陳武鎮畫集 爪與牙

爪與牙系列 ︱陳武鎮畫集 Claws and Fangs Collection ︱ Chen Wu-jen

2

爪與牙 暴力 以愛國之名 以社會安全之名 以忠誠之名 以服從命令之名 以餵養一家老小之名 成為威權統治者的爪牙 是選擇 不是宿命 謹以 爪與牙系列 向世界上有機會成為暴政爪牙 而選擇不成為爪牙的人致敬 — 陳武鎮 —

Claws and Fangs Collection Violence In the name of patriotism In the name of social security In the name of loyalty In the name of obedience In the name of raising the family To become the claws and fangs (minions) of the authoritarians Is by choice Not destiny I dedicate the Claws and Fangs collection to all those people Who have the most opportunity to become the minions of tyrannies But choose not to do so — Chen Wu-jen —

目 錄 Contents

陳武鎮畫集 Chen Wu-jen

導讀 PREVIEW

人權．藝術．民主櫥窗 ─ 陳武鎮的人權畫筆見證│蘇振明 Human Rights/Arts/Window of Democracy - Witnessing Human Rights through Chen Wu-jen's Paint Brush │ Su Jen-ming 2

圖版 PLATES

爪與牙 系列 Claws and Fangs Collection 爪與牙 Claws and Fangs 01

20

爪與牙 Claws and Fangs 02

24

爪與牙 Claws and Fangs 03

28

爪與牙 Claws and Fangs 04

32

爪與牙 Claws and Fangs 05

36

爪與牙 Claws and Fangs 06

40

爪與牙 Claws and Fangs 07

44

爪與牙 Claws and Fangs 08

48

爪與牙 Claws and Fangs 09

52

爪與牙 Claws and Fangs 10

56

附錄：無言 -- 少女

62

Appendix: Speechless--Girls

簡歷 Biography

102

導讀 REVIEW

人權．藝術．民主櫥窗 ─ 陳武鎮的人權畫筆見證 蘇振明│台北市立教育大學視覺藝術系所教授

一、人權藝術是現代國家的「民主櫥窗」 人權藝術家有兩類，一為透過創作見證與控述人權迫害的政治受難藝術工作者，另一類是將藝術創作視為伸展 人權與正義的人道藝術家。 「人道關懷」與「社會批判」是人權藝術家基本的中心思想，然而藝術家為了有效展現人權藝文作品的社會效 應，他們也必須承擔創作的壓力與風險。創作的壓力在於為了堅持正義而得罪獨裁統治者；創作的風險則在於 可能遭受極權統治者的政治性報復。 當我們審視世界人權美術史的經典作品，我們將會發現「寫實性」與「象徵性」是人權藝術創作的兩道平行策 略。「寫實性」的人權作品，具有揭露惡行控訴不義的見證效果；「象徵性」的人權藝術作品，創作的策略在 於巧妙的應用創作元素與符碼，藉以達到暗諷與批判的美學張力。 人權藝術是現代國家的「社會圖象」，此類作品通常會出現大量的社會集體意識的符號；其符號內涵必須具有 族群性、歷史性、生活性的公共認知特質；透過這一系列公共圖象的傳播，不管是張貼於街頭的人權海報，或 者是流通於學校的人權圖畫書，皆有助於現代兒童與文化公民對族群意識的融合與社會生命共同體的形塑。 人權藝術可視為現代國家的「民主櫥窗」。針對國家機構如何對待人權藝術家與人權藝術品的考察，將可評量 執政黨、公務人員、藝文創作者與國家人民的人權理念與公民文化素養。

二、國際現代人權藝術的源起 德國「表現主義」(Expressionism) 在第一與第二世界大戰期間的繪畫表現 ，可稱為現代人權藝術的濫觴。 德國「表現主義」畫家馬克斯．貝克曼（Max Beckmann，1884 ～ 1950）、埃米爾．諾爾德（Emil Nolde， 1867-1956 年）、珂勒維茲（Käthe Kollwitz，1867-1945）等藝術家的作品，不以描寫自然為目的，堅持直 接表現個人的情感與社會見證，他們的作品直接或間接的衝擊到希特勒的強權政治，並且被獨裁者貼上「頹廢

2

藝術」的標籤。然而，從人權藝術的理念與社會效應來看，這一群勇敢的藝術家均被冠上「人道主義」藝術家 的尊稱。 德國「表現主義」的美學與創作理念，後來廣泛的被運用到文 學、戲劇與電影，因此當代的觀眾才有機會觀賞到《辛格勒名 單》、《布拉格之春》、《華麗的假期》、《牽阮的手》等批 判獨裁者的社會關懷電影。 「畫，不僅是牆上的裝飾品，也是一種攻擊或防禦敵人的戰爭 圖１：《格爾尼卡》畢卡索 1937 油彩 351 cm X782cm

工具。」畢卡索於 1937 年出席巴黎萬國博覽會發表《格爾尼 卡》作品時，公開宣揚他的反戰藝術創作理念。

畢卡索透過這幅畫，批判西班牙佛朗哥發動內戰的

1937 年畢卡索完成《格爾尼卡》油畫作品，透過這幅巨作批

反人道作為，此作讓他贏得二十世紀「反戰畫家」

判西班牙佛朗哥將軍發動內戰的反人道作為，此作也讓他贏得

的榮耀。

二十世紀「反戰畫家」的榮耀。1939 年畢卡索接著完成《貓 吃鳥》的諷刺畫作，畫中的貓象徵發動二次戰爭的希特勒，而

鳥則代表二次戰爭的受害者。1945 年畢卡索再度發表《納骨堂》油畫，此作又名為《藏屍間》，藉以批判德 國獨裁者對猶太民族集體毒殺的政治迫害。 二次戰後的第三年，國際人權成為聯合國大會的重要議題。1948 年 12 月 10 日，聯合國大會通過全文三十條 的《世界人權宣言》，並且將這一天定為「國際人權日」。1978 年聯合國開始推動各國以入憲或立法的方式， 設立國家人權機構。1992 年聯合國大會通過「巴黎原則」，規定國家人權委員會的成員必須來自各種多元的 民間團體，而且要求國家人權委員會的運作必須具有獨立性。如今，各國「人權指數」的高低，已成為國家民 主化品質評比的重要依據。 基於上述二次戰後人權藝術發展的源流與理念，當今各國認同人道主義的藝術家，也都積極的投入不同形式與 類別的人權藝術創作。除了西班牙畫家畢卡索的反戰藝術之外，南美洲墨西哥的公眾壁畫藝術（1920~1960 年 代），被認為是墨西哥獨立建國運動的推手；肇因于 1979 年韓國光州事件而衍伸的「釜山民眾美術」，被推 舉為亞洲人權藝術與社會運動結合的最佳典範。各類型的人權藝術創作，已經成為當代藝術創作的議題之一。 各國的人權藝術家也都積極參與自身祖國或國際社會的人權救援，人權藝術家及其作品，直接或間接的促進了

