此身或落拓天涯 心早以藝術為鄉 文∣張禮豪
「對一座城市不熟，說明不了什麼。但在一座城市中 迷失方向，就像在森林中迷失那樣，就需要學習。在 此，街巷名稱對迷失者來說聽上去必須像林中乾枯嫩 枝發出的聲響那樣清脆，而城市深處的小巷那樣清楚 地映現每天的時辰。這樣的藝術我很晚才學會。它實 現了我的夢想，這個夢想最出的印跡是我塗在練習簿 吸墨紙上的迷宮。」 1 －－班雅明《柏林童年》
班雅明，這位被譽為「歐洲最後一個知識份子」的德 國思想家大部分的歲月都在不斷地遷徙，甚至為了躲 避納粹對於猶太人的追捕而離開家鄉，最終在法國、 西班牙邊界選擇服毒自殺，留下眾多影響後世政治、 社會、文學、藝術等不同層面的重要著作，其中便包
括了《柏林童年》。在這本書的序言裡他如此寫道：
「1932年身居國外時的我已開始明白：我可能很快地即
將與自己出生的那個城市作長久甚至是永遠的分離。」 而這樣的分離並非來自個人偶然性的選擇，更多是整 體時代與社會所造就出的無可避免的必然。
爭取自由．跨海學藝 1979年出生於馬來西亞吉打州的陳傑強，所處的時代 已然不再是班雅明那個風聲鶴唳，人人自危的恐怖時
期，但對於自由的追求卻同樣強烈。他說：「在馬來西 亞，人們所能接收到的訊息都是表面的，又因為存在 著所謂的『內安法』 （Internal Security Act），任何被懷
疑危害國家安全的人，不須經過審訊，不必在公開法 庭被證明有罪，警方就有權扣留此人。因此，無論遇 到什麼事情，大家都不敢直言。」
1. 班雅明《柏林童年》 （Berliner Kindheit um Neunzehundert），P.37。 王涌譯，宋淑明審譯，麥田出版，2012年。
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在成長學習的過程中，陳傑強並未強烈意識到這點；
抒愁懷鄉 ‧ 追求公義
灣學習藝術，並將藝術視為表達個人想法，甚至是抗
就是在這樣的狀況下，藝術成了陳傑強抒愁懷鄉的寄
同齡的青春世代一樣，陳傑強一直覺得自己的內心有
都充滿了童年的無憂與美好；陳傑強則開始在畫布上
當然，也從沒想過有一天，他會隻身離鄉背井來到台 爭的工具。但這卻早有跡可循。在中學階段，跟很多 話有說，縱然並不清楚知道內容是什麼。所以他跟朋 友組成了樂團，因為在沉浸在音樂裡頭會讓他有被全 然包覆的溫暖感受，彷彿也得以充分解放。可惜的
是，這樣的音樂夢想隨著眾人年歲漸長、星散各地以 及必須正視的現實而宣告破滅。為了獨立生存，陳傑 強曾經在夜市賣拖鞋、在 PUB 裡賣燒烤、到手機店打
工、街上派報發送傳單、教過吉他，甚至還到過煙絲 工廠去，殊料這些提早累積的人生歷練，都在日後的 藝術創作中緩慢而逐漸清晰地顯現出來，並且形成其 創作的觀照核心。
之後，他來到怡保就讀馬來西亞師範學院，與藝術的 初接觸也自此展開。在當地，他找到了一個老畫師， 經常在課餘就隨之到四處寫生，但也僅只於此。畢業
託。就像是班雅明筆下的柏林，一磚一瓦、一花一草 再現童年的記憶，於是鐵皮玩具、動漫裡像是蝙蝠
俠、鋼彈、小丸子等各種角色與人物，一個一個紛紛 以另一種嶄新的形式被召喚出來而再度活轉，記憶的 溫度逐漸升高，並且讓許多人在面對其畫作時重返
舊日時光，不自覺地露出欣喜的微笑，成為他與世界 的連結。然而，在陳傑強來到台灣至今的十年間，台 灣社會的轉變不可不謂不大。因此，他也不斷地在思 考，藝術在面對社會的不公不義時，到底可以做些什 麼？或許，唯一可行的就是把事情給擴大，讓更多的 人看到。於是，在他的畫作裡出現了文字，可能是針 對某個單一事件的見解，也有其心情的抒發，在透過 象徵性的畫面構築中，他直接或間接地表達了自己對 於政治、經濟、社會乃至於藝術的看法。
之後便被分發到吉隆坡去教了三年書。然而，不像其
今年三月，他從板橋的台灣藝術大學文化創意產學園
當天就毅然辭職，考進了台灣藝術大學，就此踏上了
兩層樓老舊農舍，裡頭的設備再清簡不過。沒料到住
他人或許就此滿足地安定下來，陳傑強在合約到期的 這個對許多馬來西亞華人而言，彷彿文化母親一般的 土地。在陳貺怡等師長的教導下，接受正式專業的藝 術訓練。但在一開始，置身於多數小他幾歲的同學之
中，讓他更加感受到身處異鄉的孤寂。他說：「夜裡， 我經常在宿舍裡莫名地醒過來，搞不清楚自己到底身 在何處。那種像是時空錯置的剝離與撕裂感，很難用 言語來說明清楚，這個時候我尤其想家。」
區，來到了位於桃園富岡，友人家中閒置多年的一間 進沒多久，房子漏水、牆壁滲水、連屋頂也開始滴
水，讓他頗費了一些功夫，慢慢地將環境整頓起來， 並且養了隻狗，心態上也隨著產生變化。他認為到了
富岡這個地方之後，才開始擁有「如魚在水」的真實感 受──自己的的確確是活在台灣這片土地上，這裡有 大片的天空，可以嗅聞到泥土與青草的味道、感受季 節的變化。不像被消費生活給包裝的台北，只能見到
