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Chin Chih Yang |
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Background
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M
ulti-disciplinary artist
Chin Chih Yang was born in
Taiwan, and has resided for
many years in Lower Manhattan.
Among other honors, he has
been a recipient of the Urban
Artist Initiative Fellowship, a
fellowship from the New York
State Council for the Arts, and an
opportunity grant from the New
York Foundation for the Arts. His
work has been featured both
internationally and abroad: in
NYC, the Queens Museum, the
Chelsea Museum, the Godwin-
Ternbach Museum, and Flux Factory are some
of the venues that have exhibited his work and
he also join the first group artist in LMCC Swing
Space Residency at Governors Island.
The New York Times has written features on
Chin Chih Yang three times since last year,
and he was recently interviewed by
Humphrey Hawksley of BBC world news for a
special program on NYC artists whose work
resists “Corruption” in contemporary society.
He has also received coverage from the
Taipei Times, CBS, NY Art Beat, the Village
Voice, Time Out New York, Flavorpill, Daily
News, and Art Asia Pacific magazine.
A great proponent of public art, Chin Chih
has enacted his projects in outdoor spaces,
including the UN, where he infamously
projected a giant Taiwanese flag onto the
building, and Union Square Park, the site of
his recent popular art event, “Burning Ice.”
He is currently working towards the
completion of a large-scale interactive
installation called “The Control of Fear,”
which will lead participants into a direct
awareness of the effects of natural and man-
made disasters on the human psyche,
engendering a consciousness of compassion
thereby.
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Artist's Statement
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I
n my most recent body of work, I address
society’s efforts to protect itself both
physically and psychologically against
catastrophes both natural and man-made,
such as pollution, surveillance, quarantine
and isolation, as well as religious and
political intolerance. Found and used objects
concurrently highlight the plenitude in our
lives and metaphorically display twisted
relationships marked by mutual dependence
and conflict. With a touch of irony, my art
invites viewers to become better acquainted
with the dark side of human nature and to
think outside the box in order to find a
collective solution to save ourselves and our
planet. |
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2050 Dumbo
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2
050 Dumbo
Chin Chih Yang’s roving multimedia video
projection, 2050 Dumbo, will transform
Dumbo into a neighborhood under water,
demonstrating the effect that the Earth's
rising water levels will have on Dumbo by
2050.
The project that I work on for Dumbo Art
festival 2008 is "2050 Dumbo," which will
project what the Dumbo will look like – both
physically and psychologically – in the year
2050. The physical aspect of the project will
use lighting, water and video to demonstrate
the effects of global warming, in particular
the rising water levels.
It will be a site specific project, pushing
wheel chair around Dumbo streets,
projecting images of water and fish onto
buildings to create the effect of a city
underwater.
http://www.villagevoice.com/2008-09-
23/voice-choices/avant-garde-down-
under/
http://current.com/users/ChinChihYang/all/
0.htm
http://www.nyartbeat.com/nyablog/2008/09
/brooklyn-unabridged/
http://www.dumboartfestival.org/2008_festi
val.html
the Village Voice: Voice Choices
AVANT-GARDE DOWN UNDER
Chelsea galleries take a backseat this
weekend
By EUDIE PAK
Wednesday, September 24th 2008 at 3:47am
Move over, Manhattan avant-garde art world
—your equally progressive (and arguably
hipper) sister borough’s 12th annual
D.U.M.B.O. Art Under the Bridge Festival is in
full swing. Considered to be the largest
urban experimental-art symposium in the
country, the festival displays the untamed
works of more than 70 artists in every nook
and cranny imaginable, from streets to
sidewalks to storefronts to the waterfront to
even the loading docks. Works of local
interest include Martine Kaczynski’s Sky-
rights, in which the artist rents out platforms
of scaffolding as a critique on gentrification
and the bloodsucking real-estate market,
and Chin Chih Yang’s inconvenient truth
titled 2050 Dumbo, a multimedia video
projection that “drowns” the neighborhood
in water to show the destruction that rising
sea levels can do. And speaking of water,
take a ride on the Water Taxi with Diana
Arce’s Politaoke (“POLITical” speeches as
“karAOKE”), where you can shout out or sing
your best partisan or bipartisan BS—just like
the candidates!
Sept. 26-28, 2008
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The Control of Fear
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T
HE CONTROL OF FEAR
The “Control of Fear” project is an interactive
art exhibition project to provide the general
public an opportunity to experience what
might occur to them if their lives were
suddenly altered by an unforeseen and
unpredictable catastrophic event.