3

當代全球人類對於民主、自由、人權普世價值理念的落實。

三、台灣人權藝術的萌芽 1947 年黃榮燦發表的版畫作品《恐怖的檢查》，是台灣美術史中第一幅介入社會事件的人權藝術傑作。出生 於中國四川的黃榮燦，原本是魯迅系統下的社會主義版畫創作者，二次戰後來台期間，因在國民黨實施戒嚴期 發表這幅版畫，而慘遭當局的政治迫害與槍決。由於台 灣前輩畫家陳澄波和黃榮燦，先後皆在二二八事件與白 色恐怖時期遭受槍決，因而肇始二次終戰後的台灣美術 家參與社會關懷的人權藝術創作進入萎縮的寒冬期。 第二階段的台灣人權藝術發展，直到 1987 年〈戒嚴法〉 解除與 1992 年〈刑法 100 條〉的修正後，才如雨後春筍 般的蓬勃發展。換句話說，〈戒嚴法〉與〈刑法 100 條〉 是控制台灣人民言論自由與藝術創作權的兩條枷鎖。解 嚴後的台北凱達格蘭大道，人們可以看到廣義的人權海 報，經常在街頭遊行的隊伍中，傳播著抗議者的人權主

圖 2：《恐怖的檢查》黃榮燦 1947 木刻版畫

張。如：反核海報、原住民族群運動海報、兩性平等海報、 農民與勞工運動海報、反威權統治的民主運動海報。 1996 年台北市立美術館主辦的「第一屆 228 紀念美展」，

版畫中描繪國民政府的警察，有的以槍托攻擊賣 香煙的阿婆，另一個則開槍射擊同行的小販，在 二次戰後媒體新聞不發達的時代，這幅畫可說是 台灣「二二八事件」唯一的當代圖象見證。

是解嚴後官方美展鼓勵美術家參與社會關懷的重要開端。 2000 年陳水扁總統在就職演說中，宣示「人權立國」， 成立獨立運作的國家人權委員會，並敦請立法院通過《國際人權法典》，台灣政府從此加入了國際社會人權運 動的陣線。 2000 年前後，政府相繼成立景美、綠島人權文化園區，分別由文建會文化資產總管理處籌備處及國立臺東生 活美學館管理。基於人權為普世價值及國際間重要的關切議題，為彰顯國內對人權的重視、提昇國內人權教育 品質及國家人權形象，行政院乃配合文化部組織再造，規劃成立「國家人權博物館」，並於 2011 年 12 月成立 「國家人權博物館籌備處」，統籌辦理「國家人權博物館」籌建及營運發展計畫。 2011 年「國家人權博物館籌備處」啟動後，將景美與綠島兩園區依據歷史屬性進行規劃。其中，「景美人權 文化園區」之規劃重點在於人權檔案、文物蒐集、典藏研究及人權教育推廣工作；「綠島人權文化園區」的規 畫定位，在於人權文物展示與觀光發展。可以預期，明日的台灣人權藝術發展，不僅擁有自主創作權的保障， 同時也將獲得更豐厚的推廣資源和發表空間。

4

四、陳武鎮的人權藝術理念與作品風格 （一）陳武鎮的藝術之路 出生於屏東萬巒鄉的陳武鎮，就讀台南師專是為了畢業後能擁有國小教師的穩定工作，而選擇美勞組則緣於陳 武鎮熱衷存在主義與現代美術的探討，因此他的生涯規劃是想當一位專業畫家。20 歲的陳武鎮在左營新兵訓 練中心時，因在考卷上書寫「反中央反對國民黨」8 個字，而被以叛亂罪移送軍法審判，意外的進入政治黑牢 2 年，並且體驗台灣白色恐怖政治冤獄的實況。 2004 年台灣社會已邁入第一階段的政黨輪替，藝文工作者也擁有獨立思考的自由創作權。55 歲從國小教職退 休後，終於可以專心拿畫筆創作，自 2007~2012 年，陳武鎮在五年之間使盡全身的力量，投入台灣人權藝術的 系列性創作，創作生命正值顛峰，從 2007 年的《夢回泰源》、2008 年的《虛擬巨惡》、2010 年《風中的名字》、 《山》、《判決書》，這五本畫冊作品來檢視，可謂風格鮮明，質量兼具。其作品所呈現的主題內涵，將帶給 台灣當代本土美術的美學性、社會性、主體性發展注入一股值得探索的清流。 （二）2012 陳武鎮的三大人權作品解析 2012 年國際人權日前夕，文化部的「國家人權博物館籌備處」，計劃將陳武鎮最新完成的三大人權系列作品 編印出版，筆者有幸在出版前率先觀賞。針對陳武鎮的人權繪畫作品，筆者觀感書寫於下。 專輯一：「消失的家人」系列 濫捕無辜的平民百姓 劫掠身上財物再虐殺、棄屍

許許多多家庭 許許多多無墓可掃的清明節 許許多多不知何日的忌日 ——陳武鎮 筆者在「消失的家人」系列作品中看到：《消失的家人 04》全家福照片中的長者不見了，而這位長者浮腫的 右手出現在荒野的血泊中。《消失的家人 09》一對彈吉他的情侶，男主角也不見了，而這位吉他手被發現時， 血紅的腦漿鋪地。《消失的家人 10》摟著懷孕母親的父親也不見了，父親被發現時，五官潰爛模糊，獨留一 隻不合目的左眼望著青天。《消失的家人 08》三兄弟的父親也不見了，而這位父親的屍體在一群無名屍中等 待被確認……。 在台灣白色恐怖的戒嚴時代，經常有人在工作場所或自家被軍警莫名其妙地帶走，這些消失的家人成為家親腦

5

圖 3：《消失的家人 10》 陳武鎮 油彩 / 雙併幅 左右各 112 cm x 112 cm 摟著懷孕母親的父親不見了，父親 被發現時，五官潰爛模糊，獨留一 隻不合目的左眼望著青天。

海中永遠抹不去的白色形影。白色的形影夾帶著不安、恐懼與迷茫，像病菌一樣漂浮在受難家庭與台灣島嶼上。 政治受難畫家陳武鎮創意地運用雙拼繪畫的對照與連接，引領觀畫者走入受難家庭的悲劇舞臺。畫面的左半邊 是家親失蹤前最後的記憶，右半邊是浮現受難者的死亡圖象。觀賞「消失的家人」雙併系列作品，宛如聆聽著 悲喜交織的協奏曲，筆者希望這支協奏曲也是一首安魂曲，獻給受難者及其親友。 專輯二：「爪與牙」系列 暴力 以愛國之名 以社會安全之名 以忠誠之名 以服從命令之名 以餵養一家老小之名

成為威權統治者的爪牙 是選擇 不是宿命

謹以 爪與牙系列 向世界上有機會成為暴政爪牙 而選擇不成為爪牙的人致敬 ——陳武鎮 筆者在「爪與牙」三聯畫的系列作品中看到：《爪與牙 101~105》作品中佩帶勳章穿著軍服的指揮官，給了獵 犬一個指令，獵犬就開始張口對著受難者狂吠，緊接著展開一系列的撲殺和撕咬，直到受難者的兩隻手攤開不

