Methods of Art – Archive of Artists Interviews

I usually would deal with the space first. And then, if that space has a meaning, then it becomes a
place. And if the place is in the context of the time ‒ for example, Admirality in the context of 2014,
November, it’s the Umbrella Movement, is that place.
I don’t care what kind of space or what kind of place I really want to present. The first video that I
made, I just showed it in my home. I mean, that’s enough for me. At least there are maybe one or
two who people can look at it.
After I finish the artwork I would like to talk to the audience. But not before I finish it. So, if I can
reach them, the audience, I would like to hear them talking before I talk. Because if I talk, I will just
explain it. I kind of think it’s really dull, boring to explain it. Because I already promised to myself that I
keep it very simple and very direct (laughs), so, I think I don’t need to explain it.

Ellen Pau / Presentation

Bio

* 1961, Pau graduated from the Hong Kong Polytechnic with a Professional Diploma in Diagnostic Radiography in 1985 and 2008 with an MA in Visual Culture Studies, from Chinese University of Hong Kong. Since making her first Super-8 video in 1984, Pau has been working to promote technology, both in her work and curatorial endeavours. In 1986, she co-founded Videotage (http://www.videotage.org.hk/), a media art collective in Hong Kong aiming at creating an umbrella organization for media artists that facilitated artistic and cultural exchange and promoted video and media art in Hong Kong. Pau is also the founding director cum curator of the Microwave International New Media Arts Festival (http://www.microwavefest.net/) and Wikitopia – Festival for collaborative futures (http://videotage.org.hk/wikitopia/). 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. Pau’s 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.

Transcript

PDF

Credits

The interview was conducted on November 28, 2014 at Kung Chi Shing’s studio in Hong Kong.

Interviewed by: Johannes M. Hedinger

Filmed and recorded by: Banny Ng

Edited by: Wolfram Eggebrecht

Transcript by: Yvonne Mattern

Produced by: Zurich University of the Arts (ZHdK), Connecting Spaces Documents #5

Special thanks to: Kung Chi Shing