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《共登世界大同之境》3-channel HD video installation, colour, sound, 17 min, loop, 2012 冥王星：轉變、消滅、動亂、重生、創造、療癒、權力鬥爭 公轉週期：248年 
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Multimedia/ 2-channel video installation
Numerous displayed objects | Video Channel 1 & 2: approx. 5-minute loop | Sound: 20 minute loop Please click here for more info. Click here for the video excerpt. |
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| 3-channel HD Video, loop, Color, 2011 | ||
A portrait of a lively street - the Dapperstraat in Amsterdam, the Netherlands. This 3-channel video work is commissioned by the Karel Appel House OPEN. All the images were shot at the Dappermarkt during the garbage strike of 2010. "On Monday 25 April, precisely 90 years after the birth of the famous painter, Karel Appel, who studied at the Rijksakademie, the Karel Appelhuis is open to the public as the start of a public programme on the theme 'Mijn omgeving' (My environment). Resident artist Yin-Ju Chen is presenting a new video work for the occasion. Open: 25 April from 12 – 17 PM, Dapperstraat 7, Amsterdam. " - excerpted from Rijksakademie News April/May 2011 |
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Part one, 8'03", mute A long and slow shot of a city worker cleaning a public billboard - the steam creates a beautiful cloud between the trees in a small street. A beautiful yet a very common moment, almost unnoticeable for a city person. The video is in slow motion. At first viewers could mistake it as a photograph, but in time the steam cloud is visibly, yet slowly increasing in size. |
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Part two, 1'34", stereo An offbeat but regular neighbor that lives in the Dappermarkt is the crane. They were the actually the happiest ones during the strike, profiting from food left in the garbage. This part of work is in a very brisk rhythm, with the original sound recording from the market. |
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Part three, 2'38", stereo This section shows a series of images of garbage piling up in the Dapperstraat, with dialogues between the curious neighbors and the artist. |
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15 min. 40 sec., DVCPRO HD, black & white, stereo, 2010 |
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| Distributed by Netherlands Media Art Institute (NIMk) A decoded, alien environmental message, structured as a hypnotic experimental film, forcefully and poetically warns us of their return and the planet’s re-colonization. Texts from NIMk - Strange messages are sent to humanity. They are frightening and poetical at the same time; they report of a takeover and the end of it all. The messages alternate with ominous black-and-white images of lifeless cities under control, frozen industrial landscapes, sterile laboratory machinery and nature in an abandoned state. "We were here before you". "Fear is natural". A final warning: the planet is re-colonized, and human life only seems possible in the protected, artificial and enclosed environment of a large-scale indoor resort. Stephen Hawking once wrote, "If aliens ever visit us, the outcome will be much as when Christopher Columbus landed in America, which didn't turn out well for the Native Americans". In this case, who are the colonizers and who are the natives? |
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〈解密外訊〉 一份來自外星球的解密報告。以強勁且詩意所結構而成的催式實驗電影，警告地球人他們將重反地球殖民。 攝影、剪輯、特效、混音：陳瀅如、洪子健 | 出品國：台灣、德國、荷蘭 | 放映規格：HD, HDV, DV, 與其他video格式 贊助：荷蘭皇家視覺藝術學院、行政院文化建設委員會、德國學術交流協會 | 特別感謝：Ulrike Mundt, Laura Muñoz-Alonso |
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Years of Production: 2004-2010 by Yin-Ju Chen and James T. Hong Production formats: DVCPRO HD, 16mm |
  6 min , HD Video, Color, Stereo, 2009 by Yin-Ju Chen and James T. Hong | |
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A video document of Hitler's final bunker in Berlin, Germany on the
anniversary of his suicide (30 April). 〈希特勒地堡：遊客、新納粹，或是… - 4月30日2009年〉 一九四五年四月三十日，希特勒於柏林的藏身地堡舉槍自盡。本片呈現六十四年後的同一天與同一地點，會有哪些人出沒，什麼事發生？ |
11 min , HD Video, Color, Stereo, 2009 |
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Anchored by an excerpt from the 6th century BC text, the Daodejing (Tao Te Ching), Dogs of Straw is both a portrayal of Taiwan's 2008 presidential election and a meditation on democracy, manipulation, and nationalism. In Taiwan’s fledgling democracy, it is only during a presidential election when the "people exists" as a formless abstract multitude removed from concrete social structures. 〈芻狗〉 「天地不仁，以萬物為芻狗；聖人不仁以百姓為芻狗。」本作品節錄老子〈道德經〉第五章為主軸觀念，反應2008台灣總統大選對民主、意識操作，以及民族主義的思考。 在台灣新興萌芽的民主化過程中，唯有透過選舉期間的大型集會，民眾群聚在一起才能感受到在國家機器中自我存在與價值。 |
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| This idea was inspired by the huge impact of Western culture on Asian society.