6

動，接著獵犬回到軍警的旁邊，享用犒賞品。這組「爪與牙」的追殺連續劇，終結在軍警向隱形總指揮官的舉 手禮中。 《爪與牙 109》有一位穿著紫色法袍的司法人員，兩手抱胸，左顧右盼地等候政治指令；而豎起尾巴的獵犬， 正要展現著二度攻擊的得意姿勢。 《爪與牙 110》畫中那位穿西裝的知識份子，因見證了非人道迫害的事件而不斷的抽搐著五官。這位有感覺卻 無所正義作為的知識份子，或許可視為媒體記者或學者的象徵，他們透過太陽眼鏡掩飾了內心的衝擊與不安， 就像一隻訓練有素的家犬，搖著尾巴迎接盜賊之門。

圖 4：《爪與牙 101》 陳武鎮 油彩 / 三連幅 116.8 cm x 272.6 cm 佩帶勳章穿著軍服的指揮官，給 了獵犬一個指令，獵犬就開始張 口對著受難者狂吠，準備展開一 系列撲殺和撕咬。

三連畫的形式美學，讓人想起西方中世紀的「耶穌受難的祭壇畫」。三連畫的主要圖象居中，呈現事件的關鍵 人物，再連結左右兩幅相關作品，將帶給觀者連環漫畫式的敘述性意象。陳武鎮的「爪與牙」系列，是他長年 從事藝術創作的傑出發表，作品內容具有寫實與象徵的雙重表現手法，深具當代視覺藝術與圖象默劇的美感張 力。 專輯三：「刑求」系列 超越 生理的極限 超越 心理的極限 超越 人性的極限

認了 無論什麼樣的口供

7

只要你們寫就 把我的手拉去捺印 指印 掌印 我都認了

情治人員曾向政治受難前輩張常美女士自誇，有十八般武藝的刑求本領。 其實何止十八般武藝，他們泯滅人性的程度，令人難以置信。 張女士的夫婿也是政治受難者歐陽劍華先生，曾畫了十來幅刑求圖。 此系列畫作受歐陽前輩啟發。 ——陳武鎮 筆者在「刑求」的系列作品中看到：《刑求 6 －兩腿內側通電》受害者左右兩腿被連結電線，電刑後的人體將 會在劇烈掙扎後變成焦炭似的烤肉團。《刑求 9 －裝進布袋威脅推入河中》受害者被矇眼裝入麻布袋，結局可 能是拷打或拋棄於荒野的河流中。《刑求 17 －逼女人裸身跨夾粗繩滑行》，女受害者裸身，雙手被反綁，接 著被迫跨夾於繫在兩面窗框間的粗麻繩上滑行。《刑求 27 －陪伴槍決》獨裁者為了逼迫政治黑牢受難者承認 莫虛有的罪行，強迫他陪伴死囚執行槍決，藉以達成死亡威嚇的心理性逼供。 台灣的政治受難者謝聰敏、紀萬生、楊金海等人，都在台灣的人權訪談報告書中提到台灣監獄的「十八般刑求 逼供法」，另一位政治受難者歐陽劍華更進一步的將「十八般刑求逼供法」以插畫的方式留下見證作品。陳武 鎮的「刑求」系列作品，受到歐陽劍華的啟發，並進一步的融入表現主義的繪畫風格，將傳說中的「十八般刑

圖 5：《刑求 27 －陪伴槍決》 陳武鎮 油彩 162 cm x 112 cm 獨裁者為了逼迫政治黑牢受難者承認莫虛有的罪行， 強迫他陪伴死囚執行槍決，藉以達成死亡威嚇的心理 性逼供。

8

求逼供法」以人權藝術品公開發表。這組作品是黑牢刑求的見證，同時也是台灣司法改革的參考文獻。 基於筆者任教「西洋美術史」與「台灣美術史」的長年經驗，發現影響台灣近代美術創作者的因素有二：迎合 島內不同時期政權統治者的文化政策和獎勵機制，( 二 ) 迷戀並追逐國際現代美術風潮與風格。前者造成台灣 美術作品的「政治正確」，後者造成「外國美術台灣複製」的兩大導向。 陳武鎮因自身曾是國民黨戒嚴時期白色恐怖的受難者，因此出獄後的繪畫創作，成為他自我生命省思與台灣政 治受難事件的批判性表現。換句話說，陳武鎮的美術創作理念，既不在迎合統治者政策，也不在討好商業市場， 更不是在複製國際流行主義；而是站在人本、人道、人權的基盤上，進行一連串具有作家自主性與台灣本土社 會關懷性的「人權藝術」系列創作。

五、結語：期待台灣人權藝術花圃的誕生 「人權藝術」不等於「政令文宣」。人權藝術家是超越政黨、族群與商業利益的獨立創作者。「人權藝術品」 是一種具有人道思想與社會關懷意識的公共文化資產，不論是寫實性的描述，或是象徵性的暗諷，優質的人權 作品必須具有藝術性、社會性與傳播性的內涵。透過人權藝術的展示與推廣，將有助於人權理念的宣揚，藉以 喚醒自我與他人、自我與社會、自我與環境等面向的覺知與共生意識，進而展現「人溺己溺」的關懷精神。 台灣的政治受難人權畫家，檯面上有歐陽文（1924-2012）、歐陽劍華（1927-2011），鄭自財（1936-）、陳 武鎮（1949-）四人。四人中以陳武鎮的年紀最輕，監獄服刑時間最短，然而他的人權創作理念和作品質量最 為可觀。陳武鎮在畫冊序文中提到：作為一個藝術創作者，以坐政治黑牢的親身體驗來當畫作題材，就某種角 度而言，是既痛苦又幸運的事。 筆者推論：陳武鎮從事人權藝術創作的痛苦，應含括坐政治黑牢期間悲苦經驗的回溯、親友與藝文界的異樣眼 光；而陳武鎮從事人權藝術創作的幸運，指的是當今台灣社會民主化後，藝術家擁有自主性的創作權，透過藝 術創作見證人權迫害事件，或批判人權加害惡行，人道藝術家當然可以理直氣壯的自由發揮。 2012 年文化部「國家人權博物館籌備處」為陳武鎮的人權藝術出版畫冊專輯，其意義除了肯定陳武鎮長期從 事人權藝術創作的成果，更具有催生台灣人權藝術花圃的潛在價值。 筆者期待，未來「國家人權博物館」正式營運後，應在台灣人權藝術政策與推廣重視下列三大課題：(1) 獎助 人權藝術理念融入大學藝術系所課程，積極培養多元與優質的社會關懷藝術創作者。(2) 透過創造性的博物館 教育，培養文化公民與人權藝術欣賞觀眾。(3) 啟動國際人權博物館結盟策略，建立台灣人權藝術與國際人權 藝術交流的窗口。 蘇振明撰稿於台北萬芳畫室 2012/11/22

9

導讀 PREVIEW

Human Rights/Arts/Window of Democracy - Witnessing Human Rights through Chen Wu-jen’s Paint Brush Su Jen-ming│Professor at the Department of Visual Arts, Taipei Municipal University of Education One: Human Rights Art is the Window of Democracy in Modern Nations There are two types of human rights artists; one is an artist who is also a political prisoner who depicts human rights persecution through artistic creation, while the other is a humanitarian artist who perceives artistic creation as a means to promoting human rights and justice.