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的就是高樓大廈以及川流不息的人車。在這裡，以機 械人為題材的創作告一段落，也等同正式揮別了童年 的記憶。他開始替周遭環境寫生，從看來像是山水風 景的偌大垃圾場，到無人居住的廢墟，都成為畫布中 刻意安排的舞台，讓馬、鹿等各種動物以及物件點綴 其中，講述著可能的故事與想像，使藝術創作不只是 懸掛在牆上的標本，而是能夠觸動人們情感的開關。
此次首度離開台灣，即將在澳門推出的展覽，便是他 過去這七、八個月間的成果。在廿來件的作品中，大 多是遼闊的寧靜景緻，像是戶外的池塘、被廢棄在空 地的椅子，乃至於頗為抽象的視線能及之遠處等等， 都在他快速激昂的筆觸下，帶起猶如風捲雲殘般的視 覺感受。而透過乍看合理，細心端詳之下卻似乎又好 像哪裡出奇的空間結構，也與眾人對於類似場景所想
像的寧靜、寂寥明顯有極大的差異。舉例來說，《走 訪山水處》中一匹馬正揚蹄著，一副想要躍上堆積如
山的人工廢棄物，暗自迂迴地對消費社會所製造出來
的垃圾問題提出針貶，而在《社會安寧的背後》一件 中，位於畫面中心的卻是一座木頭搭起的柵欄，一張 頹舊的單人沙發上無人，卻擺了一把吉他；而在房舍 右方可以見到一匹似乎想要衝過這座柵欄的馬，一觸 即發的氣氛與湛藍時而有白雲飄過的天空形成強烈的 對比，當可視為他持續流徙中，以藝術抵抗的具體表 現。在此，馬無疑也成為他的自況。
問他是否會想回馬來西亞？他說：「早在吉隆坡的某一 個午後，當我結束工作，望著夕陽的時候，就發現自 己好像再也回不去家鄉了。」不知怎地，雖然語氣平
淡，但這話聽來卻流露出強烈的離愁。然而，望著他 堅毅的臉龐，以及雙手塞滿顏料的指縫，又讓人轉念 一想，這位來自大馬的孩子此身或落拓天涯，但其心 早以藝術為鄉。
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My body may wander the world, but in my heart, art has long since been my home.
“Not to find one’s way around a city does not mean much. But to lose one’s way in a city, as one loses one’s way in a forest, requires some schooling. Street names must speak to the urban wanderer like the snapping of dry twigs, and little streets in the heart of the city must reflect the times of day, for him, as clearly as a mountain valley. This art I acquired rather
Written by Chang Li-Hao
late in life; it fulfilled a dream, of which the first traces were labyrinths on the blotting papers in my school notebooks.” — Walter Benjamin, “Berlin Childhood around 1900”1 Benjamin has been hailed as the “last intellectual of Europe”. This German critic and philosopher spent the majority of his life moving from place to place, and at one point he was forced to leave his homeland to avoid capture by the Nazis. In the end, he committed suicide by poisoning himself somewhere along the FrenchSpanish border. He left behind many influential works on politics, sociology, literature, and art, one of which is his book “Berlin Childhood around 1900”. In the preface of the book he wrote: “In 1932, when I was abroad, it began to be clear to me that I would soon have to bid a long, perhaps lasting farewell to the city of my birth.” However, this sort of separation is not a personal choice by chance; it is mainly an avoidable eventuality created by time and society.
