22°20′05″N 114°09′56″E / 22.3346°N 114.1656°E / 22.3346; 114.1656
57-467: Home Affairs Bureau HKSAR Government Hong Kong Baptist University Hong Kong Jockey Club's Charities Trust Hong Kong Arts Development Council The Jockey Club Creative Arts Centre ( JCCAC ; Chinese : 賽馬會創意藝術中心 ) is a multi-disciplinary arts centre in Shek Kip Mei , Hong Kong, housed in a converted nine-storey factory estate. JCCAC was established through the co-operation of
114-503: A Black Box Theatre , two exhibition galleries, and a central courtyard for organisation of programmes and activities. On the lorry of the building (Level-1), a few rental spaces are reserved for commercial outlets like cafeteria, a commercial art gallery and a Chinese tea house, etc. to provide eating places for the artists. "Artists complained about bureaucratic management, unusable public space, inadequate publicity and poor facilities. Visitors were unhappy to find many studios closed as
171-1014: A Television and Films Division was created from the Television Authority Secretariat and Film Censorship Unit, both transferred from the Information Services Department. In 1973 the SHA's liquor licensing functions were moved to the Urban Services Department , while the Narcotics Division was transferred to the Security Branch of the Colonial Secretariat . Following a reorganisation of the Colonial Secretariat as proposed by
228-569: A distorted and radically dissonant image. Another representative piece, Joan Jonas ' Vertical Roll , involved recording previously-recorded material of Jonas dancing while playing the videos back on a television, resulting in a layered and complex representation of mediation. Much video art in the United States was produced out of New York City, with The Kitchen , founded in 1972 by Steina and Woody Vasulka (and assisted by video director Dimitri Devyatkin and Shridhar Bapat ), serving as
285-559: A fine balance between new and old features in order to achieve integration with the surrounding neighbourhood and to preserve the inherent characteristics of the old factory building. Local design firm G.O.D. maintains a Street Culture Gallery featuring pop-culture artefacts from Hong Kong's past for the Jockey Club Creative Arts Centre that is a home to artists and art groups for the production and display of their works. The Jockey Club Creative Arts Centre
342-500: A medium can also be combined with other forms of artistic expression such as Performance art . This combination can also be referred to as "media and performance art" when artists "break the mold of video and film and broaden the boundaries of art". With increased ability for artists to obtain video cameras, performance art started being documented and shared across large amounts of audiences. Artists such as Marina Abramovic and Ulay experimented with video taping their performances in
399-510: A mirroring effect for many members of the audience who were doing the same thing. Export believed the television could complicate the relationship between subject, spectator, and television. In the United Kingdom David Hall 's "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the first artist interventions on British television. As the prices of editing software decreased,
456-472: A new generation of artists for whom the arrival of lighter equipment such as Handycams favored a more direct expression. Artists such as Pipilotti Rist , Tony Oursler , Carsten Höller , Cheryl Donegan, Nelson Sullivan were able, as others in the 1960s, to leave their studios easily to film by hand without sophistication, sometimes mixing found images with their own ( Douglas Gordon , Pierre Bismuth , Sylvie Fleury , Johan Grimonprez, Claude Closky ) and using
513-620: A nexus for many young artists. An early multi-channel video art work (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette . Wipe Cycle was first exhibited at the Howard Wise Gallery in New York in 1969 as part of an exhibition titled "TV as a Creative Medium". An installation of nine television screens, Wipe Cycle combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material
570-472: A present but simple post-production. The presentation of the works was also simplified with the arrival of monitors in the exhibition rooms and distribution in VHS . The arrival of this younger generation announced the feminist and gender issues to come, but also the increasingly hybrid use of different media (transferred super 8 films, 16mm, digital editing, TV show excerpts, sounds from different sources, etc). At
627-474: A result of some artists saying they simply wanted a quiet place to work." "Artists are unhappy about a sudden 20 per cent rent increase for studio space. All occupants of the factory turned artist incubator would have to pay a new elevated rate of HK$ 7.80 per square foot – up from HK$ 6.50 per sq ft for many – once their contracts come due. Although the centre had warned tenants last year(2011) they would have to pay HK$ 7.50 per sq ft starting this year(2012),
