In October 2009, VideoChannel will release a feature of videoart from Taiwan, a compilation from the VideoChannel/CologneOFF archives.
Yu Cheng Yu, Ana Yu, Yin-Ling Chen, Ying-Fang Shen, Jo-Lin Hsieh, Sandra S. Chiu, Yi-Chun Lo
Yu Cheng Yu
Switch, 2008, 4:32
Click the Button “Switch”, you will change your first life
The Following Soul, 2007, 9:31
Human being’s psychology condition often locates in the “vague” life rhythm, the vague follows behide us like the shade spirital body. we actually all are druggy that taste many kind of desire medicine, finally hoped these medicines may finish the desire exhausted, finishes all vague.
A Bitty Anomy, 2008, 4:30
Where I visited is a lost space. There was a paradise of children’s mind before. But now, it bereaved any function, and left in ashes. Even so, it contains a lot of memories that we can’t destroy. It is barmy, and causing a miraculous happening…
Yin Ling Chen
VIP – VideoChannel interview
Trace, 2007, 5:36
In Trace, by using 8 passport photos and very subtle changing, I try to depict unawareness of aging. The 8 photos cross more than fifty years of the protagonist and the last scene shows his present appearance of 70s. This work combines these 2 important elements, still and moving, together and make it have a poetic visual image and universal meaning.
Numbers, 2007, 3:006
Numbers, is an experimental short film that I did in February 2007. I filmed simultaneously with HDV and super 8 camera to the protagonist that was wrapped by either cling film or bandage. Years ago I saw in a photo a Jew had a number tattooed on his arm. It is his ID number in a German concentration camp. I contemplated: what are the numbers that are important or unforgettable to me? In this film, I wrapped myself with cling film and bandage, and tried to release myself from them; at the same time I kept reciting a series of numbers. Some of them are dates on which certain disastrous events occurred to my family that affected me, some even changed my life. Among others, for example, one is the date a close friend of mine committed suicide and died. I used cling film and bandage to depict the different effects those events had on me at different time points, how they made me feel asphyxic, and how desiring I am to be set free from those memories. By keeping reciting numbers while struggling my way out with no explanation, I want to strike the viewers and make them think about what numbers are to them more than just numbers, i.e., what are the numbers they have that carry particular meanings? Are they ID numbers, telephone numbers, or dates of their important or unforgettable life events?
Gaze/Parents, 2008, 2:42
Gaze is a series work about artist parents, they are Gaze / Parents, Gaze /Mother and Gaze / Father. The relationship between children and parents is more like than dominant and implicit in oriental culture. Children seldom say love to parents, so do them. The love is strong but never been expressed. Sometimes when closing your eyes trying to remember the details of your parents’ face, you just come to find you can remember nothing. In the Gaze series, artist uses camera as her eyes to gaze her parents in different way so closely inch by inch to feel the her parents.
Gaze/Parent is a two-screen video work, of which the moving screens represent the relationship between the artist’s parents. Not as traditionally praised of becoming unity, the two screens move toward different direction in different paces. But suddenly, the parent’s faces merge as a whole. At the latter part of the work, the artist studied her parents’ faces, deeply, probably along with the relationship between father and mother.
A Face, 2009, 1:00
Faces are endlessly fascinating. Their diversity, versatility and unrivalled ability to communicate make them an enigma. Faces are one’s identity, where one’s mind and personality manifest themselves. But can you really know a person through the face? Looking at a face, you need some more to recognize what’s behind. So rather, your face owns you, and your face is the identity that you cannot choose.
Blank, 2007, 2:35
Bustle, 2006, 7:43
Artist Statement Ying-Fang Shen Recently in my work, I have focused primarily on human nature, and gravitate toward related subjects and the characters they convey.
For a while I have been working on short films without spoken word where images alone build the narrative. To me, events and stories are like waves carried on water. What I am interested in is the states they form, rather than the plots they create. In order to elaborate these states of my fictions, I tend to narrate implicitly.
I am driven by Taoism, in which emptiness is the eternal reality. From this perspective, there is nothing from the beginning, and emotions and desires are transient. In “The White Snake”, my thesis project, human nature is epitomized with illusion. The plot is loose, and the time is vague.
Since I was trained as a painter and have been immersing in Oriental arts for years, metaphorical communication particularly interests me, and has much influence on my images and sound. In my narration, I consider all components (such as shapes, textures, movement, and sound) as threads of stories. To me, they work as texts – perform, develop motions, and speak a thousand words.
Sandra S. Chiu
The I, 2008, 8:30
Short description: self
The Hardstand, 2007, 0:48 (loop)
An extended long island located alone on the cross of different directions.
Flashing is the mark of quavering time. Probably keeping disorientated is the only method of experiencing the appearance of the environment.
Uncertainties would be carried on with the gaps of stillness.
Levitate, 2005, loop
Medium/ Technique: Single-channel video, video, projector
Dimension : Depends on the site
Is Part of a Series: Levitate
Keyword(s) : Body & behavior Art, performance art, single-channel video, existence, levitate
The subject’s body levitates aimlessly in the space, shaking and kicking like a hanged man. Marching with time while drinking tomato juice. Yet the condition of the tomato juice is not experimental. Its only connection with the subject is momentary, passing by the broken time and space. It’s in total disorder.
People, environment and space together form the relation between the artist and the reality. The action taken place gives a new meaning, new perception and new connection and new possibility to that relation.
The subject, in reality, is between reality and unreality. Existent or inexistent? Is the “reality” reality? After exercise, the body opens up its senses. Can it be the proof or excuse of the past reality and existence.