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Draft:Tang Huang-Chen

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  • Comment: Instead of using external links for the official website in the body, you would want to remove it and move it to the "External links" section above "References". For the other external links please remove it completely thanks. ABG (Talk/Report any mistakes here) 07:47, 7 October 2024 (UTC)


Tang Huang-Chen
湯皇珍
Born (1958-02-24) February 24, 1958 (age 66)
Taipei, Taiwan
Alma mater

Tang Huang-Chen (Chinese: 湯皇珍; pinyin: Tāng Huáng Zhēn; born February 24, 1958) is a Taiwanese female performance artist. Her works tend to blend performance art and spatial interaction to prompt reflection on human circumstances across disciplines such as sociology, linguistics, and performance art. An important work of Tang is I Go Traveling V: Part 2 Taiwan, which won her the Taishin Art Award. As for the participation in cultural movements, Tang strived for the development of the Huashan district in 1997, and promoted the establishment of the Art Creators Trade Union in 2009.

Early life and education

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Tang Huang-Chen was born in Taipei, Taiwan on February 24, 1958.[1] In 1973, she graduated from the University of Taipei. She was inspired by ink-wash painting when she was in her fourth year of college and developed it into her main work type in her early career.[2] After graduating from the University of Taipei, she began teaching for 4 years. Afterward, she resigned from her teaching job and enrolled in the Fine Arts Department of the National Normal University, graduating in 1983.[3] She had worked in a theater and accumulated experience in filmmaking and directing.[2] In 1987, she went to the Department of Plastic Arts at Paris VIII University for graduate study in 1990.[1] After returning to Taiwan, she became an artistic creator, theater worker, and writer. The types of her creations included watercolor paintings, scripts, performances, translations, and publications.[3]

Contribution to cultural movements

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Huashan District

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In 1997, a group of artists led by Tang Huang-Chen established an association, hoping to reuse and transform the Taipei Winery factory (which belonged to Taiwan Tobacco and Liquor Corporation) into an art center, now known as Huashan.[4][5] During the time that Tang Huang-Chen and other artists were striving for Huashan, the founder of Golden Bough Theatre, Wang Rong-yu, was arrested for using the space of the old winery for their performance without approval from Taiwan Tobacco and Liquor Corporation.[6][7] Due to the support of Tang Huang-Chen and Lin Hwai-min in consultation with public representatives, Wang Rong-Yu was released on bail, raising the public awareness to Huashan.[6] In 1998, at the appeal of Tang Huang-Chen, Lin Hwai-min, and other artists, the Ministry of Culture officially took over the Huashan district and entrusted the management of the Association of Culture Environment Reform, which was established and run by artists.[8]

Art Creators Trade Union

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After the Plant Art Act in 2008, artist recognition was not seen as a profession within Taiwan's society and bureaucracy. Tang Huang-Chen initiated a movement in 2009 to advocate for the artists' trade union.[9] They were rejected by the Executive Yuan Labor Committee since the professional affiliation of artistic creators had yet to be determined. Tang Huang-Chen invited artists to raise demands, countersignature, and submit petitions to the Association of Culture Environment Reform.[3] Their advocacy activities involved multiple approaches, including discussions, petitions, creating short films, lobbying with representatives, and seeking negotiation opportunities with relevant authorities. They also engaged with the artist community on issues such as union definitions, functions, membership criteria, and advocacy guidelines.[10] These efforts finally led to the establishment of the Art Creators Trade Union in 2011, which not only allowed creators to have medical, occupational disaster, and pension insurance, but also improved society’s negative stereotypes about art workers and established the identity of future art workers.[9]

Style

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Tang combines performance with spatial interaction to create a series of artworks that awoke human beings to face their situations.[11] Besides, her works crossed the fields of sociology and linguistics, and the elements used in her works incorporate behavior, performance, text, and interpretation in performance art. [12] [13][14] She includes the application of specific numbers, the repetition of actions, the temporality of the process, and physical labor in her creation.[15][16] In addition, she repeatedly uses daily necessities such as flour, eggs, paper, sugar cubes, and bottles [17][18], and through behaviors like drinking, collecting, and reciting to transcends the original material functionality for these objects.[11]