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#1732790730772684-603: A third of the works presented at Art Unlimited (the section of Art Basel dedicated to large-scale works) were video installations between 2000 and 2015. The same is true for most biennials. A new generation of artists such as Pipilotti Rist , Francis Alys , Kim Sooja , Apichatpong Weerasethakul , Omer Fast , David Claerbout , Sarah Morris , Matthew Barney , were presented alongside the previous generations ( Roman Signer , Bruce Nauman , Bill Viola , Joan Jonas , John Baldessari ). Some artists have also widened their audience by making movies ( Apichatpong Weerasethakul who won
741-643: Is Shirley Lam who took up her post in 2022. The Bureau is divided into two branches: the Youth Affairs Branch, led by Commissioner for Youth Eric Chan, and the Home Affairs Branch, led by Deputy Secretary for Home and Youth Affairs (Home Affairs) Nick Au-Yeung. Home Affairs is responsible for policies such as: List of agencies linked to the Home and Youth Affairs Bureau: Unlike the ministry of home affairs of many other governments,
798-487: Is a policy bureau of the Hong Kong Government . The bureau has general responsibility over local administration, with a remit covering youth affairs, family planning, women's affairs, social development, fire safety, and matters related to the district councils . One of the important roles of the Home and Youth Affairs Bureau is to enhance liaison and communication with all sectors of the community including
855-471: Is a 68 minute long interpretation of the cold war and the role of terrorists, made almost exclusively with original television and film excerpts on hijacking. More generally, during the first decade, one of the most significant steps in the video art domain, was achieved with its strong presence in contemporary art exhibitions at the international level. During this period, it was common to see artist videos in group shows, on monitors or as projections. More than
912-502: Is an anchor” (2004) she lets her foot dry in cement before attempting to break free on camera. Gilmore has said to have mimicked expression styles from the 1960s and 1970s with inspirations like Marina Abramovic as she adds extremism and struggle to her work. Some artists experimented with space when combining Video art and Performance art. Ragnar Kjartannson , an Icelandic artist, filmed an entire music video with 9 different artists, including himself, being filmed in different rooms. All
969-750: Is currently managed by the Hong Kong Baptist University under a seven-year Entrustment Agreement with the Hong Kong Government , in partnership with the Hong Kong Arts Development Council and the Hong Kong Arts Centre . The University received a total of HK$ 94.4 million (HK$ 69.4 million + HK$ 25 million) funding donation from the Hong Kong Jockey Club's Charities Trust (JCCT) in 2005 and 2007 for renovating
1026-469: Is named for the original analog video tape , which was the most commonly used recording technology in much of the form's history into the 1990s. With the advent of digital recording equipment, many artists began to explore digital technology as a new way of expression. One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ
1083-428: Is often said to have begun when Paik used his new Sony Portapak to shoot footage of Pope Paul VI 's procession through New York City in the autumn of 1965 Later that same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. Prior to the introduction of consumer video equipment, moving image production was only available non-commercially via 8mm film and 16mm film . After
1140-735: Is widely regarded as a pioneer in video art. In March 1963 Nam June Paik showed at the Galerie Parnass in Wuppertal the Exposition of Music – Electronic Television . In May 1963 Wolf Vostell showed the installation 6 TV Dé-coll/age at the Smolin Gallery in New York and created the video Sun in your head in Cologne. Originally Sun in your head was made on 16mm film and transferred 1967 to videotape. Video art
1197-578: The 2010 Cannes Film Festival "Palm d'or") or by curating large public events ( Pipilotti Rist 's Swiss National Expo02 In 2003, Kalup Linzy created Conversations Wit De Churen II: All My Churen , a soap opera satire that has been credited as creating the video and performance sub-genre Although Linzy's work is genre defying his work has been a major contribution to the medium. Ryan Trecartin , an experimental young video-artist, uses color, editing techniques and bizarre acting to portray what The New Yorker calls "a cultural watershed". Video art as
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#17327907307721254-932: The Centre Georges Pompidou in Paris, the Museum Ludwig in Cologne and the Centre pour l'Image Contemporaine (center for contemporary images) in Geneva. By the end of the century, institutions and artists worked on the expanding spectrum of the media, 3d imagery, interactivity, cd-roms, Internet, digital post production etc. Different themes emerged such as interactivity and nonlinearity. Some artists combined physical and digital techniques, such as Jeffrey Shaw 's "Legible City" (1988–91). Others by using Low-Tech interactivity such as Claude Closky 's online "+1" or "Do you want Love or Lust" in 1996 coproduced by
1311-572: The Dia Art Foundation . But these steps start to move away from the so called video art towards the New media art and Internet art . As the available amount of footage and the editing techniques evolved, some artists have also produced complex narrative videos without using any of their own footage: Marco Brambilla 's Civilization (2008) is a collage, or a "video mural" that portrays heaven and hell. Johan Grimonprez 's Dial H-I-S-T-O-R-Y