Humanitarian care and social critique are the central thinking of human rights artists. However, in order to effectively demonstrate the social effects of human rights artworks, the artists must also undertake the risk and pressure associated with such creation. The pressure of creation lies in offending the dictator while upholding justice; It is a risk that the artist may suffer political retaliation from the totalitarians.

When we look at the classic works in the history of human rights art, we will discover that “realism” and “symbolism” are parallel strategies of human rights art creation. Realistic human rights creations serve to witness, expose odious conducts, and denounce injustice. On the other hand, the creative strategy of symbolic human rights artworks involves the ingenious application of creative elements and symbols to achieve the aesthetic tension of insinuation and critique.

Human rights art is the social image of modern nations. Such creations are often saturated with symbols of collective social consciousness. The symbols must contain ethnic, historic, and living public awareness characteristics. Through propagation of the series of public images, such as a human rights poster on the street or human rights picture books, it facilitates modern children and cultural citizens to appreciate the diversity of ethnicity and the creation of life community.

Human rights art is considered as the window of democracy in modern nations. By examining how the government treats human rights artists and by observing human rights artworks, one will be able to assess the human rights philosophy of the ruling party, public officials, artists, and citizens as well as the national cultural cultivation.

10

Two: Emergence of International Contemporary Human Rights Art German Expressionism during WWI and WWII is considered the fountainhead of contemporary human rights art. German Expressionism painter Max Beckmann (1884~1950), Emil Nolde (1867~1956) and Käthe Kollwitz (1867~1945)’s artworks are not focused on portraying nature but insist in the direct expression of personal sentiments and social witness. Their artworks directly or indirectly influenced Hitler’s power politics and were labeled as degenerate art by the dictator.

However, from a human rights art philosophy and social effect point of view, theses courageous artists are also crowned with the title of “Humanitarian” artists. German expressionist aesthetics and

Fig 1: Guernica Picasso 1937, oil on canvas, 351cm x 782cm Picasso criticized Spanish General Francisco Franco for starting the anti-humanitarian civil war, he was honored as the “anti-war painter” of the 20th century.

creative philosophy were later widely applied to literature, drama, and cinema; hence modern viewers are able to see movies that criticize dictators, including Schindler’s List, Pražské jaro, May 18, and Hand in Hand.

“A painting is not just an ornament on the wall; it is also an offensive and defensive war tool.” Picasso openly proclaimed his creative anti-war art philosophy when he unveiled Guernica at the 1937 World’s Fair in Paris

When Picasso completed Guernica in 1937 to criticize Spanish General Francisco Franco for starting the antihumanitarian civil war, he was honored as the “anti-war painter” of the 20th century. In 1939, Picasso finished the satiric painting “Cat Seizing a Bird”, where the cat symbolized Hitler, who started WWII, and the bird represented the victims of WWII. In 1945, Picasso once again unveiled The Charnel House oil painting, also known as the Morgue, to criticize the political persecution by the German dictator on Jewish people during the holocaust.

Three years after the end of WWII, international human rights became an important agenda of the UN General Assembly. On December 10, 1948, the UN General Assembly passed The Universal Declaration of Human Rights with 30 articles and designated the same day as the International Human Rights Day. In 1978, UN began to promote the establishment of national human rights institutions in various countries through incorporation into the constitution or legislation. In 1992, the UN General Assembly passed the Paris Principles, stipulating that members of the nation human rights Commission must come from diverse civil organizations, and that the operation of the national human

11

rights Commission must be autonomous. Today, the level of human rights index in various countries has become an important basis for evaluating the quality of a nation’s democratization.

Based on the origin and philosophy of two aforementioned post WWII human rights developments, humanitarian artists in different countries nowadays are also actively engaged in human rights art creation of various forms and categories. In addition to the Spanish painter Picasso’s anti war art, Mexico’s Muralism Movement in South America (1920~1960) was considered the driving force behind Mexico’s independence. The Busan Public Art is a spin off of the Gwangju Democratization Movement

Fig 2: “Inspection of Horror” Huang Rong-can, 1947, woodblock print

in 1979 and it is regarded as the paradigm of fusion between human rights art and social movement in Asia. Various types of human rights art creations have become one of the subjects of contemporary art, while human rights artists from various countries are also actively involved in human rights rescues domestically and internationally. Human rights artists and their creations have directly or indirectly stimulated the advancement of global democracy, freedom, and human rights values and philosophies.

Three: Emergence of Taiwanese Human Rights Art Huang Rong-can’s 1947 print creation “Inspection of Horror” was the first human rights art masterpiece in Taiwanese art history to delve into a social event. Born in Sichuan, China, Huang Rong-can was a socialist print artist under the Lu Xun system, who came to Taiwan during WWII. Because he published the printing during KMT’s martial law period, he was politically persecuted by the authorities and executed by shooting. Since senior Taiwanese painters including Chen Chengpo and Huang Rong-can were executed during the February 28 Incident and White Terror respectively, human rights art creation by post WWII Taiwanese artists went into a recession.

National Government policemen depicted in the print attacked an old lady selling cigarettes and shot a hawker next to her.

During the post WWII era, where media and news were underdeveloped, the print serves as the only contemporary graphic testimony of the February 28 Incident.

The second phase of human rights art development in Taiwan prospered after Martial Law and the amendment of the Criminal Code Article 100 in 1992. was abolished in 1987 In other words, Martial Law and Criminal Code Article 100 were the shackles restraining Taiwanese people’s freedom of speech and right to art creation. After the Martial Law was lifted,

12

human rights posters can often be seen advocating the human rights views of the protesters in demonstrations held at the Ketagalan Blvd in Taipei. These include: anti-nuclear posters, indigenous movement posters, gender equality posters, farmer and labor movement posters, and anti-authoritarianism democratic movement posters.

In 1996, the “First February 28 Memorial Art Exhibition” was held by the Taipei Fine Arts Museum; this acted as an important beginning of official arts exhibitions that encouraged artists to partake in social care after Martial Law was lifted. In 2000, President Chen Shui-bian declared that a nation must be founded upon the principles of human rights and established the independent National Human Rights Commission. Furthermore, he requested the Legislative Yuan to pass the International Bill of Human Rights. As a result, the Taiwanese Government also joined the ranks of international human rights movement.

Around 2000, the government created the Jing-Mei Human Rights Memorial and Cultural Park and Green Island Human Rights Cultural Park in succession; they are managed by the Headquarters Administration of Cultural Heritage and the National Taitung Living Art Center respectively. In views of the universal values and international importance of human rights, to highlighting Taiwanese people’s emphasis on human rights, enhance the quality of domestic human rights education, and national human rights image, the Executive Yuan established the National Human Rights Museum in response to the Ministry of Culture’s reorganization. The Preparatory Office of the National Human Rights Museum was founded in December 2011 to oversee the preparation, construction, operation and development of National Human Rights Museum.

After the Preparatory Office of the National Human Rights Museum was launched in 2011, planning for the Jing-Mei Human Rights Memorial and Cultural Park and Green Island Human Rights Cultural Park was conducted according to their respective historical characteristics. In particular, Jing-Mei Human Rights Memorial and Cultural Park focuses on human rights archives, relics, research and human rights education promotion, while Green Island Human Rights Cultural Park is positioned towards the exhibit of human rights historical relics and tourism development. It is foreseeable in the future that the development of human rights art in Taiwan is not only guaranteed by the right to independent creation, it will also receive additional promotional resources and room for advancement.

