Yuan Goang-Ming (b.1965) currently lives and works in Taipei, Taiwan. 

Yuan Goang-Ming is a pioneer of video art in Taiwan. Since working with video in 1984, he has received a master’s degree in media art from the Academy of Design, Karlsruhe (1997). He is now one of the foremost Taiwanese artists active in the international media art circle. He currently holds a post as assistant professor and chair of the new media art department of the Taipei National University of Arts. 

Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, and explores the human mind and consciousness. In 1988 while he was still in art school, he received the 13th Hsiung-Shih Art Award for the Best New Artist for his video and sculptural work Out of Position (1987). In 1992, his work Fish on a Dish garnered great acclaim in Taiwanese art circles, and received the First Prize of the Taipei County Arts Award, while The Reason for Insomnia (1998) received the Jury Prize of the 1st Digital Art Festival. His City Disqualified (2002) holds an important place in the history of Taiwanese contemporary media art. 

Disappearing Landscape (2007) heralded a new approach to the moving image, combining video art and cinema, displaying the fascinating, theatrical everyday in three-channel video installations. The 2011 exhibition Before Memory continues his exploration of the idea of “home” and expands such exploration into ruins and nature, in a diverse array of large-scale installations about time and memory, the body and perception. His 2014 solo exhibition An Uncanny Tomorrow questions the environment we inhabit in a globalized context, pondering the anxieties and apprehensions of modern people. This exhibition received the Exhibition of the Year of the 13th Taishin Arts Award.

Yuan has participated in many important exhibitions, festivals and biennials, including: “Selection of NTMoFA’s Collection”, The National Taiwan Museum of Fine Arts, Taichung (TW, 2020); “Taming Y/Our Passion”, Aichi Triennale (JP, 2019); “Tomorrowland”, Hayward Gallery, London (UK, 2018); “Beyond Bliss”, Bangkok Art Biennale (TH, 2018); “Ghost”, Daegu Art Museum, Daegu (KR, 2017); “Open Space 2017: Re-envisioning the Future”, NTT InterCommunication Center, Tokyo (JP, 2017); The 55th Ann Arbor Film Festival, Michigan Theatre; Ann Arbor Art Centre, Michigan (US, 2017); “Before the Rain”, 4A Centre for Contemporary Asian Art, Sydney (AU, 2017); “Mille-feuille de Camélia”, Arko Art Center, Seoul (KR, 2016); “Disappearing Landscape — PassingII”, Queensland Art Gallery and Gallery of Modern Art, Brisbane (AU, 2016); “La Vie Moderne”, Biennale de Lyon (FR, 2015); “Mobile M+: Moving Image, Midtown POP”, Hong Kong (CN, 2015); Fukuoka Asian Art Triennale (JP, 2014); the 7th Asia Pacific Triennial of Contemporary Art (AU, 2012); Singapore Biennale (SG, 2008); Liverpool Biennial, (UK, 2004); Auckland Triennial (NZ, 2004); the 50th Venice Biennale Taiwan Pavilion (IT, 2003); the 2nd Seoul International Media Art Biennale (KR, 2002); “010101: Art in Technological Times”, San Francisco Museum of Modern Art (US, 2001); ICC Biennial (JP, 1997), and Taipei Biennial (TW, 2002,1998,1996).

His work is housed in public and private collections of art museums and institutions domestic and abroad. He has also been on the Collections Committee of the Taipei Fine Arts Museum, and a juror of the Taipei Arts Award, Taipei County Arts Award, Public Art, Venice Biennale (Taiwan Pavilion), and Asia Society Arts Award in the United States.