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這些畫原本是活的，而如今它們死了。 是的，繪畫如今是死的，而他們原本活著。
從一開始地勃勃生機，我一筆一筆的加上去，在生與死之間， 我們用無數的空話去堆積，事情成了它最後的樣子， 畫面上是我的遺蹟，一切苟活在熱情的樣貌（澆灌）之下。
我傾向不去談它，不提也罷。
如果可以靈感充滿、才華洋溢，哪裡還需要意義？
試圖描述自己創作的危險之處，在於描述那些你沒有的。
－ 黨若洪．2017 －
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The paintings used to be alive, and now they are dead. Yes, the paintings are dead, however, they were alive.
Full of vigour and vitality at the beginning, I added one brustroke by one brustroke onto the painting. Countless empty words piled up to the final look. The painting as my legacy, drags out a low existence (watered) with passion.
I prefer not to discuss this…best not to mention it.
What is the use of meaning when inspiration is plentiful and talent is brilliant.
The danger of attempting to describe one’s work is to describe those you do not have.
－ TANG Jo-Hung．2017 －
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修行者 The Seeker 2017 油彩、纖維板 Oil on masonite 120×62 cm
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彎著腰 Bending down 2017 油彩、纖維板 Oil on masonite 180×122 cm
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穿靴子的基督 Christ in Boots 2016 油彩、纖維板 Oil on masonite 180×122 cm
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撅著屁 Buttocks Up 2017 油彩、纖維板 Oil on masonite 178×120 cm
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畢業生 A Graduate 2017 油彩、纖維板 Oil on masonite 150.5×110.5 cm
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魁儡（禁臠） Puppet (Captive) 2017 油彩、纖維板 Oil on masonite 94×122 cm
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戴帽自畫像 Self-Portrait - Wearing Hat 2016 油彩、纖維板 Oil on masonite 122×94 cm
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戴眼鏡的朋友與教授 Friend Wearing Glasses and the Professor 2016 油彩、纖維板 Oil on masonite 150×111 cm
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算命師習作 Study of The Fortune Teller 2016 油彩、纖維板 Oil on masonite 111×150 cm
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戴眼鏡的朋友 Friend Wearing Glasses 2016 油彩、纖維板 Oil on masonite 150×111 cm
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異鄉人 The Stranger 2017 油彩、纖維板 Oil on masonite 178×120 cm
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微笑畫像 Smiling Portrait 2017 油彩、纖維板 Oil on masonite 122.5×94 cm
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年輕綠面畫家 Young Green-Face Painter 2017 油彩、纖維板 Oil on masonite 150×110 cm
