多麼乾淨的一幅畫
WHAT A NEAT PAINTING BY CANDY BIRD
序
尊彩藝術中心 董事長
余彥良
PREFACE
President of Liang Gallery
YU Yen-Liang
塗鴉藝術就好像爵士樂一樣，雖然不同於正式的繪畫領域，但卻是非常有影響力的一種藝術行為， 它還可能比任何一種藝術形式，更為深入地侵注在每一個地區人民的血液和情感之中。
我很喜歡藝術是以詼諧幽默、色彩繽紛的方式看待社會現象，或許真實的事件是殘酷的、是暴力的、 是心酸複雜的，但透過塗鴉者的思維與隱喻，引起的話題往往流傳更久、宣傳更廣，議題影響也更 為深遠。
藝術家 Candy Bird 的塗鴉頗富趣味，觀察時事有自己一套解讀的方式，總將故事鋪陳的細膩，以一 種呻吟的節奏將畫面串連，再利用反諷的型態交代所有你我的不愉快，這類的作品，一直廣受大眾 的喜好與青睞。當人們覺得他的塗鴉只是在斷垣殘壁裡無病呻吟，或是故弄玄虛的挖苦瘡疤，但在 我眼裡，他的筆法與創作卻是用力刺痛著人們的內心，進而將靈魂昇華，而他的靈感不再只是稍縱 即逝的創作，而是鞭策並聚集成另一座美麗的華廈。
Street art is just like jazz. Although it is different from painting as we know it, yet it is a very influential art form. Street art plunge into the peoples of various places blood and emotions more than any other type of art. I like art that treats social phenomena in the witty, humorous, and colorful ways. Perhaps the real events are cruel, violent or complex, yet the sophisticated and metaphoric topics evoked by the street artists often circulate much longer and disseminate more widely, the impact of them is also more far-reaching. Candy Bird’s street art pieces are interesting as the artist has his own way of interpreting current affairs. The stories told by Candy Bird are always delicate, the images are tied in a groaning rhythm, and all of our unpleasantness is explained with irony. This type of artworks has been widely popularized and favored by the public. Some people might think that his street art is only the desolate walls covered with artificial scenes, but, in my eyes, his brushwork and creative work sting people’s hearts and sublime the soul. His inspiration is no longer just a fleeting creation; it spurs and gathers onto another beautiful building.
~序~
多麼乾淨的一幅畫
文
WHAT A NEAT PAINTING
Written by
Candy Bird
這次個展中，會看到一些日常居家的物件，隨著視線進行，出現的是節錄的文字片斷，那是自己撰
寫的兩篇文章《午後微風》與《狗女兒》，它們收錄在畫冊裡，文章描述了意識形態的細線，如何 把日常切成碎片；而在文字的隔壁，是在物件上的繪畫，我使用它來拼湊七零八落的現實，轉化成 出口。
我把長期以來觀察同輩朋友與長輩的相處方式，將它凝結成文字，並與自己的繪畫相結合，是我以 某種療傷和嘮叨的方式，檢視台灣高齡社會下，意識形態與個人關係的系列作品。
展名來自台灣獨立樂團「草東沒有派對」的作品《爛泥》中的歌詞：「噢多麼乾淨的一幅畫 怎麼會
怎麼會 充滿了悲傷」，這首歌道出了最近幾年，我對現實環境的心聲，透過展覽，除了描寫青年面 臨的現況，也凝視這些流竄的、荒謬的意識形態。展名除了隱喻作品外，也自嘲自己的塗鴉風格， 向來給人一種可愛的錯覺，但「怎麼會 充滿了悲傷」呢？
In this solo exhibition, at first, you see many daily home items. As you carry on, you will soon discover the fragments of the texts taken from two articles written by me, Afternoon Breeze and Doggie the Daughter, which are also included in the exhibition catalog. These articles describe the thin line between ideologies as well as the ways to shatter daily routines. Paintings on objects, which I use to piece together the disordered reality, supplement the text quotes. I have long observed the manner in which my friends who are of the same generation as I am, get along with elders. I put these observations into words and integrated them into my paintings. It became a healing and nagging approach to look deeper into the relationship between ideology and people in the aging Taiwanese society, resulting in a series of works. The name of this exhibition originated from a song titled Mud, performed by the Taiwanese indie band No Party for Cao Dong: “Oh, what a neat painting. How come, how come it is full of sadness?” This song voices the aspirations that I have had recent years. I am always looking forward to portraying some situations which people of my age undergo, as well as gazing at the absurd, hither and thither ideologies. In this exhibition, in addition to displaying metaphorical artworks, I am also mocking my street art style which always arises a beautiful illusion in others but “how come it is full of sadness?”
