Selected Exhibitions

2018 Apr., “Reversi / Tao Yuan RCA Special Edition”, “Reversi / Tao Yuan RCA Special Edition -Li Hui Huang’s solo exhibition”, MOCA Taipei (Museum of Contemporary Art, Taipei), Taipei

2017 Oct., “The Daughter of Time”, “The Daughter of Time-Li Hui Huang Solo Exhibition”, Haiton Art Center, Taipei

2016 Oct., “Reversi”, “Street Fun, Fun Street Community Art Festival”, MOCA Taipei (Museum of Contemporary Art, Taipei),Taipei

2016 Sep., “Happy Paradise”, “2016 Taipei Biennial”, TFAM (Taipei Fine ArtsMuseum), Taipei

2016 Apr., “Reversi”, “Reversi-Li Hui Huang’s solo exhibition”, Black and White Gallery, Taichung

2015 Oct., “Across The Universe”, Performance, “The On Site Artfest 2015”, URS21 Chung Shan Creative Hub, Taipei

2015 Jun., “See the Image, Forget Me Not”, “See the Image, Forget Me Not”, Treasure Hill Artist Village, Taipei

2015 May., “ ㄈ ross ㄈ ultural 尺elationship”, "Art on TV: TAV Studio Project", Barry Room, Taipei Artist Village, Taipei

2015 Mar., “Asian Babe “ , “Change Seed”,CoCA (Center on Contemporary Art), Seattle

2014 Jul., “Hello Goodbye Chicago” ,“Happy Together”, Morpho Gallery, Chicago

2013 Apr., “GHOST”, MFA SHOW 2013, Sullivan gallery, School of the Art Institute of Chicago, Chicago

2012 Dec., “Get a Room”, The Fifth Wall, Sullivan gallery, Chicago

2012 Feb., “Across the Universe”, First and For Most, Defibrillator performance art gallery, Chicago

2011 Feb., “15 Minutes of Marriage II”, Live Ammo, Taipei MOCA, Taipei

2010 Sep., “15 Minutes of Marriage I”, Sheng---keng performance, Xinbei City Art Festival, Xinbei City

2008 Dec.– Mar. 2009, “Make me high and more”,

2008 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei

2007 July., “There Is a Little Wet Land in My Heart”, 9th Taipei Film Festival Taipei, Image Award, Taipei

Residency Experience

2019 Apartment of Art, Munich

2015 Apr.-Jun., Treasure Hill Artist Village

Honors and Awards

2017 第十六屆台新獎第四季提名

2008 The Daughter of Time, Nominated (2017 Season 4), The 16th Taishin Arts Award

2008 Make Me High and More, Finalist, The Taipei Arts Awards

2007 There Is a Little Wet Land in My Heart, Special Mentions, 9th Taipei Film Festival Taipei Image Award


2018 / 4 月 “黑白棋 / 桃園RCA 版”,“黑白棋 / 桃園RCA 版— 黃立慧個展“,工傷協會桃園工作站,桃園

2017 / 10 月 “時間的女兒”,“時間的女兒-黃立慧個展”,海桐藝術中心,臺北

2016 / 10 月 “黑白棋”(臺北當代藝術館版),“2016 街大歡囍”,臺北當代 藝術館,臺北

2016 / 9 月 “快樂天堂”,“2016 臺北雙年展”,臺北市立美術館,臺北

2016 / 4 月 “黑白棋”(忠信市場版),“黑白棋-黃立慧個展”,黑白切藝文空間,台中

2015 / 10 月 “Across the Universe” , “混種現場藝術季”,中山RUS21 創意基地,台北

2015 / 6 月 “勿忘影中人”,“勿忘影中人-黃立慧個展“,上光巷, 寶藏巖國際藝術村,台北

2015 / 5 月 “ ㄈ ross ㄈ ultural 尺elationship”,“TAV 電視攝影棚計畫”,百里廳, 台北國際藝術村,台北

2015 / 3 月 “Asian Babe “ , “Change Seed”,CoCA (Center on Contemporary Art),西雅圖

2014 / 7 月 “Hello Goodbye Chicago” ,“Happy Together” ,Morpho 藝廊,芝加哥

2013 / 4 月 “GHOST”, 2013 芝加哥藝術學院創作碩士畢業展,,Sullivan 展場,芝加哥。

2012 / 12 月 “Get a Room”, The Fifth Wall, Sullivan 展場,芝加哥。

2012 / 12 月 “Across the Universe”, First and For Most, Defibrillator 行為藝 術展演空間,芝加哥。

