魯本‧基漢 Reuben Keehan

魯本‧基漢為澳洲昆士蘭藝術博物館與現代藝術博物館（Queensland Art Gallery | Gallery of Modern Art）亞洲當代藝術策展人，曾策劃2012、2015及2018年共三屆的亞太當代藝術三年展（Asia Pacific Triennial of Contemporary Art，簡稱「亞太三年展」），擁有多年非營利、藝術相關的公部門經歷，亦曾任雪梨藝術空間Artspace的策展人（2006-11）及Artspace 出版刊物《專欄》的編輯（2008-11）。

除了策劃亞太三年展，基漢近年策劃的展覽包含We can make another future: Japanese art after 1989（昆士蘭藝術博物館與現代藝術博物館，2014）、Burn what you cannot steal（Nova藝廊，札格雷布，2011）及草間彌生、艾哈邁德．奥古特、拉葵爾．奧美拉等眾多藝術家的個展。基漢亦曾與陳韋純、羅素．史托爾共同展劃Yayoi Kusama: Life is the Heart of a Rainbow（2017-18），在新加坡國家美術館（National Gallery Singapore）、昆士蘭藝術博物館與現代藝術博物館及雅加達馬來世界現當代藝術博物館（Museum of Modern and Contemporary Art in Nusantara）展出；與崔敬華、橋本梓、何子凌策劃Time of Others（2014-15），在東京都現代美術館（Museum of Contemporary Art, Tokyo）、大阪國立國際美術館（National Museum of Art, Osaka）、新加坡國家美術館及昆士蘭藝術博物館與現代藝術博物館巡迴展出；與片岡真實、加布里爾·利特策劃Out of Doubt: Roppongi Crossing（2013），為東京森美術館推出的日本藝術三年研究展。

自1990年代起，基漢即開始為《Artforum》、《Flash Art》和《Bijutsu Techo》等出版刊物廣泛撰寫文章，目前亦擔任《di'van | A Journal of Accounts》的編輯顧問，並不定期為該刊物撰稿。基漢的策展工作聚焦於亞太區域中藝術和公共領域的關鍵交會。

Reuben Keehan is Curator, Contemporary Asian Art at Queensland Art Gallery | Gallery of Modern Art, where he has been a curator for the 2012, 2015 and 2018 editions of the Asia Pacific Triennial of Contemporary Art (APT). With a long history in the public, non-profit and artist-driven art sectors, he was previously Curator at Artspace, Sydney (2006–11) and editor of its journal Column (2008–11).

In addition to the APT series, Reuben’s recent exhibitions have included We can make another future: Japanese art after 1989 (QAGOMA, 2014) and Burn what you cannot steal (Gallery Nova, Zagreb, 2011), and solo exhibitions by Yayoi Kusama, Ahmet Ögüt, Raquel Ormella and many others. He was co-curator, with Adele Tan and Russell Storer of Yayoi Kusama: Life is the Heart of a Rainbow (2017-18) at National Gallery Singapore, QAGOMA, and MACAN, Jakarta; with Che Kyongfa, Hashimoto Azusa and Michelle Ho, of Time of Others (2014-15), which evolved between the Museum of Contemporary Art, Tokyo, National Museum of Art, Osaka, Singapore Art Museum and QAGOMA; and, with Mami Kataoka and Gabriel Ritter, of Out of Doubt: Roppongi Crossing (2013), the Mori Art Museum's triennial survey of Japanese art.

Since the late 1990s, he has also written widely for publications such as Artforum, Flash Art and Bijutsu Techo, and he is currently an editorial advisor and occasional contributor to d i ' v a n | A Journal of Accounts. His work focuses on critical intersections of art and the public sphere, with an emphasis on the Asia-Pacific.