~ ARTIST STATEMENT ~
午後微風
文
Candy Bird
老林習慣橫躺在沙發上，手枕著後腦發呆，或
歌詞是這樣唱的。
拿著午餐準備配電視新聞，他倒是被吵醒。
老林年輕時在他的努力下，考上國立大學，在
是讓電視聲音催眠到他睡著。這日下午，老婆
當時是足以放鞭炮的大事。他努力學習英語，
他喜歡歐美食物如漢堡、Pizza。老林順利畢業
「吵死了！」 他用不著說關掉二字，老婆自己會默默進房 間。看著最近的電視新聞，老林著實心煩，不
進入一間銀行工作，他開始在公司裡晉升，靠 著流利的英文去海外出差。
看也罷。螢幕裡全是黑壓壓一片人群，他想起
同樣在他的年輕時期，某種無形高牆也烙印在
子，如果你穿著紅衣一起來，我就請你吃晚
岸的學生高舉旗幟、佔領天安門，旗幟倒在坦
數年前，他也穿著紅衣走上凱達格蘭大道。「兒
餐。」那是近幾年，全家唯一一起出遊的回憶， 當然，是遊行的遊。
現在凱道上，不同的是群眾穿著黑色衣服，老
林措手不及，擔憂地看著滿坑滿谷的黑衣群 眾。他認為，自己這個被給予的身份認同，遭
到一大群毛頭小子的否認和攻擊，他不安憤恨 像受到搶奪。老林起身去泡一壺茶，爐火燒著
開水熱氣翻騰，帶著政治色彩的媒體則大火快 炒新聞，而家裡毫無人的聲音，安靜如沉沒在 壺底的茶葉。
他心裡，其實別無選擇。兒子出生後幾年，對
克輾過的方向後，他更相信高牆的一切都正 確。任何有違它的一切皆可視為威脅，他要堅 定意識、堅守城牆。
老林把所受的威脅歸咎於他從未真正理解的那 群人，就像以往一樣。 「氣死了。」 「什麼年代了，每一年都把二二八拿出來講， 不能老是講二二八啊。」 「台灣那麼小，算什麼東西嘛。」
老林的學生時期，越戰方酣，許多美國文化間
他認為這次凱道上的遊行，是族群的鬥爭，那
的卡帶他還保存著，即使現在 21 世紀，他開
能。他曾體驗過的異國文化，外加社群網站的
接輸入台灣，他熱愛美國的音樂， Bob Dylan 車時仍會撥放著 60 年代的名曲《Blowin’ in the
wind》。
「 人 究 竟 要 走 過 多 少 路， 才 能 成 為 真 正 的 人……」 「朋友啊，答案在風中」 「……要經過多少的犧牲，才了解已經有太多 人死去」
無形城牆蓋的厚實，阻絕了其他思考方向的可 花花世界，還是敲打出一些不同的火花，但這 只是讓他更加困惑。
老婆已用完午餐，默默從房間出來，一聲不響 地，在廚房做自己的事，午後時間飛快，太陽 也準備西沉。
「 你 怎 麼 看 阿， 聽 說 你 們 年 輕 人 想 要 超 越 藍 綠？」他問著剛回家的兒子。
「朋友啊，答案在風中。」
~ 午後微風 ~
兒子心裡害怕被問這些問題，老林也害怕知
兒子踏過客廳的泥沼，進到房裡，桌上躺著未
完電話。
來，他不解，薪水已經不夠用了，為何要再繳
道答案。在那十分鐘前，老林才剛與大舅通
「那些學生到底在搞什麼，台灣就是這樣才沉淪。」 「政府怎麼還不硬起來，就是要讓它抓幾個學生 才知道厲害。」 他在電話裡大聲取暖，事實上，兒子也因為聽
到對話，而在門口猶豫了十分鐘才進來，他吃 驚地聽著像是從外太空傳來的聊天內容。
「我也不知道，不過超越藍綠聽起來很酷。」
繳的國民年金收費單，他困惑這東西一直寄 納這東西。說到薪水，這是他始終不敢搬出去
住的原因。再過一個月是他的 31 歲生日，女
友傳來訊息問想要什麼禮物？他望著自己的房 間，窗外沒有風景，是隔壁鄰居的後陽台，地
上是幾件沒時間洗的衣服，雖然有點亂，但那
房門是保護他的小小城牆，雖然有時母親得穿 過城牆，收走沒洗的衣服。
「我最需要的禮物應是中樂透吧。」他心想。
兒子恭謙有禮地胡扯著。
不過至少，那房門城牆可以阻絕客廳的氣味，
沒有什麼超越藍綠。」
的，和老派古裝劇裡的毒氣相似，裡面混雜了
「可是台灣就是要這樣，改不了的，這是政治，
如果那真的是有顏色的氣味，鐵定是紫灰色 永不停止且嗡嗡作響的電視新聞，沒有盡頭且
「你也穿著黑衣幹嘛，也去凱道了？」 老林忍不住地惱羞成怒。兒子嗯嗯啊啊地敷衍 著，努力維持屋內氣氛的良好，同時又一次疑
惑這是哪裡來的外太空邏輯。老林坐回沙發 上，打開嗡嗡作響的新聞，看看可否帶來心中 的好消息，而茶葉繼續安靜地沉在壺底，家裡
毫無交集的對話。
「你們先吃晚餐吧，我不餓，要先睡一下。」
兒子關起房門，打開手機，等著女友上線跟他 視訊。
又一片死寂。
老林茶壺裡的茶葉已經被倒在水槽裡，它很快
兒子剛從凱道回到家裡，今天是星期天，他不
細聲地吟唱出 Bob Dylan 的名曲：
是故意要去凱道，他也穿著黑衣，因為搖茶店
就要開啟另一下水道旅程，它終於不再沉默，
的制服也是黑色，搖茶店就在台北車站附近，
「人究竟要走過多少路，才能成為一個真正的
從設計系畢業後，就像失去舵槳的小船，不知
「朋友啊，答案就在風中。」
離凱道不遠。搖茶店是他的第四份工作了，自 道要做什麼。他的第一份工作有模有樣，在一
人……」
間從事公共藝術的公司當平面設計，那位自稱 藝術家的老闆，雇用了殘障者做繁重的模型製
作，因為這樣，連最低工資都不用付。「我付 給他們寶貴的生活經驗」。
~ AFTERNOON BREEZE ~
AFTERNOON BREEZE
Lin spreads out on the couch as usual, staring blankly ahead with hands under his head, or maybe the noises coming from the television is too hypnotising. This afternoon, his wife is ready to take her lunch while watching news, before Lin is being awakened. “It’s earsplitting!” Need he not another word, his wife will go quietly into the room. Present news from the television are distressing him, no good in it to pay more attention. The masses filled up the television screen, brining Lin to think back of the years before, when he too walked down the Ketagalan Boulevard in all red. “Son, if you come together in red too, I’ll treat you dinner.” That was the last time the whole family went out together in years. But, of course, it was a walk out into rally. Now at the Ketagalan Boulevard, it is the people in black that crowded the whole place, which catches Lin off guard, leaving him gazing at the crowd, trouble-mindedly. He feels that his given self-identity is being denied and attacked by these bunches of kids, and so the agitation and rage, as if he is being plundered. Up from the couch he
Written by
Candy Bird
gets himself to make a pot of tea. Fire burns and the water steams and boils, while the media with its political overtone is sizzling hot hyping up the news, as the empty house remains so quiet, like the sunken tea leaves at the bottom of the pot. The Vietnam War was culminating during Lin’s years as a student, which then American cultures had been introduced into Taiwan in a roundabout way. He was deeply fond of American music, and still keeps hold of Bob Dylan’s music cassettes, from which he plays the famous song of 1960s Blowin' in the Wind, nevertheless down the 21st century road that he’s driving.
How many roads must a man walk down Before you can call him a man?...... The answer, my friend, is blowin' in the wind... … and how many deaths will it take 'til he knows That too many people have died? The answer, my friend, is blowin' in the wind… Thus sings the song.