Four: Chen We-jen’s Human Rights Art Philosophy and Creative Style 1. Chen Wu-jen’s Creative Process Born in Wanluan Township, Pingtung, Chen Wu-jen studied at the Tainan Junior Teachers College because he wanted to have a steady job as an elementary school teacher. He chose the Department of Arts due to his passion for Existentialism and Contemporary Art. Hence he has decided to become a professional painter. At the age of 20, when Chen Wu-jen was receiving training at the Naval Recruit Training Center in Zuoying, he was court martialed for rebellion because he wrote down “Anti Central Government and Anti KMT” on his test paper. As a result, he was sentenced to two years in prison and experienced the political injustice during the White Terror in Taiwan.

13

In 2000, the Taiwanese society witnessed the first phase of regime change and artists were also endowed with independent thinking and the right to the freedom of creation. After retiring as an elementary school teacher at the age of 55, he was finally able to concentrate on painting. During the five years between 2007 and 2012, Chen Wu-jen focused all his energy on creating series of Taiwanese human rights art to reach the peak of his life. From the “The memory of the white prison – Tai Yuan” in 2007, “Virtual Monster” in 2008 to “Name in the Wind”, “Mountain” and “Court Verdict” in 2010, the five painting albums feature distinct style and are equally outstanding in quality and quantity. The thematic meaning presented by the artworks will inject a breath of fresh air to the aesthetic, social and subjectivity development of local art in Taiwan.

2. Analysis of Chen Wu-jen’s Three Major Human Rights Artworks in 2012 On the eve of the 2012 International Human Rights Day, Ministry of Culture’s Preparatory Office of the National Human Rights Museum plans to publish Chen Wu-jen’s three brand new three human rights collections. The author is privileged to preview the publications and offer my impression on Chen Wu-jen’s human rights paintings.

Album One: Vanishing Family Collection Innocent civilians are captured Looted for their personal belongs before they are abused, killed and their bodies are dumped Many families Many tomb-less Tomb Sweeping Festivals Many unknown death anniversaries - - Chen Wu-jen The author notices from the “Vanishing Family” series artwork that senior members from the family photo of “Vanishing Family 04”are missing, while the swollen right hand of this elder emerges in the wild lying in a pool of blood. The male character from the guitar-playing couple is also missing in “Vanishing Family 09”. When the guitarist is finally found, his

Fig. 3 Vanishing Family 10 Chen Wu-jen, Oil on Canvas Double painting 112cm x 112cm (left and right)

14

brains are splattered all over the floor. The father from “Vanishing Family 10” holding the pregnant mother in his arms is also gone; when he is later found, his facial features are already rotten with only one open eye staring into the sky. In “Vanishing Family 08”, the father of three brothers can no longer be seen, yet his body is still waiting to be identified amidst a pile of nameless bodies.

The father holding the pregnant mother in his arms is also gone; when he is later found, his facial features are already rotten with only one open eye staring into the sky.

During the White Terror and Martial Law era, people were often taken away from work or home by the police or army for no reason at all; the disappeared family members have become permanent white shadows in people’s memories.

The white shadows are mixed with unrest, fear and confusion to haunt the victims’ families in Taiwan, plaguing them like germs. Political prisoner Chen Wu-jen creatively applied double painting to form a contrast and connection that introduces the viewers to witness the tragedies of the victims’ families. On the left of the painting is the final memory before one’s beloved disappeared and image of the deceased victim emerges on the right. Viewers of Vanishing Family double painting series are like listening to a concerto of sorrow and joy. The author hopes this concerto is also a requiem for the victims and their families.

Album Two: Claws and Fangs Collection Violence In the name of patriotism In the name of social security In the name of loyalty In the name of obedience In the name of raising the family To become the claws and fangs (minions) of the authoritarians Is by choice Not destiny I dedicate the Claws and Fangs collection to all those people Who have the most opportunity to become the minions of tyrannies But choose not to do so -- Chen Wu-jen In the triptych of painting of Claws and Fangs, the author perceives the following: “Claws and Fangs 110”, the commander wearing decorated military uniform instructs the hound to bark at the victims before it pounces on them to bite them and tear them to pieces. Only when the two hands of the victims are spread apart and remain motionless does the hound cease attacking and return to the handler to enjoy its reward. The serial killing drama of “Claws and Fangs” ends when the police officer salutes to the invisible commander.

15

Fig. 4: Claws and Fangs 101 Chen Wu-jen, Oil on Canvas Triptych painting 116.8 cm x 272.6 cm “Claws and Fangs 109” depicts a law officer wearing purple robe with his hands clutched in front of this chest and glancing from side to side, waiting for a political instruction. The hound with a raised tail waits proudly to launch a second wave of attack.

“Claws and Fangs 110” depicts an intellectual in suits showing an expression of disgust after witnessing an incident of inhumane persecution. Although the intellectual has feelings, yet his failure to act in a just way may be perceived to symbolize the character exhibited by journalists or scholars, because they often conceal their emotions and unrest through sunglasses. Moreover, just like a well trained canine, they wag their tails to welcome the robbers and burglars.

The commander wearing decorated military uniform instructed the hound to bark at the victims before it pounces on them to bite and tear them to pieces.

The triptych aesthetics is reminiscent of the Crucifixion Altarpiece from the Western Middle Ages. In a triptych painting, the main image is situated in the center, demonstrating the key character of the event. This is associated with the two paintings on either side to portray a comic strip like descriptive imagery for the audience. Chen Wu-jen’s Claws and Fangs collection is considered to be his masterpiece in his long and illustrious artistic career. Employing both realism and symbolism techniques, his artworks are imbued with the aesthetic tension of contemporary visual arts and mime.

Album Three: Torture Collection Transcend physical limits Transcend psychological boundaries Transcend the extremes of humanity I confess to whatever statement you write down Just take my fingerprint or palm print Whatever it is

16

I admit to being guilty Intelligence operatives once bragged to Mdm. Zhang Chang-mei, a senior political prisoner about their diverse array of torturing skills. The degree of inhumanity is unimaginable. Mdm. Zhang’s husband, Mr. Ou Yang Jian-hua is also a political prisoner and once painted a dozen paintings on the subject of torturing. The collection of paintings was inspired by his predecessor Ou Yang.

--Chen Wu-jen--

Fig 5: Torture 27 – Accompanying Shooting Execution, Chen Wu-jen, Oil on Canvas 162 cm x 112 cm The author’s impression about the “Torture” collection is: In the painting “Torture 6 –Inner Thigh Electrocution”, wires are connected to the victim’s thighs. After struggling severely during the electrocution process, the body becomes a lump of charred flesh. In “Torture 9 – Bagged in a Sack and Threatened to be thrown into the River”, the victim is blindfolded and bagged into a linen bag and most likely he/she will be tortured and dumped in a river in the wild. In “Torture 17 –Women are Stripped Naked and Forced to Skid along a Thick Rope under Their Crotch”, naked female victims with their hands tied at the back are forced to skid along a thick rope tied on two window frames under their crotch. “Torture 27 – Accompanying Shooting Execution” is a painting portraying how the dictator forces the political prisoner to confess to crimes he did not commit by making him watch the shooting execution of death row inmates, so as to achieve torture on a psychological level using the threat of death.