1368-707: The Hong Kong Arts Development Council (HKADC) and the Hong Kong Arts Centre (HKAC) and is a subsidiary of Hong Kong Baptist University (HKBU). It is funded by the Hong Kong Jockey Club Charities Trust and is supported by the Home Affairs Bureau . The JCCAC officially opened on 26 September 2008 as a self-financed registered charity . The building housing the JCCAC was formerly known as
1425-636: The Legislative Council and the general public. The Bureau was established on 1 July 1997 as the Home Affairs Bureau, succeeding the Home Affairs Branch ( Chinese : 布政司署政務科 ) of the colonial government secretariat . It was reorganized at the beginning of the Lee government in 2022 as the Home and Youth Affairs Bureau, with some of its functions transferred to the new Culture, Sports and Tourism Bureau . It has its headquarters in
1482-834: The Shek Kip Mei Flatted Factory Building or the Shek Kip Mei Factory Estate. The Factory Estate was built in 1977 and comprised one nine-storey block accommodating 390 factory units. It was a facility of housing cottage and local light industries in the late 1970s and was owned by the Hong Kong Housing Authority (HA). It fell into disuse particularly due to a steep decline in the local garment industry in 1990s in Hong Kong when owners started to move their businesses to mainland China . The building
1539-626: The Social Welfare Department on 1 January 1958. A Public Enquiry Service Division was formed in November 1960. Following the 1966-67 riots , the City District Office scheme was introduced on 24 January 1968. The Secretariat for Chinese Affairs was retitled Secretariat for Home Affairs (SHA) on 28 February 1969. The name change was prompted by the introduction of the City District Office scheme in 1968. The SHA
1596-792: The World Wide Video festival in The Hague, the Biennale de l'Image in Geneva or Ars Electronica in Linz developed and underlined the importance of creation in this field. From the beginning of the 90's, contemporary art exhibitions integrate artists' videos among other works and installations. This is the case of the Venice Biennale (Aperto 93) and of NowHere at the Louisiana Museum , but also of art galleries where
1653-648: The transfer of sovereignty on 1 July 1997, the organisation was renamed as the Home Affairs Bureau, headed by the Secretary for Home Affairs. The bureau gained responsibility for the culture and leisure portfolios of the Broadcasting, Culture and Sport Bureau following the latter's abolition on 9 April 1998, and following the abolition of the Urban Council , Regional Council , Urban Services Department and Regional Services Department on 31 December 1999,
1710-435: The 1970s and the 1980s. In a piece titled “Rest energy” (1980) both Ulay and Marina suspended their weight so that they pulled back a bow and arrow aimed at her heart, Ulay held the arrow, and Marina the bow. The piece was 4:10 which Marina described as being “a performance about complete and total trust”. Other artists who combined Video art with Performance art used the camera as the audience. Kate Gilmore experimented with
1767-464: The CNTA comprised a Headquarters, four Divisions (District Administration, Departmental Administration and Finance, Information and Public Relations, and Public Enquiry Service), a Works Section and the Hong Kong and Kowloon Regions and their District Offices. Certain traditional and community related matters including temples, Chinese customs and marriages, cemeteries and opinion surveys, were transferred to
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1824-572: The CNTA on 1 April 1985 from the Home Affairs Branch, Government Secretariat. Responsibility for community centres was also acquired from the Social Welfare Department in 1985. By 1988, CNTA had added a Special Duties Division. This was followed by a Youth Division in 1992. On 1 December 1994 the CNTA was reorganised into a Home Affairs Branch in Government Secretariat and a Home Affairs Department. Following
1881-753: The Chinese community of the British colony. In 1913, the Registrar-General became the Secretary for Chinese Affairs, overseeing the Secretariat for Chinese Affairs (SCA), comprising the Interpretation and Emigration sub-departments. The SCA's functions included the protection of women and girls, permits, registration of books and marriages, emigration, plague hospitals, temples, cemeteries and Chinese clubs and societies. Responsibility for
1938-1009: The City District Commissioners and District Offices for Hong Kong and Kowloon. In 1974, the Television and Film Division was separated to form an independent Television and Film Authority; the Tenancy Enquiry Bureaux were transferred to the Rating and Valuation Department ; and the HAD was reorganised into a Community Services Branch and a Language and Tradition Branch and the City District Offices. In 1975 its functions included city district administration, public enquiry service, lands and housing matters, Chinese language authority, Chinese customs and liaison with local organisations. On 1 December 1981
