Yen-Yen Ho

, ,
Yen-Yen Ho 
e-mail :


MFA in Fine Arts from Taipei National University of the Arts 


2016 Nonhuman Rights, Selasar Sunaryo Art Space, Bandung Indonesia

2017 "New Journey" Tainan New Art Award, Tainan 82 Space
2016 Riding the Boat Graduated from Fine Arts Department of National Taipei University of Arts, Tamshui Bali
2016 "14th Taoyuan Creative Award", Taoyuan Exhibition Center
2016 "Finger objects" creative excellence award, Guandu Museum of Art
2015 ("Synchronized Rotation"), National Art Museum of Taipei, Taiwan Eight and one-half
2015 "Opposite to Playground" Exhibition of eight people, 789 chicken farm
Selected Duo Exhibition:
2017 Intomedia w/ Aditya Martodiharjo, Galeri Soemardja, Bandung, Indonesia


2017 Prize of Next Art Tainan
2016 The 14th Taoyuan Contemporary Art Award
2016 Outstanding Art Prize of School of Fine Arts 

Approaching the Ideals
 Drawing, acrylic on paper, print, video, Dimensions Variable, 2017

It was May, 2017, I was a resident artist in the suburbs in Shanghai. I stayed in a village; though for a short period of time, on the alluvial island Chongming. I was arriving as spring was departing. Each day I would, compelled by the laws of nature, begin my day in serenity at sunrise, ride on my bicycle to and from no place in particular and end it as darkness falls. Very often all I could see before me was the nearly boundless horizon stretching to the end of the world, so I allowed my mind to concentrate on the material and real things. I was growing more and more unfamiliar with thoughts and everything that has conceptualized and a priori, such as legends, grammars, and time.

I could not help but feel disoriented. Before me was a village where western style houses sprung up. There were constructions and banners everywhere that demanded Progressive and Internationalization. Top executives there used only present continuous tense and imperatives when they spoke. As their words emanated from a place of hollowness, where could it lead to? The reality was deviating from the ideals. Along the fork road I fetched a few mysteries that needed to be solved. The 3-dimensional modeling of the streets that was installed on the streets. The sunken part in the center of the rye field outside my bedroom window. The short stories in the paper and magazines that were somewhat unethical. These mysteries hindered the ideals that were illustrated in the maps of old times. They also conveyed the gap between the tense of speech and time, and the future that is unrelated to the present tense. Meanwhile, an old-fashioned Crop Circle Act has been enabled. Either I was in jest or acting as a farmer, my body was awkwardly intended to befit the ideals of my imaginary story, and to isolate from the outside world.

New World
 Drawing, acrylic on paper, print, concrete and a fan, Dimensions Variable, 2016 

I am fragmented, truncated to read the contents of the part, the form or the title, the use of different symbol systems, life function areas of images and objects, gathered into a difficult to capture the narrative and its structure of the"new world", re-measure the world map. The original symbol system to lose the effect, try to let things have another reference space-time coordinate system.

Core of Matters
 A globe, a cabinet, motor, a mapm 40x30x145 cm, 2016

A still hold of a globe spinning without an object through the axis.
Through the spins, it brings together objects that are spherical, flat, folded, filled, subject-lost and rotated, from different part of life and further reconstructs them. In between being lost and balanced, this work brings up the discussion of the core of revolution in human history and philosophy.

Core of Matters raises questions against humanitys progressive historical and universal perspectives on core through disappearing spheres and revolving axes. 

One Sixth: A reality
 Concrete, wood, a telescope and a single-channel video, Site-Specific Installation, Dimensions Variable

A mise-en-sence of the moon was fabricated by concrete and moldings in an installation. A telescope stood in the corner with a spot-light on from the far corner of the room. A surreal situation was constructed in daily encounter.Through the viewfinder of the telescope, a video of the masterpiece of contemporary artwork, Richard Serras Hand Catching Lead (1968), could be seen. The video was played by one sixth of the original speed in accordance with the gravity of the moon where objects fall in such a pace, 1.66m/s2. The video was played in a loop and shorten to the sequence of the movement of grabbing and dropping that the meaning of video lost its original significant and narrative.

 Therefore, an absurd gaze was created in displacing art in the outer space, yet still kept it physical relation such as the distance from the Earth to the moon 3.85x108 m, the gravity 1.66 m/s2, and the speed 2.38 km/s. A line of flight from the banality of daily experience was brought forth in order to tell the intricate relation among art, the outer space, and the fantasy which mended the black hole of the reality.

 FRP, a telescope and a single-channel video, Site-Specific Installation, Dimensions Variable 2015 

Originated from the concepts of synchronous rotation, Moonlight recounts with sentimentality how viewing distance and body memories of viewing envision the link between invisible matters and the author himself. Alongside regular cycles of light and shadows, the two mirror each others scantiness, dark side, and destiny.

 Plaster, water, a motor and a glass box, 250x200x150 cm, 2015

The boundary of an island represents both the geographic and national border. It can also be seen as a temporary state of the subject, as us being in this variable reality. Through creating an overlooking sight, this work changes the way audiences see sculptures. The shape creates by the rising and declining water level in the sink has been changed and named differently through the variation. The model of the island becomes a flattened symbol system. The glimpsing images are like breakers tumbling the expanding and ideological reef. The time spent seeing the work becomes a prophecy of history and politic.