Phoebe Ching Ying MAN

Rati  (2001), video still, courtesy of the artist, special thanks to  Videotage

Rati (2001), video still, courtesy of the artist, special thanks to Videotage



2001, SD video, 8’5’’

This work was inspired by images of people on the internet. Around 2000, online chatrooms started to become popular. However, most people would just want to show their bodies or look at women’s breasts and genitals. Phoebe Man created a walking vagina to question whether women are just pieces of meat. In the video, Rati lives like an ordinary woman, she would go to the library to read, and menstruate each month. With her look, even if she were doing something ordinary, it would look absurd. The work attempts to challenge gender stereotypes, and looks at women’s social and cultural images in a deconstructive manner, to open up an imaginative space.


Phoebe Ching Ying MAN

Born 1969 in Hong Kong; lives and works in Hong Kong

A multimedia artist, independent curator and Associate Professor of the School of Creative Media, City University of Hong Kong, Man graduated from the Chinese University of Hong Kong in 1991, received her MFA degree from the San Francisco Art Institute in 2000 and DFA degree from the Royal Melbourne Institute of Technology University in 2012.

Often starting from the exploration of the self, Phoebe Man’s artistic practices reflect on systems and challenge given ideas. She specializes in socially engaged art and is experienced in involving her audience in her works. Since 1996, she has gained a lot of attention with the Food series, the Sanitary Napkin series, Rati, and many other works. Her animations, videos and installations have been shown at exhibitions and festivals internationally, including: Inside Out: New Chinese Art (1998- 2000), European Media Art Festival (2001), Kaohsiung International Container Arts Festival (2001), Gwangju Biennale (2002), Venice Biennale (2003), Shanghai Biennial (2004), Women Make Waves Film Festival (2006), Subjected Culture – Interruptions and Resistances on Femaleness (2006-8), EXiS: Experimental Film/Video Festival in Seoul (2009), River 3: Art. Fun, Bitan – Taipei County Public Art Project (2010), iBody (2011), etc. She has won several awards, curated numerous exhibitions, and published essays and reviews on a variety of issues such as art-curating, installations, the internet, performance, video, conceptual art, and arts and cultural policies in Hong Kong. She is currently the Advisor and Grant Examiner of Hong Kong Arts Development Council.