1995-560: The Home Affairs Bureau into the Home Affairs and Youth Bureau, stating that it would better address local needs and formulating policies aimed at young people. The proposal was implemented after the Lee government took office on 1 July 2022, with some of the old bureau's functions transferred to the new Culture, Sports and Tourism Bureau. The bureau has three political appointees, with principal officials in bold: The Permanent Secretary
2052-846: The Home and Youth Affairs Bureau is not responsible for public security and law enforcement, which is instead under the remit of the Security Bureau. Video art Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast ; installations viewed in galleries or museums; works either streamed online, or distributed as video tapes , or on DVDs ; and performances which may incorporate one or more television sets , video monitors , and projections, displaying live or recorded images and sounds. Video art
2109-761: The Hong Kong Creative Arts Centre Limited which is operated on self-financing basis. The present Chairman of the Governing Board is William Leung Wing-cheung. The Jockey Club Creative Arts Centre provides a total of 131 studio units (each unit measuring 24 square metres) at affordable rent encompassing a wide spectrum of the various tenants’ arts including painting, sculpture, ceramics , photography, glass art , multi-media design, folk art , film and video art , music, dance, multi-media performance, community art and art education . The Centre also has supporting facilities such as
2166-706: The McKinsey Report, the Secretariat for Home Affairs was retitled as the Home Affairs Department (HAD) in September 1973. The Department's primary role was maintaining communication between the Chinese population and the Government. It was organised into four Divisions (General and Traditional, Lands, Information, Television and Film), a Trust Funds Section, Chinese Language Branch, Public Relations Unit, Tenancy Enquiry Bureaux, and Offices of
2223-780: The New Territories Administration merged with the Home Affairs Department to form the City and New Territories Administration (CNTA). The new department took over the functions of its antecedent agencies, except for disposal and survey of land in the New Territories which was transferred to the Lands Department, and acquired new responsibilities for the District Management Committees and District Boards . The structure of
2280-744: The Portapak's introduction and its subsequent update every few years, many artists began exploring the new technology. Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci , Valie Export , John Baldessari , Peter Campus , Doris Totten Chase , Maureen Connor , Norman Cowie , Dimitri Devyatkin , Frank Gillette , Dan Graham , Gary Hill , Joan Jonas , Bruce Nauman , Nam June Paik , Bill Viola , Shigeko Kubota , Martha Rosler , William Wegman , and many others. There were also those such as Steina and Woody Vasulka who were interested in
2337-767: The West Wing of the Central Government Complex in Tamar . The bureau is headed by Alice Mak , the Secretary for Home and Youth Affairs since 2022, and is overseen by the Chief Secretary for Administration . Source: The bureau has its origins in the office of Registrar-General in 1844, who led the Census and Registration Office ( 總登記官署 ) and was responsible for overseeing and regulating
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2394-506: The access the general public had to utilize these technologies increased. Video editing software became so readily available that it changed the way artists worked with the medium. Simulteanously, with the arrival of independent televisions in Europe and the emergence of video clips, artists also used the potential of special effects, high quality images and sophisticated editing ( Gary Hill , Bill Viola ). Festivals dedicated to video art such as
2451-502: The artists could hear each other through a pair of headphones so that they could play the song together, the piece was titled "The visitors" (2012). Some artists, such as Jaki Irvine and Victoria Fu have experimented with combining 16 mm film , 8 mm film and video to make use of the potential discontinuity between moving image, musical score and narrator to undermine any sense of linear narrative. Since 2000, video arts programs have begun to emerge among colleges and universities as
2508-776: The back-to-back rent rises took many by surprise. 'I am not against increasing the rent if it's necessary,' said tenant Mac Mak Keung-wai of the A&;M Art Workshop. 'I just feel that this is a commercially driven decision and that it strays from the original vision of the centre.'" Home Affairs Bureau High Court District Court Magistrates' Court Special courts and tribunals: Chief Executive Elections Legislative elections District council elections Consular missions in Hong Kong Hong Kong–China relations Hong Kong–Taiwan relations The Home and Youth Affairs Bureau ( Chinese : 民政及青年事務局 )
2565-469: The bureau took over the new Leisure and Cultural Services Department , gaining even greater responsibility over leisure and cultural policy. On 1 April 2000, the Health, Welfare and Food Bureau's responsibility over sports for disabled people was transferred to the Home Affairs Bureau. On 1 July 2007, following Donald Tsang's re-election as Chief Executive , the Home Affairs Bureau's human rights portfolio
