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'''Ellen Pau''' is een kunstenaar en curator werkzaam in Hong Kong. Behalve mede-oprichter van [http://videotage.org.hk/ Videotage] is zij tevens artistiek directeur van het [[Microwave International New Media Arts Festival]].<ref>{{Cite book|title=Ellen Pau|first=Travis|last=Kong|publisher=Routledge|location=|page=451|isbn=978-1136761812|year=2012|encyclopedia=Routledge International Encyclopedia of Queer Culture.|editor-last=Gerstner|editor-first=David}}</ref> Pau is sinds geruime tijd een belangrijk figuur in de kunstwereld van Hong Kong, en dit werd in 2018 bekroond door haar eerste overzichtstentoonstelling georganiseerd door Para Site, Hong Kong. <ref>{{Cite web|url=https://www.para-site.art/exhibitions/ellen-pau-what-about-home-affairs-a-retrospective/|title=Ellen Pau: What about Home Affairs? — A Retrospective|website=Para Site|language=en-US|access-date=2020-03-07}}</ref> De expositie met de titel, 'What About Home Affairs' vertoonde een selectie van Pau's videoinstallaties en videowerken van 1980 tot heden.<ref>{{Cite web|url=https://zolimacitymag.com/hong-kong-home-ellen-pau-tackles-the-question-in-her-30-year-retrospective/|title=In Hong Kong, What is Home? Ellen Pau Tackles the Question In Her 30-Year Retrospective|last=Lee|first=Christie|date=2019-01-01|website=Zolima City Magazine|language=en-GB|access-date=2020-03-07}}</ref>
== Werk ==
Pau's eerste productie is de Super8-film, Glove (1984), een surrealistisch verhaal over het verlangen. Gedurende de jaren tachtig was Pau student aan de afdeling Radiologie op de Polytechnische Universiteit in Hong Kong. Naast studeren, werkte Pau regelmatig in haar vrije tijd als geluidsoperator, backstage manager en kostuumbeheer voor het experimentele toneelgezelschap Zuni Icosahedron door wiens toedoen, zij in aanraking kwam met de Europese New Wave cinema. Pau citeert zo, [[Jean-Luc Godard]], maar ook de Amerikaanse kunstenaar, feminist en sociaal geengageerd activist, Martha Rosler als grote invloeden op haar werk. <ref name="dye-a-di-a-logue with Ellen Pau">{{cite book|title=dye-a-di-a-logue with Ellen Pau|publisher=Monographs in Contemporary Art Books|pages=6–8|isbn=0975335405|last1=NG|first1=Elaine W.|editor1-last=NG|editor1-first=Elaine W.}}</ref> <ref name="Ellen Pau's Profile at Videotage">{{cite web|url=http://videotage.org.hk/people/pau-ellen/|title=Ellen Pau's Profile at Videotage|accessdate=2014-10-20|publisher=Videotage}}</ref>
Vanaf de eind jaren negentig is Pau voornamelijk producent van video installaties. Wellicht haar meest internationaal bekende werk, ''Recycling Cinema'' (''1998)'' is een filmisch dagboek dat het verkeer dat gedurende dag en nacht in en uit Hong Kong stroomt documenteert. Dit werk was een internationale inzending voor Hong Kong op de [[49th Venice Biennale|49ste]] Biennale van Venetie in 2001,<ref>{{cite book|title=Magic at Street Level: China-Hong Kong Exhibition at The Venice Biennial.|first=|last=|publisher=Hong Kong Museum of Art|location=Hong Kong|date=2001|pages=42–43|isbn=}}</ref> en meer recentelijk in '<nowiki/>''Art and China after 1989: Theater of the World''' georganiseerd door het [[Solomon R. Guggenheim Museum|Guggenheim Museum]] in New York (2017).<ref>{{Cite news|last=Borgonjon|first=David|work=Ocula|date=2017-12-17|title=Theater of the World: Art and China after 1989 {{!}} Ocula|language=en|url=https://ocula.com/magazine/reports/art-and-china-after-1989-theater-of-the-world/|access-date=2018-03-07}}</ref>
