台灣史上第一次，於2014年學生佔領立法院長達585小時。

在佔領立法院的學子撤場前兩天，一位研究生來電，詢問我是否願意赴議場拍攝紀錄；她希望我能以錄像藝術的方式拍一些特殊的影像，提供給後續「島嶼天光」英文版MV剪輯的影像素材，當時我略帶遲疑，但還是答應了，我的顧慮是，如果只是再現原本場景，這有違我一向對於新的「觀看」現實的堅持，以及對「議題的插畫式敘事」的不認同。經過現場學生層層嚴密組織的同意，我拉出了一條鋼纜、架上了攝影機、開始高空掃描這撤場前夕的場景。

 立法院議場的場域在繪畫上來看為一個穩定的三角形構圖，猶如半個羅馬競技場，所有的焦點或透視的消失點聚集在前方的主席台及後面的國父遺像，遺像下標明著佔領時數。作品的聲音來自象徵一個國家永恆的歌曲—《國歌》，我將它播放速度放慢一半，於是議場頓時轉變為教堂，瀰漫神聖且犧牲奉獻的氛圍；時間在過去、當下及未來，在豐盛、頹圮及虛空（void）中往返滑行。

 因為影像緩緩直線式的掃描無人的議場，我們才得以╱被迫一一檢視在場卻又不屬於原本現場的東西，例如腳架上的攝影機、背包、外套、食物飲料、宣言旗幟、現地製作的海報及油畫等；不禁被這場域的背景、活動的模式、氣味及離開這裡之後的未來想像一一開啓；空間中所帶來的時間及歷史感也不斷的往返跳躍。這消逝的片刻風景，似乎從我們藉由大眾媒體上所熟習的議會現場，打開另一扇較為冷靜、或比媒體奇觀更為奇觀的場景。

Born in Taipei, Taiwan in 1965

Now lives and works in Taipei, Taiwan

A pioneer of video art in Taiwan, Yuan Goang-Ming has worked with video since 1984, and is now one of the foremost Taiwanese artists active in the international media art circle. He received a master’s degree in media art from the Academy of Design, Karlsruhe Germany (1997), and currently holds a post as professor 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. He received the 13^th Hsiung-Shih Art Award for the Best New Artist for his video and sculptural work Out of Position (1987) while he was still in art school in 1988. In 1992, his work Fish on a Dish garnered great acclaim in the Taiwanese art circle, and received the First Prize of the Taipei County Arts Award, while The Reason for Insomnia (1998) received the Jury Prize of the 1^st Digital Art Festival. His “City Disqualified” series (2002) holds an important place in the history of Taiwanese contemporary media art. 

Disappearing Landscape (2007) opens with a new format of moving images, 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 13^th Taishin Arts Award. The 2018 solo exhibition Tomorrowland pivots around the idea that home in the future is no longer solid. The works are centered on the normalization and everydayness of warfare, embodying modern-day existence and human despair. The exhibition was also invited to the Hayward Gallery in London in 2018.

Yuan has participated in various exhibitions across Asia, Europe, and America. Among these include: Aichi Triennale (2019); Beyond Bliss: Bangkok Art Biennale (2018); Biennale de Lyon: La Vie Moderne, France (2015); Fukuoka Asian Art Triennale, Japan (2014); the 7^th Asia Pacific Triennial of Contemporary Art, Australia (2012); Singapore Biennale (2008); Liverpool Biennial, U.K. (2004); Auckland Triennial, New Zealand (2004); Taiwan Pavilion at the 50^th Venice Biennale, Italy (2003); the 2^nd Seoul International Media Art Biennale, Korea (2002); 010101: Art in Technological Times at the San Francisco Museum of Modern Art (2001); ICC Biennial, Japan (1997), and Taipei Biennial (2002,1998, 1996). 

His work is housed in public and private collections of art museums and institutions at home 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.