1. Walter Benjamin, Berlin Childhood around 1900 (Berliner Kindheit um Neunzehundert): p. 37. Chinese edition translated by Wang Yong, edited by Song Shuming, Rye Field Publishing, 2012.
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Fighting for Freedom and Studying Abroad
separated, and having to face the trials of real life, this music dream was broken. To live and survive on his own, Kent Keong Tan sold slippers at a night market,
Kent Keong Tan was born in Kedah, Malaysia in
sold barbeque at a pub, worked at a cellphone shop,
1979. His time may not have been as tumultuous and
distributed flyers on the streets, gave guitar lessons,
fearful as Benjamin’s, but the desire for freedom was
and even worked at a tobacco factory. These unique
equally strong. He said, “In Malaysia, the information
life experiences gained early in life gradually emerged
passed on to the people is all superficial. Also, due
later in his artwork and even formed the core of his
to the Internal Security Act, any person suspected of
creations.
endangering the country can be incarcerated by the police without trial and without being proven guilty by
Later, he went to study at the Teacher’s College in
a court. This is why nobody ever dares to speak up.”
Ipoh. This was his first exposure to creating visual art. He found an old local artist to teach him, and if he
During the process of learning and growing up, Kent
had free time after class he practiced drawing in his
Keong Tan did not sense this strongly. Of course,
sketchbook — but that was all. After graduating, he
he never thought that one day he would leave his
was appointed to a three year teaching position in
country of birth behind to study art in Taiwan; nor
Kuala Lumpur. But while some people may have been
could he have anticipated that he would use art as a
content to settle down in such a position, Kent Keong
tool to convey his personal opinions or even to fight
Tan resolutely resigned from his job on the last day
back against the system. But there were already many
of his contract and applied and was accepted to the
signs early on in his life that hinted what would later
National Taiwan University of Arts. It was in this way
transpire. During his time in high school, he was no
that he made his way to Taiwan, a land which many
different than other classmates of his generation. Kent
Malaysian Chinese consider to be the root of their
Keong Tan always felt that he had something to say
culture. Under the guidance of Chen Kuang-Yi and
deep inside — he was just unable to fully articulate
other mentors, Tan began his professional art training.
it. So he formed a musical group with his friends. Tan
But in the beginning, he felt the loneliness of being
discovered that immersing himself in music provided
away from home more acutely as he was studying
a sense of warmth and acceptance, and that being
among students much younger than himself. He said,
in a band gave him a way to let go and be free. But
“In the middle of the night, I would wake up in the
sadly, with the members growing older, becoming
dormitory for no good reason and would forget where
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I was. The feeling of separation and fracture from time
views on certain incidents or to express his feelings.
and space is difficult to describe in words. It was in
Through symbolic art forms, he directly and indirectly
those moments that I felt especially homesick.”
transmitted his opinions on politics, economics, and society through his art.
Homesickness and Seeking Justice This March, he moved from the National University of It was under these conditions that art became an outlet
Arts’ Cultural Creative Industry Cooperation Park to
for Kent Keong Tan to assuage his homesickness.
Fugang, Taoyuan. He moved into a two-story old farm
Just like Benjamin’s Berlin, each brick and tile and
house which had been sitting empty for years on a
every flower and blade of grass was filled with the
friend’s property. It had only the most basic facilities.
cheerfulness and wonders of childhood. Kent Keong
Soon after he moved in, he discovered leaks in the
Tan started to rekindle and express his childhood
house. Water seeped through the walls and ceiling. Tan
memories on canvas. He recalled tin toys and comic
had no choice but to spend considerable amounts of
book and cartoon characters such as Batman, Gundam,
time and effort on improving his living environment.