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舊球鞋 Old Sports Shoe 2017 油彩、纖維板 Oil on masonite 94×122.5 cm
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洋馬子 Foreign Girl 2017 油彩、纖維板 Oil on masonite 178×120 cm
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冰川風景 Landscape with a Glacier 2017 油彩、纖維板 Oil on masonite 62×120 cm
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現實的距離 黨若洪談創作
採訪整理 / 郭怡孜
「局外人」是繼 2014 年「旅程的終點—尊貴的搏鬥」之後，睽違三年的個展，我們知道這 三年你經歷了積極求醫卻終究失去大部份聽力的過程，這經驗有一部分轉化而進入了你的 創作，例如去年獲得臺北美術獎首獎「尋源問道－小神仙」一展，即呈現了其中涉及民間 信仰、神秘力量的面向。除此之外，請你談談這三年的創作狀態，例如你是否曾經試圖在 創作上有所突破、改變、或是達到什麼目標？進行得如何？
你講的東西都太偉大了（笑），這三年的前面，我是處於一種求生存的狀態，不管是 身體上還是創作上都蠻低潮的，沒有什麼偉大的想法，就僅僅只是求生存的狀態。創 作上的低潮不見得和身體狀況有所關聯，或許有，但我不曉得。這段時間雖然還是畫， 但是心理上很明確的知道，就是畫不下去了。今天畫了這張畫，明天有沒有繼續下去 的必要，我自己心裡都有強烈的懷疑。這個求生存的狀態，與其說期待有什麼發展， 遠不如期待在創作上能夠維持、單純的存活，單單是維持這個基本的生存都費很大的 勁。
直到某天早上的某一刻，我畫了某個少年的臉，突然覺得好像有一些什麼，覺得好像 上帝還沒有拋棄我，我的能力還跟隨著我，還能在我的手上有所反應，留下還可以的 痕跡，就覺得好珍惜喔，希望明天早上再踏進工作室的時候，我仍舊覺得這件作品是 好的。總之，是從那張畫之後整個翻轉，這件作品就像是有誰丟了一條繩索給我，抓 著它，就可以再畫下去，我心裡滿懷謝意，就這樣慢慢地走出創作低潮。那時心裡想 的是：真的是感謝上帝，救了我一把。雖然我沒有信上帝。
可以說是你找到靈感了嗎？
我不找尋靈感。這個時代已經不需要靈感了，生活裡已經有海量的訊息。 我不捕捉靈感，而是追求狀態，但是狀態也是沒辦法追求的。例如之前我的狀態很不 好，我還是原來的我呀，並沒有變笨，手也沒有故障，但畫出來就是死的，像是沉入 沼澤一樣，沒有任何回應。狀態好的時候，靈感隨時都來，甚至不需要靈感，或者說， 自己就是靈感。一筆刷下去，一個顏色下去，畫面會回應一些訊息，我和畫面之間就
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產生了對話，自然會繼續下去。那感覺好像胸腔灌滿了氣，在畫的過程就知道這作品 是好的。所以我會說狀態遠比結果重要，如果狀態好，結果就會好。 但完全死灰的時候也不能完全不畫，還是要動起來。就像睡眠，總是用假寐引出真寐。
關於此次的展名「局外人」，你提到無論從政治、族群，乃至藝術圈的群體關係，或是個 人的美學喜好，你時常處於「局外人」的狀態。可以分別從這幾個面向說明你的感覺嗎？
首先，我的姓氏立即揭露我在台灣作為外省人的身份，這是無法迴避的。我查過資料， 這個姓可能源自於西夏羌族：位於古老中國的邊疆。我一直有一種邊緣化的感受，無 法加入任何一個族群，也知道是被排拒在外。這不見得是劣勢的，但就是在邊緣。政 治立場上，對於我深藍的家族長輩而言，我這種不藍不綠的狀態就是大逆不道，而相 對我綠色的朋友族群我也漂浮在外，並非處在一個中介的地方，純粹是漂浮在外。近 來因為耳聾的關係，這樣的漂浮感更加深切了。
另一方面，藝術家的生活，包括我的作息以及面對的事物，對這個工商社會裡絕大多 數的人而言，也像是在邊緣行走著。身為職業藝術工作者的我其實也時常思考日常生 活中的虛幻與真實，在現實的世界裡，我們其實只與一小群人來往。我時常發覺自己 在公眾的時序脈絡之外行走，當絕大多數同年齡的人都在辦公室工作打拼的時候，我 一個人在工作室，偶爾放下筆出去走走， 可能在 7-ELEVEN 或哪裡看到所謂的邊緣人， 我意識到他們邊緣，其實是因為對於自身的敏感。直到下午五點半幼稚園放學，我的 肉身被迫去幼稚園接我的雙胞胎回家，等待我太太下班從辦公室歸來，現實才從虛幻 的邊緣世界奪回主導權，重新掌握了我。
在藝術圈的情況是，可能之前待在西班牙，又去到英國，再回到台灣，我在台灣的藝 術圈裡，沒有進入大家往來的任一個藝術社群，也帶給我一種邊緣、局外的感受。以 前年輕時會略帶焦慮感，比如說，不會被書寫、也不會被同儕討論，但是經過這些年， 不管是因為年紀漸長或自我調適，到今天已經可以和這種狀態相處，也有某種優越感，
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給我一種更輕鬆的心情，投入我喜歡的事物。
在美學上的看法呢，你也覺得自己和別人格格不入？