Works

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Since 1991, Tang Huang-Chen have been publishing works every year.[13] She is one of the artists with a specialization in performance art in Taiwan. [12] [14] Her works depict the conflict between the individual, society, and the environment[19], such as 72[3] in 1991 and I Love You [11] in 1992. [20]

  • 72, 1991

The presentation of "throwing eggs"[3]  in 72  symbolizes the death of life entities being crushed and reflects the phenomenon of protests in Taiwanese society at that time,[15][11] in which people would throw eggs to express their discontent.) She wanted to convey that social repression and different values between people caused their inability to express opinions, leading to a disharmonious relationship.[3][11]

  • I Love You, 1992

In the artwork I Love You, she exploited used grape juice bottles to display the process of people being unconsciously materialized in the consumer society.[21][11] To present this artwork, the artist sat in the corner of the exhibition venue and kept repeating "I love you"[21] in France for 90 minutes to rethink herself-being with repeating actions.[16] Simultaneously, she also reflected on many exhibition restrictions in art museums, like no painting walls and nailing.[11]

  • Black Boxes, 1994

The presentation of Black Boxes was game-based through the interaction among the audience through a small hole inside the black box. [18]The audience would gradually approach the wall until the light was blocked, symbolizing the disappearance of people's perspective.[21] Additionally, when the audience imprinted the boxes with tongues or sweaty hands[17], a hidden sensor would be activated to record their actions without consciousness. Simultaneously, their actions would be played on a television screen at the other end through a cleverly arranged camera setup, which implies various possibilities for transforming "reading and being read" behavior.[11][17][21]

  • Hom?, 1996

Tang Huang-Chen arranged a marble-rolling game based on the steep three-story transition of the exhibition space, and the audience could throw colored marbles into the water pipes and let the marbles slide down with the pipes and fell.[15] The artist wanted to convey through this movement that  "the huge weight of reality"[11] suddenly fell into an unknown corner. The marbles pass through the narrow water pipe, demonstrating the state of humans on the set track day after day, like marbles thrown onto the specific track.[15][11] The fall of marble symbolizes the mental and physical difficulties surrounding lives, and people who had to face all kinds of helplessness in real life at the moment of falling. In 1995, she conveyed her homesickness through the work Stinky River Lover -Paper boat Tainan-2.[20]

  • Stinky River Lover -Paper boat Tainan-2, 1995

Tang Huang-Chen used this work to convey the feeling of her homesickness and loss toward her mother.[22] She used sugar cubes to build the castle, symbolizing the replacement of the declining traditional sugar industry by industrialization.[11] The paper boat occupying an important part of the work represents Tainan's history of cross-sea immigration in Tainan. These elements conveyed a personal memory with a real sense of loss, and the image contained three levels of forgetfulness: forgetfulness of time and space, forgetfulness of the ship, and forgetfulness of the water.[11]

  • Ulysses Machine

In this work, Tang Huang-Chen summarized her fifteen-year artistic creation process.[23]I Go Traveling was not only a journey she constructed herself, but also a journey in which the audience participated.[24] In the exhibition of Ulysses Machine, she used the form of three exhibitions in different places, seven performances, and seven workshops with 19 experts in different fields.[25] Tang once again presented audio-visual installations and visual installations based on the fifteen-year action events of I Go Traveling. Through the intertwined body language and narrative time and space, Tang condensed the complexity and speculative nature of contemporary action artworks.[26] She chose the Greek mythological hero Ulysses as the main core in this series of artworks, hoping that even in a world with temptations and bombarded by information, each person could learn to know themselves and find the meaning of life, like Ulysses, and go back home at last.[27]

  • I Go Traveling V 2005

   I Go Traveling V: A postcard Scenery (part 2-Taiwan) was a work that won the 4th Taishin Art Award, her first winning work.[28] I Go Traveling V, the halfway station of the I Go Traveling series project, was a work based on a real journey. Every time they traveled to a place, the traveler would recreate the scene according to Tang Huang-Chen's description of the photo, and finally produce that "seaside scenery postcard" that resembles "rebirth".[29] The Taishin Prize jury commented that her creation reproduces the concept of "social sculpture",[28] creating an exchange between "imagination" and "memories invented by imagination" in terms of artistic expression.

