The Power of Action-Lectures by YAO Jui-Chung (姚瑞中) Part II//姚瑞中//後民國意象//

The Power of Action –  Four Lectures by YAO Jui-Chung (姚瑞中)

Internationally acclaimed artist Yao Jui-Chung gives a series of lectures over the themes he has been working on over 30-years of his career.

Chaired by Marko Daniel (Tate Modern, London)

 

 

Lecture 3: Copyleft: Appropriation Art in China (借屍還魂的反正統繪畫)

Lecture 4: Life Cycle and God’s Link (永劫輪迴的欲力奇觀)

 

ABOUT THE SPEAKER

YAO Jui-Chung (姚瑞中) was born in 1969. Lives and works in Taipei. He graduated from The National Institute of The Arts (Taipei National University of the Arts) with a degree in Art Theory. His works has been widely exhibited in numerous international exhibitions. In 1997, he represented Taiwan in “Facing Faces-Taiwan” at the Venice Biennale. After that, he took part in the International Triennale of Contemporary Art Yokohama (2005), APT6 (2009), Taipei Biennale (2010), Shanghai Biennale (2012), Beijing Photo Biennale (2013), Shenzhen Sculpture Biennale (2014), Venice Architecture Biennale, Media City Seoul Biennale (2014), Asia Triennial Manchester (2014), Asia Biennale (2015) and Sydney Biennale (2016). Yao is the winner of The Multitude Art Prize in 2013 and 2014 Asia Pacific Art Prize. We can also find him widely involved in the fields of theatre and films.

Yao specializes in photography, installation and painting. The themes of his works are varied, but most importantly they all examine the absurdity of the human condition. Representative works include Action Series. We can find the clue he explores the question of Taiwan’s identity in Military take over (1994), subverts modern Chinese political myths in Recovering Mainland China (1997), and examines post-colonialism in The World is for All (1997~2000) as well as Long March-Shifting the Universe (2002). In recent years, he has created photo installations combining the style of “gold and green landscape” with the superstitions that permeate Taiwanese folklore, expressing a false and alienated “cold reality” that is specific to Taiwan. Representative works include the series of Celestial Barbarians (2000), Savage Paradise (2000) and Heaven (2001). Another photo installation series Libido of Death (2002) and Hill (2003) tries to probe into the eternal issue of body and soul. Recently, Yao Jui-Chung has assembled all the black-and-white photos of ruins he took in the past fifteen years, grouped under the themes of industry, religious idols, architecture and military bases. They reveal the enormous ideological black hole in Taiwan hidden behind the trends of globalization and Taiwan’s specific historical background as a continuation of the main theme of his work: the absurdity of the historical destiny of humanity. Since 2007, Yao has started to create a series of works including Wonderful (2007), Dust in the Wind (2008~2010), Dreamy (2008~2010), Romance (2009) and Honeymoon (2010~2011). He appropriates masterpieces from Chinese art history and recreates them in his own way, transforming them into his personal history or real stories in an attempt to turn grand narratives into the trivial affairs of his individual life. Yao intends to usurp so called orthodoxy with his recreated landscapes. In 2010, Yao grouped his students into a team of photography workshop called “Lost Society Document”(LSD). He encouraged them to photograph and survey in their hometowns. Through the way of field survey, they attempt to draw the outline of “mosquito houses” which have been widely criticized, publish three books named “Mirage: Disused Public Property in Taiwan“, and practice the possibility of observing the society by the meaning of art.

Apart from creating art, Yao Jui-Chung has curated exhibitions including The Realm of Illusion-The New wave of Taiwan Photography (2002), King-Kon Never DieThe Contemporary Performance & Video art in Taiwan (2003) and Spellbound Aura-The New Vision of Chinese Photography (2004). His essays have been published in many art journals. He has also published several books, including Installation Art in Taiwan since 1991-2001 (2002), The New Wave of Contemporary Taiwan Photography Since 1999 (2003), Roam The Ruins of Taiwan (2004), Performance Art in Taiwan 1978~2004 (2005), A Walk in the Contemporary Art : Roaming the Rebellious Streets (2005), Ruined Islands (2007), Yao Jui-Chung (2008), Beyond humanity (2008), Nebulous light (2009), and Biennial-Hop (2010), “Mirage: Disused Public Property in Taiwan ⅠⅡⅢⅣ (2010~2016). His works have been collected by the Taipei Fine Arts Museum, Taipei, Taiwan; the Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; the National Taiwan Museum of Fine Arts, Taichung, Taiwan; Queensland Art Gallery, Brisbane, Australia; Herbert F. Johnson Museum of Art Collection, Cornell University, USA; Bibliothèque National de France, Paris, France (French National Library, Paris); Art Museum of Seoul, and many other private collectors. Now, Yao Jui-Chung works as an artist and teacher at the National Taiwan Normal University Department of Fine Arts.