2011 / 2 月“15 分鐘的婚姻 II”,活彈藥, 台北當代藝術館, 台北。

2010 / 9 月“15 分鐘的婚姻 I”,深坑行為馬拉松, 新北市藝術節,新北市。

2008 / 12 月“讓我一次愛個夠”,2008 台北美術獎, 臺北市立美術館,台北。

2007 / 7 月“少女心中的小濕”,第九屆台北電影節,台北。


2019 Apartment of Art, Munich

2015 / 4-6 月,臺北寶藏巖國際藝術村


2017 第十六屆台新獎第四季提名

2008 The Daughter of Time, Nominated (2017 Season 4), The 16th Taishin Arts Award

2008 台北美術獎入圍

2007 第九屆台北電影節評審團特別獎

“My Mom is a Good German” Artist Statement by Li Hui Huang

My mother-in-law Ursula (name changed) is German, she immigrated to the United States with her family when she was a teenager. Back when we first met, I watched “The Sound of Music” with her. I was really surprised that she didn’t have any reaction to the Nazi-related scenes shown in the film. When I say “No reaction”, it doesn’t mean that she is supposed to hold “being born a German” as a sin, and be obligated to respond with some politically-correct comment to the Nazi history. What I didn’t expect from her was that it seemed to me that she somehow suspended her feeling and mentally detached herself thoroughly from this topic, especially since her early life happened in that period of time. Afterward, I had an opportunity to talk about this observation with a German lady who is close to my mother-in-law’s age and who has also lived in the U.S. for a really long time. She told me that this phenomenon is actually quite common for their generation and also recommended a book to me, “Die vergessene Generation - Die Kriegskinder brechen ihr Schweigen” (English title: “The Forgotten Generation – The War Children Break their Silence”.) What the book is mainly about is “German war children” who grew up or were born in WWII (the birth year ranges from 1930-1945.) Even though most of them were really young back then and do not necessarily remember what happened during wartime, they still went through amounts of war scenes that caused a strong impact on them afterward. It is also mentioned, that in the process of this generation’s growing up, they developed mechanisms to place their own parents and/or grandparents’ relationship with the Third Reich. Meanwhile, the post-WWII interpretation of “German” also contributes to the generation’s repressed mental status. Those traumatizing experiences have mixed together and piled up, and then crushed every individual on a different level later in their lives. Ursula is clearly part of the generation defined by the author. Based upon the book, I started to juxtapose my observation of Ursula and the information that I learned about the “German war children”.

Why am I so obsessed with Ursula’s “detachment/ suspension” mode with Nazi History?

In 2017, I made a work called “The Daughter of Time”, which depicted the relationship between my father, Ying-wu Huang, a political prisoner during Taiwan's White-Terror-era, and me, a daughter of a political prisoner, and also the outside context from then to now that we live with. Around the time my father was released from prison, society started gradually building up a fixed narrative/impression about the political prisoners, which was quite different from how my father identified himself as a political prisoner/ social reformer. After figuring out that no matter how hard he tried to explain what his political identity really is to people, the outside world would still misread him as something else, he decided not to talk about his experience as a political prisoner anymore for a long time in order to go against the fixed narrative of political prisoners. My father married and then had me after he was released from prison. As his child, his experience as a political prisoner/ social reformer has transformed into daily life fragments in the family, and has had an influence on me. In simple terms, a historical event (White-Terror in Taiwan) from which I was absent due to the fact that it happened before my birth, has played an extremely important role in my life and affected my perception of the world. Meanwhile, I need to deal with a society that still continues to establish the fixed narrative of the political prisoners. As for encountering others’ misreading of my father/ me based on this fixed narrative, my speechless status in reacting to the condition shifts to another kind of expression: the heavier my father’s stories are, the lighter the way I describe them. Ursula’s “detachment / suspension” mode and my speechless status are both strategies in responding to a fixed narrative. At the same time, these strategies also reflect the situation that those who are part of the second generation of “controversial people” in history run into, in which we attempt to place ourselves or to escape from the dilemma caused by the after effect of certain ended historical events. I recognize that the situation she is in is one that I am really familiar with, and could not explain to outsiders.

