This compilation features works by 10 local video artists that capture the burdensome anxiety of the end of British colonial rule, which caused shockwaves that were felt throughout the wider landscape of daily life in Hong Kong. The transition of Hong Kong from a colonial to a post-colonial city has been critical to the development of the city and its people. Evidence of this can be seen through this selection of single-channel video that spans the years from 1990 to 1998. While the Reunification may have induced trauma and/or liberation, these experiences, as title suggests, have expired.

本作品集收錄了十位本地錄像藝術家對後殖民統治的憂慮。香港由殖民主義統治過渡到後殖民主義，對於整個城市及香港人都有決定性的影響，從這輯由1990至1998年創作的單頻道錄像作品可見一斑。雖然回歸可能引發著的創傷和解放情緒，但這經驗一如題目所說都過期了。

Born in China and raised in Macao and Hong Kong, Evans Yiu Shing Chan is a New York-based cultural critic, playwright, and filmmaker, whose filmography includes four narrative features: To Liv(e) (1992), Crossings (1995), The Map of Sex and Love (2001, released on DVD in North America by Water Bearer Films), and Bauhinia (2002); as well as two documentaries about China’s decolonization: Journey to Beijing (1998) and Adeus Macau (2000). Chan has published five books-among them The Last of the Chinese, From the New Wave to the Postmodern and To Liv(e): Screenplay and Essays (1996, University of Hong Kong Press)-and has edited and translated two books by Susan Sontag in Chinese editions. His recent writings in English on film, media and society appear in the journals Film International, Postmodern Culture and Asian Cinema.

Chan has written two plays that were produced Off-Off Broadway in New York: The Naked Earth, based on an Eileen Chang novel, was presented at the Bank Street Theatre in 2000. Chan adapted, with Mok Chiu Yu, The Life and Times of Wu Zhong Xian into English for a staging at New York’s Theatre for the New City in 1998, and later turned it into a hybrid documentary film in 2003. In 1991, Chan founded his Riverdrive Productions Co, with the backing of Willy Tsao, artistic director of the Beijing Modern Dance Company. In addition to producing Chan’s own independent films, Riverdrive line-produced Peter Greenaway’s The Pillow Book in 1997.

Chan’s award-winning films have been invited to many international film festivals, including Berlin, London, Moscow, Rotterdam, Montreal, Vancouver, AFI-LA, Chicago, Hawaii, Seattle, Hong Kong, India, Singapore and the Taiwan Golden Horse.

Jamsen Law, born and grew up in Hong Kong, Jamsen Law’s independent video works have been exhibited in festivals in Europe, Asia, North and South America, such as Videobrasil International Electronic Art Festival, Transmediale Berlin and Ogaki Biennale. He also had his solo screenings in Toronto, Tokyo, Busan and Hong Kong. Jamsen’s works explore the meaning of process and existence, consciousness, interiority, desire and fear through multiple artforms.

After his research on media aesthetics in Institute of Advanced Media Art and Science in Japan, he started to curate media arts-related artist-in-residence and collaborative projects. He now teaches visual arts in Hong Kong Design Institute.

TSE Ming-chong graduated from the Department of Journalism of the School of Communications at the Hong Kong Baptist University. In 1997, he was awarded a fellowship for Artistic Development by the Hong Kong Arts Development Council and in1995 he won the Bronze Award / Kodak Award, editorial by the Hong Kong Institute of Professional Photographers Ltd. Between 1998 to 2000, Tse held eight Solo Photography Exhibitions in Hong Kong and Australia. In 2003, he was awarded The British Chevening Scholarships for his MA studies in Imaging and Communication at Goldsmiths’ College, University of London. Tse is founder of Lumenvisum, an organization promoting photography in HK.