"Explore, Engage, Experience," these three words encapsulate the essence of Daniel Shieh’s artistic philosophy. His installations are not merely static artworks; they are immersive sensory playgrounds, designed for active participation. With tunnels to traverse, soundscapes to submerge in, and optical illusions to captivate the mind, his artworks are an open invitation for interaction. For Shieh, the true life of an installation unfurls when the audience becomes an integral part of the experience.

In his latest exhibition hosted at The Arts Center at Governors Island and aptly titled Where Time Runs Backwards, this Taiwanese artist unveiled a collection of five site-specific works that served as windows into his personal history and cultural exploration. These meticulously crafted installations came to life, singing, rotating, hovering and shifting as they invited viewers to engage actively with their narratives.

Shieh’s journey of self-discovery and identity explores the political moves of the US government in 1945, which led to the formation of his home country, Taiwan. He forged connections between these historical events and the imperialist ventures that significantly influenced immigration in his artworks. Through a fusion of audio and sculptural installation, he delved deep into key themes in American culture, such as the frontier, nativism, and space exploration within the exhibition. 

In a harmonious collaboration of artistic voices, the exhibition showcased the evocative poetry of Chia-Lun Chang and works of textile artist Arleene Correa Valencia alongside the works of Shieh. These three artists drew inspiration from heartfelt conversations with their parents, collectively unraveling the complex narrative of aspiring to be ‘American’. The title symbolically weaves together the artists’ shared journey, retracing the historical decisions of their families in their quest to make sense of the future. In an exclusive interview with STIR, the artist reflects on the exhibition and its title, offering insights into the connection between his work and his perspective on the United States.

The title of the exhibition, Where Time Runs Backwards, immediately sparks one’s curiosity. When asked about its significance, the artist explains that it reflects his unique approach to self-discovery. He states, “I am constantly thinking about the past decisions and sacrifices that my parents made in order for me to be in the United States. I feel indebted to them, so I try to live my life in the way they wanted to live but couldn’t, for them to experience the American dream vicariously.”

Additionally, the title also carries a metaphorical significance, reminiscent of theories about parallel universes. This mirrored the challenges faced by immigrants, including xenophobia, generational rifts and their place among various nations they are associated with. Shieh’s personal experience, growing up in Taiwan with the United States as a mystified and ultimate destination, resonated with many who have pursued the American dream.

The selection of the exhibition’s location at The Arts Center at Governors Island was far from being random, it played a pivotal role in shaping the narrative. Shieh’s artistic process was influenced by the military history of the island and its transformation into a recreational space. “LMCC’s The Arts Center at Governors Island itself was a weapons storage facility in the past,” he explains. "This change from military space to a public amenity feels very positive, like we no longer need to have a military presence here. But really the military base just moved elsewhere to locations deemed more important.”

Where Time Runs Backwards transcends individual stories to explore the broader historical currents that have molded the immigrant experience. Shieh examined the geopolitical landscape of 1945, highlighting how political moves by the US government led to the formation of the Taiwanese government. This alliance coupled with limited educational opportunities in Taiwan due to instability, drove many to immigrate to the US. Home Flag is a photo that illustrates this phenomenon. Displayed near a window where you can see a big American flag in the distance, marking the location of the old military fort, Shieh created a contrast between the symbolism of the two flags—one representing military might and the other embodying an immigration dream. This juxtaposition by the artist invited viewers to ponder the direct link between the desire to immigrate and a country's military intervention in other nations.

"It is a photo of an American flag that my parents won from a state fair while they were studying in the US. They weren’t able to stay in the US so they brought it back to Taiwan. For as long as I could remember, the flag hung in a strange but prominent spot in my childhood home. This picture is framed in a Grand Canyon pewter frame, many of which were ironically made in Taiwan. To me, it points to the symbiotic relationship between a powerful country and a precarious one,” reminisces the artist.

Sheltered Sky by Shieh delved into the military history that entwines the US and Taiwan. This immersive installation took the form of bomb shelters once scattered across Taiwan during WWII, a period marked by US air raids. Through this art piece, visitors were transported into the historical narrative, experiencing the realities of a turbulent past.

'Patriotism' took centre stage in Shieh’s Mother's Anthem, a sound installation that explores the rich history of the American Anthem, translated into languages like German, Italian, Polish, Yiddish, Spanish, Navajo, Samoan and Lakota across different eras. These translations signified the anthem’s diverse roles, from political to cultural and nationalistic. Notably, in the post-9/11 period, many visitors shared stories of non-white families, including their own, displaying American flags in their homes as both a symbol of allegiance and a means of protection against hate crimes.

Sharing his views on the interplay of patriotism and assimilation with STIR, he says, “I find the concept of performative patriotism intriguing, a common sight in the US with large American flags adorning suburban homes. Yet, when this act stems from necessity and safety, it highlights the pressure of assimilation.”

Another thought-provoking piece within the exhibition was Wishing you a peaceful future, which presented the Voyager Golden Record levitating above concrete ruins. The record encapsulated humanity’s technological achievements while omitting the conflicts that fueled such progress. This art piece raised questions about how war, which financed these technological advancements, could potentially lead to humanity’s downfall. It was a reminder that our understanding of progress and history often selectively omits the darker aspects that have shaped the world. Notably, Carl Sagan and Ann Druyan speculated that this record might remain undiscovered until everything crafted by humanity has crumbled to dust, sparking contemplation in the artist about whether the wars that drove and financed our technological feats might lead to our own downfall.

Shieh’s works in this exhibition traversed a broad spectrum, from the cosmic perspective of space as a frontier to the intricacies of nationality and ultimately the intimate dynamics of parent-child relationships. This trajectory encouraged viewers to contemplate their own relationship with the United States and the multifaceted journey of becoming American. Throughout the interactive exhibition, historical events were intricately linked to present-day concerns like immigration and cultural identity.

In Shieh’s artistic practice, interaction is not an afterthought but an integral element. He designs his installations to be explored actively, ensuring that people of various ages and backgrounds can engage with his art on their terms. He believes that art should be a communal experience, where viewers learn from each other as they respond to the installations.

Shieh’s art manipulates spatial perception through optical illusions, creating spaces that challenge conventional reality. By involving the audience's body in the viewing process, he aims to provide an intuitive understanding of his work and the spaces it creates. Whether it is crawling into a bomb shelter in Sheltered Sky or kneeling to hear the individual languages in Mother’s Anthem or activating the Power Play, the audience becomes an active participant in completing his artwork. 

In the world of contemporary art, Shieh’s work serves as a testament to the power of immersive experiences that engage both the senses and the intellect. When STIR asked the artist, “What message do you hope visitors have taken away from Where Time Runs Backwards?, he said, “I hope the audience could relate to the complexity of becoming American and talk about their own relationship with the United States.”

STIR also got a glimpse of the exhibition Where Time Runs Backwards, through an exclusive tour guided by Jess Van Nostrand, Director of Exhibitions & Public Programs, LMCC (Lower Manhattan Cultural Council). The video below showcases Shieh’s journey of self-discovery, the broader immigrant experience, and the complex narratives that shape the American dream in his immersive installations at The Arts Center at Governors Island.