10 Questions with Yukang Tao

Yukang Tao (b. 2000) is an interdisciplinary artist who works in the fields of electronic arts, animation, video, and performance. Yukang’s works have been shown internationally at such venues as the 18th Arte Laguna Prize Shortlist exhibition, Italy; the 3rd SETA Festival “Mitologie Digitali” at Saletta Campolmi, Italy and Taizhou Contemporary Art Museum, The Holy Art Gallery, PH21 Photograph Gallery, LossenArt Gallery, CICA Museum, RuptureXIBIT Gallery, Kunstarkaden Gallery, etc.

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ARTIST STATEMENT

While all of his artwork alludes to the concept of gender and observes the relationship between technology and humanity, it also encompasses themes such as surveillance and self-absorption of society in media. It becomes a code translated by the viewer based on their experiences and views born from different perspectives in time, culture, and ethnicities. In his work, gender, power, and society are intertwined through the most rational technology, analyzing sensual human topics by data. Art and technology, virtual and accurate, the boundaries begin to blur and combine to form a new utopia.

INTERVIEW

First, what training and experiences helped you develop into the artist you are today?

Frankly, earning an engineering bachelor's degree has been pivotal in cultivating my skills in logical analysis, fundamentally shaping the way I approach various aspects of life, particularly emphasizing efficiency, feasibility, and consistency. Interestingly, these perspectives are somewhat ambivalent in the realm of artistic theories, which, at the same time, exaggerated my personal dilemma: Can I effectively articulate myself well through engineering, or is art the true medium for the expression? Despite the challenges and constraints faced during those four years, marked by moments of depression and oppression, I believe this period served as a strength, a time when I was an untrained and naive artist. My tendency to disrupt conventional artistic boundaries arises from what might be considered a "weakness," transforming it into a unique perspective that allows me to break free from established rubrics within traditional art spheres.

You are an interdisciplinary artist; how do you navigate between electronic arts, animation, video, and performance in your work?

First of all, I view these mediums not as isolated entities but as interconnected threads within the fabric of my artistic expression. And this interplay of mediums is not a rigid structure but rather a fluid substance. It's about knowing when to amplify the visual narrative through animation, when to delve into the intricacies of electronic arts, and when the raw immediacy of performance can convey emotions that transcend the screen. In essence, each medium is a palette, and my work is the symphony created by orchestrating these elements harmoniously. It's a journey where boundaries about media blur, enabling a rich, multi-sensory experience for both myself and those who encounter my art.

Sexual Fetishism, Fashion and Performance, 2021 © Yukang Tao

How do you approach the creation process when working across different mediums? Do you find one medium more conducive to expressing certain themes over others?

Like my previous response, I intentionally maintain a chaotic exploration process throughout my creative periods, where I attempt to combine different mediums simultaneously. I personally consider this stage crucial for my artistic journey. It not only liberates my intrinsic apprehensions about art but also provides a suspended time for resonance with my work.
Regarding the second question, I don't have an explicit answer. Sometimes, a certain medium may work well with specific themes, but most of the time, I don't believe there is a "more conducive" way for artists to choose a particular medium for their works.

In your statement, you mention themes of gender, technology, surveillance, and society's self-absorption in media. What inspires you to explore these particular concepts in your art?

When I first read Michel Foucault's books, "The History of Sexuality" and "Madness and Civilization," I was profoundly impacted by philosophical theories. Consequently, a multitude of introspections and reflections surrounded my mind, stemming from my personal experiences. As a gay individual growing up in China, where thriving in the midst of hetero-patriarchy and Confucian influences is challenging, my reflections delve into the complexities of otherness. Therefore, these diverse factors seamlessly intertwine, shaping the trajectory of my unique aesthetic evolution.

And what role do you believe art plays in addressing and perhaps even shaping societal perceptions of gender, power, and technology?

There is no doubt that art subconsciously cultivates inspired opinions through pictorial systems everywhere. It provides a voice for marginalized perspectives, highlighting the diversity of gender experiences. Whether through visual arts, performances, or multimedia installations, artists have the ability to reshape narratives, contributing to a more nuanced understanding of gender. What's more, I believe the most crucial role of art is to prompt the audience to rethink, reconfigure, reconsider and reconstruct themselves.