~ 午後微風 ~
His strenuous efforts during the young days had gained him a seat in the halls of national university, which was truly a celebratory achievement back then. He had plugged away at learning the English language, and grew an appetite for burgers and pizzas. His way was paved through the college to career, for he found himself a position in the bank right after his graduation, from there he started getting promotions, and earned overseas business trips with his well spoken English tongue. It was also at this young age, that an invisible high wall had risen starkly from the bottom of his heart, which was out of little choice. Few years after the birth of his son, students from across the strait were up in arms and occupied the Tiananmen Square, but when the banners collapsed behind the proceeding tanks, even more was he convinced that the Wall is ever right and just. Anything that goes against it is a threat. Steadfast must he keep his mind, and stand fast to protect the Wall. All the threats he felt is blamed onto the crowd of people, just like it has always been. “I’m hitting the roof.” “What decade are we living in? They can’t make a fuss over the February 28 Incident every year!” “Taiwan is such a small island, so insignificant.” He considers the demonstration at Ketagalan Boulevard this time is a racial conflict, for the thick, solid, and invisible Wall has obstructed any single other possible ways of thinking. Different cultures that he had experienced, along with the sensational world of social media, have nonetheless sparkled something rare, but only to the point of making him more confused. Without a sound has his wife come out of the room, finished with her meal, and back in the
kitchen away with her chores. Hours slip away swiftly in the afternoon, and the sun is ready to set West. “ What do you think? I heard that what you youngsters want is to transcend the political divisions,” asks him to his son who has just returned. The son is afraid of being asked of these questions, so does Lin who is equally afraid to know of the answers. Ten minutes before this, Lin has just finished talking over the phone with the elder uncle. “What are the students up to? This is the reason of the island’s downfall.” “Why hasn’t the government taken a tough stance? Give them the taste of dread and panic when a few is arrested.” As they speak so loudly across the phone to seek for comfort of like-mindedness, in fact, the son has hesitated over ten minutes to enter the house, overhearing their conversation at the front door, with his jaw drops with disbelief of the remarks so absurd, that they seem to be dropped down from another space and time. “I don’t really know, but transcending the political divisions sounds cool,” replies the son cordially, and equivocally. “But this is the way Taiwan should be, and nothing could be changed. This is politics, there is no such transcendentality.” “And why are you in black too? Have you been to the Ketagalan Boulevard?” Lin cannot help but flare up. The son tries as much as he could to skirt and walk through the conversation, attempting to maintain the atmosphere in the living room, while his head
~ AFTERNOON BREEZE ~
is full of questions and wonders about father’s ridiculous logic. Lin drops back into the couch, turns on the buzzing news again, seeing if it could bring any good news to his heart. As the tea leaves remain silently sunk at the bottom of the pot, dead silence creeps back into the house. The son has just arrived home from Ketagalan Boulevard. It is Sunday today, he wasn’t going deliberately to the rally, though in black he is, as the tea chain store he works for requires black uniform, while the store is just around the corner of Taipei Main Station, not far away from the Ketagalan Boulevard. The work at the tea chain store is his fourth job, and ever since he graduated from the school of design, he is up the creek without a paddle, ungeared and unprepared, not knowing what to do. His first job was something quite glamorous, serving as a graphic designer in a public art company, while the so-called-artist director had hired people that were physically challenged to handle the heavy work of model casting, so that he needed not to pay even the minimum wage. “What I have offered them is the invaluable life experience.”
But, at least, the rampart of his bedroom door is capable of keeping out the living room odor, together with the invisible Wall that has long arised from the couch, and if it is a colored odor, it must be of purplish grey, as if the poison fumes seen in the old-school costume-drama, saturated with ceaselessly buzzing noises from the television news, as well as those never-ending ever-parallel conversations. “You all go ahead for dinner. I’m not hungry. I’ll get some sleep first.” The son closes the door, takes out his cell, waiting for his girlfriend to come online for video call. The tea leaves have been removed from Lin’s teapot and are left in the kitchen sink, which soon will be departing for their next journey down the drains, as they will be silent no more, humming out softly the Dylan’s song: How many roads must a man walk down Before you can call him a man?...... The answer, my friend, is blowin' in the wind...
Having waded through the marsh in the living room, the son enters his room, and sights the national pension payment notice lying on his desk. Why do they keep on sending over such a thing, he cannot really understand, for the salary has already failed to meet a living wage, why should he still pay for this? Speaking of salary, this is the utmost reason why he is still living with his parents. It is his 31st birthday next month, and his girlfriend has texted him, asking what would he want as a gift. Looking around his room, not a scene beyond the balcony, but a rear sight of the neighbor’s, with unwashed clothes of the hectic life left on the floor, a bit of a mess it might seem to be, yet a little safeguarding rampart is the bedroom door, of which his mother has to pass through at times, in order to help do the laundry. “Guess the best present in need would be winning the lottery,” thinks he to himself.