 

講者簡介

姚瑞中(1969~)長期以來,對台灣與中國近代史之間的糾葛與意識型態的對立,已進行了超過二十年的相關議題創作,主要透過個人親身經歷過的事件進行角色扮演,用嬉笑辱罵、搞笑姿態去顛覆歷史定論,用四兩撥千金手方將沉重的悲情宿命剝開,早期作品大多具有這種特色。例如1994年結合行為與裝置的作品“本土佔領行動”。1997年完成“反攻大陸行動”之後,他開始思考華人在全球化當中所面臨的一些問題,於是創作了“天下為公行動-中國外的中國“這件攝影裝置。2002年創作的“萬里長征行動之乾坤大挪移“與”歷史幽魂“(2007),都有其一貫脈絡跟旨趣。姚瑞中採取了類似一座立體DNA曲線的創作模式,多年來幾條路線像綁辮子般相互纏繞。例如“本土佔領行動”開展出了一條身體政治路線,可是也必然會碰到空間政治的議題,其主要具體形象可能就是廢墟,因此他以檔案學方式進行個人式的國土普查,推出了數個以廢墟為主的創作計劃,包括“廢墟迷走” 、“廢島”,當然還有後來率領“失落社會檔案室”專注於蚊子館的發掘,以微型文化行動陸續出版“海市蜃樓”(2010~2015)作品。對姚瑞中而言,廢墟不只是廢墟,藉由廢墟試圖談論的是在特定歷史脈絡下所形成的“政治地理學”概念,並進一步考掘廢墟背後的權力運作痕跡,並非歌頌廢墟之滄桑美感,而是指向所有廢墟都是權力鬥爭失敗的產物。經過多年深入研究,推出了“萬歲”(2011),探討冷戰時期共產主義跟民主陣營在西太平洋的前線金門構築了大量的軍事設施,當冷戰結束之後,地緣政治的客觀條件消長而被迫裁撤。2013年發表的“萬萬歲”,姚瑞中試圖談論二大鬥爭集團是如何運作,及其背後權力部署的鬥爭痕跡,藉此考據並反思黨國統治權力運作的複雜關係。而面對影響台灣命運的帝國主義陰影,他試圖挑戰各類正統性題材,例如威權統治與冷戰防線、殖民主義與解殖民性、神聖性與常民性、反正統“國畫”等範疇,以反思台灣與中國之間複雜的政治與文化脈絡。在新冷戰似乎逐漸升溫的當下,各區域政治正面臨權力重組的挑戰,因此特別推薦作品成熟、國際參展經驗豐富的藝術家姚瑞中以全新作品參展,以一貫嘻笑辱罵的幽默手法,自創一套金蟬脫殼的平行歷史,冷眼看待過往冷戰與方興未艾的新冷戰一個嶄新的台灣觀點。

 

 

Lecture 3: Copyleft: Appropriation Art in China (借屍還魂的反正統繪畫)

Since 2007, Yao has started to create a series of works in Scotland including Wonderful (2007), Dust in the Wind (2008~2010), Dreamy (2008~2010), Romance (2009), Honeymoon (2010~2011), Very Temple (2013), Brain Dead Tranelogue (2015), Eight Days a Week (2016) and Baby (2017). He appropriates masterpieces from Chinese art history and recreates them in his own way, transforming them into his personal history or real stories in an attempt to turn grand narratives into the trivial affairs of his individual life. Yao intends to usurp so called orthodoxy with his recreated landscapes.

