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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Tehching Hsieh

b. 1950, Taiwan

Tehching Hsieh was born in 1950 in Nan-Chou, Taiwan. His father, Ching Hsieh, was an atheist and his mother, Su-Choung Hong, a devoted Christian. Hsieh dropped out of high school in 1967 and took up painting. After finishing his army service (1970-1973), Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. Shortly after this show, he stopped painting. In 1973, Hsieh made a performance action, Jump Piece, in which he broke both of his ankles. He was trained as a sailor, which he then used as a means to enter the United States. In July of 1974, Hsieh arrived at the port of a small town by the Delaware River near Philadelphia. He was an illegal immigrant for fourteen years until he was granted amnesty in the US in 1988.

Beginning in the late 1970s, Hsieh made five One Year Performances and a Thirteen-year Plan, inside and outside his studio in New York City. Using long durations of time as context for the work, making art and life simultaneous, the first four One Year Performances made Hsieh a regular name in the art scene in New York; the last two pieces, in which he intentionally retreated from the art world, set a tone of sustained invisibility. 

Featured Artworks

Tehching Hsieh 1978 - 1999 by Tehching Hsieh contemporary artwork Tehching HsiehTehching Hsieh 1978 - 1999 Posters and statements mounted on boards in 6 parts
56 x 66 cm
Sean Kelly
Tehching Hsieh by Tehching Hsieh contemporary artwork Tehching HsiehTehching Hsieh, 1978–1999 Posters and statements mounted on boards in 6 parts
Sean Kelly
Jump Piece by Tehching Hsieh contemporary artwork Tehching HsiehJump Piece, 1973/2017 Framed archival pigment print mounted to 4 ply museum board
162.9 x 44.8 cm
Sean Kelly

Represented By

In Ocula Magazine

Profile: Tehching Hsieh at the 57th Venice Biennale Ocula Insight Profile: Tehching Hsieh at the 57th Venice Biennale By Elliat Albrecht

Taiwan's contribution to the 57th Venice Biennale is an exhaustive record of the passing of time—an ostensibly banal proceeding that has here been reframed in a monumental way. Staged in Palazzo delle Prigioni, Doing Time (13 May–26 November 2017) is a long overdue presentation of Taiwanese artist Tehching Hsieh's oeuvre of time-based...

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In Related Press

11 national pavilions and exhibition to see at the 57th Venice Biennale in 2017 Related Press 11 national pavilions and exhibition to see at the 57th Venice Biennale in 2017 Art Radar Journal : 23 May 2017

Rock, Paper, Scissors: Positions in Play — United Arab EmiratesCurated by Hammad Nasar, commissioned by the Salama bint Hamdan Al Nahyan Foundation and supported by the UAE Ministry of Culture and Knowledge Development, the exhibition features existing, new commissions and re-fabrications of 'lost' works by five UAE-based artists. The show...

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Slow and Steady: Tehching Hsieh in Venice Related Press Slow and Steady: Tehching Hsieh in Venice ARTnews : 11 May 2017

From September 26, 1981 to September 26, 1982, Tehching Hsieh lived outside in New York City, never seeking shelter in a building. He was 31 when he began the performance work, which he titled One Year Performance 1981–1982 (Outdoor Piece), and 32 when he finished it. Now he is 66 and representing Taiwan at the Biennale, where records of that work...

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57th Venice Biennale: Get to Know the Artists of the Must-See National Pavilions Related Press 57th Venice Biennale: Get to Know the Artists of the Must-See National Pavilions MutualArt : 10 May 2017

The most important global art event of the year is upon us, as thousands descend upon the slowly submerging islands in the Venetian Lagoon to view the microcosm of the art world that is the 57th Venice Biennale. In keeping with the theme of the exhibition by this year's curator, Christine Macel, Viva Arte Viva, in which she 'orientate[s] the...

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Tehching Hsieh to represent Taiwan at the 2017 Venice Biennale Related Press Tehching Hsieh to represent Taiwan at the 2017 Venice Biennale Art Review : 1 August 2016

The Taipei Fine Art Museum (TFAM) has announced that performance artist Tehching Hsieh will represent Taiwan at the 57th Venice Biennale. For the pavilion, curated by British curator Adrian Heathfield, Hsieh will develop a new iteration of his One Year Performances (1978–99), a body of extremely physical and psychological challenges which...

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