  • Completely in Forgetting Old Lady 2019

This was a nominated work for the 19th Taishin Art Award.[30] This work was inspired by Tang experience of taking care of her mother with dementia for years, combined with the decline of her own physical condition.[31] She demonstrated the change of mindset and physical condition when people are aging, which was the very beginning of Completely-in Forgetting Old Lady, a virtual character embracing the new circumstances when stepping into the last phase of life.[32][33] This work included exhibitions, performances, and tea parties with the elderly.[31][33] In the performance Is the Completely-in-Forgetting Old Lady at Home? Tang Huang-Chen invited elderly people with dementia to join her performances, illustrating the process from memory, forgetfulness and return to the source of life in the form of classical drama.[31][34] She also conducted interviews with the elderly to document their aging experience.[32]

References

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  1. ^ a b "伊通公園 ITPARK". itpark.com.tw. 2019-03-31. Archived from the original on 2019-03-31. Retrieved 2023-11-26.
  2. ^ a b "國藝會線上誌". mag.ncafroc.org.tw. 2019-03-31. Archived from the original on 2019-03-31. Retrieved 2023-11-26.
  3. ^ a b c d e f "影像記憶的傳講．荒謬旅行的寓言：湯皇珍〈我去旅行Ⅴ∕一張風景明信片〉研究" [The legend of image memory. The Fable of Absurd Travel: Research on Tang Huangzhen's "I'm Going to TravelⅤ∕A Landscape Postcard"]: 9, 21, 23, 29. {{cite journal}}: Cite journal requires |journal= (help)
  4. ^ "關於華山" [About Huashan]. 華山1914文化創意產業園區. Retrieved 2023-11-26.
  5. ^ "華山歷史總覽" [Overview of Huashan History]. 華山1914文化創意產業園區. Retrieved 2023-11-26.
  6. ^ a b "從空間符號觀點探討文創園區之行銷策略：以華山文創園區為例" [Discussing the marketing strategies of cultural and creative parks from the perspective of spatial symbols: taking Huashan Cultural and Creative Park as an example]. {{cite journal}}: Cite journal requires |journal= (help)
  7. ^ "華山從酒廠變身藝術特區 背後竟與林懷民跟宋楚瑜的一通電話有關...-風傳媒" [The transformation of Huashan from a winery into an art special zone is actually related to a phone call between Lin Huaimin and James Soong... - Feng Media]. Storm.mg (in Chinese (Taiwan)). 2018-05-30. Retrieved 2023-11-26.
  8. ^ "公民報橘 【百年建築—文化華山】藝術能吃嗎？18 年華山藝文特區簡史的殘酷映照" [Citizen Newspaper [Centennial Architecture—Cultural Huashan] Can art be eaten? A cruel reflection of the brief history of Huashan Arts and Cultural Zone in 18 years]. Buzz Orange. 2016-11-18.
  9. ^ a b 活化廳 駐場計劃 Wooferten's AAiR 2011-12.