The project uses varieties of modern
emerging technologies to simulate
unpredictable catastrophic events and detect
participant’s behavior. Technologies used
include multi - modal sensors, 3D
holographic projection, 360 degree
panoramic
view video, speech recognition, intelligent
interaction response, and synchronous
control of multiple multimedia programs.
The author artist, Chin Chih Yang, is
fascinated by how cataclysmic events impact
life. Life is ephemeral and superficial reality
an illusion. No matter what steps we take to
protect ourselves against threats to our
survival, there are ultimately no guarantees.
We will never be in total control. However,
this does not entitle us to sit in the bleachers
of the game of life, waiting to get hit by a
ball.
In his most recent body of work, he has
concentrated on our efforts to protect
ourselves both physically and psychologically
against various catastrophes. How do we
keep at bay the fear and anxiety that
threatens to paralyze us when confronted by
AIDS, H5N1, natural disasters (such as the
tsunami), terrorism, as well as religious and
political intolerance and the conflicts they
often generate? How do we perpetuate the
myth that we are indeed masters of our fate?
The goal or objective of this particular
project is to teach the participants humility
(i.e. they will experience within a limited time
frame what it might be like if their lives were
suddenly altered by an unforeseen and
unpredictable catastrophic event. During that
event neither their actions nor reactions will
enable them to control the final outcome of
these events.). This experiment is not
designed to duplicate what might occur in a
“haunted house”.
PROJECT DESIGN OVERVIEW
The project designs an interactive art
exhibition that contains two exhibition areas
(rooms): media room and experiencing room.
Multidisciplinary Work
Also selected by ACM - the International
Multimedia Arts
Program in Singapore.
http://www.nyfa.org/nyfa_artists_detail.asp?
pid=5451
http://portal.acm.org/citation.cfm?
doid=1101149.1101277 |
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Gordian Knots
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T
aipei Times /Front /01/01/2007
Taiwanese artist draws ire in NYC
By Tsou Ching-wen
STAFF REPORTER, WITH STAFF WRITER
Monday, Jan 01, 2007, Page 1
A US-based Taiwanese artist was questioned
briefly by the FBI on Dec. 11 after he
projected giant images of the Democratic
Progressive Party (DPP) flag and a Republic of
China (ROC) flag on the side China's New
York consulate and the UN's headquarters.
As part of his conceptual art piece Gordian
Knots, artist Yang Chin-chih (楊金池)
projected the DPP and ROC flags, as well as a
"Taiwan independence symbol" on the walls
of the consulate and the UN building in New
York before being detained by an FBI agent
and a UN security guard for questioning,
Yang told the Taipei Times' in a telephone
interview yesterday.
The original Gordian Knots which Yang's Web
site said was deemed too controversial to be
part of the "Beyond Measure" exhibition at
the Taipei Cultural Center in New York last
month and had to be exhibited elsewhere,
consists of more than 2,300 ROC and
Chinese flags, as well as the DPP flags tied
into knots -- using what his Web site calls an
"ancient Asian technique" -- on a Christmas
tree, with lights intertwined in them.
RELATIONSHIPS
Yang said that human relations inevitably are
marked by mutual dependence and conflict,
and that he was trying to show the distorted
relationships between nations.
Feeling that a static piece would not be able
to fully express this idea, Yang decided to
expand his exhibition area to all of
Manhattan by loading a projector on a truck,
and projecting the image of a Christmas tree
and various flags on the walls of different
buildings.
MOVING EXHIBIT
Yang began at Rockefeller Center, moving on
to the Museum of Modern Art and then the
Chinese consulate and the UN building.
He said yesterday that he questioned by the
FBI agent and UN guard for about 10 minutes
until he produced a letter from the New York
Foundation for the Arts that explained his
project.
According to the Web site
www.123soho.com, which is run by Yang,
the "piece functions both as a Christmas
decoration and also a challenge to the strong
emotions surrounding flags."
The site also says that Yang "attempts to
express the twisted relationships between
nation states -- in this particular instance,
between Taiwan and those nations that
directly or indirectly oppose its
independence. It is the artist's hope that by
calling attention to these thorny global
issues, an effort will be made to resolve them
peacefully."
Yang, originally from Banciao,Taipei County,
has lived in New York for 20 years.
This story has been viewed 3048 times.
http://www.taipeitimes.com/News/front/arc
hives/2007/01/01/2003342895 |
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responsibility of the artist and is not edited by 123soho.
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Number
of Critiques : 9
prakash joshi
03/05/2007
i saw yang work.it is quite inspiring and make one sit and take a note.hope to see more work by the artist
Susan
07/22/2003
I really enjoyed viewing your work - it's to make us think as well as enjoying the artistry!
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