Chibi Maruko-chan, and others one after the other and
He also got a dog. During this time after he moved to
reinterpreted them in new forms. As Tan’s memories
Fugang, Tan felt a significant change in his mindset;
became increasingly vivid, it seemed as though new
for the first time, he felt a true sense of belonging. His
life was breathed into these objects. When viewing
experience living in Fugang made the feeling of living
Tan’s artwork, many people feel transported back
in Taiwan real for him. Here there was clear and open
to happier times in their youth and can’t help but
sky, the fragrance of soil and grass, and changes in the
reveal fond smiles on their faces as they become a
seasons. It was completely different from the consumer-
connection between him and the world. But during the
driven “packaged” lifestyle he had felt while living in
past decade that Kent Keong Tan has lived in Taiwan,
Taipei. In Taipei, all you could see were tall buildings,
Taiwan’s society has undergone an undeniably great
never-ending crowds, and a sea of traffic. In Fugang,
transformation. Consequently, one question continued
he bid farewell to the topic of robots in his artwork
to intrigue Tan incessantly: “In the face of social
— a decision that was tantamount to saying goodbye
injustices, can art make a difference?” Perhaps the
to his childhood memories. He started painting his
only thing that could be done is to use art to magnify
surrounding environment, from the garbage dump
the existence of these injustices to spread awareness
which resembles mountainous scenery to abandoned
of their harm. With this approach in mind, Tan began
buildings nearby. These deliberately chosen scenes
incorporating words into his artwork to reflect his
became the backdrops on Tan’s canvas through which
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he carefully placed horses, deer, and other animals
seen as a concrete expression of Tan’s defiant use of art
and objects to tell tales of possibility and imagination.
during his continuous displacement. Here, the horse is
Rather than simply being cursory representations to be
undoubtedly a representation of Tan’s own situation.
hung on a wall, this transformation enabled Tan’s art to become an alluring window into our deepest emotions.
When I asked him if he wanted to return to Malaysia, he responded, “One afternoon in Kuala Lumpur many
This exhibition in Macau will be Tan’s first time
years ago, while gazing out at a sunset after work, I
exhibiting outside of Taiwan and represents the fruits of
realized that I might never be able to go home again.”
his labor from over the past half-year. Out of the nearly
Somehow, though his voice was calm, his words
two dozen pieces of artwork on exhibit, most are open
revealed a powerful yearning for home. But, as I gazed
and quiet scenes, such as an outdoor pond, a discarded
upon his determined face and noticed a rainbow of
chair in an empty lot, and a faraway landscape that
dried paint in the creases of his fingers, it dawned on
seems almost abstract in its composition. All of these
me that while this child may have drifted far away from
pieces express Tan’s swift and powerful brushstrokes,
Malaysia, deep down in his heart, art has long since
evoking a visual sense of clouds scattered in the wind.
been his home.
But upon closer inspection, the rational and logical spatial constructs appear to have a more fantastical dimension within. The various settings of Tan’s work in this exhibition also seem to belie the general concept we often have of calmness and solitude. For example, the piece Visiting Mountain and Water features a rearing horse which looks as though it yearns to leap atop a mountainous pile of man-made waste. This is an indirect allusion to the issue of waste and trash in today’s consumer-based economies. In the piece Behind a Peaceful Society, the center of the painting consists of a fence made from wood and an old empty sofa with a guitar laid on top, while a horse stands to the right of the house, appearing eager to run through the fence. The tension-charged scene forms a stark contrast with the blue sky and drifting clouds above. This can be
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創作自述
Artist Statement
離鄉十載，每每偶聞鄉訊，感慨的多，欣慰的少。
Being ten years away from home, every time I hear
創作在生活裡，慢慢寫成關於一個人的故事，時而曲
more than comfort feelings. Living in a writing life, and
折，時而平凡；驟然回首，自2008年，個人在作品中 追懷那回不去的童年往事，至今面對洪流般的社會政 治動盪，我作為「我」，我是「誰」，意識如同掉進一個
things about where I was from, emotions is always slowly written story about a man; sometimes tortuous, sometimes ordinary.
