Friday, October 18, 2019

How artist collective and alternative space survive without proper supporting system, case study Hysteria Collective at Semarang- Indonesia


Artist Talk:
How artist collective and alternative space survive without proper supporting system, case study Hysteria Collective at Semarang- Indonesia)

Speaker
Ahmad Khairudin ( Indonesia )

Currently based in Semarang, Central Java, Indonesia, he is the director for Hysteria an art space in Semarang, Indonesia. He did his MA in Antropology in Indonesia and Sastra Indonesia which is Indonesian Literature in FIB.

He was the main role manager for Biennale Jogja XI – Jogjakarta in 2012, as well as an archive organizer in Indonesian Visual Art Archive – Jogjakarta. He gave many talks and curated multiple shows and project too. In 2017, he was the keynote speaker for the Regional Conference on Social City – Aspiration of an Urban Transformation in Asia: Session 4- Civil Participation and Engagement, Jakarta, curated an art exhibition involving the villagers of Purwodinatan in Semarang in the year 2015.

Saturday, July 27, 2019

Artist Talk : Sarah Schodere

Kuala Lumpur / Frankfurt AIR Exchange Program 2019
Collaboration
Goethe-Institut KL / Lostgens contemporary ArtSpace KL
/ Basis Frankfurt .

























Wednesday, July 17, 2019

《「鬼」哲學 》 




《「鬼」哲學 》 

「眾生必死,死必歸土,此之謂鬼。」--《禮記•祭義》

  這個世界上有沒有鬼?
  在當代,「鬼」更多時候被精神醫學研判為人因恐懼和空虛而產生的幻想。即是說,各種宗教和任何類型的鬼都是你和我集體創作的成果。如是,不但「鬼」在創作的層次上正在與美感匯通,同時亦可以與李歐塔(Lyotard)的「崇高」理論結合。不管怎樣,它都滿足了我們如今對知識本質的界定和追求。

  在後現代的語境,鬼是因循著社會型態而產生的隱喻,一組由「權力/知識」建構的現象。如是,所有「鬼」的書寫,皆服務於文化世界的話語。例如,為什麼東晉《搜神記》裡宋定伯所捉的一只開心鬼,到今天卻成為《Conjuring》中的邪惡修女Valak?根據上述觀點,原來就是不同時代之知識操作,虛構了新時代的鬼符號。

  不過,這種後現代式的「鬼」的想像,恐怕過於天真。
  這種想像是源自於一種典型的人文沙文主義觀點。它擱置了「鬼」的客觀性,而其背後是人文和形而上世界的對峙和張力。容或,這與勞思光在《新編中國哲學史》中宣告新儒家道德形上學「自然主義的謬誤」,是同一類型的心理預設。簡單地說,人文的價值基礎是「人文世界」,你不應該(應然)從非人文的界域尋求──即使,這可能是套套邏輯(tautology)的推論。

  即使,「鬼」可能沒有資格成為任何事物的存有論基礎。
  本課程第一個要追問的是:鬼,真的只是一種修辭而已?還是一種物自身?

  如果鬼是一種修辭,那麼它可能會讓你寫出一個魔幻寫實的作品,然後得到一座文學獎。然而,如果鬼是一個物自身,則你面對的不是一本書,或一個動人的形容詞......而是一個可以讓你失去自我,最後從18樓跳下來的東西了。

  即,本課程要探討的不只是文學的鬼,還揭示著一些物自身的「鬼」可能產生的哲學問題。

  所以,這是一個具有實驗性的課程。

課程綱要
           
第一課 導論
第二課 鬼的形態之現象學分析
第三課 論鬼的命名——靈體與形式(一)
第四課 論鬼的命名——靈體與形式(二)
第五課 論陰陽眼之哲學問題
第六課 論靈體俯身之主體性問題(一)
第七課 論靈體俯身之主體性問題(二)
第八課 論鬼的本質之形上學探討

參考書目:

<閱微草堂筆記>紀昀
<子不語>袁枚
<聊齋誌異>蒲松齡
六朝志怪小說選
<明鬼>墨子
<新編中國哲學史>勞思光
<通靈者之夢>康德
<天堂與地獄> 史威登堡 Emanuel Swedenborg


講師:卡夕
80後,台灣中興大學中文系學士,台灣中央大學哲學碩士。

(八堂課)
開課:13/8/2019 -1/ 10/ 2019 (每逢星期二)
時間:8:00pm -10:30pm
地點: Lostgens‘ 當代藝術空間
8c, Jln Panggung, 50000 KL.

学费: Rm 200
单堂课 Rm 30

報名方式
請將學費存入 Maybank
LOSTGENS CONTEMPORARY ARTSPACE
564119424427
然後將存入單、姓名及聯络 Email 到 lostgens@gmail.com

Artist Talk Sarah Schoderer


Kuala Lumpur / Frankfurt AIR Exchange Program 2019
Collaboration
Goethe-Institut KL / Lostgens contemporary ArtSpace KL
/ Basis Frankfurt .

