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TIMELINE
- 1986 | Born in Taipei, Taiwan
- 1999 | Moved to upstate New York, USA
- 2005-2009 | BFA at Carnegie Mellon University, Pittsburgh, USA
- 2010 | Lived in San Francisco Bay Area, Los Angeles
- 2010 | Began MFA at UCLA, Los Angeles, USA
- 2011 | Lived in Los Angeles, San Francisco
- 2012 | Dropped out of MFA at UCLA
- 2013 | Lived in Los Angeles, Budapest, Shanghai, Taipei
- 2014 | Lived in Taipei and Haukijärvi, worked in New York
- 2015 | Lived in Taipei, worked in New York
- 2016 | Lived in Taipei, worked in New York
- 2017 | Lived in Taipei, Gunma, Reykjavík
- 2017 | Began MFA at University of Oxford, Oxford, UK
- 2017 | Dropped out of MFA at University of Oxford
- 2018 | Lived in Turin, Shanghai, Beijing, Paris, Chongqing, Tokyo
- 2019 | Lived in Shanghai, Saint Petersburg, Berlin
- 2020 | Lived in Tokyo and Taipei (COVID-19 pandemic)
- 2021 | Lived in Taipei (COVID-19 pandemic)
- 2022 | Lived in Taipei, Seoul, Snowmass Village
- 2022 | First institutional solo exhibition "Pain and Pleasure" at Taipei Fine Arts Museum
- 2023 | Lived in Omaha, North Adams, Paris
- 2024 | Lived in Berlin and Brussels
- 2025 | Lived in Berlin and Krems an der Donau
- 2025 | First solo exhibition in the United States, "Mouthful of Dirty Copper" at Magenta Plains
- 2026 | Lived in Berlin
ENGLISH BIOGRAPHY
Rexy Tseng (b. 1986) is a visual artist who primarily works in painting and installation. Born and raised in Taipei until the age of thirteen, Tseng relocated to upstate New York to further his education. He received a BFA from Carnegie Mellon University in 2009; he withdrew from MFA at UCLA in 2012; and he withdrew from MFA at University of Oxford in 2017. Between degrees, Tseng worked as a software engineer. From 2024 to 2025, he was a participant in the BPA// Berlin Program for Artists. Tseng currently lives and works in Berlin.
Tseng has exhibited in Armenia, Belgium, China, Denmark, Finland, Germany, Hungary, Iceland, Italy, Japan, Lithuania, the Netherlands, Poland, Russia, South Korea, Taiwan, the U.K., and the U.S. Past solo exhibitions include Magenta Plains, New York, US (2025); Galerie Met, Berlin, DE (2025); MAD, Poznań, PL (2025); Armenian Center for Contemporary Experimental Art, Yerevan, AM (2025); Uitstalling, Genk, BE (2023); Taipei Fine Arts Museum, Taipei, TW (2022).
He has received support and recognition from Allegro Prize, Charlottenborg Foundation, Li Chun-Shan Foundation, Taipei Art Awards, Tomorrow Sculpture Awards, among others. Tseng has participated in artist residencies internationally, including Bemis Center for Contemporary Arts, Omaha, US; Künstlerhaus Bethanien, Berlin, DE; Massachusetts Museum of Contemporary Art, North Adams, US; National Museum of Modern and Contemporary Art, Goyang, KR; Sichuan Fine Arts Institute, Chongqing, CN, and more.