Dictator forces the political prisoner to confess to crimes he did not commit by making him watch the shooting execution of death row inmates, so as to achieve torture on a psychological level using death as a threat.

In the Taiwan Human Rights Report, political prisoners in Taiwan such as Xie Cong-min, Ji Wan-sheng and Yang Jinhai all mentioned the “myriads of torturing techniques to force a confession” in Taiwanese prisons. Another political

17

victim Ou Yang Jian-hua even depicted such torturing techniques through illustrations. Chen Wu-jen’s “Torture” collection was inspired by Ou Yang Jian-hua and further infused Expressionist painting style to introduce the legendary torturing techniques. The collection of artworks is a testimony to dark prisons and tortures; it is also a reference literature for judicial reform in Taiwan.

Based on the author’s long term experience in lecturing Western Art History and Taiwanese Art History, I have discovered two major factors influencing contemporary artists in Taiwan; one is the cultural policy and incentive mechanism that caters to the rulers in different regimes on Taiwan, the other is the obsession and pursuit of international contemporary art trend and style. The former culminated in the Political Correctness of Taiwanese artworks, the latter has resulted in the “Cloning of Foreign Arts in Taiwan”.

As a victim of White Terror during KMT’s Martial Law period, Chen Wu-jen’s painting creations produced after he was released from prison became his own introspection and the critical expression of political victimizations in Taiwan. In other words, Chen Wu-jen’s artistic philosophies do not cater to the ruler’s policies and are not aimed to please the commercial market, nor are they replicating Pop Internationalism. Instead, they are created on the basis of humanism, humanitarianism, and human rights to form a collection of human rights artworks that are endowed with the artist’s autonomous thinking and a sense of caring towards the Taiwanese society.

Five: Conclusion – Expectations on the Thriving Development of Taiwanese Human Rights Arts Human rights art is not equivalent to political propaganda, because human rights artists are independent creators who transcend political parties, ethnic groups, and commercial profits. “Human rights artworks” are public cultural assets with humanitarian thinking and social caring consciousness, whether it involves realistic portrayal or symbolic insinuation, outstanding human rights creation must possess artistic, social and communications connotations. Through the exhibition and promotion of human rights art, human rights philosophy can be propagated and in turn evoke awareness and symbiotic consciousness between people, society and the environment, thereby demonstrating the spirit of caring and empathy.

There are four political prisoner human rights painters in Taiwan, including Ou Yang-wen (1924~2012), Ou Yang Jianhua (1927~2011), Zheng Zi-cai (1936~) and Chen Wu-jen (1949~). In particular, Chen Wu-jen is the youngest and served the shortest prison term; however, his human rights creative philosophy as well as the quality and quantity of his artworks are the most respectable. Chen Wu-jen mentioned in the introduction of his painting album “an artist, to have the personal experience of being locked up in a political prison is both a curse and a blessing.”

The author speculates that the curse of Chen Wu-jen’s human rights art creation includes the hardship of being incarcerated in a dark cell, unusual glances from his family, friends, and the art circle. On the other hand, the fortune of Chen Wujen’s human rights art creation refers to the fact that artists are endowed with the right for independent creation after the democratization of the Taiwanese society. Consequently, when human rights artists witness human rights persecutions, they are free and justified to criticize such human rights violations through art.

18

In 2012, the Preparatory Office of the National Human Rights Museum published Chen Wu-jen’s human rights painting album. Other than besides the significance of giving credit to his long term involvement in human rights art, it also serves as catalysis for the development of human rights art in Taiwan.

The author anticipates that after the National Human Rights Museum is officially inaugurated in the future, emphasis should be placed on the three major agendas below: 1. Encourage the infusion of human rights art philosophy into university arts curriculum to actively cultivate diverse and outstanding social care artists. 2. Cultivate cultural citizens and audiences who appreciate human rights art through creative education from museums. 3. Forge strategic alliances with international human rights museums to establish a window of human rights exchange between Taiwan and the international community

Written by Su Jen-ming at painting studio in Wanfang, Taipei , 2012/11/22

19

爪與牙 Claws and Fangs 01 2010 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

20

21

22

23

爪與牙 Claws and Fangs 02 2010 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

24

25

26

27

爪與牙 Claws and Fangs 03 2012 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 325 cm

28

29

30

31

爪與牙 Claws and Fangs 04 2012 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

32

33

34

35

爪與牙 Claws and Fangs 05 2012 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

36

37

38

39

爪與牙 Claws and Fangs 06 2012 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

40

41

42

43

爪與牙 Claws and Fangs 07 2012 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

44

45

46

47

爪與牙 Claws and Fangs 08 2011 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

48

49

50

51

爪與牙 Claws and Fangs 09 2011 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

52

54

55

爪與牙 Claws and Fangs 10 2011 油彩 畫布 Oil on Canvas 三聯幅 Triptych painting 116.8 cm X 272.6 cm

