Beyond the Deception of a City Without Residents─A Critique of Yuan Goang-Ming''''s Solo Exhibition “Human Disqualified”

• Main Authors: Wen-Yao, Chen, 陳文瑤
• Other Authors: Tung-Shan, Hsieh
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/77938394539974846823

碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 90 === This paper intends to draw on Yuan Goang-Ming’s Solo Exhibition “Human Disqualified,” held at the IT Park in 2001, as the object of commentary. Through a discussion of the images in “Human Disqualified,” I aim to analyze his concerns of ideology intertwined in the social context. Through an interpretation of the work’s theme, I will point out the critical perspective of “Human Disqualified.” This paper will offer an analysis of these two parts: Art reveals social realities on the one hand, but also possesses autonomous anti-social critical essence on the other hand. After the 1950s, the increasing development of communication media gives rise to the overwhelming age of “the visual image consumption.” “Visual images” taken from reality construct “reality.” “Images” attached to “visual images” construct “visual reality.” Thus, we realize “reality” through the allusions of “images” radiating from “visual images.” In order to take “Human Disqualified” as a visual reality, the observer is not located outside the visual images of the work to translate its images. Conversely, the site formed by the work and its observers becomes a site of intersubjectivity. The observer enters the floating time of visual images; he is no longer an observer, but lives with the time of the visual images. Interpreting the images in his work, we discover that they have a double meaning: the first one is its surface reality, regarded as a direct translation of social ideology, and the second one is its inner critique viewed as a form of anti-social ideology. Rather than being in opposition, they depend upon each other and co-exist interactively.