Artist Statement

I was born in the south of Germany, but i am raised near Frankfurt and in Frankfurt- then i have studied fine arts at the art academies in Frankfurt and Mainz/Germany untill 2011. Since then i am working as a freelancer and i have done art projects in Germany, Kenya, Belgium, Croatia and Tunisia. I am working mainly in the field of painting, but i am also making sculpturs aswell as a few movies. I see myself as a conceptual working artist but with a strong focus on visual forms and especially painting. In my paintings aswell as in my sculpturs i have been reflecting on different aspects of contemporary society: formerly i have criticized the culture of consume in the western society but i also have been interested in beauty ideals aswell as latest i have reflected on the process of painting and creating as such: I have made sculptures out of paintings and then i have created paintings and these objects became the motives/subjects of these paintings.

Specificly about my paintings: i wanted to create a relief-like surface when i use colors. So my works are at the same time paintings but also sculptures „plastics“. Very often the space in the „background“ is dissolved within structures of colors: only the objects create a space or plasticity somehow.

I am not dealing with the „reality“ as such but much more with processes of translations which take place between art and reality. I am not sure wether it is more relevant as to relate directly to reality; to question reality or to document it is not what concerns me too much. I rather deal with reflexions of connections between history and present, between forms of art and life itself, phenomenons of the present which can only be expressed freely through art. I would say i have the ability to really see spaces within colors. i m very much keen to get to know sociological knowledge about people and places i have been or i will be able to visit.

Artist Links:

1. http://www.perpetuel.net/de/gallery/solo/exhibition/81

2. braeuningcontemporary.com / Sarah Schoderer

Date: 21 July 2019
Time: 4pm
Venue: Lostgens' Contemporary Artspace
8c Jalan Panggung
Admission free

Saturday, May 4, 2019

CTRL + ____ . A group exhibition



CTRL + ____ . A group exhibition by Emily, Car Chuan, Kah Wah, Yi Henn and Lim Jing.
 
Exhibition Motive:
Being a fresh grad, we learned a lot about ourselves during our time in college. Which led us to this exhibition as a finale for a part of our live before all of us goes on a different path. For the first time we felt free to do what we are interested in without being controlled and confused. Daily encounters had inspired our works for this exhibition, from discussing personal thinking to everyday problems and rules.

Artist:
1. Emily Chow Wen Qi (b. 1998, Selangor, Malaysia)

Emily explores different techniques to document the tactility of different materials and incorporate them into the making of her art. She also finds social media interesting where people can be anonymous at the same time have a voice. As she observes anonymous opinion on social media, she found an interest in what people think and how they react differently to things. For her works she tries to interpret the different kind of thinking by combining different kind of methods and material together.

2. Lim Car Chuan (b. 1995, Selangor, Malaysia)

Car Chuan is currently based in Kuala Lumpur. He attended Malaysian Institute of Art and received a Diploma in Fine Art in December 2018. He is interested and is always exploring the perception of time.

3. Lok Kah Wah (b. 1996, Kuala Lumpur, Malaysia)

I work is influenced by the view what I saw with my vision. By using painting mediums, I found it’s challenging and interesting to present my works due to my color weakness.

4. Teo Yi Henn (b. 1998, Johor, Malaysia)

I have been practicing visual art since I started studying Fine Art in Malaysian Institute of Art. I finished my study in December 2018. Most of my works are drawing and painting of my self-portrait. I currently live and work in Kuala Lumpur, Malaysia.


5. Lim Jing (b. 1998, Perak, Malaysia)

Lim Jing is a multidisciplinary artist based in Kuala Lumpur. Their early works mostly discussed about the ownerships and fluidity of identities in living space and cyber space. While they was attempting to coordinate and identify their roles in the society, they started to perceive that people and system are always consuming each other. Such vice versa relation, that ended up aiming nothing but itself like an Ouroboros, has become an aesthetics to them in their recent work.


Date: 6/5/19 - 19/5/19, Close on Mondays
Operating time: 11 AM - 6 PM

Opening on 5th May, 7 PM till midnight
Light refreshment provided

Tuesday, April 16, 2019

Kelab Bangsar Utama X Lostgens': Jelajah Kempen Anak Tanpa Negara

Dengan kerjasama Kelab Bangsar Utama dan Lostgens serta Buku Jalanan Chow Kit, Jelajah Kempen Anak Tanpa Negara akan singgah di Lostgens untuk Bicara Kemanusiaan yang bertajuk "Pendidikan Anak Marginal".

Bicara akan mengupas tentang isu-isu pendidikan dalam kalangan anak-anak marginal, cabaran-cabaran yang dihdapi serta cadangan solusi masa hadapan untuk anak-anak ini.

Kali ini, bicara akan disampaikan oleh:
+ Mukmin Nantang (guru Sekolah Alternatif)
+ Huda Ahmad (penyelidik)
+ Siti Rahayu Baharin (guru Buku Jalanan Chow Kit)

16/4/2019, hari Selasa jam 8 malam di Lostgens.

Jemput hadir semua, rakyat Malaysia!

