Iuan-Hau Chiang

Taiwan, China 1972

Né en 1972 à Taiwan, Iuan-Hau Chiang a étudié au Département de sculpture du National Taiwan College of Arts en 1991. Il a acquis davantage de liberté par l’apprentissage de la sculpture et de l’espace que par une création à deux dimensions. Afin d’explorer plus de possibilités dans sa pensée créatrice, il a fait ses études à l’Ecole d’Art du Havre (France (en 1999). Diplômé de l’Ecole Nationale des Beaux- Arts de Lyon en 2002, Iuan-Hau Chiang, pour des créations en 2D et 3D, a eu recours à plusieurs médias, la photographie, la vidéo, l’art de l’installation, l’image et la musique numérique... Depuis sa rencontre avec le chorégraphe français Christian Rizzo en 2006, son approche de la création a investi de nouveaux domaines. Il a continué à travailler avec Christian Rizzo pour de nombreuses œuvres et expositions. En 2014, Chiang a créé « Time - Passing Through – Travel », une installation avec le son et la lumière, pour la Biennale Musiques en Scène de Lyon. Pour s’exprimer dans des modes non - figuratifs, tels que la synecdoque et la métaphore, Chiang traite de la relation entre l’homme, la forme et l’espace à travers plusieurs médias, afin de rechercher la définition des modes de notre existence dans la période actuelle.


Christian Rizzo, Iuan-Hau Chiang

FOM 1
Vidio Film 3D 6’58’’
2011

In Fom1, the outline of the dancer is momentarily recognizable in a plume of smoke, but it dissipates when he begins moving again. A paradoxical choice for a choreographer, which Christian Rizzo himself highlights:“As a choreographer-dancer, I feel like I am being made to appear by the movement. In Fom1, movement becomes the element that causes me to disappear...”
At first glance, the instability of the design, the elusive character of the figure, and the absence of context are what we immediately notice. But the precision of motion capture reveals the body’s density: even if the ground is not visible, it exists through the weight of the foot pressing down upon it....
Out of this, a silhouette bursts forth and appears to blossom, sketching out a few dance steps, then disappears. Born out of a reflection on perspective and representing a space in Eastern and Western cultures, the film reminds us that there is no landscape without a human being. And, there is no landscape without a point of view.


Iuan-Hau Chiang

Seeing Is Believing
Vidio 3D animation, projection mapping 7’07’’
2010

We can regard each individual in the social community as a “point” and the connection and interaction between people as a “line”. A large quantity of connection and interaction will make up a “plane.” In the constant timeline, the appearance, stay, and disappearance of each individual are so short. We make “light” the bridge to connecting and communicating with other individuals. The connection between each other occurs at every moment. From the grand connection and interaction, the “transience” is repeatedly sparked to construct the existing space for both you and me and to piece up the weightless online world. The borderless virtual digital platform is carved with the trace we’ve tried to leave to prove that we once existed.


Iuan-Hau Chiang

Seeing Is Believing II
Vidio 3D animation, projection mapping 8’37’’
2013

We can regard each individual in the social community as a “point” and the connection and interaction between people as a “line”. A large quantity of connection and interaction will make up a “plane.” In the constant timeline, the appearance, stay, and disappearance of each individual are so short. We make “light” the bridge to connecting and communicating with other individuals. The connection between each other occurs at every moment. From the grand connection and interaction, the “transience” is repeatedly sparked to construct the existing space for both you and me and to piece up the weightless online world. The borderless virtual digital platform is carved with the trace we’ve tried to leave to prove that we once existed.

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