Known for her work in intermedia arts and media archaeology, Hong Kong-based transdisciplinary artist and scholar Linda Chiu-han Lai brings together her videography, experimental arts and pedagogy onto a new research-creation ontology that is at once critical, new-materialist, nomadic-feminist and speculative. Her works often explore time and narrativity in spatial terms — complex linearity, thick descriptions, scaling, montage, and image as objectile. Central to Lai’s works is her historiographic experiments, especially the moving image’s power to work against grand narratives and “central conflict” assumptions. In particular, she concentrates on videography’s performative functions to materialize the history of everyday life as indeterminate processes, and as fragmented yet rich miniatures with near drama potentials. Prompted by edia-archaeological concern, Lai moves beyond the documentary as a genre to focus on “documentary impulses” to re-envision the history of the moving image alongside other art forms as mnemonic practices. Currently, she revisits the video essay’s relevance to contemporary times.

Lai’s works have been published in short film, experimental and documentary festivals, and have travelled as part of Hong Kong video art showcases, including the International Short Film Festival Oberhausen, the Open City London Documentary Festival, LOOP Barcelona, Rencontres Internationales Paris/Berlin, the Jihlava International Documentary Film Festival in the Czech Republic, the Fourth State of Water (CoCA, Torun, Poland), Women Make Waves Film Festival (Taipei), International Women’s Film Festival in Seoul, and more. Solo retrospective-screenings were presented at the Experimental Film/Video Festival in Macao (EXiM 2015), Seoul (EXiS 2017), Centro de Creación Contemporanea de Andalucia (Cordoba, 2021) and the LSK School of Creativity (Hong Kong, 2025). Lai’s video works are held in collections of the M-plus, Asia Art Archive and Video Bureau (Guangzhou, Beijing). Her on-line video zine project D-Normal/V-Essay with Floating Projects is a winner of Ars Electronica’s “State of the Art(ists)” 2022. Between 2016 and 2021, she published two issues of Video Manifestos, involving over 80 artists from Hong Kong and around the world.

Lai’s 25 years of faculty life at the School of Creative Media (SCM) has been a vibrant journey in search of meaningful extensions of her PhD training in Cinema Studies (Tisch, NYU). Officially retired from SCM in July 2023, she has remained an active artist, writer, researcher and art facilitator. She held her mixed media solo show “Folds, Wrinkles and Crevices of the Everyday” in Oct-Nov 2025, marking her moves into interspecies thinking and advanced research in media archaeology as art. She was Leader of the Oberhausen Seminar at the 72nd International Short Film Festival Oberhausen, 28 April to 3 May 2026.

香港跨領域藝術家兼學者黎肖嫻擅於跨媒介藝術及媒體考古研究，將她的錄像創作、實驗藝術實踐與教育工作融匯於一種全新的「研究—創作本體論」之中。這框架是批判的，新唯物論的，遊牧女性主義的，也是依隨「推測性理論」（Speculative theory）的思辨的。她對時間和敘事的探討强調的是空間性，例如年表或時間軸的「複」線性、厚描、尺度轉換、蒙太奇，以及視聲影物為帶延續性而沒有固定形態的「對象域」（objectile）。黎氏的創作重於實驗歷史書寫，尤其關注流動影像對抗大論述、反「核心衝突」情節設計的眾多潛能。她特別着眼於影像創作的衍演功能，將日常生活歷史化為未定形的過程，並呈現為既碎片化又豐饒、近似戲劇的微敘事。黎肖嫻受媒介考古學啟發，從紀錄片作為傳統電影類型抽身，轉為聚焦於「記述的衝動」，將流動影像的歷史與其他藝術形式和物質科技發展一併構想為助記的實踐。目前，她正重新思考錄像文章在當代語境中的關聯。

黎肖嫻的作品曾入選紀錄片和實驗電影節，並於全球巡迴放映作的香港錄像藝術選集展示，如德國奧伯豪森短片節、倫敦 Open City 紀錄片節、巴塞隆拿 LOOP 、巴黎／柏林「國際相會影展」、捷克伊赫拉瓦國際紀錄片節、波蘭托倫當代藝術中心《水的第四相：從微觀到宏觀》、台灣國際女性影展、首爾國際女性電影節等。她的錄像作品個人回顧展曾於 EXiM 澳門實驗錄像藝術節（2016年）、首爾 EXiS 實驗電影與錄像藝術節（2017年）、西班牙科爾多瓦當代藝術館（2021年）及香港兆基創意書院（2025年）舉行。黎的作品為M+、亞洲藝術文獻庫，及錄像局（廣州/北京）收藏。2022年，她與「據點」策劃的《平地數碼》網上錄像誌獲奧地利林茨「電子藝術」頒發《State of the Art(ist)》獎項。2016年至2021年間，她出版了兩輯「錄像宣言」，匯集來自香港及世界各地共80多位藝術家的作品與觀念陳述。

黎肖嫻在香港城市大學創意媒體學院（SCM）任教25年，期間不斷延伸她在紐約大學 Tisch 藝術學院的電影研究博士時的歷練，至2023年7月退休。她仍持續活躍於藝術創作、寫作、研究及指導工作。2025年10月至11月，她舉辦跨媒介個展《橫紋皺折》，標誌着她進一步轉向跨物種思考，並以藝術形式，呈現她在媒體考古學的探究。2026年4月28日至5月3日，她在第72屆奧伯豪森短片節主領為期六天的研討會。