中文簡歷
曾慶強 Rexy Tseng，視覺藝術家，主要從事繪畫和裝置創作。1986 年出生於台北，十三歲時至紐約州留學，2009 年畢業於卡内基梅隆大學，2012 年肄業於 UCLA 研究所，2017 年肄業於牛津大學研究所，學位之間曾任職軟體工程師。2024-2025 年間曾參與 BPA// Berlin Program for Artists 計畫。目前生活和工作於柏林。
曾的藝文創作跨越國界，曾於亞美尼亞、比利時、中國、丹麥、芬蘭、德國、匈牙利、冰島、義大利、日本、立陶宛、荷蘭、波蘭、俄羅斯、韓國、英國、美國參展。過往個展包括 Magenta Plains，紐約，美國 (2025); Armenian Center for Contemporary Experimental Art，葉里溫，亞美尼亞 (2025); MAD，波茲南，波蘭 (2025); Uitstalling，亨克，比利時 (2023); 台北市立美術館，台北，台灣 (2022)。
過往獲獎記錄包括 Allegro Prize、Charlottenborg Foundation、李仲生基金會視覺藝術獎、台北美術獎、明天雕塑獎等。他參與過世界各地的藝術駐留項目，包括 Bemis Center for Contemporary Arts，奧馬哈，美國; Boghossian Foundation，布魯塞爾，比利時; Massachusetts Museum of Contemporary Art，北亞當斯，美國; 韓國國立現代美術館，高陽，韓國; 四川美術學院，重慶，中國。
中文简历
曾庆强 Rexy Tseng，视觉艺术家，主要从事绘画和装置创作。1986 年出生于台北，十三岁时至纽约州留学，2009 年毕业于卡内基梅隆大学，2012 年肄业于 UCLA 研究所，2017 年肄业于牛津大学研究所，学位之间曾任职软体工程师。2024-2025 年间曾参与 BPA// Berlin Program for Artists 计画。目前生活和工作于柏林。
曾的艺文创作跨越国界，曾于亚美尼亚、比利时、中国、丹麦、芬兰、德国、匈牙利、冰岛、义大利、日本、立陶宛、荷兰、波兰、俄罗斯、韩国、英国、美国参展。过往个展包括 Magenta Plains，纽约，美国 (2025); Armenian Center for Contemporary Experimental Art，叶里温，亚美尼亚 (2025); MAD，波兹南，波兰 (2025); Uitstalling，亨克，比利时 (2023); 台北市立美术馆，台北，中国台湾 (2022)。
过往获奖记录包括 Allegro Prize、Charlottenborg Foundation、李仲生基金会视觉艺术奖、台北美术奖、明天雕塑奖等。他参与过世界各地的艺术驻留项目，包括 Bemis Center for Contemporary Arts，奥马哈，美国; Boghossian Foundation，布鲁塞尔，比利时; Massachusetts Museum of Contemporary Art，北亚当斯，美国; 韩国国立现代美术馆，高阳，韩国; 四川美术学院，重庆，中国。
STATEMENT
My practice consists of painting and installation, deriving motifs from desire and discomfort embedded within contemporary conditions. I primarily work from lived experiences and responses to current events. Through my work, I seek to challenge established narratives, exposing the limitations of free will and questioning the notion of progress.
Biographically, my practice pertains to personal urgency in two folds. First, my upbringing in Taiwan in the 1990s, when the island was known for cheap manufacturing and outsourced labor for the West. Second, my experience living in the technology- and media-driven United States as a socially marginalized immigrant, where I faced exclusion from aspects of American life that my peers enjoyed. It is from this discrepancy between positions of power that I came to view my surroundings critically.
As a native body, I was raised amid Taiwan’s industrial aspirations to become the world’s factory, witnessing a culture of restless commodification and exploitation. As a foreign body in upstate New York, I adapted to suburban angst, consumer culture, and Americentrism. Between these two bodies, I impose existential inquiries on the capitalistic symbiosis between manufacturer and consumer, exporter and importer, humanity and machinery.
Exuding a sense of disarray and absurdity, my work presents the bruised optimism of my time. I address the inherent flaws of technocapitalism, material culture, and human impulses. The imagery in my paintings describes moments of weakness. By merging bodily forms and ruins, the images press sensations against logic. I intend to engage the viewers’ identification with societal bounds.
The objects in my installations are worn products of globalization. They formally engage with elements of space, time, sound, and tactility. Through kineticism, the installations deliver distilled gestures from subjective realities. I aim to communicate hope and loss, empathy and otherness, served with a visceral undertone.
In my practice, I pose the following broader questions: Who is included? Who is excluded? What gives potency to an image? What gives meaning to an object? How are technologies applied to sustain disparities? What happens when technologies fail?