Both Sides Now V is in collaboration with D.D.A – Contemporary Art and Videodrome 2 to bring a screening programme and a talk in Marseille, France. 彼岸觀自在 V 將與法國馬賽 D.D. A – Contemporar y  Ar t 及 Videodrome 2 合作,舉行放映節目及 映後談。

Videodrome2 (Marseille 馬賽) Date 日期:28/6/2019, 8:30PM Address 地址 : 49 Cours Julien–13006 Marseille, France

About D.D.A – Contemporary Art 關於 D.D.A – Contemporary Art D.D.A Contemporary Art is a curatorial and artistic platform in new media and sound arts. It works on the circulation of works and artists from the field of contemporary art, in France and abroad.

D.D.A Contemporar y Ar t 是一個新媒體及聲音藝術的藝術 與策 展平台,在法國內外 致力推 動當代藝 術作品與藝 術家 的流動與發展。

About Videodrome 2 關於 Videodrome 2 Videodrome 2 is an alternative cinematographic diffusion project which gathers together a video rental club, a bar and a 49 seats projection theater.

Videodrome 2 是個另類電影放映項目,包括影碟出租會、酒 吧及能容納 49 人的影院。



videoclub (UK 英國)

Programmes in Taiwan 台灣節目

Curators 策展人 Jamie WYLD

Co-presenter 合辦 Taipei Contemporary Art Center

Assistant Curator 助理策展人 Moritz CHEUNG

台北當代藝術中心 Shih-yu HSU 徐詩雨

Programmes in France 法國節目 Videotage 錄映太奇 (HK 香港) Curators 策展人 Isaac LEUNG 梁學彬 Assistant Curators 助理策展人 Myra CHAN 陳嘉欣 Joseph CHEN 陳敬元 John CHOW 周晧風 Angel LEUNG 梁安琦 Kelvin YIU 姚玠廷 Intern 實習生 CHUNG Wing Yan 鍾詠欣 KAM Shuk Ching 金淑禎 LIU Yik Ming Angela 廖翊名 LAW Ka Yuen 羅嘉苑 WONG Yu 黃御 Programmes in HK 香港節目 Co-presenter 合辦 Eaton HK Chantal WONG 黃子欣 Phoenix TSE 謝傲俊 Exhibition Curator 展覽策展人 Nick YU 俞迪祈 Slow Dating Initiator 慢會發起人 Doreen CHAN 陳泳因 IP Wai Lung 葉惠龍 Slow Dating Co-host 慢會聯合主持 LEUNG Ho Yin 梁浩然


Co-presenter 合辦 D.D.A – Contemporary Art Constance-Juliette MEFFRE Videodrome 2 Programmes in Spain 西班牙節目 Co-presenter 合辦 Spain Moving Image Festival Susana SANZ Programmes in the UK 英國節目 Venue Support 場地支持 Fabrica Gallery (Brighton) John Hansard Gallery (Southampton) Phoenix Cinema and Arts Centre (Leicester) Royal College of Art (London) Vivid Projects (Birmingham) Special Thanks 特別鳴謝 Alexmalism Kelvin T KUNT_ ARCH Travis KONG 江紹祺 Frances LAI 黎沅慈 Sadie LAU 劉倩勤 Jun LI 李駿碩 Misty Penguin shealwaysresolume Shmily 施魅力 Castiel WONG 黃榮鋒 Nicholas WONG 黃裕邦

ACKNOWLEGEMENTS 致謝 The Umbrella Programme Both Sides Now | Co-presented by

Supported by

Both Sides Now V Programmes in France | Co-presented with

Both Sides Now V Programmes in Hong Kong | Co-presented & co-hosted with

Both Sides Now V Programmes in Spain | Co-presented with

Both Sides Now V Programmes in Taiwan | Co-presented with

Both Sides Now V Programmes in the United Kingdom | Venue Partners

Arranged in alphabetical order 按字母順序排列 23

Date 日期

Venue 地點

Brighton 布賴頓


Fabrica Gallery

London 倫敦


Royal College of Art

Birmingham 伯明翰


Vivid Projects

Leicester 萊斯特


Phoenix Cinema and Arts Centre

Southampton 修咸頓


John Hansard Gallery


Video Lounge, Taipei Contemporary Art Center 台北當代藝術中心 錄像廳

Showcase 主題展示


Lobby G/F, Eaton HK

Exhibition “Bad Bodies” 展覽「壞軀體」


Tomorrow Maybe, 4/F Eaton HK

LGBTQ Publications Showcase 書展


Colony Kids, G/F Eaton HK

Screening 放映


Kino@Eaton House, 1/F Eaton HK

LGBTQ Talk 講座


Eaton Radio, LG Eaton HK

Slow Dating—Human Instrumentality Project


Various locations 不同地點 , Eaton HK


Music Room, Terrible Baby, 4/F Eaton HK


Spain Moving Images Festival


Videodrome 2





LGBTQ-themed party LGBTQ 主題派對


Madrid 馬德里


Marseille 馬賽

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Both Sides Now V: QUEER 彼岸觀自在 V:酷兒時代  

彼岸觀自在V將以酷兒時代(Queer)為題,由Eaton HK、videoclub(UK)和錄映太奇於2019年5月13日至6月30日共同在香港呈獻一連串活動,包括錄像放映、展覽、主題活動,展示英國、香港和中國當代和歷史錄像及媒體作品。除香港部份外,彼岸觀自在V亦將於英國、台灣、...

Both Sides Now V: QUEER 彼岸觀自在 V:酷兒時代  

彼岸觀自在V將以酷兒時代(Queer)為題,由Eaton HK、videoclub(UK)和錄映太奇於2019年5月13日至6月30日共同在香港呈獻一連串活動,包括錄像放映、展覽、主題活動,展示英國、香港和中國當代和歷史錄像及媒體作品。除香港部份外,彼岸觀自在V亦將於英國、台灣、...

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