~ 午後微風 ~
狗女兒
文
Candy Bird
我是狗女兒，又叫毛小孩，當然這是人類幫我
住，歐洲的學歷讓她謀得藝術行政一職。除了
話說，是他們把你視為家庭一員的時刻。嚴格
擾，就像鄰居俗氣的土狗老是盯著我看，牠無
取的，聽說這些名字對人類有重大意義，換句 來說我也有「家庭」，但我從未看過親生母親， 有意識以來，我就趴在寵物店的櫥窗櫃裡面， 路過的人類對我咧嘴微笑。
雖然如此，我可是血統純正的貴賓狗，花了 8
萬元買走我的阿姨很疼愛我。她目前一個人 住，家裡還有隻拉不拉多，體型奇大無比。這
位阿姨會為我們規劃出客廳的座位區，和人類 一樣面對著電視。除此之外，客廳角落還有一 尊木雕的彌勒佛，笑瞇瞇看著大家。其實許多 時間我都待在阿姨的大腿上，這樣很好，一種
溫柔又混雜廉價香水的味道充滿鼻腔，畢竟我 連樓下阿伯的老男人臭味都聞得到。這樣還有 優點，我不必一直盯著無聊的電視新聞看，裡
面竟然還會出現我同類的「新聞」，譬如今天 狗媽媽教狗小孩下樓梯。
幾年前，阿姨一直冀望女兒能找到好男人嫁出 去，結婚生子，但我覺得有點困難。當我從晚
餐後的小睡，到深夜醒來嗅嗅窗外的雨水味
加班外，她還得應付男性藝術家層出不窮的騷 時無刻都在搜尋的鼻子，把我上上下下聞了一 遍，我關起鼻孔拒絕他的氣味。
每逢休假，阿姨就會催促女兒出去「約會」，
但如果超過晚上十點回家，阿姨就會異常緊 張，開始在客廳裡跺步。但我還是開心地跟著 她，拉不拉多在旁邊冷眼旁觀，彌勒佛依然笑 咪咪地看著，焦躁的人類、情緒高昂的狗，在
一起轉圈圈。某個晚上，女兒 12 點多才回家，
還帶著海報標語，上面有幾個我看不懂的大字：
「拒絕修惡勞基法」，我想她應該沒有好好去 約會。
客廳裡傳來兩個女人的吼叫聲，以及摔房門的 聲音，鍋碗瓢盆散落一地。我開口要阿姨放輕 鬆，但她只叫我不要吵，拉不拉多嚇得瑟縮成 一團，黑夜的寂靜讓人寒顫。幾天後，這位有 志於藝術的女孩搬空房間，離開了家裡。
時，女兒才拖著疲倦的身體回家，甩掉高跟鞋
女兒離家後，阿姨顯得寂寥，空蕩的客廳只剩
和朋友抱怨工作的不快，或埋怨母親的嘮叨，
和彌勒佛。嘴巴念念有詞，但撫摸我的毛倒是
後，她常常癱在沙發上打開啤酒滑著 Tinder、
比起長久的戀愛過程，她顯得沒有耐心，藝術
行政工作已讓她精疲力竭，她只需要在指間滑 動大數據和些許觀感上的刺激。
我們，深夜細雨依舊，她三不五時撫摸著我們 很不錯，我也頗自豪自己光亮的紅棕色的毛。
或許阿姨的注意力全轉到我們身上，我的飼料 越吃越好，但比起進口的雞肉罐頭，我更喜歡 有機素食口味，旁邊的拉不拉多倒是不挑食。 至於彌勒佛，阿姨每週都會送去打蠟清潔，然
「女兒，該嫁了吧。」
後放回原處。
「拜託別再說了。」 母女倆的對話時間僅止於早上出門前。女兒曾
經出國深造，回國後付擔不了房租與母親同
~ DOGGIE THE DAUGHTER ~
狗女兒
這日下午，家裡來了位西裝筆挺的人，他提著 黑色皮革的公事包，慎重地拿出許多文件，原
來阿姨希望我將來可以繼承她的財產，但法律 並不允許。阿姨焦慮地與律師商討辦法外，也 對我喋喋不休女兒的不孝，氣憤中帶著傷心，
廉價香水與口水齊放於空中；我開心卻帶著不
安，因為我小小的腳掌是無法掌控人類財產 的。至於女兒，她應該是對人的天命有不同想 法吧，但我也不太清楚當狗的天命是什麼。
如果我真的可以擁有阿姨的財產，我會替拉不 拉多和彌勒佛都蓋間房子，然後背起行囊去尋 找我從未謀面的母親，我知道路途遙遠，我的
被細心呵護的腳掌和紅棕色的毛，都會沾污和 淋濕，難道這就是我狗的天命？我不確定。
確定的是，人類似乎比我還迷惘。所以，在這 個又是細雨的日子，我還是先睡上一覺好了。
~ 狗女兒 ~
DOGGIE THE DAUGHTER
I’m Doggie the Daughter, or a furkid, named of course by the humans, which might be quite significant to them, for, that is the very moment when they see you as a part of the family. Technically, I too have a family, but I have never seen my birth mother, as ever since I could remember, I was curling up in the display window of a pet store, where passers-by grinned and smiled at me. Even so, I am truly a purebred poodle, and the Auntie who paid 80 thousand dollars to the pet shop loves me dearly. She lives by her own at present, and there is also a gigantic Labrador Retriever at home, where Auntie has organized seats for us in the living room, facing at the television as the humans do. Besides, there is also a wooden statue of the Laughing Buddha at a corner of the room, smiling friendly at everyone. I actually spend most of my time on Auntie’s laps, which is more than fine, where the smell blended of her tenderness and her cheap perfume fills my nostrils, after all I could even catch the old man smell of the uncle downstairs. There’s another advantage to this, for I need not keep my eyes fixed on the boring television news, when there are sometimes surprising “news” of my kind, like they have reported how a dog mother taught her child to climb down the stairs today. Few years ago, Auntie had long expected her daughter to find a good husband, get married and have children of her own, but I doubted that this would happen. For, since my nap after dinner, till I had awaken in the late night to sniff at the raindrops outside the windows, then only she could be seen home with her exhausted body dragged behind, off she kicked her heels, and sank into the couch, with beer in one hand and playing Tinder with another on the cell, complaining of the unpleasant things at work, or her mother’s nagging. She seemed unwilling to tolerate with
Written by
Candy Bird
the long running course of being in love, while working as an arts administrator had already worn her out completely, leaving her looking forward only to the big data and perceptive stimulations between fingers swipes. “My daughter, aren’t you already marriageable?” “Please don’t start this again.” The only time for mother-daughter conversations was the few limited hours before the daughter left for work in the morning. She had furthered her studies overseas, couldn’t pay her rent after returning, so ended up under the same roof with her mother. Having received education in the European Continent had landed her a position in the field of arts administration, amidst of hours and hours of extra work, not to mention her dealing with endless harassments from the male artists, just the same as how the cheesy mixedbreed from next door kept staring at me, as he scanned and snuffed all over me, using the eversniffing nose, while I had to stop my nostrils from breathing to shut his smell out. Every time the daughter had a day off, Auntie would urge her out for a “date”, but whenever she was not home after ten at night, Auntie would be unusually nervous, and started pacing up and down in the living room, though I would happily follow her steps, with the Labrador looking coldly at us aloof, while the Laughing Buddha continued to smile pleasantly, beholding the restless human and the high-spirited dog walking in circles. One night, the daughter had only come home past midnight, carrying with her a poster, upon which a slogan written that I could not understand: REJECT FAULTY AMENDMENT TO LABOR STANDARDS ACTS. I guessed she probably didn’t go to a proper date.
~ DOGGIE THE DAUGHTER ~
DOGGIE THE DAUGHTER
Screams and shouts had come from the living room, followed by door slamming, and tableware thrown and scattered all over the place. I tried to ask Auntie to calm down, but she only told me to be quiet, and Labrador huddled at the corner in fright, as we all shivered in the dead silence of the deep night. Few days later, this artistically ambitious girl had emptied her room, and left home since.