In the past, the Six Principles of Painting elucidated by Xie He enveloped Chinese painting for fifteen hundred years, forming an unbreakable testing standard. By nature, Yao has never been an obedient child, as is summed up simply by Yao’s Six Principles self-ridicule: “As we all know, Chinese painting takes the ink brush as the criterion, the touch of the brush is what lays a foundation for the brushwork characteristics ink brush painting, and from this the bone property of brush strokes are derived. I deliberately choose modern writing tools (ballpoint pens, marker pens, ink fountain or rollerball pens, and technical pens), using ‘Weaving Silk with Hard Pens’, to build up depth and layering progressively with each stroke. As the colour filling the pens is all of the same shade, I combine quick strokes with slow strokes to produce changes in shade in a single line. Because ink stick and ink stone are not used, this is called ‘No Stick, No Stone’. In order not to allow the lines drawn by hard pens on smooth paper to appear flat, the coarse texture of handmade Indian cotton paper is used instead of traditional rice paper; ‘Coarse Cotton in Place of Rice’. Complementing hard pens with dry wrinkled surfaces forms a special kind of artwork. The coarse texture of the remaining white spaces after gold foil has been pasted on lends it an appearance closer to that of the murals in the Dunhuang Grottoes. After the gold has been used to fill the white spaces, the appearance is not too brilliant and gorgeous, but rather has a beautiful graceful feeling, and this process is called ‘Put Gold Where There is White.’ Frankly speaking, I’ve always felt elaborate artist’s signatures to be a little superfluous, so I advocate ‘Low Profile Signing’. As for the seal, these are a specialized field of knowledge, there is no need for them to take up a big chunk of space on the artwork, so I use instead a ‘Steel-stamped Floating Imprint’ instead. To summarize, in this era of all schools contending for attention, how to shake off the old styles and schools and make one’s one mark with a unique signatory style has become more important than ever before. Naturally, both subject matter and form need to have spirit. In the past there was the deformation of the late Ming Dynasty, now there’s the post-Republic pseudo-landscape, altogether four hundred years off inherited style. Isn’t the contrast between the two wonderful!”

2007年赴蘇格蘭高地駐村後開始繪製《忘德賦》(2007)、《世外塵》(2008~2012)、《如夢令》(2008~2011)、《恨纏綿》(2009)及《甜蜜蜜》(2010~2012)、《非常廟八怪》(2013)、《腦殘遊記》(2015)、《週休八日》(2016)、《寶寶》(2017)…,以「借屍還魂」策略改寫並挪用中國美術史經典畫作,再將其轉化成個人生活或真實故事,試圖將宏大史詩文本轉化為私微自傳敘事,以「偽山水」策略對所謂的正統性繪畫進行篡位。昔日謝赫所歸納出的六法籠罩了中國繪畫一千五百年,形成牢不可破的品鑑標準,我本就不是個聽話的乖孩子,索性也歸納出姚氏六法自我揶揄:眾所週知中國繪畫以毛筆為圭臬,筆勢氣韻皆奠基在毛筆的暈染特性上而衍生出骨法,我有意識地選擇現代書寫產物(原子筆、馬克筆、墨水筆、代針筆…),以「硬筆吐絲」一筆筆層層疊疊出深淺與層次,因為顏料填充在筆內皆為同樣濃淡,因此以快筆搭配慢筆使得單一線條產生濃淡變化,因不用墨條與硯台遂稱之為「非墨無硯」。為了不使硬筆在平滑紙面上划出平板線條,因此以粗糙質感的印度手工棉紙替代傳統宣紙,「粗棉代宣」配合硬筆乾皴而形成特殊筆法。留白紙面的粗糙質感貼上金箔後更接近敦煌石窟壁畫的樸質,黃金填白後不顯平亮華麗,而有秀麗婉約之情,此即「遇白按金」。坦白說,畫面上被作者或藏家所落之款總覺得有些畫蛇添足之惑,因此主張「題款勿揚」,至於鈐印更是一門高深學問,似不必在畫面上權充壓角章聊備一格,轉以鋼印「陽鋼浮印」替代。總之,在此百家爭鳴的時代,如何跳脫古訓而創作出簽名式風格更形重要,當然在題材與形式上皆需接足地氣,昔有晚明變形主義,今有後民國偽山水,前後四百年同為遺民,二相對照,豈不妙哉!