永遠消失卻一再被觀看的漩渦；「我」似乎是每每推倒
Looking back, I’ve started to create personal artworks
活裡的平凡。然後問自己，我是「誰」。
social and political torrents in current society since
一面時間的牆，重返逝去的現場，重新一再翻閱著生 馬，木馬，玩具模型馬，狗狗，多是看見其身不見其 首，其隱藏在畫面的房子裡，草叢裡，或是走出畫面 以外，或是從畫布以外探頭進入畫面之中。我把畫布 假設為一個劇場，它是一部進行中的場景，上演著環 繞於我生活周遭的田野，老舊的房子，廢墟，破舊的 傢俱，泥土的味道……
畫面中物件的選擇，場景的組構、空間的安排……，
我喜歡在畫面裡置入兩個點，一是畫面的趣味點，看 似不合理卻玩味於思；二是隱藏於畫裡的細微訊息， 關乎個人對生活裡所看見的，有所感觸的，敢怒不敢 言的，無能為力的。 如此而盡。
filled with long gone childhood memories, as well as 2008. “I” am me; “who” am I, my consciousness would fall into a whirlpool being viewed repeatedly yet seems to disappear forever. "I" seem to be the wall that could knock down time, return to the passing scene, reviewing the ordinary life again and again, then to ask myself: "Who” am I? Horse, wooden-horse, toy horse, dog, mostly appear partially in the house, bushes, outside of the picture, or probe from outside of the canvas. I see canvas as a theater, a play filled with ongoing scenario like fields, old houses, ruins, old furniture, smells of mud that is often surrounding in my life. For selection of objects, scene structures, space arrangements, I like to put two elements into the picture- one is interesting points of the artwork, seemingly irrational yet could make audience think at the same time. Second, is hidden message in the paintings such as what have been seen and felt, silent resentment and the feel of being powerless which could easily relate to one’s personal life. And so it is.
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走訪山水處
162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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依依 Reluctant
130×97cm｜2014
油畫 / 畫布 Oil on Canvas
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三缺一 Only three
57×84cm｜2014
油畫 / 畫布 Oil on Canvas
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相映 Reflection
116.5×91cm｜2014
油畫 / 畫布 Oil on Canvas
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二樓的那個人 The man on the second floor 57×42cm｜2014
油畫 / 畫布 Oil on Canvas
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椅子 Chairs
116.5×91cm｜2014
油畫 / 畫布 Oil on Canvas
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海邊 Seaside
57×42cm｜2014
油畫 / 畫布 Oil on Canvas
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疑是飛流直九天 Waterfalls straight up to the sky 162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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尋覓 Search
80×80cm｜2014
油畫 / 畫布 Oil on Canvas
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房間 The room
162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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寄林間 In the forest
162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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房子 The house
75×120cm｜2014
油畫 / 畫布 Oil on Canvas
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探聞一方 Exploration 122×122cm｜2014
油畫 / 畫布 Oil on Canvas