Could you elaborate on how you use technology as a tool to analyze "sensual human topics by data," as you mention in your statement? How is this reflected in your work?

Due to my previous engineering background, I am obsessed with exploring the use of non-organic technology to perceive intricate sensations, relationships, and humanities. The vast chasm causes extremely fascinating contradictions, and in all of my works, I attempt to subvert conventional art boundaries by integrating technical tools. Especially in "Utopia of Reality," I employed an AI text generator to reformulate another version of my manifesto, implying the totalitarian and oppressive dominance of social media. Therefore, by Midjourney, I aimed to generate paintings that fuse phallic and vaginal imagery with fruits and vegetables, depicting the utopia of future equality. This might seem "confusing" because I already treat Al and data as a biased foundation. However, when paralleled with the realities I try to interpret through my performance photos, AI appears to be the only method available to us at the moment. Just as Kazimir Malevich worshipped Black Square as a saint, AI can also be the GenZ spiritual escapism place where we can still envision a positive future.

Your artwork has been showcased at various international venues. How do you feel your work resonates differently with audiences from different cultural backgrounds?

Literally, art, being a subjective and culturally influenced medium, undergoes interpretation and reception that vary widely. I find that my work functions as a kind of cultural bridge, connecting diverse audiences through shared emotions and universal themes. For example, certain elements of my work, like gender and power issues, may tap into universally recognized emotions or concepts, transcending cultural boundaries. Then there is no doubt that there are a lot of similarities for various audiences from different backgrounds. However, the interpretation can also be deeply influenced by cultural contexts. Symbolism, visual language, and narrative nuances that resonate strongly within one culture might require a different level of contextual understanding in another. Therefore, the reception of my work becomes a dialogical process, enriched by the diverse perspectives brought by audiences from different cultural backgrounds.

How do you believe viewers interpret and engage with the codes embedded in your artwork, especially considering their diverse perspectives and experiences?

There are different situations with codes, or they can even be categorized as technical tools. One crucial factor that plays a significant role is the privilege of education. Viewers with a background in art, philosophy, or related disciplines might be more attuned to the symbolic language, intertextual references, and theoretical underpinnings embedded in my work. This privilege of education can provide a nuanced understanding of the codes and references, allowing for a deeper engagement with the layers of meaning. On the other hand, viewers without a formal art education may approach the artwork with a more visceral response. Their interpretation might be guided by personal experiences, emotions, and the immediate visual impact of the piece. This diversity in interpretation is a valuable aspect of the viewer-artwork relationship, fostering inclusivity and making art accessible to a broader audience. It's important for me as an artist to consider this spectrum of viewership and create work that, while rich in complexity, maintains a level of accessibility. The privilege of education should enhance rather than hinder the appreciation of art, and I strive to strike a balance where both educated and non-educated viewers find entry points to engage meaningfully with my technical parts.

In your statement, you mentioned the blurred boundaries between art and technology, virtual and real. How do you see this fusion shaping the future of artistic expression? And what do you think of technologies such as AI and their application to art-making?

This fusion not only challenges traditional notions of artistic mediums but also reflects the evolving relationship between humans and technology. In the context of AI, this intersection raises profound questions about authorship, creativity, and the nature of artistic collaboration. The application of AI in art-making introduces a complex dynamic, often resembling a form of symbiotic relationship. AI can be viewed as a tool, an extension of the artist's creative arsenal. It can analyze vast datasets, generate novel ideas, and contribute to the artistic process in ways that may not be immediately apparent to human creators. This dynamic can be seen as a form of collaboration where AI becomes a co-creator, influencing the artistic outcome. However, there is a looming concern about the enslavement of human creativity by AI. The risk is that the technology, designed to augment human abilities, might surpass them, potentially leading to a scenario where AI dictates artistic choices rather than serving as a complementary tool. This may raise ethical questions about the autonomy of the artist and the impact on the authentic, human essence of artistic expression.

Looking ahead, what new directions or themes are you excited to explore in your future projects?

In my future projects, I am particularly excited to delve deeper into The World of Perception, drawing inspiration from the philosophical insights of Merleau-Ponty. I aim to explore and include the fluidity of perception, the role of the body in shaping our understanding of the environment, and the subjective nature of sensory experiences. By translating these philosophical concepts into tangible, sensory-rich artworks, I hope to provoke contemplation and engagement from the audience.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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