 

Lecture 4: Life Cycle and God’s Link (永劫輪迴的欲力奇觀)

Nowadays, Taiwan has over twelve hundred temples and therefore being a leading figure of temple culture. Paying homage to temples embodies the diversity of Chinese people. Hiding behind the temples are the wish and desire of all kinds. Chinese want to get real benefits, physical health and great next life through supernatural power, hence, demand and supply, all kinds people, no matter they are strange or sophisticated, men or women, good or bad, high rank or low class, are kneeling down and praying in temples. A temple becomes bigger with its legend becomes fancier suggests a number of its believers might have already received help from unexplainable mysterious power. Sacrifice is not made solely based on belief but also on the number of realised miracles, as well as how great those miracles are. A temple would gather strength through its huge statue. This series of photographs contains over 180 temples, cemeteries, parks and playgrounds across Taiwan, they were shot within one year and a half since the beginning of 2016. The main focus of this series is on the God’s image created out of the self-image of Han Chinese, some of the locations are abandoned, more not. Through those projections of human desire, the geographical political relations of those locations would be understood. Usually a photograph would appear to be narrative when there is human within, however, being narrative is not the artist’s intent. Yao hides human behind the image by not shooting any scene that contains “activity”, “ceremony” and “human”. The only thing that he focused on is the “projection of huge human desire”, which is the physical figuration of the God. Typologically, the subject of this series is closer to landscape than folklore. Things presented in the photos are the normal looks instead of special looks during special occasions of the statues. There is no human, no event, no disaster in the photos and the photographing process is purely calm and objective. The objects shot are not religious buildings, folk events or religious ceremonies, but the “figurations of human desire” that exist beyond. People’s desire builds up the “figure” of a huge statue, but this “figure” is merely phantom. Because what can be seen is not the reality and all the “figures” are nothing more than vanity. A person would get lost in the eternal life cycle if being obsessed with the “figure”.

臺灣目前有一萬兩千多間廟宇,宮廟文化獨步全球,更是華人世界最複雜繽紛的一塊領域, 大部分宮廟皆藏有凡夫俗子對現世的各種需求與寄託,民眾希望藉由超驗界力量獲取現實利益、肉身健康或來生想望,因此就產生了供需問題,舉凡奇人異士、文人騷客、販夫走卒在此叩首,善男信女、黑白二道、三教九流無不跪拜,一間廟宇越蓋越大、越來越神,表示背後有眾多信徒可能獲得無法解釋的神秘力量幫助,奉獻的基礎不全然是信仰本身,往往根據靈驗多寡與神蹟高強而定,並藉由廟宇所興建的巨大神像產生凝聚力量。這系列攝影作品自2016年初開拍,歷經一年半密集拍攝全台一百八十餘間廟宇、墓園、公園及樂園,主要關注漢人用自我形象所投射而形塑出來的神偶世界,祂們有些毀棄、大部份還存在,透過這些欲望投射物進而了解地理空間上的特殊政治性關係。通常攝影畫面只要有人物形象出現往往會有敘事性,但我想跳開敘事,將具體的人之形象隱藏到畫面後方,因此避免拍攝「活動」、「祭典」或是有「人物」的場景,只專注於信徒們膜拜的「巨大欲力投射」,也就是神明之具體形象,偏向類型學景觀式攝影而非民俗攝影,拍攝的是常態樣貌而非特殊個案,作品中沒有人物、迴避事件、遠離災難,採取客觀冷靜且抽離的姿態,拍攝對象也非宗教建築、民俗活動或信仰儀式,而是展現超越前述內容的「慾力具體化」。萬眾慾力共構出一尊巨大神像的「相」,但再現此「相」實為幻影,因為所見實相非相,凡所有相皆是虛妄,若過度執著於相即生迷惘,將墮入永劫輪迴之中而不可自拔焉。

 

 

 