Based on the Western cultural habit of "knocking on wood," instead of using my hand to knock on wood for good luck, I used my head. 〈KNOCK ON WOOD〉 這件作品的主要是傳達西方文化對個人或東方文化的衝擊與影響。利用西方人貫有的手勢習慣「敲木頭」為創作基調 － 當說出自認很幸運的事時，隨即敲木頭以便驅走躲在木頭裡的邪靈，以免調皮的邪靈聽到後準備搗蛋。 在作品中，依照敲木的基本原則，我描述七年在國外的生活是如何幸運獲得幫助，並在每一段落以頭部撞擊木製桌子。以頭撞擊的目的在於西方文化的影響猶如「文化灌頂」般地在日常生活中無所不在，之小在於個人在西方社會生活的取經經驗與觀念吸收，之大在於其跨越大陸與海洋的阻隔，影響東方社會的力道。 藉由「敲木頭」的文化細節，將之引申為西方的文化撞擊，是這件作品的主要枝幹。 |
7 min 42 sec, HD Video, Color, Stereo, 2008 |
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This video shows one example of how Asian parents devote themselves to their grown children. Here a mother works tirelessly for rich clients so she can send her daughter to study in the USA. The montage illustrates the detailed procedure of dressmaking, and the phone conversation covers credit card expenses, converted from US dollars to Taiwanese yuan. Texts from IDFA - In a sewing workshop, the making of a piece of clothing is filmed in detail while we listen to a phone conversation between a Taiwanese mother and her daughter, the director of this film. The mother spends her days and nights toiling away so she can afford to send her daughter to school in the United States. They are discussing the credit card bill. Not only their physical distance, but especially their emotional one manifests itself in an increasingly emphatic way. Their worlds are light-years away from one another, which leads to miscommunication and lack of understanding. A talk between two people who love each other is reduced to a business transaction; after all, the language of the dollar is universal. Transactions is about the boundaries of a love that supposedly knows no bounds. 〈財‧縫〉 一位台灣母親日夜辛勞地為貴婦人裁製衣服賺錢，以支付女兒在美就學的昂貴學費。全片以一通討論信用卡開支的母女越洋電話為對白，影像則呈現詳細的縫紉工作過程，企圖表達傳統亞洲父母為了孩子無怨無悔的奉獻。 |
5 min., HD Video, B&W, Stereo, 2007 |
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Two memories of alcohol abuse -- reconstructed from found sound tracks, and put into a metaphorical image montage. Two women from different generations talk about their life struggles and how they became alcoholics. 〈酒恙〉 「喝酒讓我什麼都不在乎，我不在乎你喜不喜歡我，我從中獲得我想要的自由」「我不吃不喝，我恨自己，我不想再活下去了」兩段交錯出聲的錄音帶，搭配蒙太奇影像，呈現兩名不同世代女子的酗酒人生。 |
3.5 min., HD Video, B&W/Color, Stereo, No dialogue, 2007 |
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Waking Terror uses the sufferer’s point of view to express the terrifying experience of Sleep Paralysis. 〈鬼壓床〉 鬼壓床是以實際視覺的經驗以第一人稱的角度所作的短片。傳統的說法是鬼壓床，以科學的角度稱為睡眠癱瘓症。它是介於「夢境」與「清醒」之間，在視覺、聽覺、觸覺上的混淆感官經驗，基本上當事人的當下感受的狀態都是極其害怕驚恐的，這也是這支短片所建構的氛圍基礎。 |
4 min., HD Video, Color, Stereo, No dialogue, 2006 |
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 Watching video on UBU |
This video work combines both performance and video art. The artist portrays a state of stress -- the stress from self-pressure and the fear of turning 30 years old. Using a unigue architectural structure and video techonology, the artist imagines three decades of herself. 〈三十滯〉 結合行為藝術與錄像藝術的方式，藝術家自述面對進入三十歲關卡的緊張與不安。利用三層旋轉樓梯的特殊建築設計與剪輯技巧，藝術家試者與三個自己對話。 |
 Photo by Kathleen Quillian |