56

57

58

59

60

無言 -- 少女 Speechless-- Girls

附錄 Appendix

61

62

少女長袖 1

少女長袖 2

Girl Wearing Long Sleeve Shirt 1

Girl Wearing Long Sleeve Shirt 2

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2000 25M

2000 25M

少女長袖 3

少女長袖 4

Girl Wearing Long Sleeve Shirt 3

Girl Wearing Long Sleeve Shirt 4

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2000 25M

2000 25M

63

少女長袖 5 Girl Wearing Long Sleeve Shirt 5 油彩 畫布 Oil on Canvas

少女長袖 6 Girl Wearing Long Sleeve Shirt 6 油彩 畫布 Oil on Canvas

2000 25M 2000 25M

64

少女長袖 7

少女長袖 8

Girl Wearing Long Sleeve Shirt 7

Girl Wearing Long Sleeve Shirt 8

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2000 25M

2000 25M

65

66

少女長袖 9

少女長袖 10

Girl Wearing Long Sleeve Shirt 9

Girl Wearing Long Sleeve Shirt 10

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2000 25M

2000 25M

少女長袖 11

少女長袖 12

Girl Wearing Long Sleeve Shirt 11

Girl Wearing Long Sleeve Shirt 12

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2000 25M

1996 6F

67

68

少女長袖 13

少女長袖 14

Girl Wearing Long Sleeve Shirt 13

Girl Wearing Long Sleeve Shirt 14

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1993 6F

1996 6F

少女長袖 15

少女長袖 16

Girl Wearing Long Sleeve Shirt 15

Girl Wearing Long Sleeve Shirt 16

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1993 6F

1999 6F

69

70

少女長袖 17

少女長袖 18

少女長袖 19

Girl Wearing Long Sleeve Shirt 17

Girl Wearing Long Sleeve Shirt 18

Girl Wearing Long Sleeve Shirt 19

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1996 6F

1993 6F

2000 25M

少女持物 1

少女持物 2

Girl Holding a Objects 1

Girl Holding a Objects 2

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

71

72

少女持物 3

少女持物 4

少女持物 5

Girl Holding a Objects 3

Girl Holding a Objects 4

Girl Holding a Objects 5

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

2001 25M

少女持物 6

少女持物 7

少女持物 8

Girl Holding a Objects 6

Girl Holding a Objects 7

Girl Holding a Objects 8

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

2001 25M

73

74

少女持物 9

少女持物 10

少女持物 11

Girl Holding a Objects 9

Girl Holding a Objects 10

Girl Holding a Objects 11

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

2001 25M

少女持物 12

少女持物 13

少女短袖 1

Girl Holding a Objects 12

Girl Holding a Objects 13

Girl Wearing Short Sleeve Shirt 1

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

2001 25M

75

76

少女短袖 2

少女短袖 3

少女短袖 4

Girl Wearing Short Sleeve Shirt 2

Girl Wearing Short Sleeve Shirt 3

Girl Wearing Short Sleeve Shirt 4

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2001 25M

2001 25M

2001 25M

少女短袖 5

少女短袖 6

少女短袖 7

Girl Wearing Short Sleeve Shirt 5

Girl Wearing Short Sleeve Shirt 6

Girl Wearing Short Sleeve Shirt 7

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

77

78

少女短袖 8

少女短袖 9

少女短袖 10

Girl Wearing Short Sleeve Shirt 8

Girl Wearing Short Sleeve Shirt 9

Girl Wearing Short Sleeve Shirt 10

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

少女短袖 11

少女短袖 12

少女短袖 13

Girl Wearing Short Sleeve Shirt 11

Girl Wearing Short Sleeve Shirt 12

Girl Wearing Short Sleeve Shirt 13

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

79

80

少女短袖 14

少女短袖 15

少女短袖 16

Girl Wearing Short Sleeve Shirt 14

Girl Wearing Short Sleeve Shirt 15

Girl Wearing Short Sleeve Shirt 16

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

少女短袖 17

少女短袖 18

少女短袖 19

Girl Wearing Short Sleeve Shirt 17

Girl Wearing Short Sleeve Shirt 18

Girl Wearing Short Sleeve Shirt 19

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

81

82

少女短袖 20

少女短袖 21

少女短袖 22

Girl Wearing Short Sleeve Shirt 20

Girl Wearing Short Sleeve Shirt 21

Girl Wearing Short Sleeve Shirt 22

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2002 25M

少女短袖 23

少女短袖 24

少女短袖 25

Girl Wearing Short Sleeve Shirt 23

Girl Wearing Short Sleeve Shirt 24

Girl Wearing Short Sleeve Shirt 25

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2002 25M

2002 25M

2003 25M

83

84

少女短袖 26

少女短袖 27

少女短袖 28

Girl Wearing Short Sleeve Shirt 26

Girl Wearing Short Sleeve Shirt 27

Girl Wearing Short Sleeve Shirt 28

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

少女短袖 29

少女短袖 30

少女短袖 31

Girl Wearing Short Sleeve Shirt 29

Girl Wearing Short Sleeve Shirt 30

Girl Wearing Short Sleeve Shirt 31

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

85

86

少女短袖 32

少女短袖 33

少女短袖 34

Girl Wearing Short Sleeve Shirt 32

Girl Wearing Short Sleeve Shirt 33

Girl Wearing Short Sleeve Shirt 34

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

少女短袖 35

少女短袖 36

少女短袖 37

Girl Wearing Short Sleeve Shirt 35

Girl Wearing Short Sleeve Shirt 36

Girl Wearing Short Sleeve Shirt 37

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

87

88

少女短袖 38

少女短袖 39

少女短袖 40

Girl Wearing Short Sleeve Shirt 38

Girl Wearing Short Sleeve Shirt 39

Girl Wearing Short Sleeve Shirt 40

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

少女短袖 41

少女短袖 42

少女短袖 43

Girl Wearing Short Sleeve Shirt 41

Girl Wearing Short Sleeve Shirt42

Girl Wearing Short Sleeve Shirt 43

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25P

2003 25M

2003 25M

89

90

少女短袖 44

少女短袖 45

少女短袖 46

Girl Wearing Short Sleeve Shirt 44

Girl Wearing Short Sleeve Shirt45

Girl Wearing Short Sleeve Shirt46

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

少女短袖 47

少女短袖 48

少女短袖 49

Girl Wearing Short Sleeve Shirt 47

Girl Wearing Short Sleeve Shirt 48

Girl Wearing Short Sleeve Shirt49

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

91

92

少女短袖 50

少女短袖 51

少女短袖 52

Girl Wearing Short Sleeve Shirt 50

Girl Wearing Short Sleeve Shirt 51

Girl Wearing Short Sleeve Shirt 52

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1999 10M

1999 10M

1999 10M

少女短袖 53

少女短袖 54

少女短袖 55

Girl Wearing Short Sleeve Shirt 53

Girl Wearing Short Sleeve Shirt 54

Girl Wearing Short Sleeve Shirt55

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1999 10M

1999 10M

1998 10M

93

94

少女短袖 56

少女短袖 57

少女短袖 58

Girl Wearing Short Sleeve Shirt 56

Girl Wearing Short Sleeve Shirt57

Girl Wearing Short Sleeve Shirt58

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

1998 10F

1998 10F

少女短袖 59

少女短袖 60

少女短袖 61

Girl Wearing Short Sleeve Shirt59

Girl Wearing Short Sleeve Shirt 60

Girl Wearing Short Sleeve Shirt61

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1998 10M

1999 10M

1998 10M

95

96

少女短袖 62

少女短袖 63

少女短袖 64

Girl Wearing Short Sleeve Shirt 62

Girl Wearing Short Sleeve Shirt 63

Girl Wearing Short Sleeve Shirt 64