SELECTED SOLO EXHIBITIONS

2017 Eight days a week, Tina Keng Gallery, Taipei, Taiwan

2015 Brain Dead Travelogue, Tina Keng Gallery, Taipei, Taiwan; Golden Land, Goedhuis Contemporary, London, UK

2014 The Space That Remains: Yao Jui-Chung’s Ruin Series, Church of Santa Maria della Pietà, Venice; Good Times, Tina Keng Gallery, Taipei, Taiwan

2013 Long, long Live, Tina Keng Gallery, Taipei, Taiwan; Something Blue, TKG+ Projects, Taipei, Taiwan

2012 Long Live/ Landscape, Tina Keng Gallery, Taipei, Taiwan; Beijing, China

2011 Honeymoon, MOT/ARTS, Taipei, Taiwan; Fresh from Taiwan, Goedhuis Contemporary, London, UK

2010 Dreamy, Goedhuis Contemporary, London, UK; Honeymoon, Hanarts, Hong Kong, China

2009 Romance, Inart Space, Tainan, Taiwan

2008 Phantom of History, Galerie Grand Siecle, Taipei, Taiwan

2007 Wonderful, IT Park, Taipei, Taiwan; Cynic Republic, VT Art salon, Taipei, Taiwan

2006 Everything will Fall into Ruin, Taipei Fine Arts Museum, Taipei, Taiwan

2005 The Cynic, Chi-Wen Gallery, Taipei, Taiwan

2004 Long March-Shifted the Universe, IT Park, Taipei, Taiwan

2003 Elysium, Aspex Gallery, Portsmouth, UK

2002 Libido of Death, Lee Ka-Sing Gallery, Toronto, Canada

2000 Savage Paradise, Lee Ka-Sing Gallery, Toronto, Canada

1998 The Introduction of Taiwan’s Contemporary Art vol. 4, MOMA Contemporary, Fukuoka, Japan

1997 Recover Mainland China-Prophecy & Action, Dimension Endowment of Art, Taipei, Taiwan

1996 Recover Mainland China-Preface & Do Military Service, IT Park Gallery, Taipei, Taiwan

1994 Territory Maneuver, IT Park, Taipei, Taiwan

 

SELECTED GROUP EXHIBITIONS

2017

The Genius of the Crowd, Esplanade – Theatres on the Bay, Singapore

2016

The 20th Biennale of Sydney , Carriageworks, Australia; Lendemain Chagrin : Quatre photographes taïwanais, Maison Européenne de la Photographie, Paris, France

2015

Asia Biennial, National Taiwan Fine Art Museum, Taichung, Taiwan

Ink Remix-Contemporary Art from China, Taiwan & Hong kong, Canberra Museum of Art, Australia;

South by Southeast, Osage Foundation, Hong Kong

2014 {INSERT 2014}

Mati Ghar Indira Genahi National Center for the Arts, New Delhi, India

ALTERing-NATIVism, MoNTU, Taipei and Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

Pop Art Factory-Heating, Cooling, Contemporary Art in Taiwan, Kaohsiung Museum of Fine Arts, Taiwan

Something in Space Escapes our Attempts at Surveying, Württembergischer Kunstverein Stuttgart, Stuttgart, Germany

Asia Anarchy Alliance, Tokyo Wonder Site (Hongo, Shibuya), Tokyo, Japan; Beijing Photo Biennial, Hubei Museum of Art, Hubei, China

Shenzhen Sculpture Biennale, OCT Contemporary Art, Shenzhen, China; Seoul International Media Art Biennale, Seoul Museum of Art, Seoul, Korea

Asia Triennial Manchester 2014, Manchester, UK

Taiwan Biennal, National Taiwan Fine Art Museum, Taichung, Taiwan

The Mirror and Monitor of Democracy in Asia, Gwangju Art Museum, Korea

Jie: Contemporary Art from Taiwan, Herbert F. Johnson Museum of Art, Cornell University

Asia Pacific Breweries Foundation Singapore Art Prize, Singapore Art Museum

Post POP : East meet West, Saatchi Gallery, London , UK

2013

True Illusion, Illusory Truth-Contemporary Art Beyond Ordinary Experience, Taipei Fine Arts Museum, Taipei, Taiwan