If I could really inherit Auntie’s properties, I would first build houses for Labrador and the Laughing Buddha, and then walk down the country roads with my belongings on my back, setting out to seek for my unseen birth mother, knowing that the path might sweat and toil, where my carefully tended paws and mahogany red hair might be stained and soaked. Could this be my fate as a dog? I am not sure.
Since her daughter had left, Auntie seemed lonely, the spacious living room was empty with only us there, while the drizzles at late nights remained. Auntie mumbled from time to time as she caressed us and the Laughing Buddha, when I recalled attending to some Buddhist devotions from my past-life memories, but it felt quite good to have her brushing my hair, as I was quite proud of my shiny mahogany red hair. Perhaps Auntie had then focused all her attention upon us, my feed was getting better and better, though I much preferred the organic vegetarian flavor over the imported chicken canned food, the Labrador was never a fussy eater, and as for the Laughing Buddha, He was sent for clean and wax every week, and then carefully placed back to the original spot.
What is certain is that, human seems to be more confused than I do. So, again at this day of drizzle, a good sleep might do me better.
One afternoon, a well-dressed man in suit appeared in the house, where he cautiously took out a lot of documents from his black leathered briefcase, as it turned out that Auntie had hoped that I could be the heir to receive her properties, but being denied by the law. Anxiously discussing the situation with the lawyer, Auntie also wittered on and on to me about her unfilial daughter, in anger and in agony, with her cheap perfume and spittle in the air, for I was equally delighted and concerned, knowing that my little paws were unable to deal with human’s possessions. As for the daughter, she might have different thoughts about human fates, still I didn’t quite know the fate of us as dogs.
~ 狗女兒 ~
正在寫
CANDY BIRD 與陳可樂 Candy Bird．Holok Chen
IN PROGRESS
簡而言之，或許是自身一團混亂的青春期，和長期生活在政治意識形態拉扯的生活中。從早期創作
中，社會事件和新聞就常是觸發我的靈感，那是我認為最「寫實」的東西。幾年前，我深信「藝術
身為現實的槌子」，現在卻十分懷疑；經過不停質疑自己的過程中，發現塑造「槌子」的路泥濘不堪， 而且遠方煙霧彌漫，裡面是對抗人性的艱鉅任務。
最近一年，我遇到一些頗有創意的社會運動組織者或研究人，除了耳目一新外，也發現自己想像力
的匱乏，可樂是其中之一。去年無意間認識了香港「油麻地的兩萬種死法」，這穿著獵奇外衣、卻 深具社會意識的「導覽」組織，陳可樂是創辦人之一，畢業於香港中文大學哲學系，他也是「本土 研究社」的一員，《號外》、《主場新聞》等皆可看到可樂的文章。藉著此次個展機會，我們發起 了一個線上聊天室，聊聊關於「社會與藝術」的問題，以下是節錄的片斷，完整版收錄在社群媒體
Medium。
以下簡稱 CB 與可樂
CB：
框住。在此理解下，藝術作為藝術家個人的創
你覺得藝術有可能改變社會嗎？譬如增加環保
可以令個人感受到他人的存在嗎？能使人意識
意識、消弭歧視等等，或是這問題不可能、太 理想性？
作，那也只能是對內心世界的探索嗎？那藝術 到由眾數的人所構成的社會存在嗎？在此，人 則要處理政治的問題。
「藝術可以改變社會嗎？」這個問題之成立，
可樂： 請先原諒我不能簡短地處理這個問題，作為哲 學仔，透徹地思考與反省是我的基本責任。因
此，我希望能在一來一回之間逐步補充我的想 法。也先聲明這不代表一個終極的結論。
藝術是甚麼？社會是甚麼？為何是藝術而不是 其他？
我傾向不取「人人都是藝術家」此種較為廣義 的理解，而視藝術為個人從感性層面創作從而 超脫一己生命達至永恆的理解，否則藝術並不 為改變社會而存在。然而，藝術在社會運動出
在於其相反︰「藝術在政治生活中並無角色」。 在西方政治傳統中，「社會」由自由人所構成， 以演說、論辯為政治生活的內容。而今日回看 所謂古代藝術品，就是手工藝，即一些能比人 的生命存在更久一點的作品。
而我們今日之所以提出藝術改變社會的問題， 仍是體認到政治並不僅僅是一個理性活動，而 是一個美學或感官的問題，也是一個自由人以 外，無名無份的人爭取參與的過程。因為藝術
作為美學，能夠構築起人們得以存有於其中 的、多樣世界間的溝通橋樑。
現，或藝術家參與社會運動，作為政治宣傳，
香港的社會運動家有時會覺得邀請藝術家參與
題是，這是如何可能的﹖
工具人，像用來搖旗吶喊的「舞龍舞獅」。例
已不止半世紀的歷史。藝術早已改變社會，問 社會是不是個人的集合？如此理解社會的話， 那人就是一顆顆原子，以皮膚為界線，被地域
在政治行動中很尷尬，因為好像把藝術家當作 如在反高鐵運動中，2011 年菜園村的「新春
廢墟藝術節」，朱凱廸就提出過這樣的自省。
~ INTERVIEW ~
但後來我訪問一些當時參與的藝術家葉浩麟， 他卻說︰「當然就是要來『舞龍舞獅』啊！在
這樣的場合藝術家根本不應該有位置、想自己
有一定的獨立性。可以確定的是，與組織者合 作的過程，確實影響了我如何思考創作。
的創作甚麼的。」（此處依記憶回想，葉先生
《湯姆叔叔的小屋》（Uncle Tom's Cabin，1852