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池中戰 War in the pool 162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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甚遠 Far away
122×122cm｜2014
油畫 / 畫布 Oil on Canvas
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社會安寧的背後 Behind the peaceful society 162×120cm｜2014
油畫 / 畫布 Oil on Canvas
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將至 Approaching
130×97cm｜2014
油畫 / 畫布 Oil on Canvas
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山崗 Hills
145.5×112cm｜2014
油畫 / 畫布 Oil on Canvas
56
57
陳傑強 1979年生於馬來西亞 / 吉打州，現居台北
學歷
2010
《KENT KEONG.TAN Solo Exhibition》 ，鹹花生
2008-2013 國立台灣藝術大學 美術學系研究所 碩士
2010
《玩具在醫院》，油畫個展，新店耕莘醫院，
2009
《陳傑強油畫個展 - 玩具系列 Toys Serial002坐
2004-2008 國立台灣藝術大學 美術學系 學士
個展 《陳傑強──未尋 / 遇見 Mazinger Z 的過去、
咖啡館 / 展廠，台北 台灣
觀孤獨留戀一季狂暴序曲 - 古古柏莉的族人
部落》 ，華岡博物館，台北
2009
《陳傑強油畫創作個展 - 玩具》，台灣藝術教
畫廊，東家畫廊，台灣
2009
《陳傑強油畫個展 - 玩具系列 Toys Serial002坐
東家畫廊，台灣
2009
《陳傑強油畫個展 - 玩具系列 Toys Serial002》 ，
研院生圖美學空間，台灣
2009
《 玩具夢想基地 - 陳傑強油畫創作個展》，金
《TOYS. ICON – 陳傑強個展》，勤美誠品綠園
2009
《陳傑強油畫個展 - 玩具系列 Toys Serial》，基
2010
《TOYS. 玩者再現 – 16th 陳傑強油畫個展》，
2006
《人體速寫個展 》，芳林咖啡坊，台北縣林口
2010
《TOYS. 敘舊》 ，ECOLE 學校咖啡，台北
2001
《油畫 & 水彩個展 》 ，平凡畫廊，IPOH，馬來
2013
2013 2011 2011 2010
2010
現在，與未來 2013年個展》 ，寶麗廣塲 B1
《現象流逝中的安息之所 - 陳傑強個展》 ， 《GUNDAM 32二部曲 - 18th 陳傑強個展》 ，中 《GUNDAM 32陳傑強個展》 ，東家畫廊，台灣 道，台中
基隆文化局，台灣
《Toys serial 001 & Toys serial 002》 ，臺北縣文 化局，台灣
育館，台北
觀孤獨留戀一季狂暴》 ，新莊文化中心，台灣 桃園文化局，桃園
車文藝中心，台北
隆市文化中心，基隆 鄉，台灣
西亞
2010
《 玩 具 夢 想 家 – 陳 傑 強 油 畫 創 意 特 展 》，
聯展
2010
《內在 . 意志漣漪》 ，中原大學藝術中心，台灣
2014
《Affordable Art Fair Hong Kong》，香港會議
2014
《2014索卡好樣 - 台灣青年藝術家大展》，北
2010
58
WAWOO 玩屋兒童創意空間，高雄
《Toys serial 002坐觀孤獨留戀一季狂暴》，臺 北縣土城藝文館，台灣
展覽中心，Affinity for ART，香港
京索卡藝術中心，北京
2014
《Asia Contemporary Art Fair》，香港港麗酒
2013
《Back Yart - 倉庫型藝術博覽會》 ，20號倉庫，
2014
《Affordable Art Fair Singapore》，F1 Pit
2012
《Art Taipei 2012 台北國際藝術博覽會》 ，台北
2014
《2014 台中藝術博覽會》，台中日月千禧酒
2012
第二屆《T-Art 台中畫廊藝術博覽會》，台中長
2014
《Young Art Taipei2014》，台北國際當代藝術
2012
《2012府城藝術博覽會》，台南大億麗緻酒
2014
《致親愛的你》少遊島繪社創作聯展，金車文
2011
《跟著我去旅行吧》，屏東美術館，元華藝術
2014
《2014府城藝術博覽會》，台南大億麗緻酒
2011
《定而後動創作聯展》 ，臺藝大畫廊，台灣
店，Affinity for ART，香港
Building，Affinity for ART，新加坡
2013 2013 2013 2013 2013
店，A-7958當代藝術，台灣
博覽會，喜來登大飯店，東家畫廊，台北 藝中心臺北館，台灣 店，東家畫廊，台灣
《從顛覆真實到創造真實 解嚴以後的台灣當代 藝術》 ，亞洲現代美術館，台中
《青春失樂園》 ，20號倉庫，台中
《驚奇四超人：四人聯展》，日光大道藝術空 間，台灣
第三屆《T-Art 台中畫廊藝術博覽會》，台中金
2211 2011 2010 2010
台中
索卡藝術中心，台灣
榮飯店，台南索卡藝術，台灣 店，東家畫廊，台灣 空間，台灣
《Young Art Taipei2011》，台北國際當代藝術 博覽會，王朝大酒店，台北
第一屆《T-Art 台中畫廊藝術博覽會》，台中長 榮飯店，東家畫廊，台灣
《333藝術家聯展》 ，臺藝大畫廊，台灣
《 早 安 ， 美 之 城 ！ 》， 元 華 藝 術 空 間「 台 中 展」 ，台灣
典酒店，東家畫廊，台灣
2010
《視 . 界 - 新世代創作展》 ，A-7958當代藝術，
之藝廊，新竹，臺灣
2010
《流光剪影》 ，台南索卡藝術中心，台南，台灣
《夏日動物園 - 翁明哲 & 陳傑強雙聯展》，沐
台中，台灣
2013
《Inter-sight: Something about 6’ s》，A-7958
2013
《Young Art Taipei2013》，台北國際當代藝術
2009
《 「藝」起攜手 ‧ 重建家園 莫拉克賑災及災後
2013
《2013藝起發酵》，少遊島繪社藝術創作展，
2009
《亞洲青年藝術家創作展》，台北索卡藝術中
2013
《2013府城藝術博覽會》，台南大億麗緻酒
2009
《金車新銳藝術創作連展》，金車藝文中心 –
當代藝術 ，台中，台灣
博覽會，喜來登大飯店，東家畫廊，台北 金車文藝中心，台北 店，東家畫廊，台灣
2010
《Young Art Taipei2010》，台北國際當代藝術 博覽會，王朝大酒店，台北
重建義賣會》 ，印象畫廊，台北 心，台灣
員山館，宜蘭，台灣