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1999 10M

1999 10M

1997 10M

少女短袖 65

少女短袖 66

少女短袖 67

Girl Wearing Short Sleeve Shirt 65

Girl Wearing Short Sleeve Shirt 66

Girl Wearing Short Sleeve Shirt 67

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1999 10M

1997 10M

1999 10M

97

98

少女短袖 68

少女短袖 69

少女短袖 70

Girl Wearing Short Sleeve Shirt 68

Girl Wearing Short Sleeve Shirt 69

Girl Wearing Short Sleeve Shirt 70

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

1999 10M

1998 10M

2003 25M

少女短袖 71

少女短袖 72

少女短袖 73

Girl Wearing Short Sleeve Shirt 71

Girl Wearing Short Sleeve Shirt 72

Girl Wearing Short Sleeve Shirt 73

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

99

100

少女短袖 74

少女短袖 75

少女短袖 76

Girl Wearing Short Sleeve Shirt 74

Girl Wearing Short Sleeve Shirt 75

Girl Wearing Short Sleeve Shirt 76

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2003 25M

2003 25M

2003 25M

少女短袖 77

少女短袖 78

少女短袖 79

Girl Wearing Short Sleeve Shirt 77

Girl Wearing Short Sleeve Shirt 78

Girl Wearing Short Sleeve Shirt 79

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2004 25M

2004 25M

2004 25M

101

102

少女戴帽 1

少女戴帽 2

少女戴帽 3

Girls Wearing Hat 1

Girls Wearing Hat ２

Girls Wearing Hat 3

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2004 25M

2004 25M

2004 25M

少女戴帽 4

少女戴帽 5

少女戴帽 6

Girls Wearing Hat 4

Girls Wearing Hat 5

Girls Wearing Hat 6

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

油彩 畫布 Oil on Canvas

2004 25M

2004 25M

2004 25M

103

陳武鎮簡歷 Biography, Chen Wu-jen

104

1949

出生屏東縣萬巒鄉佳和村

1961

屏東縣萬巒鄉佳佐國小畢業

1964

省立潮州中學初中部畢業

1969

台南師專美勞組畢業，分發台北縣萬里鄉大坪國小教師

1969

九月，入伍左營海軍新兵訓練中心，在性向測驗卷上書寫反對國民黨字句，

被以「叛亂罪」移送軍法審判

1970

以懲治叛亂條例第七條判刑二年，放棄上訴，發監台東泰源感訓監獄

1971

出獄後，先在高雄當英文書店店員，後在板橋當升學補習班導師

1973

補服兵役期滿退伍

1973

台南社教館個展

1974

回任台北縣萬里鄉大坪國小教師

1975

調任台南縣東山鄉東原國小教師、台南縣新營國小教師

1980

成功大學夜間部電機系畢業

1986

台南縣立文化中心個展

1988

國立編譯館國小美勞教學指引編審委員

1989

台北市民生藝廊四人聯展

2001

中正大學圖書館陳武鎮陳玉珠夫妻聯展

2004

台南縣新營國小美勞教師退休，專事創作

2007

三月，油畫作品「虛擬巨惡」十幅在總統府一樓展出

四月，文建會出版《夢回泰源》陳武鎮油畫集

十月，文建會《悲怨火燒島》曹開詩集插畫

十一月，綠島人權園區駐村三星期，創作「火燒島狂想曲」系列作品 43 幅

十二月，油畫作品「政治犯系列」「虛擬巨惡系列」共二十四幅在景美人權園區展出

2008

一月，油畫作品「虛擬巨惡系列」在台灣民主紀念館展出

二月，台南縣政府出版《虛擬巨惡》陳武鎮油畫集

三月，台南縣文化中心「夢回泰源」陳武鎮油畫邀請展

2010

通藝國際有限公司出版《風中的名字》、《山》兩冊陳武鎮油畫集

五月至十月，綠島人權園區《風中的名字》特展

十月，《判決書》油畫集出版

十二月，油畫作品「判決書系列」四幅在景美人權園區展出

2011

二月，高雄市立歷史博物館「消失的家人」特展 屏東美術館「夢回泰源」油畫邀請展

九月，屏東巴比頌畫廊陳武鎮「關於孤獨」油畫邀請展

2012

三月，高雄市文化中心「虛擬巨惡」油畫個展

105

陳武鎮簡歷 Biography, Chen Wu-jen 1949 Born in Jiahe Village, Wanluan Township, Pingtung County 1961 Graduated from Jiazuo Elementary School in Wanluan Township, Pingtung County 1964 Graduated from Provincial Chaozhou Junior High School 1969 Graduated from Department of Arts, NUTN and became a teacher at Daping Elementary

School in

Wanli Township, Taipei County 1969 September – Drafted into the Zuoying Navy Recruit Training Center; he underwent military trial for rebellion because he wrote down anti-MKT expressions on the aptitude test paper.

1970 Sentenced to two years imprisonment in accordance with Article Seven of the Act for the Control and Punishment of Rebellion. He abandoned his appeal and was incarcerated in Taitung’s Taiyuan Correctional Facility 1971 After he was discharged from prison, he worked as a clerk in a English bookstore in Kaohsiung and later became a tutor of a cram school in Banqiao 1973 He was discharged after completing his military service 1973 Solo exhibition at the National Tainan Social Education Hall 1974 Reinstated as a teacher at Daping Elementary School in Wanli Township, Taipei County 1975 Transferred to Dongyuan Elementary School in Dongshan Township, Taitung County and then to Xinying Elementary School in Tainan County 1980 Graduated from the Department of Electrical Engineering of the Night School of NCKU 1986 Solo exhibition at the Tainan Municipal Tainan Cultural Center 1988 Compilation and Review Committee member for the teaching guidance of elementary school art, NICT (National Institute for Compilation and Translation) 1989 Four-Artist Joint Exhibition at the Minsheng Gallery in Taipei City 2001 Chen Wu-jen and Chen Yu-zhu couple joint exhibition in the library of CCU

106

2004 Retired as the art teacher of Xinying Elementary School in Tainan County and became devoted to creation 2007 March – The “Virtual Monster” collection, consisting of ten oil paintings, was exhibited on the first floor of the Office of the President

April – “The memory of the white prison – Tai Yuan” oil painting album was published by the CCA (Council for Cultural Affairs)

October – “Sorrow and Hatred on the Island of Fire” Cao Cai poetry illustrations

November – Stayed at the Green Island Human Rights Cultural Park for three weeks to create the “Island of Fire Rhapsody” collection, totaling 43 paintings

December – 24 oil paintings from the “Political Prisoner” and “Virtual Monster” collections were exhibited at the Jing-Mei Human Rights Memorial and Cultural Park

2008 January – Oil paintings from the “Virtual Monster” collection were exhibited at the National Taiwan Democracy Memorial Hall

February – Tainan County Government published the “Virtual Monster” Chen Wu-jen oil painting album

March - Tainan Municipal Tainan Cultural Center hosted “The memory of the white prison – Tai Yuan” Chen Wu-jen oil painting invitational exhibition

2010 Tongyi International Ltd. published “Name in the Wind” and “Mountain” oil painting albums by Chen Wu-jen

May ~ October – “Name in the Wind” exhibition at the Green Island Human Rights Cultural Park

October – “Court Verdict” oil painting album was published

December – Four paintings from the “Court Verdict” collection were exhibited at the Jing-Mei Human Rights Memorial and Cultural Park

2011 February – “Vanishing Family” exhibition at the Kaohsiung Museum of History

“The memory of the white prison – Tai Yuan” oil painting invitational exhibition at the Pingtung Art Gallery

September – Pingtung Ba Bi Song Gallery hosted the Chen Wu-jen “About Loneliness” oil painting invitational exhibition

2012 March – Kaohsiung Cultural Center hosted the “Virtual Monster” solo exhibition

107

國家圖書館出版品預行編目資料

陳武鎮畫集 / 陳武鎮作 . -- 初版 . -- 新北市 : 國家人權博物館籌備處 , 2012.12

冊 ; 公分 ISBN 978-986-03-5286-3( 全套 : 精裝 ) 1. 油畫 2. 畫冊

948.5

作

者：陳武鎮

出 版 者：國家人權博物館籌備處 發 行 者：王逸群 總 策 畫：沈長在 執行編輯：黃龍興、林靜雯 校 訂：陳玉珠 地

址：新北市新店區復興路 131 號

電

話：02-2218-2438

傳

真：02-2218-2436

網 址：http://www.nhrm.gov.tw 美術設計：酷樂子設計工作室 出版日期：2012 年 12 月初版 定

價：新臺幣 600 元整

ISBN：978-986-03-5286-3 GPN：1010103645

Printed in Taiwan 版權所有 ‧ 翻印必究

108

101025806