Hallucinatory Hereafter, a guest programme by Videotage, comprises works from its Videotage Media Art Collection (VMAC), and features works by artists active in Hong Kong, mainland China, and Taiwan after the 1980s—a time of historical rupture and sociopolitical tension. The selection explores the metaphoric and hallucinatory nature of video art through its cinematography, narratives, and techniques.

Each work represents a fragmented, cyberpunkish, futuristic, and imaginative reality. Angela Su’s The Afterlife of Rosy Leavers and Linda Lai’s Voices Seen, Images Heard shatter our conventional linear perception; Comyn Mo’s Can Fish See the Same Face Twice and Nose Chan’s Aftermath highlight the absurdity of our daily encounters; and the essay film One-way Street on a Turntable by Anson Mak provides an alternative narrative to the often-told stories of Hong Kong. The works in this programme resist rational readings and celebrate the essential features of moving image.

Curator: Vennes Cheng

Assistant Curators: John Chow, Chung Wing Shan

Videotage has developed into an influential network, supporting the creative use of media art to explore, investigate, and connect with issues of significant social, cultural, and historical value. The organisation has curated multiple media arts events and programmes. In 2008, it formed the Videotage Media Art Collection (VMAC), an extensive offline and online video art archive.