  10. ^ "藝創十年不如一朝疫變？專訪臺北市藝術創作者職業工會" [Ten years of art creation is not as good as one day of epidemic change? Exclusive interview with Taipei Art Creators Professional Union]. Fountain (in Traditional Chinese). Retrieved 2023-11-26.
  11. ^ a b c d e f g h i j k l 皇, 珍文; 姚, 瑞中. "時空鄉愁的黑洞" [The black hole of time and space nostalgia]. ITPARK. Retrieved 2023-11-26.
  12. ^ a b "湯皇珍 - 非池中藝術網". artemperor.tw.
  13. ^ a b "台新藝術獎入圍作品: 成忘老太太，湯皇珍2019行動計". 19award.taishinart.org.tw.
  14. ^ a b "台新銀行文化藝術基金會: 成忘老太太，與記憶中的湯皇珍". talks.taishinart.org.tw.
  15. ^ a b c d 陳, 慧嶠. "別說你不能─湯皇珍" [Don’t say you can’t─Tang Huangzhen]. ITPARK.
  16. ^ a b "旅行的人在路上 文 / 游崴". ITPARK.
  17. ^ a b c 季, 鐵男. "湯皇珍的藝術／行動" [Tang Huangzhen’s art/action]. ITPARK.
  18. ^ a b "陰柔美學—淺介90年代台灣女性裝置藝術 文 / 朱怡貞". ITPARK.
  19. ^ "第四屆城市行動藝術節─相遇：尋訪遊樂場 策展專文 文 / 蕭淑文". ITPARK.
  20. ^ a b "湯皇珍" [Tang Huang-Chen]. Taiwan Contemporary Art Database.
  21. ^ a b c d 黃, 海鳴. "湯皇珍裝置─表演作品中的敘事時間" [Tang Huangzhen’s installation - Narrative time in performance works]. ITPARK.
  22. ^ "另類空間的回返：台南早期藝文空間發展研究" [The Return of Alternative Spaces: Research on the Development of Early Arts and Cultural Spaces in Tainan]. 「邊陲文化」（1992-1995）.
  23. ^ "行動藝術家湯皇珍 15年旅行開展".
  24. ^ "尤利西斯精神出走 湯皇珍"我去旅行"15年".
  25. ^ "【尤里西斯機器 】回視湯皇珍【我去旅行" [【Ulysses Machine】Looking back at Tang Huangzhen【I am going to travel]. Artemperor.
  26. ^ "我說，我表述，故我在《尤里西斯機器─回視湯皇珍「我去旅行十五行」》" [I speak, I express, so I am in "Ulysses Machine - Looking Back at Tang Huangzhen's "I Will Travel in Fifteen Lines""].
  27. ^ "展、演、論最終場《尤里西斯機器──回視湯皇珍「我去旅行」十五年。終站》" [The final scene of exhibition, performance and discussion is "Ulysses Machine - Looking back on Tang Huangzhen's "I'm Going on a Journey" fifteen years ago. Terminal》]. matters.town.
  28. ^ a b "【藝術文化】台新藝術獎 雲門再度以《狂草》獲獎" [[Art and Culture] Taishin Arts Awards Cloud Gate wins again for "Crazy Grass"]. Liberty Times Net.
  29. ^ "湯皇珍旅行7年 走出大獎" [Tang Huangzhen won the grand prize after traveling for 7 years]. sulanteach.net.
  30. ^ "成忘老太太，湯皇珍2019行動計劃" [Forgetting the Old Lady, Tang Huangzhen’s 2019 Action Plan]. 19award.taishinart.org.tw.
  31. ^ a b c "已經回家，如何回家？「成忘老太太」與湯皇珍的史詩" [Already home, how to get home? "The Forgotten Old Lady" and Tang Huangzhen's Epic]. artemperor.tw.
  32. ^ a b "最後的歸程：「成忘老太太，湯皇珍2019行動計畫」" [The final journey back: "Forgetting the Old Lady, Tang Huangzhen's 2019 Action Plan"]. mag.ncafroc.org.tw.
  33. ^ a b "朝向「老年之藝術」：成忘老太太，湯皇珍 2019行動計畫" [Toward the "Art of Aging": Forgetting the Old Lady, Tang Huangzhen 2019 Action Plan]. ARTalks (in Chinese).
  34. ^ 徐, 瑋瑩. "找尋回家之路《成忘老太太在家嗎？》" [Looking for a way home "Is the old lady Cheng Wang at home?"]. pareviews.ncafroc.org.tw.
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