59
2009
《微芬閃爍 Flicker of Fragments of
2008
《POST-》 ，台灣優浮文化創意園區，板橋，台灣
2008 2005 2003 2002
Fragrance》 ，台南索卡藝術中心，台灣
《信仰 Online》 ，北投公民會館，北投，台北
受邀馬來西亞代表參展『東南亞水彩畫展』， 創價學會大廈，KL，馬來西亞
《3青年聯展》 ，平凡畫廊，IPOH，馬來西亞
《LAND & OCEAN》雙人展，清荷人文空間， PENANG，馬來西亞
2002
《檳州政府公開展 》，檳州畫廊，PENANG，
2002
《檳州水彩畫會聯展》 ，檳州畫廊，PENANG，
2000
《檳州政府公開展》檳州畫廊，PENANG，馬
馬來西亞 馬來西亞 來西亞
得獎 2009
《臺北縣政府警察局98年慶祝警察節美展》，
2009
《第二屆枋橋藝文獎》繪畫優選， 《多重身分重
2009
《傑出創作獎》國立台灣藝術大學，美術學
2008
《金車青年藝術比賽》優選，金車教育基金
2008
60
西畫類第一名，台北，台灣 疊的人啊、啊、啊…》台灣 院，台灣 會，台灣
國立台灣藝術大學美術系第一名畢業
Kent Keong Tan
Education
2010
“Rippling Of The Will”, CYCU Art Center, Taiwan
2008-2013
National Taiwan University Of Art (MFA)
2004-2008
National Taiwan University Of Art (BA)
2010
Taiwan 2010
Solo Exhibition
2013
“I Still Haven’t Found What I’m Looking For”, BELLAVITA B1 Gallery, Boss Gallery, Taipei
2009
“Toys Serial 002”,Hwa Kang Museum, Taipei
“An elapsing phenomenon of peace land”,
2009
“Toys”, National Taiwan Arts Education
“GUNDAM 32 02 - 18th KENT KEONG.TAN
Center, Taipei 2009
Solo Exhibition”, Life Science Library,Academia Sinica, Taipei 2011 2010
“Toys Serial 002”, Sinjhuang Cultural Art Center, Taiwan
2009
“GUNDAM 32 Kent Keong.Tan Solo
“Toys Serial 002”, Tauyuan Cultural Art Center, Taiwan
Exhibition”, Boss Gallery, Taipei
2009
“Toy Neverland”, Kingcar Art Center, Taiwan
“TOY ICON Kent Keong.Tan Solo Exhibition”,
2009
“Toys Serial 001”, Keelung City Government,
Park lane, Taiwan 2010
“Toys Hospital”, Cardinal Tien Hospital, Taiwan
Boss Gallery, Taipei 2011
“Kent Keong.Tan Solo Exhibition”, Salt Peanuts , Taiwan
2010 2013
“Toys Serial 002”, Tucheng City Government,
“2010 Kent Keong.Tan 16th - Solo
Taiwan 2006
Exhibition”, Keelung City Government, Taiwan 2010
“TOYS. Reminiscent”, ECOLE Café, Taipei
2010
“Toys serial 001 & Toys serial 002”, Taipei
“2006 Solo Exhibition”, Fangling Café, Taiwan
2001
“2001 Solo Exhibition”, Pingfan Gallery, Malaysia
County Government, Taiwan 2010
“Toy dreamer”, WAWOO Art Space, Kaohsiung
61
Group Exhibitions
2013
“Summer Zoo – Weng Mingjer & Kent Keong Tan Exhibition”, Powen Gallery, Hsinchu,
2014
“Affordable Art Fair Hong Kong”, Hong Kong Convention and Exhibition Centre, Affinity for
Taiwan 2013
ART, HK 2014
“2014 Taiwan Young artist Annual Show”,
Contemporary Art , Taiwan 2013
SOKA, Beijing 2014
“Asia Contemporary Art Fair”, Conrad Hong “Affordable Art Fair Singapore”, F1 Pit
2013
2014 2014
2013
Tainan 2013
“Back Y art -2013”, Stock20, Taiwan
A-7958 Contemporary Art, Taiwan
2012
“ART TAIPEI 2012”, SOKA, Taipei
“Young Art Taipei2014”, Sheraton Grande
2012
“T-ART in Taichung 2012”, SOKA, Taiwan
Taipei Hotel, Boss Gallery, Taipei
2012
“Art Tainan”, Landis Hotel, Boss Gallery,
“To my love”, Kingcar Art Young artist Show,
Tainan 2011
“Art Tainan2014”, Landis Hotel, Boss Gallery, Tainan
2013
2011
2013
2011 2011
“Paradise Lost”, Stock20, Taiwan
62
“T-Art in Taichung 2011”, Evergreen Laurel Hotel, Boss Gallery, Taiwan
“SSSSUPER：4”, Sonnentor Fu-Jin Art Space,
2010
“T-Art in Taichung 2013”, Splendor Hotel,