Multitude Art Prize, UCCA, Beijing, China

Rolling! Visual Art in Taiwan, Seoul Museum of Arts, Seoul, Korea

Zhongshan Park Project- Shanghai Biennale, MOCA Shanghai, Shanghai, China

(CON)TEMPORARY SPACE-TIME, Stattberlin, Berlin, Germany

Horizon Realm: Contemporary Art from Taiwan, Tenri Cultural Institute, New York, USA

OPEN 16. International Exhibition of Sculptures and Installations, Venice Lido and Island of San Servolo, Venice, Italy

CARGO EAST project- Gazing into Freedom: Taiwan Contemporary Art Exhibition, Museum of Contemporary Art of Vojvodina, Novi Sad, Republic of Serbia

From subvert to create the reality: Taiwanese contemporary art after 80s, Asia Museum of Modern Art, Taichung, Taiwan

Beijing Photo Biennale, China Millennium Monument, Beijing, China

MUSEUM OF ARTE ÚTIL: Working Document Structure, Rooms, Examples and Live Projects, Vanabbe Museum, Netherland

2012

Busan International Film Festival, Busan Cinema Center, Busan, South Korea

Predicting Memories: Vienna Art Week 2012, Vienna, Austria

Shanghai Biennale, Museum of Contemporary Art Shanghai, Shanghai, China

INK: The New Ink Art from China, Saatchi Gallery, London, UK

Unhomely-Tales of the Island, Chinese Arts Centre, Manchester, UK

Boundaries on the Move Taiwan- Israel a Cross-culture Dialogue, Herzliya Museum of Contemporary Art, Tel Aviv, Israel

2011

Dual Senses and Dynamic Views-Contemporary Art Exhibition across the Taiwan Straits of 2011, National Art  Museum of China, Beijing, China

2010

Taiwan Discovered in Place and Time, The Patricia & Phillip Frost Art Museum, Miami, USA

2009

Dream in a Contemporary Secret Garden, Chelsea Art Museum & Gallery, New York, USA

Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia

2008

Inward Gazes: Invitation Asia Performance Art 2008, Macao Museum of Art, Macao, China

2007

Taiwan: From within the Mist, Washington Pavilion of Arts and Science, South Dakota, USA; Centre A: Vancouver International Centre for Contemporary Asian Art, BC, Canada; Christel DeHaan Fine Arts Center and Ransburg Gallery, University of Indianapolis, USA; Illges Gallery, Columbus State University, Georgia, USA

2006

Islanded: Contemporary Art from New Zealand, Singapore and Taiwan, Adam Art Gallery, Wellington, New Zealand; Institute of Contemporary Arts Singapore, LASALLE-SIA College of the Arts, Singapore

2005

International Triennale of Contemporary Art YOKOHAMA 2005Art Circus-Jumping from the Ordinary, Yokohama, Japan

2004

Reality Spells – Exhibition of Chinese Conceptual Photography from 90, Herbert F. Johnson Museum of Art, New York, USA

2003

A Strange HeavenContemporary Chinese Photography, Rudolfinum, Prague, Czech Republic; Art Museum Tennis Palace, Helsinki, Finland

City-net Asia: Transition of Identity, Seoul Museum of Art, Seoul, Korea

2001

Promenade in Asia-cute, Art Tower Mito, Mito, Japan

2000

Close Up-Contemporary Art from Taiwan, Charles H. Scott gallery, Emily Carr Institute of Art, Vancouver; Art Gallery of Greater Victoria, Victoria B.C., Canada

Very Fun Park-Contemporary Art from Taiwan, Hong Kong Art Center, Hong Kong, China; Perth Institute of    Contemporary Art, Perth, Australia

1999

Face to Face-Contemporary Art from Taiwan, Gold Coast City Gallery, Queensland, Australia

1998

You Talk/ I Listen, Taipei Fine Arts Museum, Taipei, Taiwan; La ferme du Buisson center d’art contemporain, Paris, France

Contemporary Taiwanese Art Exhibition-The New Identity, ARTIUM, Fukuoka, Japan

1997

La Biennale di Venezia, Palazzo delle Prigioni, Venice, Italy

1996

The 6th Iranian Photo Biennial, Niavaran Cultural Center, Tehran, Iran

1994

The Taipei Biennial of Contemporary Art, Taipei Fine Arts Museum, Taipei, Taiwan

Busan Biennial, Busan, Korea

1992

The Taipei Biennial of Contemporary Art, Taipei Fine Arts Museum, Taipei, Taiwan

1990

Contemporary Art Trends in the R.O.C, Taipei Fine Arts Museum, Taipei, Taiwan

 