在香港中文大學念藝術系二年級時，就遇上了
社會的案例，在此保守地把「改變」換成「影
可能不同意）葉浩麟也是很有心的參與者，他
「中大學生報情色版事件」，當年中大學生報 被淫褻及不雅物品審裁署票控，學生編輯召開 記者招待會，他提早一晚趕過去用布條寫大字
橫額以供拍照之用。那應該是他的第一個政治
年出版）算是歷史上著名的藝術（文學）影響
響」，它某方面激起了美國南北戰爭，可以確 定的是，各種緣份促成下，藝術創作可以興起
一陣波濤，但要談真正「改變」，我感到不樂觀。
作品。此後很多政治活動的橫額皆是出自他手
如你所說原子的社會結構，我以台北市為觀
一場運動創作獨特的書法字體，以配合該運動
某些奇怪的小地方；譬如親戚的小孩畢業後應
筆，例如反高鐵、反政改等等。他甚至會為每 的形象。我認為，在反高鐵運動中，藝術家的 參與不是首次，但卻是爆發性的。
當時我常因開會要在油麻地社區藝術中心「活
化廳」留宿。「社區需要藝術、藝術需要社區」 的口號也是當時記下來的。有關活化廳的部份 已有相當多記述，在此不贅述了。
察，社會上的確漂浮著批判性，但是是建立在 該幹嘛、某間餐廳食材的不新鮮等等，容易忽 略對結構性問題的認識。以往的經驗顯示，面 對社會性創作、嘗試反應結構問題時，也面臨 著難題；符合藝術精英的思考、挑戰自己、背 離觀眾，或是反之不追求高樓、與大眾溝通。
所以開場的問題也是在自我追問，以往的塗鴉
創作到底有什麼影響？在光鮮的藝術家形象後 面，我為什麼要創作？
CB： 你說的「舞龍舞獅」的情況我覺得挺有趣，在
可樂：
政治行動中，創作者的確有「工具人」的成份，
權力結構的批判並非命定論，我們不能否定人
是好的，譬如帶有美感、具有思考性的海報，
關心小事的人，也有可能在下一刻就參與進群
當有不錯的「舞龍舞獅」出現時，我個人覺得
或是苦中作樂的行動劇等，當然如果離開了政 治行動場合，創作者也才有脫離被工具化的環
在下一刻就罷工的可能。也就是每一個看似只 眾運動中。
境。記得幾年前，台灣某個社運組織者問我：
比如在廢死的討論中，女孩小燈泡的父母親，
家都看的懂，也不用麻煩去想畫什麼」，問題
體，看到監獄規罰結構與犯罪的雙生性質。
「你為何不直接把抗爭標語寫在街上就好？大 本身正是不能這麼做的原因。稍微離觀眾有些
都展現了極大的能量，從一己的悲痛中看到整
距離，才能使人去動腦筋想想作品的意思，藝
另外一方面，「光鮮的藝術家」，恐怕也只是
創作的條件，也才能稱職地去「舞龍舞獅」。
誠。創作的過程也是深刻的詰問。因為你可以
術的微妙功能會在此刻出現，我認為這是構思 回到政治行動中，大概從 2012 年文林苑反迫
小數？我認為藝術家面對自己時，應該要真 不做一個藝術家，卻不能不做一個人。
遷開始，我與黃慧瑜陸續有合作，基本上我從
回到你的創作本身，塗鴉原來就是一個非常有
過自己的重新詮釋去創作。重新詮釋是個重要
了塗鴉少女這個人物。她在香港多處留下「誰
溝通人群的管道，也讓該創作在政治行動中保
刑事毀壞罪名追緝。她的激進性也在於，由始
她研究的結果、組織行動的情況當出發點，透 的訓練步驟，如上一段所述，除了建立另一種
抵抗性的活動。比如在 2011 年，香港就出現
在害怕艾未未」的塗鴉，遭到西九龍重案組以
~ 對談 ~
至終堅持不亮相，以致令人覺得，她可以是任
何人。也就是說，「誰在害怕艾未未？」是國 王的新衣中，一個小孩的發問。她喚起了我們 心中的小孩。
當你提出要做一個塗鴉計劃以回應「油麻地的 兩萬種死法」導賞團時，我就覺得最適合不過 了。因為「油麻地的兩萬種死法」以城市中的
死亡為主題，實質上帶領參加者認識一些城市 空間；窮人死亡的空間，也透示出他們的生。
比如是非法賭坊的後巷、難民露宿的唐樓天台 等等。在這個吞噬人的資本城市中，他們留下 了最後控訴，佔據的就只是報紙一小角，維持 僅一天。
在每個故事中，似乎都可以帶出一堆結構性的 惡。比如有一個移工因害怕懷孕被解僱，被迫
殺嬰。後來才有另一個懷孕移工堅持了兩年時 間，控訴僱主無理解僱，最終勝訴。可是在導
賞團時，我們也避免說教，而是讓故事本身開 展，參加者自行領會。這也是一種刻意保持的 距離。
In short, the reasons could be my chaotic adolescence, as well as the long lasting swing between different political ideologies. Since my early works, social incidents and related news have always inspired me, and those are what most “realistic” to me. Few years ago, I had deeply believed in the saying of “Art is a hammer to shape reality”, but now I’m in hesitation heartily. Along the process of unceasing self-doubt, I had discovered that the path of shaping the “hammer” is full of obstacles, where the road ahead is covered by fog , while I fought the toughest battle of confronting humanity on the inside. Over the recent year, I had met some of the most creative social movement organizers or researchers. A whole new world was brought upon me, as I found myself deprived of imagination. Holok is one of these people. I had come across the 20,000 Ways to Die in Yau Ma Tei unexpectedly last year, and was acquainted with this community tour organization which has profound social awareness though with its seemingly exotic manifestation. Holok is one of its founders, a bachelor of
Philosophy of the Chinese University of Hong Kong, a member of Liber Research Community, and his articles are published in several media such as the City Magazine and the House News. Taking the opportunity of this solo exhibition, we have started an online chatroom to talk about Art and Society. An excerpt of our conversations is as follows, while the complete transcript could be found on the social media of Medium.
CB： Do you think that art could change the society? Improving environmental awareness, ceasing discriminations… Or is this a mission-impossible, a question too idealistic?
