Laurens Tan

Tan completed his Doctor of Creative Arts (DCA) thesis "The Architecture of Risk" at University of Technology Sydney, following his academic career as cultural studies educator at the School of Creative Arts at the University of Wollongong (1987-1991). He is currently an adjunct professor at Tianjin Academy of Fine Arts (2006-) and La Trobe University (2011-) and has taught at other undergraduate and graduate arts programs in the United States, Australia, and China.[3]

Tan served as a board member of the Asian Australian Art Association (which runs the 4A Centre for Contemporary Asian Art) in Sydney from 1998 to 2008,[4] and as Artist Advisory Group Member at the Museum of Contemporary Art in Sydney from 2004 to 2006.[2]

His work is informed by Chinese heritage, language and meaning. Since his early Beijing series of work, he utilises the form of the sanlunche (Chinese tricycle) to convey the complexity of change in China under economic and cultural transformation.[5]

Tan's earlier works from 1990 to 1999 include Re-sited References (Retrospective) at the Queensland University Art Museum (1990), Adapt Enforce V at the Perth Institute of Contemporary Arts (1992), Games & Voices at Macquarie Galleries (1992), Gallery 14 Contemporary Artists Series at the Queensland Art Gallery (1993), Profile of a Counter at Banff Centre in Alberta, Canada (1998), IndyCar Slot at Gold Coast Arts Centre (1998), and Octomat at World Gaming Expo & Congress in Las Vegas.[2] He was also part of the international touring exhibition “Elvis + Marilyn: 2 x Immortal” that was shown in the Contemporary Arts Museum Houston and eleven other American museums (1995).[6]

As a Las Vegas resident, his art is often inspired by the unique visual culture of the city.[7] His work in the United States includes Babalogic in the Desert at the Sahara West Library in Las Vegas, shown from 2017 to 2018.[8]

In 2008, he was commissioned to create "Babalogic" for the survey exhibition 2D/3D Negotiating Visual Languages, curated by Wu Hung at the PKM Gallery in Beijing.[9] He was included in two following exhibitions in Beijing curated by Dong Bingfeng: Asian Landmark at the Iberia Center of Contemporary Art (2010),[10] and “Fat Art 2” at the Today Art Museum (2010).[11] Other key Beijing exhibitions include ShiWaiTaoYuan, a public art commission at The Opposite House in Beijing (2012). This work continues his synthesis of heritage in contemporary  as well as Tan's signature tricycles, alluding to the rapid modernization in contemporary Chinese culture.[12]

Tan's work has been curated at various contemporary museums and galleries Asia, such as the Kuandu University Art Museum, Taipei Taiwan (2011),[13] PKM Gallery in Beijing (2008),[9] Shizuoka Prefectural Art Museum in Japan, and Seoul National University Museum of Art[14] and Gana Galleries in Seoul[3]

He was co-curator for the show Always on My Mind: Home at the Seoul National University Museum of Art (2011).[14]

Tan was commissioned by the City of Sydney to build three giant “See No Evil, Hear No Evil, Speak No Evil” monkeys at the Sydney Opera House in celebration of the Lunar New Year. This particular work was in installation from 2016 to 2018.[15] His piece Speed/Sudu was commissioned for the Murray Art Museum Albury (MAMA) in 2016.[16]

In 2014, he was commissioned by the University of Chicago to create Empire Bookends: Basketcase, a solo exhibition in the university's Beijing Center.[17]

In 2016, he was commissioned to create Depth of Ease CNY, a solo exhibit of three separate works, for Zappos Downtown in Las Vegas.[18]

In 2017, he was named Visiting Artist at the Neon Museum in Las Vegas.[19]

His artwork was acquired by the Marjorie Barrick Museum at the University of Nevada, Las Vegas in 2018,[20] and Deakin University in Melbourne in 2018.[21]

Wikimedia Commons has media related to Laurens Tan.

• Laurens Tan – website owned and maintained by the artist. Includes examples of past and contemporary works in portfolio, as well as additional links and information on the artist.