很多人會談論誰的作品好，是因為作品裡有情感，例如會說感受到畫裡巨大的激情、 黑暗或扭曲這些用辭。我並非不能體會作品的動人，但我對這些東西的共感不深，我 總是覺得這些東西是技術性的。藝術品裡面情感的回應，我共鳴不多，甚至覺得這不 是最重要的，那只是畫面的選擇而已，並不是構成好作品的主要因素。
打個比方，我看京劇的時候，想投入的完全不是忠孝節義或男女角的悲歡離合，我更 喜歡的是那遠在戲外的狀態。例如看王復蓉（陶喆的媽媽）表演，她的聲音從腹腔經 過胸腔，再經由口腔衝出，直達天際，對我而言，那是美學的至高表現。另一位京劇 名伶史依弘，她始終給我一種人在戲之外的感覺，她的動作準確而含蓄，乾脆卻又放 鬆，眼神看著對方卻又穿透了戲，張口飄出的句子已經不在重要了。唱到高段的時候， 很明顯呈現人在意之外，脫離的狀態，這就是藝術最高的境界。
這檔展覽以人物畫為主軸，畫裡的人都有一種疏離感，例如《彎著腰》有著孤獨的姿態， 散發淡淡的憂鬱，像是沉侵在自己的世界裡。《異鄉人》這件作品的敘事性比較強，穿著 黃色風衣的男子行走在藍天綠地裡，他的胸口開了一個洞，讓我們可以看到遠方的地平線， 他顯然對畫面裡的其他兩個人而言是個陌生人，獨自來到異鄉，而且，你以前養的狗，久 違的 Cookey 出現了。
是，其實是牠自己跑出來的。我在處理後面格子衣服的人物時，原本要接著畫他的腿， 但覺得已經有點多了，需要是一個別的寵物或什麼，Cookey 就出現了。有些人知道， 我現在有意識地不再去畫牠，但既然牠自己出現了，我也就不抹消牠。穿黃色風衣行 走的人，他身上的透明窗，或許可以解讀為一種對家鄉的凝視。
我畫裡的人物不見得是沉浸在自己的世界裡，大部分的人都眼睛都半開半閉，似乎帶 有一種悲憫，有一種宗教性的脫離感。沒錯，我的畫裡面，人跟他所處的實際狀態， 都有一種脫離感。「我」是一個很奇妙的東西，像我現在在做這件事的同時，我也正 看著我自己在做什麼，我和我之間，是存在著距離的。
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這些畫中人物總有什麼地方是異於常人的。例如《穿靴子的基督》裡的基督，背對著我們， 怪異的姿勢，身體呈現一個往外張、用力掙扎的姿勢，身上釘滿了釘子，左手掌沒有了， 好像是表達一種壓抑的痛苦？
其實也並沒有要表現痛苦，這畫面是有這個感覺，但是我畫的時候沒有痛苦這種東西， 它自動發展成這樣。一開始也不是要畫基督，我是從軀幹開始，接著四肢，畫完頭之 後，才發現他就是基督。我畫任何作品，百分之百一開始都不知道它最後會變成什麼 樣。我一直在處理畫面，並沒有要投射情緒性的感覺，可能最後的結果有些這樣的訊 息，但那不是我主要的意思。
作品是作品，它自己有它要說的東西。
《舊球鞋》這件作品像是對舊球鞋的凝視，一隻腳像是穿著它，又像是沒有。這裡頭有一 種私密性，請你談談這件作品。
那是我弟弟的一雙爛球鞋，很多年放在工作室的櫃子上，大約 10 年前吧，我用顏料在 上面亂塗，把它當成類似現成物的創作，覺得蠻有感覺的，但後來因為種種原因又覺 得沒什麼了，既沒有繼續投入也沒有發表。前陣子看到它，又把它拿出來畫沒有塗顏 料的樣子，就有了這件作品。
說你畫裡的人物都是孤獨的也未必，例如《戴眼鏡的朋友》、《戴眼鏡的朋友與教授》、《魁 儡（禁臠）》都是兩個人一起。你在這幾件作品中，分別想要探討怎麼樣的人際關係？
我喜歡「雙」這個概念，比如說雙子座呀，雙塔呀，它是一種帶著類似鏡像、反射的 特質，但又不完全是，而且彼此獨立。雙位一體地這件事，很讓我著迷，後來生出雙 胞胎，我也覺得很酷。在我的畫面裡面，我會偷偷的捕捉雙這個概念，你說的這幾件 就是直接的呈現。例如《魁儡（禁臠）》兩個人共用一個身體，他們同時有這個身體 的代表權，但又不完全，互相有附屬，是彼此的禁臠。這當中常常有一個人是附屬的， 明顯得處於一個比較弱的地位，像是《魁儡（禁臠）》裡面右邊的這個人。
我覺得這很有意思，即便是我們獨自擁有一個身體，我們依舊沒有完全的主導權。
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Distant from the Reality Tang Jo-Hung on His Art
by Isabelle Kuo
Three years have passed since your last solo exhibition “Journey Ends - In Dignified Throes” and now comes “The Outsider.” During the past three years, you lost your hearing for unidentified cause despite trying orthodox medicine as well as alternative therapies. Some of the experiences related to folk beliefs and mystic power has been transformed into to the works you presented in the project “Searching for the Origin – Little God,” which won the first prize of 2016 Taipei Arts Awards. What else have you gone through during this period? Was there anything you wished to achieve?
