The artworks which usually inspire me are video arts and perforance arts. I like the moment that I can suddenly realize something or feel the atmosphere in the works. The way to film or the way that performer act are always attract me, after watching the works, I would like to understand the main concept that the artists want to present through the works, and then I like to guess why the artists choose this way and whether the way will show the meaning effectively or not. Also, the capability of artists about telling the story will be seen obviously through the performance and the video. Furthermore, me as an audience without passion, I will easily feel boring if I have to watch the performance or video which doesn’t catch my eyes and attract me at the first glance. When I started to take the video for works, I thought the problem about audiences’ passion seriously, but it is still a difficult problem. For me, the performance art and the video art can let me get a lot of experience.
Apichatpong Weerasethakul, Phantoms of Nabua, 2009
Apichatpong Weerasethakul has developed a singular realist-surrealist style in which he portrays the everyday alongside supernatural elements. His work suggests a distortion between fact and folklore, the subconscious and the exposed, and various disparities of power.
SU Yu-hsien, Hua-Shan-Qiang, 2013
A man who has died from burning himself comes to a paper house, where Golden Boy and Jade Lady await to take him to the Western Paradise. He climbs up to the Hua-Shan-Qiang, and his soul goes through a fable of national identity.
CHEN Chieh-jen, Realm of Reverberations, 2015
Losheng Sanatorium was established in 1930 to forcibly house and quarantine sufferers of leprosy. More than a decade ago, the Losheng Preservation Movement began as a result to the government’s decision to demolish it and relocate its remaining residents. This film presents perspectives of individuals and discusses what many believe to be its inevitable ‘end’.
Pauline Curnier Jardin, Qu'un sang impur, 2019
Joyce Ho, On the second day, Saturday, your three minutes…, 2017
The form of "On the second day, Saturday, your three minutes…" attaches to our familiar experience of life: Cycles, relationships, rituals, dialogues, spaces, events...its foundation is laid on our perceptions of everyday situations. This performance/installation connects time with our everyday relationships to space, events, people, and rituals, and seeks to breakthrough the temporal aspects usually involved in performance and viewing artworks. Time, then, becomes a clue about the performance/space, a suggestive reminder.
Hsu Yi Ting, Floating Body – Into The Third Space, 2020
“Floating” designates the status of resting or moving on the surface of a flow and is evocative of my recent works in behavioral art. Stemming from the desire for nomadic life in an urban setting, Floating Body articulates an islander’s yearning for outbound voyages. In using the mode of floating defined as such, I cross boundaries, mountains and streams to open up my vision of what human contact and viewing mean. As I bring these findings back to the city, museum and academia, I maintain a peripheral consciousness working against the center of power relations from within the structure. I turn space into metaphor, overlap venues serving different functions, and highlight the symbolic charge of positioning in order to subvert the ubiquitous power structure. This will also unsettle the relationship between the work of art, artist, critic and the viewer by rendering these roles less rigid. By dint of the floating body’s transgression, the prepositional “into the third space” probes into the joints of the institutionalized structure in search for the third space intersected by art and society. It goes beyond the conception of space confined by dualisms of the public and the private, inside and outside a given regime, and the high and low footings in the hierarchy. Through on-site behavioral intervention, this exhibition widens the perspective on the world through its quest for surreal images.
Anne Imhof, ANGST II, 2016
German Pavilion in Veince Biennale 2019
Refik Anadol, The active apparatus and liminal landscapes, 2013
Exformation, RamyFischler, JesperNordin, CyrilTeste, 2016