Chinese Name: 侯淑姿
Born: 1962
Died: Dec. 3, 2023
Birthplace: Chiayi County (Southern Taiwan)
Did You Know That…?
Hou Shur-tzy was a pioneer of conceptual photography in Taiwan. Her early works focused on self, gender, and cultural identities, later expanding to broader issues such as female workers, foreign spouses in Taiwan, and the preservation of military dependents' villages.
After graduating from the Philosophy Department of National Taiwan University in 1985, Hou Shur-tzy furthered her studies at the Rochester Institute of Technology in the U.S. and received a Master’s degree in video art. She served at the Department of Cultural Affairs of the Taipei City Government, responsible for the preparation, research, and formulation of cultural policies. Later, in 2004, she joined the faculty of the Department of Crafts and Creative Design of the National University of Kaohsiung.
Hou was nominated for the 9th Taishin Arts Award (台新藝術獎) in 2011, and the National Center of Photography and Images honored the artist by featuring her in the book series “Photographers of Taiwan” in March 2023, in recognition of her significant contribution in the photography community.
Hou’s most well-known work, “Take a Picture, It Lasts Longer (窺),” is a photography series that reflects on and criticizes the male gaze, while also showing an exploration of one self’s rebellion against society. Besides that, she published several works including “Guess Who You Are (猜猜你是誰),” “Japan-Eye-Love-You,” “Asian Foreign Brides (亞洲新娘),” and “A Trilogy on Military Dependents’ Villages in Kaohsiung (高雄眷村三部曲).” Her works not only demonstrated a sharp observation in art but also resonated with a wide range of audiences by showing realities about society.
Devoted to pursuing gender equality, Hou became one of the earliest feminist creators in Taiwan to emphasize gender issues and women’s experiences. As she matured, her works began to encompass broader societal issues such as social class and cultural identity. Her projects often involve field trips and photographic documentation, which she later transforms into texts and image installations, showcasing her comprehensive concerns about society.