Pau is aktied as a curator and organizer in the art world. A vocal supporter of the independent arts scene, she has advocated for increasing funding and exhibition opportunities for artists in non-traditional.<ref>{{Cite book|title=Conditional spaces : Hong Kong lesbian desires and everyday life|first=Tang, Denise|last=Tse-Shang|url=https://archive.org/details/conditionalspace0000tang/page/125|publisher=Hong Kong University Press|location=Hong Kong|date=2011|page=[https://archive.org/details/conditionalspace0000tang/page/125 125]|isbn=978-9888083015|oclc=770316327}}</ref> In 1986, together with Wong Chi-fai, May Fung, and Comyn Mo, she founded [http://videotage.org.hk/ Videotage], Hong Kong's oldest video and [[New media art|media art]] space.<ref name="Ellen Pau's Profile at Videotage" /> In 1996, she founded [[Microwave International New Media Arts Festival]], an annual event that includes exhibitions, conferences, seminars, school tours and workshops.<ref name="CRUMB Interviews: Videotage Hong Kong: An interview with Ellen Pau">{{cite web|url=http://www.crumbweb.org/getInterviewDetail.php?id=25|title=CRUMB Interviews: Videotage Hong Kong: An interview with Ellen Pau|accessdate=2014-10-19|publisher=CRUMB - Curatorial Resource for Upstart Media Bliss|archiveurl=https://archive.today/20140111195506/http://www.crumbweb.org/getInterviewDetail.php?id=25|archivedate=2014-01-11|last1=Whittle|first1=Keith|url-status=live}}</ref> Pau has also independently curated exhibitions including ''Digit@logue'' (2008) at the [[Hong Kong Museum of Art]].<ref>{{Cite news|work=South China Morning Post|date=2008-05-27|title=Digit@logue|language=en|url=http://www.scmp.com/article/639221/digitlogue|access-date=2018-03-07}}</ref><ref name="Hong Kong Art: Open Dialogue: Exhibition Series I - Digit@logue">{{cite web|url=http://www.aaa.org.hk/WorldEvents/Details/10316|title=Hong Kong Art: Open Dialogue: Exhibition Series I - Digit@logue|accessdate=2014-10-19|website=Asia Art Archive}}</ref> From 2013 to 2019, Pau was appointed by the [[Hong Kong Arts Development Council]] (HKADC) as a representative of the arts sector in Film Arts.<ref>{{cite web|url=http://www.info.gov.hk/gia/general/201312/27/P201312270274.htm|title=Appointments to Hong Kong Arts Development Council, Hong Kong Government Press Release|accessdate=2014-10-20|date=2013-12-27|website=GovHK}}</ref> Later in 2014, she was further appointed to the interim acquisition committee of [[M+]]<ref name="Appointment of Committee and Subcommittee Members under The Board of the West Kowloon Cultural District Authority, Press Release of West Kowloon Cultural District Authority">{{cite web|url=http://www.westkowloon.hk/en/newsroom/news/appointment-of-committee-and-subcommittee-members-under-the-board-of-the-west-kowloon-cultural-district-authority-495|title=Appointment of Committee and Subcommittee Members under The Board of the West Kowloon Cultural District Authority, Press Release of West Kowloon Cultural District Authority|accessdate=2014-10-20|website=West Kowloon Cultural District}}</ref> in [[West Kowloon Cultural District]] to advise on collection development.<ref name="'We can't afford another generation too lazy to think', says arts adviser">{{cite news|title='We can't afford another generation too lazy to think', says arts adviser|publisher=South China Morning Post|url=http://www.scmp.com/news/hong-kong/article/1409172/we-cant-afford-another-generation-too-lazy-think-says-arts-adviser|last1=Chow|first1=Vivienne}}</ref>
Works by Pau can be found in these collections: [http://vmac.org.hk/web/entries.php?tag=&order=&search=ellen+pau&tag_name= VMAC, Videotage] and [http://videobureau.org/artist/ellen-pau?lang=en Video Bureau].
