Liao, Chi-Yu.

*1986 in Tainan, TW
lebt und arbeitet in Taipei, TW
Studium am Graduate Institute of Art and Technology, Taipei National University of the Arts, Taipei, TW


Ausstellungen [Auswahl]:

2010 Einzelausstellung „Mimi Lucy - Never Give Up - The New World“, VT ARTSALON, Taipei, TW

2010 5th Digital Art Festival Taipei 2010, Bopiliao Historic Blick, Taipei, TW
2010 7th Busan International Video Festival, Media Center, Busan, South Korea
2010 Eattopia - 2010 Taiwan International Video Art Exhibition, Hong-gah Museum, Taipei, TW
2010 Art Taipei 2010 - Made In Taiwan : Young Artist Discovery, Taipei World Trade Center, Taipei, TW
2010 Videoholica Internationa Video Art Festival, Varna, BG
2010 Post - adolescence, National Taiwan Museum of Fine Arts, Taichung, TW
2008 2008 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, TW
2008 Einzelausstellung „It seems to Lie Down in the Holes When Inverted“, VT ARTSALON, Taipei, TW

Miss Nice-Looking

Date: 2010
Length: 06:00 min.
Format:  16:9, 5-Kanal Installation
Specification: Colour, Sound



Chi-Yu Liao führt dem Betrachter fünf alltägliche Lebenssituationen vor, in denen sie selbst die Protagonistin ist. Sie versucht, mit zwei ihrer Freunde Tischtennis und Seilspringen zu spielen. Mit einem anderen Freund gibt sie vor, eine Mahlzeit zu haben, indem sie ihn mit Eiskrem füttert, während er ein Würstchen aus der Mikrowelle nimmt. In weiteren Situationen zeigt die Künstlerin einsame Aktivitäten wie das Lesen eines Buches oder das Aufblasen eines Ballons, wobei andere Schauspieler die Handlung unterbrechen.
Obwohl die Szenarien glaubwürdig erscheinen, spürt der Betrachter schnell ihre immanente Künstlichkeit. Die Gesten der Schauspieler sind merkwürdig und ihre Posen erscheinen nicht stimmig. Beim genaueren Hinsehen ist der Ursprung der Anspannung zu entdecken: Die Augen der Darsteller sind bedeckt mit Plastikmasken, auf denen große Augen wie aus japanischen Trickfilmen aufgemalt sind. Plötzlich verwandeln sich die Alltagsbilder zu starken Metaphern über das beständige Versagen in Beziehungen. Sie zeigen das grundlegende Unvermögen des Menschen, den anderen wahrzunehmen und in sinnvoller Weise miteinander zu interagieren. Denn trotz ihres unaufhörlichen Kommunikationsdesasters lächeln die Akteure davon völlig unberührt ganz entspannt. Die Videoarbeit von Chi-Yu Liao Künstlerin macht deutlich, dass wir in einer virtuellen Realität von Beziehungen leben, die wir in unseren Köpfen imaginieren, ohne dabei den Mut zu haben, unsere blinde Einzelposition zu verlassen.



► 1. Your video has been chosen among over 1700 festival entries to participate in Videonale 13. How central is the video medium to your overall artistic production? Is it complimentary to other media you use or do you work exclusively with video?


I majored in painting in college. My first try at creating motion images came about when I finished a short film of stop motion animation with some hand-drawn pictures. I became very passionate about motion images ever since. Yet, it would be very time-consuming for one to finish an animation production independently. So I started using video camera making films. In that, I found, I could express my ideas very well about the way an artistic creation was supposed to be.


A majority of my films was about myself. One of my creative styles then came along with merging my personal performance into the film making. My video works create multiple viewpoints to watch: while my camera is in action, I use the camera to watch and at the same time the camera is looking at me; I can also see me as an object in the pictures. This is a complicated viewing process. The films have many interesting things going on and stimulate a lot of thinking.


Anyhow, I do not work exclusively with video. I am open to any possible forms of artistic production.

► 2. Is there a particular theme, concept or problem your art addresses the most?


My works focus on interpersonal relationships and also my own experiences about my body. Stories usually start from fragments of real life. With the help of imagination, detailed situations and narrations are created to express feelings and emotions close to real life.

Most of the time, the sources of my art are too trivial to be articulated. I pay a great deal of attention to many fleeting moments of daily life. I always make effort to feel with heart and to observe the others, plus, to catch those ineffable feelings passing back and forth between people.


► 3. What artists do you relate to or find significant for your own art-making?


My works come directly from my personal experiences, including my origin, family and social background, the people I know, and things around me. Some may try to explain my published works using theories of sociology or anthropology, such as the gender or the gaze theories. However, my works are actually filled with sentiments, telling about spirits, feelings, desires, and the elaborations on one’s body experiences.

► 4. Do you think the video medium can address social or political issues better than other art media?


I do not think video, as an art medium, can always outperform other media regarding social or political issues. One may find all kinds of great media available out there. But, personally, I like using video best because it makes it possible to enclose various emotions on different layers in one piece of work.


When making motion images, the artistic production is floating and time oriented. It leads the audience to one dimension open to imagination, specifying both time and place. This would make it possible for the audience to think or feel from more than one point. A video has a better chance to tell stories from different directions.


► 5. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Which of the two positions is close to your own art-making philosophy?


I am very sensitive to details of life. I always feel that art is very close to real life. I have never used my works as a tool to promote or to explain certain thinking. For me, the process of art-production is not about explanations, but about instincts and imaginations. My works are the fruit of unrestricted perceptions and thinking.

► 6. How do you understand success in an art-making career?


A successful artist knows well what he/she wants and likes. He/she concentrates in art-making, is a keen observer, and is super creative.


► 7. What is the most difficult and the most rewarding thing about making art / being an artist?


Art-making requires space and money, and is time-consuming. It is quite difficult to balance.

► 8. What are your upcoming projects?


I have some interesting projects in progress. Recently, I have tried to make subtler image presentation. Narration and set-up may become more complicated as well. In the meantime, I keep my thinking cap on about all kinds of possibilities of body and performance.


► 9. What do you do when you don't make art?


Well, art-making is part of my life. I live and do art at the same time.


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