Art Collective
Video Art Guerrilla is an artist collective, which was established on January 29, 2024, based in Taiwan.
As an artist, we establish a screening platform independently, bringing artworks out of the white-cube, and taking screenings and exhibitions outside institutions as actions to try to restructure the relationship between artists, institutions and audiences.
At the same time, Video Art Guerrilla also focuses on the space and time where images happen, and how images are produced and be viewed. We regard the screening / exhibition as an experiment, using images to intervene in the public space, and respond to the image situation in contemporary society.
2024 Shalun Beach Screening Project
What were you doing during the last full moon? Our screening will take place on the next full moon, exhibiting 12 works at Shalun Beach.Attempting to find the possibility of interaction between the works and the beach, we used sand as the carrier of the image rather than the TV screen. At the same time, we also used projection to launch a conversation between artificial light and natural light.
Video Documentation
2024 Fu De Temple House － Video Art Guerrilla Zhuwei Screening Project
Tudi Gong, also known as "Houtu," is the god of agriculture. He is not only responsible for overseeing the safety of the area but also ranks below the City God and manages the household registers of the deceased in rural areas, acting as an administrative deity of the underworld. He is considered most closely connected to the people. This screening project celebrates the deity, anthropomorphizing the Earth God, and presenting him as a friendly neighbor to chat with. The goal is to encourage the community to view this screening with the same harmonious feelings as talking with a local elder.
Video Documentation
2024 Thailand Nightmarket Screening
2024 GuLing Street Screening
2024 Art King Boat Festival
Let another world, too, have access to contemporary art.
In folk rituals, the King Boat bears the mission of blessing, dispelling calamity, and resolving misfortune. The King Boat of the Art Gong carries a different charge: to transport contemporary art.
This month-long Art King Boat festival unfolds through a series of forums, ceremonial rites, and artistic events. In the end, at a certain shoreline, a contemporary fire is lit—sending these outstanding artworks across to the other shore.
2025 VIDEO ART GUERRILLA FILM SCREENING, East Street Arts, Leeds, England
2025 PAUSE "UPĖ" Art Festival × Video Art Guerrilla
Plungė Public Library, Plungė, Lithuania
Exploring "rest", "pause" and the flow between various boundaries.
The first half of the work focused on water bodies, like rivers, lakes, laundry water, drinking water and humidity become places that summon sensory experience. Water not only symbolizes time, but also constitutes a rhythm that can be perceived, waiting to be transformed and become a ritual. The second half is drawn from a more private inner self, depicting the blurred boundaries between memory and emotion, asking questions with images, and reflecting on the breakpoints when the body participates in it.
2026
24/7 Ever-Opening Hours - Video Art Guerrilla Solo Exhibition ,
Museum of Contemporary Art Taipei, Taipei, Taiwan
Late nights should be for dreams and rest; however, under the grip of contemporary capitalism, they are hijacked by stores that stay open around the clock and by late-night online ad pushes, turning insomnia and feelings of emptiness into quantifiable impulse purchases. As Jonathan Crary asserts in 24/7: Late Capitalism and the Ends of Sleep, capitalism has an insatiable desire to commodify sleep, and dark nights are progressively devoured by the relentless operation of the "24/7" cycle.
24/7 Ever-Opening Hours opens as a video screened on the plaza of MoCA TAIPEI, with Video Art Guerrilla treating the outdoor TV wall as a giant interface of contemporary consumer society, exposing the latent visual power that the commercial world possesses. The monitor's original purpose is to serve as a medium for communication, and by showing fragmented, interruption-based videos, the consumer world's visual power is further highlighted. With images displayed on the streets, among pedestrians, or inside shops, it may be difficult for passersby to distinguish whether they are "advertisements" or "art." Thus begins an urban game of shuffling between boundaries.
The video work, 24/7 Ever-Opening Hours, is the first installment of the eponymous project. Presenting a narrative centered on a racing route of unmanned shopping carts, as the TV wall's glow illuminates everyday places, there are no closing hours amid shifting spatiotemporal rhythms. Witnessing capitalism transforming the entire city into a boundless mirage, it will always be open for anyone who wishes to enter.