What you are asking is way too grand (laugh). I was struggling to survive during the first part of these three years, in terms of both physical condition and artistic practice. Perhaps the slump in my art is related to my physical condition, but I am not aware of the connection. I kept painting during that time. However, deep in my heart I just knew I wasn’t doing well. After a day’s work, I would strongly doubt whether there is the need to continue the same painting on the next day. I simply hoped to maintain my ability to create rather than looking up to pursue some greater goal. Barely surviving took me a lot of strength.
One day morning, I painted a face of young man and suddenly realized there is something in it. It feels like God has not abandoned me, my talent is still with me, and I can still create worthy traces. I cherished it so much and really wished the ongoing painting would still look good when I stepped in my studio the next morning. Anyway, that painting was the turning point. It was like a robe thrown over by someone, and by holding on it, I could go on to paint. Full of gratitude, I pulled myself together slowly. I really thank God for helping me, despite I am not religious.
Would it be appropriate to say that you have found inspiration?
I do not look for inspiration. Living in an age of massive information, it is no longer necessary to look for inspiration.
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I do not pursue inspiration, but a state of mind. However, the right state of mind is impossible to pursue, either. I was still the same person with my good hand when I got stuck, but whatever I painted was lifeless. When my condition is good, the inspiration comes all the time. It feels like I don’t even need inspiration, I am the inspiration. The brushstroke and color I paint on the masonite would give me feedback, and thus begins a conversation between me and the work. It feels like my lungs are full of fresh air and I simply know the resulting work would be good during the process. That is why I believe that the state of mind is more important than the result. The result will be good if the state is right.
However, you still have to paint even in the most deathly still. It is like sleep, a doze could bring about a deep sleep.
Regarding the exhibition title “The Outsider,” you said you feel like an outsider in terms of political viewpoint, ethnic status, peer relation, and even aesthetics. Could you explain why you feel so?
First of all, my surname immediately reveals that my family came from Mainland China. It is impossible to neglect my identity as an outsider to this island. My surname can be traced back to the Qiang people of the Western Xia Empire, also a regime at the margin of ancient China. It has always been hard for me to be part of any group, and I am aware of being rejected and marginalized. This is not necessary to be inferior, but just not in the mainstream. My political standpoint is rebellious offense in the eye of my senior family members, and at the same time incompatible to that of my peers. It is not “between,” but floating out there. Losing my hearing has enhanced this sense of floating.
As an artist, my daily routine and affairs are also quite alternative to most of the people in this modern society. I often ponder over the illusion and reality of life. I only socialize with very few people in the real world. I often find myself walking outside of the public routine. I am along in the studio when most people of my age are working in the offices. I would go out sometimes
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and might pass by some marginal people. I am aware of their marginalized status due to my sensibility to my own conditions. Around 5:30 in the afternoon, I would take my twin girls home from the kindergarten and wait for my wife coming back from the office. The reality would grasp me again from the illusion of the marginal world.
As in the art community, I failed to join any kind of group in Taiwan, perhaps due to my stays in Spain and Britain in my early years. I used to feel anxious about this, for not being commented or discussed. However, I have adopted to the situation over the years and even feel superior that I can endeavor to what I love with more freedom and easiness.
In which way do you feel you are out of tune with others regarding aesthetics?
