Born in 1974, currently lives and works in Taipei, Taiwan.
Tsui Kuang-yu has been trying to respond to the adaptation relation between human and the society from a biological point of view. He also attempts to redefine or question the matrix of the institution we inhabit through different actions and experiments that ignore the accustomed norm. In doing so, the artist has developed new means to adapt to the environment and redefine reality. His action can be regarded as a medium, or a parameter, to gauge social tolerance. Also an attempt to show relationships in the present institution and the relation between man and his environment, Kuang-Yu’s repetitive body experiments accent the absurdity of the social values and reality that people have grown accustomed to. During his creative process from 1995, the artist has gradually given his systematic “interceptions” to the living environment a demonstrative significance. His contrasting actions and interactions with the surrounding environment can be taken as a trace of or parameter for social interception. In addition to being absurd, the actions also act as a question to the institution. The artist refers these actions as a shortcut that can further detect and expose other shortcuts to a different system within the present institution. In Kuang-Yu’s works, his subjective intervention and alteration are shortcuts, or a medium and method, that measure and question the surrounding culture and society. Alternatively, one could say that Kuang-Yu has demonstrated a way to alter the reality or survive within the crevices in the present institution, or to overcome obstacles in the living environment.
Invisible City: Liverpool Top 9
In the process of Liverpool urban transformation, we can find in the old urban plan a lot of spaces and facilities that are vaguely defined and planned. These weird spaces are like mysteries scattered over the city, waiting to be disclosed or changed at an appropriate time. This project continues the core concept of city spirit – through observation and behavioural interposition, the possibilities of the co-existence of city and surroundings are brought forward. Also, on the premise that no changes to the present surroundings will be made, through a form of urban tour, an interpretation is made of these locations from the artist’s point of view. Through these interpretations that rationalize the embarrassing urban spaces, the link between functions and meanings is removed to readdress the relationship between people and life spaces. Also through ridiculous scenes, an attempt is to be made to search for an overlap of life experiences.