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Exhibition Works

Kingdom of Doll, Kingdom of Wawa

 

2024

Single-channel video, 4’ 57”

Taking Taipei’s Ximending as the stage, I created the “Doll-Human” — a costumed figure that bounced and weaved through the streets, becoming both the subject of collective voyeurism and the object of projected desire. The doll costume covered both myself and the performer, resembling a collective march into battle. The doll is both an individual and a mass, a psychological projection of contemporary consumerist desire — embodying both the act of clawing and being clawed, watching and being watched. I placed the dolls one by one on the escalator of the Lion City movie theater, resembling a conveyor belt — moving forward yet constantly thrown back to their doll-like form. Meanwhile, I moved through Ximending in a 360-degree rotation, like a spectral presence of desire, bouncing, blurring, and surfacing across different depth-of-field landmarks in this theater of consumption.

Yen-Chao HUANG’s practice spans painting, installation, performance, and video, consistently exploring the interface of the body, objects, and the politics of visibility and desire. His performances often disrupt modes of spectatorship through subtle yet radical gestures. In Membrane – The Enjoyment of Pleasure, the body confronts the sensory politics of transparency; in the Doll Nation – Doll Town series, he traverses urban boundaries in costume, using cuteness and heterotopia to dismantle gender norms and social gazes. Approaching from a queer perspective, he frequently employs unconventional materials—membranes, balloons, cassette tapes—to construct ritualistic micro-actions that oscillate between playfulness and danger. His body resists stable subjecthood; it becomes a site of binding, smearing, pulling, chewing, and unveiling—an unstable signal field that evokes an unresolved seduction of looking and the fragmented pleasures of rupture.

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Yan-Chao HUANG

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© 2025 by RollingTides_Art. 

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