個展選輯

2017 「週休八日」,耿畫廊,台北,台灣

2015 「腦殘遊記」,耿畫廊,台北,台灣

「山水幻境」,葛豪士當代畫廊,倫敦,英國

2014 「從迷走到見證:姚瑞中前蚊子館影像紀事展」,威尼斯建築雙年展,義大利

2014 「好時光」,耿畫廊,台北,台灣

2013 「萬萬歲」,耿畫廊,台北,台灣

「小幻影」,耿畫廊,台北,台灣

2012 「萬歲/山水」,耿畫廊,台北,台灣/ 北京,中國

2011 「甜蜜蜜」,MOT/ARTS,台北,台灣

「台灣清新」,葛豪士當代畫廊,倫敦,英國

2010 「如夢令」,葛豪士當代畫廊,倫敦,英國

「甜蜜蜜」,漢雅軒,香港,中國

2009 「恨纏綿」,加力畫廊,台南,台灣

2008 「歷史幽魂」新苑藝術,台北,台灣

2007 「忘德賦」,伊通公園,台北,台灣

「犬儒共和國」,非常廟藝文空間,台北,台灣

2006 「所有一切都將成為未來的廢墟」,台北市立美術館,台北,台灣

2005 「犬儒外史」,其玟畫廊,台北,台灣

2004 「萬里長征行動之乾坤大挪移」,伊通公園,台北,台灣

2003 「極樂天堂」,Aspex 畫廊,普茲茅斯,英國

2002 「死之慾」,李家昇攝影藝廊,多倫多,加拿大

2000 「野蠻聖境」,李家昇攝影藝廊,多倫多,加拿大

1998 「歷史測量系列」,MOMA Contemporary,福岡,日本

1997 「反攻大陸行動—預言篇&行動篇」,帝門藝術教育基金會,台北,台灣

1996 「反攻大陸行動—序篇&入伍篇」,伊通公園,台北,台灣

1994 「土地測量系列」,伊通公園,台北,台灣

 

聯展選輯

2017 「The Genius of the Crowd」,濱海藝術中心,新加玻

「近未來的交陪」,蕭壟文化園區,台南,台灣

2016「雪梨雙年展」Carriageworks,澳大利亞

「傾圮的明日- 台灣當代攝影四人展」,巴黎歐洲攝影之家,法國

2015「亞洲雙年展」,國立台灣美術館,台中,台灣

「亞洲當代」全北道立美術館,韓國

「藝術家四十年」高雄市立美術館,台灣

「穿越劇計畫文件展」光州亞洲文化殿堂,韓國

「Copyleft:中國挪用藝術」上海當代藝術博物館,中國

「墨變」坎培拉美術館,澳大利亞

「South by Southeast」Osage Foundation,香港

「證據」Die Neue Aktionsgalerie Berlin, DNA Berlin

「江陵」武北美院美術館,湖北,中國

2014「{INSERT 2014}」,Ghar Indira Genahi National Center for the Arts,新德里,印度

「噪音翻土—台灣的另翼聲響」,北師美術館,台北,台灣;高雄市立美術館,高雄,台灣

「普普藝術+工廠—熱塑.冷壓.當代台灣」,高雄市立美術館,高雄,台灣

「Something in space escapes our attempts at surveying」,Württembergischer Kunstverein

