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Choi Sin-yi (Emilie) is a Hong Kong-based researcher, writer, and curator. Her endeavors encompass academic research, art criticism, and curatorial initiatives. She is currently pursuing a doctorate in the School of Creative Media at the City University of Hong Kong, focusing on technology, infrastructure and media culture in Hong Kong, East Asia. Her research interests lie in East Asian media technology and visual culture, media archaeology, critical infrastructure, media and environment, art and technology in creative industries, and documentary and moving image studies. 

Her study has been selected for international conferences and symposiums, such as the Association for Asian Studies 2022 and the EYE International Conference 2022. She contributed a peer-reviewed chapter in the book The 70s Bi-weekly: Autonomous Media, Social Activism and Alternative Cultural Production in 1970s Hong Kong, published by HKU Press in 2023. 

 

Her writing has been published extensively on media platforms across Hong Kong, Taiwan, and China. She has also participated in a wide range of roles, including as a board member of Videotage, a leading Hong Kong-based institution promoting and archiving video and new media art; member of the Floating Projects Collective, an independent experimental site of collaborative-individuated art practices; and board member of  Unlock Dancing Plaza, a forward-thinking and adventurous contemporary dance companies in Hong Kong. 

 

As creative outputs and social engagement stemming from her research, she has been a guest curator of Jumping Frames – Hong Kong International Movement-image Festival  (including screening and exhibition at Tomorrow Maybe, Eaton HK), independent curator of Hong Kong Retrospective Documentary Film Festival: From 80s to 1997Docuthon, Macao Experimental Cinemaand Nothing has Happened. She has been selected for the Curatorial Program for Research 2023: (RE)PRESENTATION IN THE NORDICS.

 

Lately, she has participated in Yamagata Film Criticism Workshop 2023, Yamagata International Documentary Film Festival and the PhD research workshop Content/Form at transmediale 2024, co-organized by organised by SHAPE Digital Citizenship and Digital Aesthetics Research Center (Aarhus University), and the Centre for the Study of the Networked Image (London South Bank University). She has published a peer-reviewed article revolving around the history of artistic practice and infrastructure stemming from East Asian media technology on a newspaper and has delivered a presentation at transmediale corresponding to the workshop.  

 

蔡倩怡是居於香港的獨立研究者與策展人,並為香港城市大學創意媒體學院的博士候選人,研究東亞的媒體及視覺文化,並對科技文化、媒體考古學、媒體基建、生態媒介及紀錄片與流動影像研究感興趣。她的研究在多個學術會議中發表,其研究文章被收錄於《《70年代雙週刊》:香港七十年代的社會運動和另類文化生產》(香港大學出版,2023)一書。她亦是錄映太奇與不加鎖舞踊館的董事,以及據點。句點的成員。她多年來策劃不同形式的影像及藝術項目,曾策劃《香港紀錄片回顧展:從80年代到97》專題影展、澳門實驗影展及《什麼都沒有發生》項目。她近年擔任跳格國際舞蹈影像節的研究團隊成員及客席策展人,並為香港真實影像協會始創成員之一。她亦獲選為「策展研究駐留計劃:再現北歐」計劃(2023)、山形國際紀錄片影展影評工作坊(2023)及柏林媒體藝術節transmediale的研究工作坊,並於transmediale發表及出版。她亦曾任文化版記者,並持續書寫評論,於中港台等地刊載。  

Current: 

 

給藝術工作者的《打開創作的研究:方法、展演與實驗》課, 14-15/2, 2024 四維空間 (Contemporary Dance Company at Macao), instructor.

PhD research workshop Content/Form, transmediale 2024, 28/1-3/2, 2024 Berlin (Haus der Kulturen der Welt (HKW)), participant.

Upcoming:

16/3/2024 [Presenter] “Video art or video activism: A Comparative Study of Participatory Media and Collective Formation in Hong Kong and Taiwan in the 1980s”, in the panel of Revolutionizing The Screens: Emerging Media and Everyday Activism in Chinese Societies across the Pacific, organized by the annual conference of the Society For Cinema and Media Studies 2024, Boston, US.

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