Tuesday, April 9, 2019

His works and Sa Sa Art Project + Cambodia Art Scene


Lim Sokchanlina
Base in Phnom Penh, Cambodia
www.limsokchanlina.com

Talk:
Lina will talk about some of his preview works, his recent travel and research about Cambodian Migrant Worker in Asia (A conversation). He will also talk briefly about his collective art space "Sa Sa Art Project" and Cambodia art scene.

Bio:
Lim Sokchanlina works across documentary and conceptual practices with photography, video, side specific installation and performance. Using different strategies, he calls attention to a variety of social, political, geopolitics, cultural, economic and environmental changes in Cambodia in relation to the globe.
Lim is a founding and active member of the artist collective Stiev Selapak / Art Rebels (2007- ), who co-founded Sa Sa Art Projects, a community-based, knowledge-sharing platform and experimental residency program (2010- ).


Sa Sa Art Project
Phnom Penh city, Cambodia
info@sasaart.info
www.sasaart.info

Sa Sa Art Projects is a Cambodian artist-run space dedicated to experimental and critical contemporary art practices. It was founded in 2010 by the Cambodian arts collective Stiev Selapak and operated from the historic and vibrant apartment complex known as the White Buildinguntil 2017, when the building was demolished for new development.
At its new location, Sa Sa Art Projects has shifted toward a stronger engagement with Cambodian young artists and art graduates while continuing to build a deeper dialogue with artists within Asia through its creative education programs, exhibitions, its signature Pisaot artist residency, and other special collaborative projects.
Sa Sa Art Projects is an experimental mechanism which addresses Cambodia's lack of infrastructure for contemporary art education and engagement by creating space for critical discussion. We believe that by not being bound to a rigid organisational structure, Sa Sa Art Projects is able to evolve organically to adapt to the changing context and needs of the communities with which we work.

Sunday, March 31, 2019

聲與影的遊藝場——1950-1970的南洋電影文化

聲與影的遊藝場——1950-1970的南洋電影文化

戰後的1950年代,正是新馬中文電影事業發展的重要時代。雖然當時英殖民政府以打擊馬共為名,組成了馬來亞製片組 (Malayan Film Unit),推廣“馬來亞化” 的政治宣傳影片;但在另一方面,電懋、光藝、國泰、邵氏等外資電影公司也正極力将其影視皇朝拓展至馬來亞,呈現了另一種有異於馬來亞本地製片組所表述的馬來亞聲音,建構了“南來” 視野當中的馬來亞想像版圖。

如是,我們不禁好奇——1950-1970年代之間香港電影如何再現馬來亞議題?如何想像馬來亞?其影像的編織以及聲音的塑造又對馬來亞本土華人群體構成什麽意義?針對此提問,本工作坊将沿著香港—新馬的影視跨域脈絡,以多部外資中文電影為討論對象,带領大家進入馬來亞建國至冷戰時期的影視世界,一起窺探在這馬來亞本土文藝圈熱烈地以“馬來化”為創作母體的時代背景當中,由香港“南來”影片的介入如何透過“聲音”與“影像”的元素,作為再現南洋色彩或馬來亞本土性的操作模式。

潘舜怡主講人

新紀元大學學院兼任講師,馬大中文系一等榮譽學士,國立臺湾大學中文所碩士。曾受邀至美國史丹福大學、美國哥倫比亞大學、英國牛津大學、臺湾大學等學府發表研究成果,出版論文散見於臺湾、新馬學術期刊。研究興趣包括近現代文學、現當代文學、流行音樂與文化、性别研究、通俗媒介研究等。近年正籌備出版个人專著、馬華文學與文化史合著。


電影文化工作坊
20- 21. 04. 2019 (六、日)
2pm - 6pm

工作坊內容
- 冷戰時期的新馬電影文化市場
- 香港、新馬的影視遊藝場
- 香港、新馬電影的音樂與歌舞文化
- 官方語言政策對新馬影視格局的影響

報名方式 請將學費存入 Lost generation gallery 514114444696 Maybank, 然後將存入單、姓名及聯络 Email 到 lostgens@gmail.com

地點 8c, Jalan Panggong, 50000 Kuala Lumpur.

學費 一般公眾人士 RM 200;在籍學生 RM 150
( 2天課程共8小時,含茶點 )

Tuesday, February 19, 2019

"Konfabulasi" - Drawings and a wall installation by German artist Astrid Köppe


"Konfabulasi" features about 70 new drawings and a wall installation by German artist Astrid Köppe, produced during her current stay in Kuala Lumpur.

The title of the show refers to the psychological phenomenon of confabulation – unconsciously fabricated false memories – and, by use of the Malay term, to the place of origin of the works.

With her precise depictions of nevertheless ambiguous objects the artist leaves the interpretation of the drawings up to the viewer. In the wall piece, the newest version of her works using specific materials as "prefabricated" lines, distinctly shaped leaves of a local tree turn into the brushstrokes of a sprawling drawing.

Exhibition Opening
23 Feb 2019 8pm
 
 "Konfabulasi" runs from 23 Feb until 10 March 2019 at Lostgens' Contemporary Arts space.
opens daily from 1pm to 7pm, closed on Monday.