【OCAT上海馆 | 作品介绍】鲍蔼伦，《循环影院（Viewing Room）》，2000；《行动剧场》，1995-1996

星标为《循环影院（Viewing Room）》（Recycling Cinema (Viewing Room)，2000）和《行动剧场》（Operation Theatre，1995-1996）在本次展览现场所处位置

The stars refer to the location of Recycling Cinema (Viewing Room) (2000) and Operation Theatre (1995-1996) in this exhibition

鲍蔼伦的作品聚焦于日常，通过对当下和可触及的现实生活现象的关注，洞察出当代人类生存处境的脉搏和基调。此次展出的两件作品《行动剧场》（1995-1996）和《循环影院（Viewing Room）》（2000）可以是在世界任何一个城市被拍摄出来，因此都体现了录像媒介的跨国界性。影片以现代建筑、城市景观、桥梁和汽车这些在全球范围内都很常见事物为背景，而《行动剧场》中的亚洲人形象也可以在东西方世界的任何一个地方找到。每件作品都在寻找一种具体的日常体验，例如凝视一间医院和其中走动的人们，或者是观察川流不息的车流以及司机、乘客的穿行。这两部作品聚焦于对主流文化观念的提炼体验，分别以剧场和电影院为主体，颠覆了人们对戏剧和电影传统的期待。借由录像媒介，艺术家得以触及、记录、思考、解构和还原这些日常情境。在《行动剧场》中，由闭路电视摄像机捕捉的人们在繁忙的医院走廊中活动的单视点画面，构成了作品的原始素材。在全球公共建筑中都很常见的闭路电视监视屏，观察着无剧本的公众互动，客观地记录了这个一成不变的环境中的任何变化。《循环影院（Viewing Room）》利用摄影机的平移运镜，跟踪驶过桥梁的车辆，直到镜头锁定从另一侧进入画面的下一辆车辆，从而连续跟踪了一连串的穿梭的匿名车辆。当规则出现，结构也就相应显现。投影机前的两张扶手椅为观众提供了一个固定的位置，作为装置的一部分，令我们联想到在最初拍摄中摄影机的位置。（文/金曼）

Ellen Pau’s work is preoccupied with the everyday, focusing on present and accessible real-life phenomena to extract the pulse and tone of our contemporary human condition. In keeping with the transnational character of the video medium, the two works in this exhibition Operation Theatre (1995-1996) and Recycling Cinema (Viewing Room) (2000) could have been recorded in any city of the world. The backdrop of modern architecture, cityscape, bridges and cars are common globally while the Asian ethnicity of the figures in Operation Theatre could also be found in any number of locations in the East and West. Each work seeks out an everyday concrete experience such as contemplating a hospital and the people moving through it, or pondering traffic flows and the transit of drivers and passengers. Drawing attention to a distilled experience of mainstream cultural concepts, in this case theatre and cinema, the two works subvert the expectation of theatrical and cinematic conventions. This is achieved through the exploration of medium of video that enabled the artist to access, record, consider, deconstruct and reinstate these everyday situations. In Operation Theatre, a single camera point-of-view CCTV footage capturing people moving through a busy hospital corridor is the source material for the work. The CCTV monitoring, commonplace in public buildings globally, observes unscripted public interactions objectively recording any change in an unchanging setting. Recycling Cinema uses the horizontal pan of the video camera to track a vehicle crossing a bridge before the camera locks onto the next vehicle entering the frame from the opposing side, consequently tracking serial anonymous crossings. The rule emerges and structure is mechanically followed. Two arm chairs in front of the projection offer a committed position for the viewer as part of the installation and what we could imagine as the roost from where the video was originally filmed. (Text / Kim Machan)

图片版权 ©OCAT上海馆

Image copyright ©OCAT Shanghai

图片由Martin Cheung拍摄，由艺术家及马凌画廊提供

Photo by Martin Cheung ©Ellen Pau and Edouard Malingue Gallery

鲍蔼伦1961年生于香港。作为香港艺术界的翘楚，鲍蔼伦通过创作让观者意识到个人的物理存在以至其存在意义，就在当下、这里及我们每个人所占据的空间以外。鲍氏1985年于香港理工大学获得放射诊断专业文凭，并于 2008 年于香港中文大学攻读视觉文化研究硕士文凭。随后于香港公立医院担任放射科专业医护人员。同时，出于对专业工作以外的录像、新媒体艺术，甚至音乐、诗歌、舞台等艺术形式的强烈兴趣，她开始涉猎艺术创作。在此之外，鲍蔼伦亦参与成立包括录映太奇、微波国际新媒体艺术节及维基托邦文化祭在内的多个重要文化机构，致力于香港艺术及文化上的推广、策展、教育工作。鲍氏更于 2014 年同时开始担任香港艺术发展局电影及媒体艺术组主席至 2019 年年底，以及西九龙文化区M+博物馆的购藏委员会成员至今。

鲍蔼伦是香港艺术界的开创性人物。她编织了一种既引人入胜又突破技术界限的艺术实践，并时刻保持对社会的反思。此外，在她的日常职业的医疗行为以及发起、领导文化活动的工作而言，她都为社会做出了重要贡献。由此，鲍氏通过多种途径和渠道，促使人们探索自我，以及我们所处的不断更生发展的时代。

Born in Hong Kong in 1961, Ellen Pau is a key figure in Hong Kong’s art scene. She raises our awareness of our own physical presence and ignites a contemplation of what it means to be, to exist, here, now, and beyond that, the space each of us occupy. Born in Hong Kong and a graduate from Hong Kong Polytechnic University with a diploma in Diagnostic Radiography in 1985 and received an MA in Visual Culture Studies from the Chinese University of Hong Kong in 2008.  Pau has worked as a radiographer in the public hospital in Hong Kong ever since. Pau was plunged into the Hong Kong art scene by her intense interest in video art, new media art, as well as other art forms such as music, poems and performances. Beyond artistic creation, Pau has also been a leader in the promotion, curation and education of art and culture in Hong Kong through founding several important initiatives such as Videotage, the Microwave International New Media Arts Festival and Wikitopia Mini Festival.  In 2014, Pau was appointed by the Hong Kong Arts Development Council as a representative of the Art Form Group in Film and Media Arts until end of 2019, and in the same year, she also served on the interim acquisition committee of M+ in West Kowloon Cultural District till present.

Pau is a seminal figure in the Hong Kong art scene, weaving a practice that engages as well as pushes the boundaries of technology, while reflecting on society. Moreover, Pau has been a key contributor to society, through her medical activity as well as initiation and leading of cultural activities. As such, through multiple avenues and outlets, Pau prompts an exploration of the self and the times we are living in, ever shifting and evolving.

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