Holok： First of all, please forgive me that I have no short answers to this question. As a philosophy lover, it is my fundamental duty to contemplate and reflect thoroughly. Therefore, I hope I could gradually fill in my thoughts throughout our conversation. And to state clearly, opinions in this conversation are never absolute or conclusive. What is art? What is society? Why art, and not others? I prefer not the “Everyone is an artist” way to consider this matter in such a broad sense. Instead, I see art as personal creation from sensibilities and emotions, where one transcends the limit of one’s own life and realizes the meaning of eternality. If not, art would not exist for the sake of transforming the society. Looking back into the history of art, it has been more than half a century when artists engaging themselves in social movements and art serving as propaganda. Art has already changed the society. What we should ask, then, is how this is made possible. Is society the aggregate of people living together? In this sense, individuals would be like atoms, where our skins become boundaries, and us being constrained by territory. Is therefore art, makings of the individual artist, the probe into one’s inner world alone? Could we then perceive of the others through art? Or of the society aggregated by people living together? It is the political issue that we have to deal with. Foundation of the question “Could art change
~ INTERVIEW ~
society” is at its contrary: “Art plays no role in the political life.” “Society” in the tradition of western politics is constituted of free individuals, where their political life is composed of speeches and debates. Looking back at the antique works of art, which are mainly crafts, are works that endure longer longevity than human. The cause we question if art could change society in today’s world is because we recognize that politics is not merely the activities of reason, but is also concerned with issues of aesthetics and perceptions, a process which a group of nameless and positionless people fight for their rights to engage. Whereas art, as aesthetics, could bridge the gap between people and the myriad world, and accommodate them of differences. Social activists in Hong Kong sometimes feel awkward to involve artists in political actions, as if they are only invited to run errands, or to bang the drums like the traditional festive dragon and lion dances. Activist Eddie Chu Hoi-dick had once expressed such reflections, during the Spring Ruins Festival organized by Tsoi Yuen villagers in year 2011, in the course of the Anti-Express Rail Link (XRL) Movement. However, during my later interview with one of the members, artist Roland IP Ho-Lun said, “Of course we have to be the dragon and lions dances! Artists should never have a position in such circumstances, or to think of their own art-making or else”. IP was determined to join the movement. While he was still in his Sophomore year in the Chinese University of Hong Kong, he had chanced upon the controversy sparked by the publication of sex column on the Chinese University Student Press (CUSP). Being summoned by the Obscene Articles Tribunal, the CUSP editorial board had organized a press conference, where IP rushed to the scene one day ahead to paint banners with huge words that served as backdrop for photographing during the happening. That would be his first political artwork. Since then, numerous banners of different political actions were painted by him, including those of the Anti-XRL Movement, and those of the protests against the political reform. He had even designed unique calligraphy fonts for each of the actions and movements to associate with their ideas and profiles. In my opinion, the engagement of artists in the Anti-XRL Movement was not unprecedented, but forceful and full of dynamics.
During that time, I was to spend nights over at Woofer Ten, a local community art center at Yau Ma Tei, to attend meetings. That was when I had memorized the slogan “Community needs art, and art needs the community”. Woofer Ten has a comprehensive and detailed account concerning that, which I need not to go further here.
CB： What you mentioned about the dragon and lion dances, I find it very interesting, for there are indeed such errand-running parts of the artists in political actions, but I think competent “dragon and lion dancers” would benefit the operations, such as bringing upon appealing and intriguing posters and banners, bittersweet action theatres, etc. Of course, it is when leaving such political occasions that only the artist could break loose from running errands. A few years ago, a social movement organizer from Taiwan had asked me, “Why don’t you paint those confrontational slogans right on the streets? Everybody could read, and you wouldn’t have to go to the trouble of thinking what to draw.” The answer is the question itself. You have to keep some distance from the audience to trigger them into thinking the meaning of the artworks. This is precisely when the subtlety and nuance of art put to work. This is what I consider to be the conditions of composing art, and to play the part as a competent dragon and lion dancer. Back to the political movements. I have started to work together with the artist and activist Huang Hui-Yu since the anti-forced eviction movement of Wenlin Yuan in year 2012. Based on the results of her studies and the conditions of the organization actions, I re-interpreted the materials and composed them into art. It is a vital phase to learn re-interpreting, as mentioned earlier, for it builds up another means to communicate with the public, and also retains the uniqueness of art in political actions. What is certain is that collaborations with activists and organizers have influenced the way I make art.
~ 對談 ~
Uncle Tom's Cabin (published in 1852) would be a famous case in history where art (literature) had influenced the society. I am inclined to be reserved to say the word influenced, rather than changed, for it had incited the American Civil War in some aspects, and it is certain that art could really arouse uproars of controversies and discussions, but when it comes to change, I am not so optimistic. As what you have mentioned about the atomic structure of society, my observations of the Taipei city are that there exist unquestionably critical voices, but mostly on some peculiar and trivial issues, such as what should the cousins’ children work as after they graduated from school, or the stale ingredients used in some restaurant etc., while structural problems would be easily overlooked. In my experiences, it comes to the same thing – confronting with complications – while dealing with social art projects, or tr ying to reflect structural problems. It is an either-or question: To meet the elite ways of thinking, challenge oneself, and turn one’s back on the audience; Or, not to chase after the soaring high towers, and sit down to talk to the public? It is also self-questioning, the inquiry I made at the very beginning of our conversation. What influences had my early graffiti works made? What is the drive for me to create art, behind the glamorous facade of a public-known artist?
Holok： Critique of the structure of power should not be fatalistic. We couldn’t deny the possibility that one could be on strike at any minute, for those who seemed only caring for trivial matters could also engage in public actions at the next minute. For instance, during the discussions to abolish death penalty, Little Light Bulb’s parents (four-year-old girl killed in random attack in Taipei) had shown great strengths and qualities, for they had also discerned the problems of structure while in great grief and sorrow, that they had acknowledged the two-sided structural dilemma of prisons which punishes and at the same time instigates crimecommitting.
making is a deep interrogation. For you could give up being an artist, but not a human. Back to your art-making, graffiti is confrontational in itself. In year 2011, there was a young graffiti artist Tangerine, who had left stencils around Hong Kong, displaying the face of the Chinese contemporary artist and activist Ai Weiwei, and the words “Who’s afraid of Ai Weiwei” in both Chinese and English, and were being run after by the West Kowloon Regional Crime Unit under Criminal Damage Act. Her radicalness is also that she never appears in public, so that anyone could be Tangerine. The stencils she made is the child who asked the critical question in The Emperor's New Clothes. She had called upon the child in every heart of ours. When you had come up with the graffiti project to response to the 20,000 Ways to Die in Yau Ma Tei city tour, I thought that couldn’t be better. The tour took on the theme of unfortunate deaths in the city, bringing participants to physically experience the actual spaces in the city, where the scenes of death of the poor could also tell of their lives, such as the back alley of illegal gambling house, or the tenement rooftops where the refugees slept rough, etc. They have left their last denouncements of the devouring capitalist city, occupying only a small corner of the newspaper for only a day. There are endless structural evils in every story. There was once a migrant worker who killed her baby for she was afraid of being discharged by her employer, while another worker had endured four long years before she finally won the lawsuit against unreasonable employment discharge from her employer because of her pregnancy. But during the city tour, we had avoid preaching and let the stories themselves unfold for the participants to feel freely. This is keeping distance intendedly.