=== Videography ===
{| class="wikitable"
|+
!Title
!Year
!Length
!Format
!Notes
|-
|Glove
|1984
|
|Super-8 film
|
|-
|Disenchantment of the Statue
|1987
|10:00
|Betamax
|
|-
|Fire Sermon
|1988
|3:12
|Video 8
|
|-
|Garden at Fringe
|1988
|1:30
|Video 8
|
|-
|She Moves
|1988
|
|Video 8
|
|-
|Drained
|1988
|3:00
|Video8 (NTSC)
|
|-
|TV Game of the Year
|1989
|5:00
|VHS
|
|-
|Live in the Time of Cholera
|1989
|4:16
|Video 8
|
|-
|Drained II
|1989
|5:40
|V8
|Edited with Betamax
|-
|Blue
|1989
|8:00
|V8
|Edited with Betamax
|-
|Diversion
|1990
|5:30
|VHS
|
|-
|Here's Looking At You,Kid!
|1990
|9:23
|
|In collaboration with Wong Chi-fai and Yau Ching.
|-
|Video is a Hole
|1990
|5:00
|Video 8
|
|-
|''Alice doesn’t live here anymore''
|1990
|
|Video Installation
|
|-
|Song of the Goddess
|1992
|6:50
|Hi-8
|
|-
|Video Vogue
|1992
|
|Video Installation
|-
|Bik Lai Chu
|1993
|
|Video Installation
|
|-
|Drained III
|1995
|
|Video Installation
|
|-
|Drained IV
|1996
|
|Video Installation
|
|-
|I can only tell it to strangers
|1996
|
|Video Installation
|
|-
|The Great Movement
|1996
|
|Video Installation & Performation
|The video work of this video-installation being re-made in 2016
|-
|Movement#1/10
|1996
|5:00
|Hi-8
|Edited with SVHS
|-
|Video Circle: Recycling Opera
|1996
|
|Video Installation
|Video Circle is an installation with 32 televisions, conceived by Danny Yung.
|-
|The Great Movement: Red Stock
|1997
|
|Video Installation
|
|-
|Expiration
|1997-2000
|5:09
|DV
|
|-
|Sweetness
|1998
|
|Video Installation
|
|-
|Recycling Cinema
|1999
|12:00
|DV
|
|-
|Recycling Cinema
|2000
|8:00
|DV + Video Installation
|
|-
|For Some Reasons
|2003
|5:12
|DV
|
|-
|Not Yet
|2004
|10:00
|Video Installation
|
|-
|Fanfare for the Common Man
|2010
|4:02
|DV
|
|-
|For Some Blues
|2015
|2:30
|DV
|
|}
== Publications ==
# Elaine W. NG(伍穎瑜): dye-a-di-a-logue with Ellen Pau. Monographs in Contemporary Art Books. 2004. {{ISBN|0975335405}}.
# SING Song-yong(孫松榮), 'Delayed Plasticity: A Preliminary Investigation of the Political Criticism of Sinophone Single-Channel Video Art in the 1980s,' ''Journal of Taipei Fine Arts Museum'', 34 (Nov 2017), 65-90. (in Chinese)
# Linda Lai (2015), 'Video Art in Hong Kong: Organologic Sketches for a Dispersive History', in ''Hong Kong Visual Arts Yearbook 2014,'' Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 15-54.[http://www.arts.cuhk.edu.hk/~fadept/Yearbook/YearbookEssays/2014/2014_lindalai_videoart_eng.pdf]
# Alice Jim, ‘Screen Structures: Overview of Media Art Development in Hong Kong.’ ''Hong Kong Visual Arts Yearbook 2003 (1)'', Hong Kong: Department of Fine Arts, The Chinese University of Hong Kong, 2004, 150-58.[http://hkvisualartsyearbook.org/lib/img/cuhkvayb/pdf/2003_AliceMing-waiJim_ENG.pdf]
# Ellen Pau, "Development of Hong Kong Video Art." VTEXT, June 1997, p. 54 -57.
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