2622-509: The formal qualities of video and employed video synthesizers to create abstract works. Kate Craig , Vera Frenkel and Michael Snow were important to the development of video art in Canada. Much video art in the medium's heyday experimented formally with the limitations of the video format. For example, American artist Peter Campus ' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in
2679-409: The positioning of the camera. In her video “Anything” (2006) she films her performance piece as she is constantly trying the reach the camera which is staring down at her. As the 13-minute video goes on, she continues to tie together pieces of furniture while constantly attempting to reach the camera. Gilmore added an element of struggle to her art which is sometimes self-imposed, in her video “My love
2736-629: The same time, museums and institutions more specialized in video art were integrating digital technology, such as the ZKM in Karlsruhe, directed by Peter Weibel , with numerous thematic exhibitions, or the Centre pour l'Image Contemporaine with its biennial Version (1994-2004) directed by Simon Lamunière . With the arrival of digital technology and the Internet, some museums have federated their databases such as http://www.newmedia-art.org/ produced by
2793-420: The supervision of student interpreters was passed to the Education Department in June 1913. On 1 January 1922 the SCA acquired the functions of protector of child labour and inspector of factories, and an Industrial sub-department was established to administer these. The SCA became responsible for the protection of ' mui tsai ' or female domestic servants in 1923 under Ordinance No 1 of 1923. Marriage registration
2850-414: The use of actors , may contain no dialogue , may have no discernible narrative or plot , and may not adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction also distinguishes video art from cinema's subcategories such as avant garde cinema, short films , or experimental film . Nam June Paik , a Korean-American artist who studied in Germany,
2907-420: The vacated factory building and disbursing part of the start-up costs. Ms. Lillian Hau Cheuk-ki is the Executive Director of JCCAC started from 3 May 2010 by the appointment from the Hong Kong Creative Arts Centre Limited while Mr. Eddie Lui Fung-ngar is the former Executive Director of the centre between 1 July 2007 to February 2010. The Centre is managed by an HKBU subsidiary company with charitable status, namely
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#17327907307722964-618: Was alternated from one monitor to the next in an elaborate choreography. On the West coast, the San Jose State television studios in 1970, Willoughby Sharp began the "Videoviews" series of videotaped dialogues with artists. The "Videoviews" series consists of Sharps' dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated "Body Works", an exhibition of video works by Vito Acconci , Terry Fox , Richard Serra , Keith Sonnier , Dennis Oppenheim and William Wegman which
3021-401: Was organised into four Divisions (General and Traditional; Lands; Narcotics; Public Relations), two Sections (Trust Funds; Liquor Licensing), Tenancy Inquiries Bureaux and the City District Commissioners and District Offices for Hong Kong and Kowloon. In March 1972 a Chinese Language Branch was established to administer the official languages policy and provide translation services. The same year,
3078-432: Was presented at Tom Marioni's Museum of Conceptual Art , San Francisco, California. In Europe, Valie Export 's groundbreaking video piece, "Facing a Family" (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program "Kontakte" February 2, 1971,[11] shows a bourgeois Austrian family watching TV while eating dinner, creating
3135-401: Was transferred to the Land Office in 1926. After the Second World War, the SCA was re-established on the resumption of civil administration in 1946 and continued its pre-war role, including liaison between the Chinese population and the Government and advising on Chinese law , customs and opinion. A Social Welfare Office was created within the SCA in September 1947. This was separated to form
3192-601: Was transferred to the renamed Constitutional and Mainland Affairs Bureau , and the development-related matters of the Home Affairs Bureau's responsibility over heritage conservation were transferred to the new Development Bureau . The Home Affairs Bureau gained responsibility over the promotion of social enterprises , as well as the Legal Aid Department , which was transferred from the Chief Secretary for Administration's Office. The Legal Aid Department returned to Chief Secretary's Office on 1 July 2018. In her 2021 policy address , Chief Executive Carrie Lam proposed reorganizing
3249-464: Was vacant from May 2001. The JCCAC was the first adaptive reuse attempt in Hong Kong to convert a decommissioned factory building into a creative arts centre. The interior of the centre retains architectural features of factories (architecturally it is reminiscent of London's Tate Modern ). The conversion was awarded 'Medal of the Year of Hong Kong' in HKIA Annual Awards 2008 by the Hong Kong Institute of Architects (HKIA). The design aims to strike
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