Kao Chung-Li

Born in Taipei in 1958, Kao Chung-Li belongs to the generation of baby boomers (born from 1946 to 1964, a period that involved the Cold War, with CRT electron guns shooting worldwide). His work demonstrates historic dialectics between perception and audiovisual technology. On the basis of media archaeology and modernology, the artist explores the power structure in the evolution of audiovisual devices through multiple perspectives with the continued pursuit of liberation for media ecology and art production at present. His practices on the form of individual audiovisual labor include the Photochemical-Mechanical Live Image Projection Device series (a practice using a general human faculty, hand-eye coordination, as the means to understanding and approaching technical images), Camera Lucida Cinema (a practice on signifier, involving artificial, visible signifiers), Slideshow Cinema (a practice on identity politics regaring individual audiovisual culture), Patent for Optical Toys as Teaching Materials (a practice on teaching as a form of proactive learning), Object Book Based on Reflection Materials (a practice about how pre-optical intuitive viewing of objects can be possible), 24 × 18 Half (a practice that explores the conditions for synchronization related to moving images in terms of difference, intermmitance, and suspension of frame or succession), Binocular Optics Destroyed the Object: Haptic-vision Technique of Retouching (a judgement practice about representational agency). The artist has held his debut solo photography exhibition at the American Cultural Center, Taipei in 1983 and has won 7 Golden Harvest Awards in the categories of 8mm experimental film, animation, and documentary five years in a row (1984-1988).