Art as a bridge
Yao was a student at the National Institute of the Arts, today’s Taipei National University of the Arts, when Taiwan broke free from decades of martial law in 1987. He believed the fall of the old system would open new doors and pave the way for the country to right its wrongs. Yao says he was hopeful that the end of martial law would lead to the downfall of “oppressive regulations such as Article 100 of the Penal Code” that were designed to prevent “civil disturbances.” Taboos surrounding the creation of art about politics and religion were being erased. The trend of social liberalization, Yao believes, allowed art in Taiwan to become a bridge between all aspects of life.
Wu Chieh-hsiang, an associate professor in the Department of Art at National Changhua University of Education, says she believes Yao is one of the most influential and creative artists of his generation not simply because of his talent, but also his unstoppable drive to question the merits of political, historical and artistic developments. Wu, also a board member and former president of the Association of the Visual Arts in Taiwan, says she admires Yao for his ability to create, review, theorize and curate, resulting in artworks covering “a great diversity of genres, materials and subjects with unprecedented originality.”
In the 1990s, after Yao graduated from college and completed his compulsory military service, he focused on performance and installation arts, which were gaining in popularity at the time. In 1997, he was selected to co-represent Taiwan at the Venice Biennale art exhibition with his 1994 installation work Military Takeover, which casts a sarcastic look at recurring power shifts in Taiwan’s history. In the work, Yao presents himself in sepia-toned photographs, standing naked while urinating at six locations along the Taiwanese coast. He chose sites in Keelung, New Taipei City and Tainan where incoming powers had arrived since the 1620s from the Netherlands, Spain, mainland China and Japan to occupy the island. Paired with each photograph was a gold-leaf-covered toilet.
Small Landscapes II: Mao Swimming Ink and gold leaf on paper, 2015 130 x 130 cm