People would value a piece of art to be good according to the emotions it expresses, such as passion, darkness or struggle. It is not that I am not moved by the work, but I do not value this part so highly. To me, emotional power is not the main reason for a work to be great.
Take Peking opera as an example, I do not seek morality meaning or romantic joys and sorrows when watching it, but rather enjoy the spiritual state surpassing the plot. For instance, when the actress Catherine Wang sings, the voice vibrates from her abdominal cavity, through her ribcage, out from her mouth and reaches high up in the sky. To me, this is the highest level of art. Another actress I like is Shi Yi Hong. Her acting is precise while contained, crispy and relax. Her gaze penetrates who she looks at, and the meaning of what she sings no longer matters. She has departed from the drama and gone beyond to a higher state.
A sense of alienation lingers in the whole exhibition. The man in Bending Down, for instance, looks solitary and acts weirdly, seems to be spellbound in his own world. The man in a yellow coat in The Stranger is obviously an outsider to the others. A hole opens in his chest through which we can see the horizon far off. Moreover, Cookey, the dog you used to have and once an important image in your painting, reappears!
Yes. Actually, Cookey just showed itself spontaneously. When I painted the man wearing a checked top, I felt like to have something like a pet down there, so there it is. Some people
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might know I consciously avoid painting Cookey nowadays, but since it came by on his own, I decided to keep it there. The transparent window on the man in yellow coat might be taken as a gaze towards his homeland.
People in my painting are not necessarily spellbound in their own worlds. Many of their eyes are half closed with compassion and there is an air of religious detachment. You are right, people in my paintings are alienated from the environment where they situate. Ego is very interesting. My ego is looking at me from a distance while I am talking to you. There is a distance existing between me and my ego.
There is always something odd about the figures in your paintings. For example, the Christ in Christ in Boots turns his back to us in a strange pose. His body stretches out with tension. Nails are on his back and shoulders and his left hand is missing. There seems to be a suppressed pain.
The fact is that I was not thinking of expressing pain at all. The painting indeed implies pain, but pain was not a concern when I made it. It just developed so. I did not intend to paint the Christ at the beginning neither. I started from the torso, and then the limbs. It was not until I finished the head that I realized he is the Christ. I never know what a piece of work will become when I start it. What I have been dealing is the picture itself rather than projecting any meaning or emotion. The resulting painting might express something, but it is not the main concern of my practice.
A painting is a painting. It tells things in its own right.
Old Sports Shoe is an intimate gaze at an old shoe. A foot seems to be wearing it but also seems to not. Is there a story about it?
A pair of my brother’s broken sports shoes sat on the shelf in my studio about 10 years ago. I applied oil paint on them as some ready-made material. Something interesting seems to be developed at that time, but later I lost interests. I saw that pair of shoes recently and decided to make a painting of them, and it turned out to be a shoe without paints on it.
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Not all the people in your painting are necessarily lonely, for example, Figures in Friend Wearing Glasses, Friend Wearing Glasses and the Professor, and Puppet (Captive) have companions. What kinds of relationship do you depict in these paintings?
I like the idea of “double”, such as Gemini, twin towers. It resembles mirror image or reflection, but not exactly the same since members in the relationship are independent from each other. I am fascinated with twinity, and also feel so cool to have my twin girls. I have been catching the idea of double secretly in my painting, and those you mentioned manifest the idea directly. Take Puppet (Captive) as an example, two men share a body – they both have control over the body but not completely. They are ancillary and captive to each other. It is often that one of them is more subsidiary and weaker in power, like the man at the right in Puppet (Captive).
I found this very interesting. One does not have full control over his or her body even when having it all to his- or herself.
