Yuan Goang-Ming has worked with video since 1984 and is a pioneer of Early Taiwanese Video Art. Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, questioning the environment we inhabit in a globalised context, while exploring the human mind and consciousness of modern society. In 2018, his solo exhibition “Tomorrowland” pivoted around the idea that the home in the future is no longer solid. The works focused on the normalization and everydayness of warfare, embodying modern-day existence and human despair. The exhibition travelled to the Hayward Gallery, London in 2018.
Yuan has participated in various international exhibitions including MAM Digital, Mori Art Museum, Tokyo, Japan (2021); OzAsia Festival, Adelaide, Australia (2021); Short Waves Festival, Poznan, Poland (2020); Aichi Triennale (2019); Beyond Bliss: Bangkok Art Biennale (2018); Biennale de Lyon: La Vie Moderne, France (2015); Fukuoka Asian Art Triennale, Japan (2014); the 7th Asia Pacific Triennial of Contemporary Art, Australia (2012); Singapore Biennale (2008) amongst others. Yuan has been a juror of the Taipei Art Award, Taipei County Arts Exhibition, Venice Biennale (Taiwan Pavilion), and Asia Society Arts Award in the United States. His works have been collected by M+, Hong Kong, Mori Art Museum, Japan, National Taiwan Museum of Fine Arts amongst others.
Yuan is a professor of New Media Art at the Taipei National University of the Arts and currently lives and works in Taipei, Taiwan.
The 561st Hour of Occupation / 2014
Yuan Goang-Ming’s The 561st Hour of Occupation (2014) consists of drone footages documenting the student activists’ 585-hour takeover of Taiwan’s parliament chamber during the Sunflower Student movement. The perspectival vanishing point is located in the lectern and the portrait of Sun Yet-Sen, giving this space a sense of sanctity and authority that is nonetheless challenged and under siege. By crosscutting footages of the chamber with and without occupants, the video puts emphasis on the abundant objects created by the occupants that previously do not belong to this place, while imagining the future development of the movement after the student’s withdrawal. Refusing a linear sense of time and history, Yuan’s video documents a vanishing ephemeral imagery that presents another side of a spectacle unfamiliar to mass media portrayal of the movement.