2010
Boss Gallery, Taiwan
“Young Art Taipei2011”, Sunworld Dynasty, Boss Gallery, Taipei
Taiwan 2013
“Start Off Group Exhibition”, NTUA Gallery, Taipei
Taiwan”, Asia Museum of Modern Art, Taiwan
“Follow me to travel it”, Pingtung Art Museum, Au Dot Art Space, Taiwan
“From Subverting Reality to Creating Reality – Contemporary Art in Post-Martial Law
2013
“Art Tainan 2013”, Landis Hotel, Boss Gallery,
“T-Art in Taichung 2014”, Millennium Hotel,
Kingcar Art Center, Taiwan 2014
“2013 Young Artist Group Exhibition”, Kingcar Art Center, Taiwan
Building, Affinity for ART, Singapore 2014
“Young Art Taipei2013”, Sheraton Grande Taipei Hotel, Boss Gallery, Taipei
Kong Hotel, Affinity for ART, HK 2014
“Inter-sight: Something about 6’s”, A-7958
“333 Contemporary Art”, NTUA Gallery, Taipei “Good morning”, Au Dot Art Space, Taiwan
2010
“Viewpoint”, A-7958 Contemporary Art,
Award
Taiwan 2010
“Silhouetted Liquidity”, SOKA, Tainan
2010
“Young Art Taipei2010”, Sunworld Dynasty, Taipei
2009
2009
Exhibition of Taipei County Police, Taiwan 2009 2009
“ASIAN Young artist Annual Show”, SOKA,
2008
“Kingcar Art Young artist Annual Show”, Kingcar Art Center, Taiwan
2009
Winner of Best Performance Award of Kingcar Arts Exhibition, Taiwan
Taipei 2009
Winner of Best Creative Award of Arts Academy, National Taiwan University of Arts
Contemporary Hall, Taipei 2009
Winner of Best Performance Award of Banqiao‘ Art Exhibition, Taipei, Taiwan
“Help Victims from Typhoon Morakot with ART Power!”, Impressions Art Gallery
Won the 1st Prize in the Police Festival Art
2008
Won the 1st Prize in the Graduate of Arts Academy, National Taiwan University of Arts
“Flicker of Fragments of Fragrance”, SOKA, Tainan, Taiwan
2008
“POST”, Banqiao, Taiwan
2008
“Online”, Beitou, Government, Taiwan
2005
“Asian Watercolouring’05”, SGI, KL, Malaysia
2003
“Three Young Artist Exhibition”, Pingfan Gallery, Malaysia
2002
“LAND & OCEAN”, Qinghou Cultural Space, PENANG, Malaysia
2002
“Penang’Open Exhibition”, Penang Gallery, Malaysia
2002
“Penang Water Colour Society’s”, Penang Gallery, Malaysia
2000
“Penang’ Open Exhibition”, Penang Gallery, Malaysia
63
發 行 人 / 莊美蘭 藝 術 家 / 陳傑強 總 編 輯 / 林信興 編
輯 / 王景銘
翻
譯 / 萬象翻譯社、張貞儀
視 覺 設 計 / 王景銘 校
對 / 黃韶儀
出 版 日 期 / 2014年12月
I S B N / 978-986-91319-0-2 出
版 / 富葰文化創意有限公司
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© 版權所有．翻印必究
Publisher / Mei Lan Chong Artist / Kent Keong Tan Chief Editor / Joffin Lin Editor / Jing Ming Wang Designer / Jing Ming Wang Translator / Linguitronics Co., Ltd., Janet Chang Proofreader / Shauy Yi Huang Date of published / December 2014 ISBN / 978-986-91319-0-2 Published by / Flugent Cultural & Creative Co., Ltd. Taipei | 3F., No.6-1, Ln. 20, Sec. 2, Zhongshan N. Rd.,Taipei 10445, Taiwan Tel +886-2-2523-2621 Fax +886-2-2523-9466 Macau | Rua S. Paulo 54-58B, Mei Tai Grand Garden, R/C A, Macao Tel +853-2872-3170 Fax +853-2872-3171 www.flugentart.com
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