Furthermore, the glamorous artist would be of minority, I’m afraid? Artists should be honest while confronting themselves. The process of art-
~ INTERVIEW ~
CANDY BIRD 1982 年出生於台灣台北
1982 born in Taipei, Taiwan
經歷 黃金町藝術中心，駐村藝術家，橫濱，日本
2017 2013
雲門舞集文教基金會－第 9 屆「流浪者計畫」，緬甸 首屆國家文化藝術基金會「海外藝遊專案」，巴西
個展
2018 「多麼乾淨的一幅畫」，尊彩藝術中心，台北，台灣 2017 「不發彈處理」，Art Cocktail，大阪，日本 2016 「床邊故事」，尊彩藝術中心，台北，台灣 聯展
2018 「靜河流深」，高雄市立美術館，高雄，台灣 2017 「2017 黃金町集市－ Double Façade: Multiple Ways to Encounter the Other」，橫濱，日本 2016 「Asalto Street Art Festival」，薩拉戈薩，西班牙 「非常上癮－日常生活美學的再延伸」，銀川當代美術館，銀川，中國
2015 「當下當代－台灣藝術計畫」，天理藝文空間，紐約，紐約州，美國 「幽默機制」，弔詭畫廊，高雄，台灣
2014 「POW!WOW! TAIWAN」，台北國際藝術村，台北，台灣 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣
2013 「亞洲藝術雙年展」，國立台灣美術館，台中，台灣 2010 「台灣當代藝術論壇雙年展」，台北當代藝術中心，台北，台灣
出版品
2015 2012
Candy Bird 等，《前線 Z.A.》，香港：慢工出版社 Candy Bird，《等它乾：Wet Paint Drying》，台北：衛城出版社 Candy Bird 等，《社情漫畫：公民的肥皂箱》，台北：衛城出版社
~ C.V ~
EXPERIENCE 2017
Artist in residence, Koganecho Area Management Center, Yokohama, Japan
2013
The Ninth Wanderer Program Award and Fellowship, Cloud Gate Dance Foundation, Myanmar
Inaugural Project of Artistic Journey Award and Fellowship, National Culture and Arts Foundation, Brazil
SOLO EXHIBITIONS 2018
“What a Neat Painting”, Liang Gallery, Taipei, Taiwan
2017
“Remove Bombs”, Art Cocktail, Osaka, Japan
2016
“Bedtime Stories”, Liang Gallery, Taipei, Taiwan
GROUP EXHIBITIONS 2018
“Still Waters Run Deep”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2017
“Koganecho Bazaar 2017 – Double Façade: Multiple Ways to Encounter the Other”, Yokohama, Japan
2016
“Asalto Street Art Festival”, Zaragoza, Spain
“Very Addictive – Re-extension of Aesthetics in Daily Life”, Yinchuan Museum of Contemporary Art,
Yinchuan, China
2015
“The Moment”, Tenri Cultural Institute, New York, NY, US
“What We Talk about When We Talk about Humor”, Crane Gallery, Taipei, Taiwan
2014
“POW!WOW! TAIWAN”, Taipei Artist Village, Taipei, Taiwan
“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
2013 “Asia Art Biennial”, National Taiwan Museum of Fine Arts, Taichung, Taiwan 2010
“Forum Biennial of Taiwanese Contemporary Art”, Taipei Contemporary Art Center, Taipei, Taiwan
PUBLICATIONS 2015
“Frontline A. Z.” by Candy Bird, et al. Hong Kong: Slowork Publishing.
2012
“Wet Paint Drying” by Candy Bird. Taipei: ACRO-POLIS. “Citizens’ Spokespersons” by Candy Bird, et al. Taipei: ACRO-POLIS.
~ C.V ~
Afternoon Breeze
亞洲速食 1 Ya Jhou Su Shih 1
Ink and acrylic on old book 20.5×29cm ｜ 2018
Ink on paper 20×13.8cm ｜ 2016
午後微風
墨水、壓克力、舊書
作品局部，共 13 組 Part of work, total 13 sets
墨水、紙本
作品局部，共 40 頁 Part of work, total 40 pages
狗女兒 1~12
Doggie the Daughter 1~12
亞洲速食 2 Ya Jhou Su Shih 2
墨水、紙本、硬殼筆記本
Ink on paper, hardcover notebook 15.1×10.6cm ｜ 2016 作品局部，共 96 頁 Part of work, total 96 pages
扭曲－傳遞
Distortion – Transmission 油漆、舊木
Paint on old wood 44.5×42cm ｜ 2017
抽屜
Drawer
油漆、木頭
Paint on wood 12.6×38×36.5cm ｜ 2016
無題之一
扭曲 2 Distortion 2
油漆、古董木板
Paint on antique wood 49.5×84.5×5cm ｜ 2016
櫃子
Coming out
壓克力、紅酒箱
Acrylic on wine box 32.5×19.5cm ｜ 2017
午後微風－櫃子
扭曲 3 Distortion 3
油漆、古董木板
Paint on antique wood 33.5×60.5cm ｜ 2016
無題之三
Untitled 3
噴漆、水性漆、帆布
Spray paint, water-based paint on canvas 86.5×130cm ｜ 2016
午後微風－影子
Untitled 1
Afternoon Breeze– Cabinet
Afternoon Breeze– Shadow
Spray paint, water-based paint on canvas 101×85.5cm ｜ 2016
Paint on wood cabinet 80×55×55cm ｜ 2018
Acrylic on old bed sheet 110×60cm ｜ 2018
噴漆、水性漆、帆布
油漆、木頭、櫃子
壓克力、舊床單
Executive Director 發行人
余彥良
Yu Yen-Liang
Director 總經理
陳菁螢
Claudia Chen Translation 翻 譯
Designer
美術設計
劉銘維
Liu Ming-Wei
Photographer
攝影師
黃嘉達
JD
Display Execuitve
展場執行
陳齊奐、李樂蓉
洪鼎鈞
Editor
訪 談
Chen Qi-Huan, Laura Lygaityte
策劃編輯
陳映芃
Chen Ying-Peng Publisher 出版者
尊彩國際藝術有限公司
Liang Gallery Co., Ltd
Hong Ding-Jiun Interview
陳可樂
Holok Chen Publishing Date
出 版
2018 年 4 月初版 First Edition, April, 2018
Printing
ISBN
978-986-95903-4-1
印 刷
日動藝術印刷有限公司
Jih-Tung Art Printing Co., Lt