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黨若洪 1975
生於台北
學歷 1998
東海大學美術學系學士，台中
2002
Salamanca 大學藝術碩士，西班牙
個展 2017
「局外人」，安卓藝術，台北，台灣
2014
「旅程的終點—尊貴的搏鬥」，土思藝術，台北，台灣
2012
「他去了哪裡？ - 黨若洪十年作品集與作品發表會」，安卓藝術，台北，台灣 「他去了哪裡？創作十年回顧畫冊暨新作發表」，土思藝術，台北，台灣
2011
「自我的重塑」，山藝術．北京林正藝術空間，北京，中國
2010
「黨若洪」，土思藝術，台北，台灣
2009
「自我的重塑」，臺北市立美術館，台北，台灣
2008
「黨若洪」，雅逸畫廊，台北，台灣
2007
「黨若洪」，斯依畫廊，台北，台灣 「花瓶裡的黑色桃枝」，Ovada Gallery，牛津，英國
2005
「自我之弟」，沙湖瀝藝術村，新竹，台灣 「自我．犬 –3」，智邦藝術基金會，新竹，台灣 「自我．犬 –2」，臺北市立美術館，台北，台灣
2004
「自我．犬 –1」，弘光科技大學藝術中心，台中，台灣
聯展 2017
「自畫像」，安卓藝術，台北，台灣
2016
「臺北美術獎」，臺北市立美術館，台北，台灣 「林中路當代藝術展．上篇」，安卓藝術，台北，台灣
2015
「台灣美術家刺客列傳：六年級生」，國立臺灣美術館，台中，台灣
2014
台北國際藝術博覽會，台北國際世界貿易中心一館，台北，台灣
2013
「恰恰的好，旅行」，西門町意舍，台北，台灣 「黨若洪、段存真雙個展」東海大學美術系創系 30 週年系列活動一優秀校友邀請展 （一），東海大學藝術中心，台中，台灣
2010
「烏托邦一亞洲當代藝術聯展」，安卓藝術，台北，台灣 「情感與形式」，夏可喜畫廊，台北，台灣
2009
「當代價值：一個持續進行的歷史 PART 2」，日升月鴻畫廊，台北，台灣 「一閃而過：台灣 70 世代藝術家組群」，鳳甲美術館，台北，台灣
2008
「高雄國際貨櫃藝術節」，熱內亞，義大利 「第二種視野」，國立臺灣美術館，台中，台灣
2006
「狗年特展」，國立自然科學博物館，台中，台灣
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「狗不離」，一票票人畫廊，台北，台灣 「狗年特展 – 名家小品展」，名展畫廊，高雄，台灣 「蟄伏 –70 年代新生畫家展」，名展畫廊，高雄，台灣
2005
「第二十二屆高雄市美術展覽」，高雄市立美術館，高雄，台灣 「星沉海底當窗見 – 西畫在東海的開展：軌跡、系譜、星圖」，東海大學藝術中心， 台中，台灣 「Tokyo International Mini-print Triennial 2005」，東京，日本
2004
「第十一屆中華民國國際版畫素描雙年展」，國立臺灣美術館，台中，台灣 「第二屆台灣美術新貌展 – 平面創作系列」，台中港區藝術中心，台中，台灣
獲獎 2016
臺北美術獎首獎
2014
「旅程的終點一尊貴的搏鬥」第十三屆台新藝術獎視覺藝術類提名
2008
第八屆廖繼春油畫創作獎
2006
第四屆台新藝術獎視覺藝術類 季提名
2005
第二十二屆高雄市美術展「高雄獎」首獎
2004
第十一屆中華民國國際版畫素描雙年展優選
2003
第二屆台灣美術新貌展一平面創作系列入選
2002
西班牙 Premio San Marco 聖馬可獎首獎
公共收藏 臺北市立美術館，台灣 藝術銀行，台灣 中環美術館，台灣 高雄市立美術館，台灣 國立臺灣美術館，台灣 國立歷史博物館，台灣 薩拉曼加博物館，薩拉曼加大學藝術學院，西班牙
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Tang Jo-Hung 1975
Born in Taipei
Education 1998
BFA, Department of Fine Arts, Tung-Hai University, Taichung, Taiwan
2002
MFA, Department of Fine Arts, Universidad de Salamanca, Salamanca, Spain
Solo Exhibition 2017
The Outsider, Mind Set Art Center, Taipei, Taiwan
2014
Journey Ends - In Dignified Throes, Tosee Art Agency, Taipei, Taiwan
2012
Where has he been? Tang Jo-Hung's Portfolio of 10 years and paintings on view, Mind Set Art Center, Taipei, Taiwan
2011
The Remolded Self, Mountain Art, Beijing, China
2010
Self Modification, Tosee Art Agency, Taipei, Taiwan
2009
Tang Jo-Hung, The Eighth Liao Chi-Chun Oil Painting Award in 2008, Taipei Fine Arts Museum, Taipei, Taiwan
2008
Consciousness Patterns, Julia Gallery, Taipei, Taiwan
2007
Tang Jo-Hung, Gallery 41, Taipei, Taiwan
Black Peach in Vases, Ovada Gallery, Oxford, UK
2005
Self-Dog, Taipei Fine Arts Museum, Taipei, Taiwan
Group Exhibition 2017
Self-Portrait, Mind Set Art Center, Taipei, Taiwan
2016
Taipei Arts Awards, Taipei Find Art Museum, Taipei, Taiwan
The Road Not Taken Ch.1, Mind Set Art Center, Taipei, Taiwan
2015
