I was born in a wealthy family. When I was 10, my parents went bankrupt due to investment losses. My family of four moved from a luxurious house; to a 40-square foot room. As a child who was constantly moving from one tiny room to another; and seeing my parents go through suicide attempts, I grew up knowing that I had to be a perfect child. I detached all my emotion- passion, anger, and sadness, to be that perfect child, and to be like a robot: obedient, friendly, outstanding, considerate, never rebellious, perhaps no personality.
As a child, my favorite cartoon was Doraemon, a Japanese animation character and a cat robot; who is always there to solve problems for his owner. Apparently I have something with robots since I was little- Is it because they represent a character that is loyal? Or is it because their destiny of being selfless? Thankfully, my parents let me choose to be a professional on stage, which became the best outlet for my compressed emotion. And I wanted to find a way to dance with a robot.
I did my research on the most advanced industrial robots, and KUKA stood out for stability, and the fluid design like the shape of human. In 2010, I called KUKA company in Taiwan. When I told them my idea, they said, “According to the regulation, when the robot is moving, human beings cannot enter the area of its action. If you can find a way, I will lend you a KUKA.”
I have found a way.
For me, “Huang Yi & KUKA” is a process; of beautifying the sorrow and sadness when I grew up. It is the expression of loneliness, self-doubt, self-realization, and self-comfort. I was trying to make a beautiful illusion, just to assure others; that everything was fine. I wanted to remind us of our simplest hope; from the very beginning, that we are all just grown up kids, but still kids.
Hangzhou, China l BMW New 5-Series Launch
June 23, 2017
Vancouver, Canada | TED Conference
April 24, 2017
Seoul, South Korea | Cel Stage
February 14-16, 2017
Wroclaw, Poland | National Forum of Music
December 15, 2016
Schaffhausen, Switzerland | Stadttheater Schaffhausen
April 20, 2016
Biel / Bienne, Switzerland | Théâtre Palace
April 17, 2016
Zürich, Switzerland | Theaterhaus Gessnerallee
April 14-15, 2016
Kriens, Switzerland | Südpol Luzern
April 12, 2016
Abu Dhabi, UAE | The NYUAD Arts Center
March 30-31, 2016
Sydney, Australia | Seymour Centre
March 16-19, 2016
Brisbane, Australia | Brisbane Powerhouse
February 18-20, 2016
Singapore | Esplanade
February 12-13, 2016
California, USA | Artpower
Georgia, USA | Ferst Center
Maryland, USA | The Clarice
New Taipei City, Taiwan | Cloud Gate Theater
New York, USA | 3LD Art & Technology Center
Linz, Austria | Ars Electronica Tabakfabrik
Taipei City, Taiwan | Wellspring Theater
Recent performances include Huang Yi’s “Special Order”, “Double Yellow Lines”, “Second Skin”, “Sand” and “Whisper.” He was the leading actor for the micro film “Immortelle” by Dutch director David Verbeek (nominated for the Spectrum Shots section at the International Film Festival Rotterdam and Taiwan’s Shortcuts series at the 2013 Taipei Golden Horse Film Festival.
Hu was a member of Cloud Gate 2 from 2012-2013 and has danced with Huang Yi Studio + since 2010.
Recent performances include Huang Yi’s “Special Order”, “Light”, “Symphony Project” and “Spin 2010”; Tong Yang-Tze’s “Sao” at TIFA 2014; leading actress in the micro film “Immortelle” by Dutch director David Verbeek (nominated for the Spectrum Shots section at the International Film Festival Rotterdam and Taiwan’s Shortcuts series at the 2013 Taipei Golden Horse Film Festival); movement design for “Process of Death” (first prize winner of the digital performance competition at the 2nd Taipei Digital Art Festival); among others. Lin was a recipient of the American Dance Festival Scholarship in 2009.
She was a member of Cloud Gate 2 from 2010-2014 and has danced with Huang Yi Studio + since January 2014.
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