Stuttgart,司圖加特,德國

「亞細亞安那其連線」,Tokyo Wonder Site (本鄉、涉谷),東京,日本

「北京攝影雙年展」,湖北美術館,湖北,中國

「深圳國際雕塑雙年展」,華僑城當代藝術中心館,深圳,中國

「首爾國際媒體藝術雙年展」,首爾市立美術館,首爾,韓國

「亞洲藝術三年展」,曼徹斯特,英國

「台灣雙年展」,國立台灣美術館,台中,台灣

「The Mirror and Monitor of Democracy in Asia」光州美術館,韓國

「界:台灣當代藝術展」,康乃爾大學強生美術館,美國

「新加坡亞太藝術獎」,新加坡國立美術館

「後波普-東西方相遇」,倫敦沙奇藝廊,英國

2013「真真 當代超常經驗」,台北市立美術館,台北,台灣

「集群藝術獎」,尤倫斯當代藝術中心,北京,中國

「轉動藝台灣」,首爾市立美術館,首爾,韓國

「中山公園計劃—上海雙年展特別項目」,上海當代藝術博物館,上海,中國

「時—空—間」,stattberlin,柏林,德國

「視域之方—臺灣當代藝術展」,紐約天理文化中心,紐約,美國

「開放:國際雕塑藝術暨裝置戶外展 暨 旗幟計畫案」,Tenri Cultural Institute,威尼斯,義大利

「凝視自由: 台灣當代藝術展」,佛伊弗迪納當代美術館,諾威薩,塞爾維亞

「從顛覆真實到創造真實-解嚴以後的台灣當代藝術」,亞洲現代美術館,台中,台灣

「北京國際攝影雙年展」,中華世紀壇,北京,中國

「Museum of Arte Útil: Working Document Structure, Rooms, Examples and Live Projects」,埃因

霍恩,荷蘭

2012「釜山國際錄像藝術節」,釜山,南韓

「預測回憶—維也納藝術節」,維也納,奧地利

「上海雙年展」,上海當代藝術博物館,上海,中國

「中國新水墨」,沙奇藝廊,倫敦,英國

「家非家—島嶼的短篇故事」,曼徹斯特華人當代藝術中心,曼徹斯特,英國

「移動中的邊界:台灣—以色列,跨文化對話」,Herzliya美術館,特拉維夫,以色列

2011 「複感˙動觀—2011海峽兩岸當代藝術展」,中國美術館,北京,中國

2010「此時此地,再現台灣」,派翠西亞與菲力普佛斯特美術館,邁阿密,美國

2009「秘密花園」,雀而喜美術館,紐約,美國

「亞太當代藝術三年展」,昆士蘭美術館,布里斯班,澳大利亞

2008「以身觀身—亞洲行為藝術邀請展」,澳門藝術博物館,澳門,中國

2007 「迷離島—台灣當代藝術現象展」,華盛頓藝術及科學館,南達科他,美國;國際亞洲當代藝術中      心,溫哥華,加拿大;印第拿坡里大學克里斯.第漢藝術中心,印第安納,美國;依爾吉藝廊,喬治亞,美國

2006 「島—紐西蘭、新加坡與台灣當代藝術」,亞當美術館,威靈頓,紐西蘭;新加坡當代美術館,新       加坡當代美術館,新加坡

2005 「橫濱三年展:藝術馬戲團—跳躍日常」,橫濱碼頭區,橫濱,日本

2004 「正言世代—台灣當代視覺文化」,強生美術館;康乃爾大學,美國

2003 「幻影天堂—中華攝影展」,魯道夫美術館,布拉格,捷克;赫爾辛基市立美術館,赫爾辛基,芬蘭

「亞洲城市網絡—主體的轉變」,首爾市立美術館,首爾,南韓

2001 「亞細亞散步—可愛」,水戶美術館,水戶,日本

2000「近距觀照」,史考特藝廊,溫哥華;維多利亞美術館,維多利亞,加拿大

「粉樂町」,香港藝術中心,香港,中國;伯斯當代藝術中心,伯斯,澳洲

1999 「面對面—台灣當代藝術展」,黃金海岸美術館,昆士蘭,澳洲

1998 「你說我聽」,台北市立美術館,台北,台灣;碧松當代藝術中心,巴黎,法國

「新認同—台灣當代美術展」,ARTIUM,福岡,日本

1997 「威尼斯雙年展/ 台灣.台灣—面目全非」,威尼斯,義大利

1996 「第六屆伊朗國際攝影雙年展」,德黑蘭,伊朗

1994 「現代美術雙年展」,台北市立美術館,台北,台灣

「釜山雙年展」,釜山,南韓

1992 「現代美術雙年展」,台北市立美術館,台北,台灣

1990 「現代美術新展望」,台北市立美術館,台北,台灣

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