The Pioneers of Taiwanese Artists, 1971-1980, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2013
Cha-Cha 's good, travel, Amba Hotels, Taipei, Taiwan;
Duo Exhibition of TANG Jo-Hung and DUAN Cun-Zhen, Tunghai University Gallery, Taichung, Taiwan
2011
0 Years On : Liao Chi-Chun Oil Painting Awards, Taipei Fine Arts Museum, Taipei, Taiwan
2010
Utopia - Asian Contemporary Art Group Exhibition, Mind Set Art Center, Taipei, Taiwan
Feeling and Form, Sakshi Gallery, Taipai, Taiwan
2009 Contemporary Value: a Processing History, Ever Harvest Gallery, Taipei, Taiwan 2008
Cosmopoli Sostenibile: Sustainable Cosmopolis Eco-container Art Project, organized by Kaohsiung Museum of Fine Arts, Genoa, Italy
The Second Vision, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2005
Tokyo International Mini-Print Triennial, Tokyo, Japan
Art of the “E” Generation in Taiwan, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2004
The 11th International Biennial Print & Drawing Exhibition, National Taiwan Museum of Fine Arts, Taichung, Taiwan
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Award 2016
First Prize, Taipei Arts Awards, Taiwan
2008
The Liao Chi-Chun Oil Painting Award, Taipei, Taiwan
2005
Top prize of Kaohsiung Awards”, the 22nd Kaohsiung Municipal Fine Arts Exhibition, Taiwan
2004
Honorable Mention in Print, the 11th International Biennial Print and Drawing Exhibition, Taiwan
2002 1st Premio San Marco, Universidad de Salamanca, Spain
Public Collection Taipei Fine Arts Museum, Taiwan Art Bank, Taiwan Council for Cultural Affairs, Taiwan National Taiwan Museum of Fine Arts, Taiwan Kaohsiung Museum of Fine Arts, Taiwan CMC Art Museum, Taiwan Universidad de Salamanca, Spain
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黨若洪—局外人 2017.9.2 – 10.7 The Outsider by Tang Jo-Hung 2017.9.2 – 10.7 作者
黨若洪
發行人
李政勇
主編
郭怡孜
校訂
朱倢瑢、郭朝淵
設計
Marco Liu
發行處
安卓藝術股份有限公司
106 台北市大安區和平東路一段 180 號 7 樓 tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com 印刷
崎威彩藝有限公司
定價
新台幣 400 元
出版日期
中華民國 106 年 9 月
版權所有，未經許可不得刊印或轉載
Author Publisher
Tang Jo-Hung Andre Lee Mind Set Art Center 7F., No.180, Sec. 1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com
Editor
Isabelle Kuo
Proofreader Queena Chu, Dean Kuo Designer
Marco Liu
Printed by
Kiwi Printing Co., Ltd.
Price
NTD 400
Copyright © 2017 Mind Set Art Center. All images © of the artist. All essays © of the authors. All rights reserved. Printed in Taiwan, September, 2017. ISBN 978-986-94868-1-1
國家圖書館出版品預行編目 (CIP) 資料
黨若洪 : 局外人 / 黨若洪作
臺北市 : 安卓藝術 , 民 106.09
64 面 ; 25（高）×17.5（寬）公分
ISBN 978-986-94868-1-1( 平裝 ) 贊助單位
台北市文化局
SPONSORED BY
A001.indd 64
Department of Cultural Affairs, Taipei City Government
1. 視覺藝術 2. 現代藝術 3. 作品集 960
106016911
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