Several years after moving from Germany, Ursula established her own family in the U. S., and it is almost a right-answer-like happy ending for the aspect of the Western postwar narrative (as for what the “fixed narrative” is that Ursula needs to deal with, please watch the video “The Things You Need to Know about My Mom is a Good German” in this exhibition.) “My Mom is a Good German” were the words that my husband John (name changed) said to his peers when he was really young. As an American boy, who at that point didn’t know a lot about what happened from then to now, and who was also distant from Germany physically and emotionally, he still immediately felt the need to tell people his mom was a good German when he said that his mom was from Germany. It also means that back then, even as a kid, he was already aware of the existence of a fixed narrative. In this exhibition “My Mom is a Good German”, what I have tried to focus on is neither the true/false or right/wrong facts of the fixed narrative, but the situation that people who deal with the difference between the fixed narrative and personal experience, go back and forth with day after day.

我媽媽是個好德國人藝術家創作自述 / 黃立慧

我的婆婆 Ursula (化名)是個德國人,在年輕時跟著家人移民到美國。我剛剛認識 她的時候,我們一起看了“真善美”這部電影。當我發現她對電影中納粹相關的 場景沒什麼反應時,我感到非常驚訝。我所謂的沒有反應,並不是認為她得要背 負德國人的原罪、覺得有義務對這個歷史背景發表任何正確的感言。讓我訝異的 是,當她碰觸到這個跟她人生初期攸關的歷史事件時,似乎出現了一種將之懸置 的狀態。後來我有機會碰到一位跟我婆婆年紀相仿,也在美國生活很久的德國女 士,我跟她提到了我對這件事的觀察,她告訴我這種狀況在他們這一代德國人中 相當普遍。她推薦了我一本書“Die folgenden Bücher sind erhältlich beim Klett-Cotta Verlag und in allen gut sortierten Buchhandlungen”(英譯:“The Forgotten Generation – The War Children Break their Silence”/中文:“被遺忘的 一代–戰火下的孩子打破沈默”),這本書大致提到了在二戰時期出生的德國兒童, 縱使他們之中有些當時還非常年輕,不見得都記得發生過什麼事情,他們仍舊經 歷了許多戰爭場景,而這些經歷在往後也對他們造成了不少影響。書中也提到, 在這一代人的成長過程中,他們如何產生一種機制放置納粹德國跟他們父母/祖 父母的關聯性,以及戰後對“德國人”的詮釋如何直接/間接影響了他們整代人 抑制的心理狀態。而這些回到個人情境中,又如何在人生後段潰堤。Ursula 正是 在書中所描述的戰爭時期出生的,於是我企圖開始藉由這些訊息,對照她的懸置 狀態。


我在 2017 年做了一件作品“時間的女兒”,主要是在談論我父親黃英武,一名 台灣白色恐怖時期的政治犯,跟我做為政治犯的女兒,兩人之間的關係,以及我 們面臨外在的時空處境。對我父親來說,從他出獄之後,整體社會開始對政治犯 產生了一種既定的敘事,而這對他自己作為政治犯/社會改革參與者的認同大相 徑庭。為了對抗外界這種無論他如何解釋、都輕易失效的誤讀,很長的一段時間 裡,他決定不再多談他在這個過程中的經歷。我父親出獄之後,結婚生下了我。 作為他的小孩,我父親的這段經歷,在家庭生活中轉變為各種日常生活片段,從 而影響了我。簡單來說,一個我不在場的歷史事件,對我日後如何感知外在產生 了極大的效應。同時,我所面對的外在世界,仍舊延續了對政治犯的固定敘事, 而對於他人對我父親 / 我的誤讀,我的失語轉變成另一種形式:發生在我父親 身上的事情有多重,我描述它的方法就有多輕。Ursula 的懸置跟我的失語,都是 一種回應固定敘事的策略;它同時指向了這些在歷史定位上“身份有議之人”的

二代,在事情結束後不斷在事件的後座力中試圖自我擺放或逃脫。我在她身上辨 認出那個我十分熟悉、卻不足為外人道的處境。

Ursula 離開德國後在美國建立家庭,在戰後的西方敘事上,幾乎是一個標準答案 般的美好結局。“我媽媽是個好德國人。”這句話是我先生 John(化名)在他年幼 的時候,跟他的同伴所說的。John 當時做為一個不經世事的美國小孩,在空間 上 / 心理距離上已經遠離德國,仍舊立即反應說出自己媽媽是個好德國人,這 顯示了他也感受到了這種固定敘事的存在。在“我媽媽是個好德國人”中,我想 描述的,並非是固定敘事本身內容的真偽/價值判斷的對錯,而是同時面對固定 敘事/親身經歷之人,日復一日在這落差中來回的處境。