5 min., Video, Color, Stereo, No dialogue, 2006
(with James
T. Hong) |
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Watching video on UBU |
A symbolic history of Kapital -- a symbolic history of the West. Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. When once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil. 〈資本主義萬萬歲〉 西方資本主義歷史的符號象徵。 科技的發展過程中，科技應是資本累積與戰爭的服侍者，但在石油世紀與戰爭的當下，科技卻代表了資本主義。 此片靈感來自於俄國藝術家馬勒維奇提出的「絕對主義」(Suprematism)與當今的石油戰爭。作品中的影像符號適於任何畫質解析度的螢幕，大至戲院小至手機或iPod螢幕。 |
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10 minutes, color, stereo, MiniDV, 2004 |
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| A history in 3 parts: 1. Evolution then progress. 2. Progress then civilization. 2. Civilization then exploitation and damage. History making is also garbage making. |
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12 min. (English subtitled), color, stereo, MiniDV, 2003 |
 A documentary for everyone who leaves home. Separated by the Pacific Ocean, a mother in Taiwan and her daughter in San Francisco have a normal phone conversation as images of San Francisco fill the screen. The images are shot from a cold, alienated perspective, and betray the videomaker’s longing and homesickness.
The 34 numbers in this video’s title constitute the tedious procedure the daughter follows when calling Taiwan. |
3 min., color, stereo, MiniDV, 2003 |
 In this piece I give new voice to a number of banal and hackneyed video reviews. The idea is to show how these reviews and blurbs are designed purely as commercials: how they seem to say something, but ultimately say nothing. Isolated, each review has the power to influence unsuspecting consumers, but all together, the meaninglessness is obvious. Moreover, all the reviews are authentic, and every single one is a lie. |
1 min, color, stereo, MiniDV, 2002 |
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| Untitled#3 and Jiu-Jiu Traffic These two short pieces are phenomenological experiments. Certain everyday objects or scenes are infused with new meaning and emotion. These videos literally “shed a new light” on small parts of the world which we’ve probably already seen. | |
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4 min, color, stereo, MiniDV, 2002 |
 I insert the dental flosses into the gaps between my teeth before eating, so that I don’t have to brush my teeth. |
2 min, color, stereo, MiniDV, 2002 |
 When one is underwater, one thinks only about staying alive. Escaping for a while is escaping from the material world, escaping from the prison of language, from boring mundane tasks, from personal doubts, and from money. |
4 min, color, stereo, MiniDV, 2001 |
The American Heritage Dictionary of the English Language: Fourth Edition. 2000. Penis Envy
NOUN: The supposed wish of a girl or woman to have a penis, postulated by Sigmund Freud as a cause of feelings of inferiority and psychic conflict. 新世紀經典美語大辭典。第四版。2000年。 陽具羨慕 名詞：女孩或女人假設性地渴望自己擁有陽具，此為造成自卑情緒以及精神衝突的主因。由佛洛依德提出。 |
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2 min, color, stereo, MiniDV, 2002
