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.

Wednesday, September 19, 2018

街區/社區踏查研究:台灣–馬來西亞兩地交流論壇


近幾年「藝術介入空間」在台灣,或說在各國,早已成為一種常態性的創作思維,不論以何種方式介入,介入的是社區街巷抑或某個具代表性意涵的空間場域,這類藝術的最終呈現都削減了藝術家本身的光環,反倒強調藝術行為與在地環境、在地居民產生對話。

台南擁有為數不少的歷史街區與備具代表性的改建場所,而絕對空間除了藝術創作的展演功能,也正因所處的地理位置,感到「留存」與「拆遷汰換」兩者的矛盾衝擊。因此,基於這樣長久累積的問題意識,絕對空間邀請馬來西亞吉隆坡Lostgens' contemporary art space的創辦人楊兩興、成員吳敬賢,前來台南駐地並互相交流,共同進行「留存與拆遷─台南街區/社區踏查研究計畫」。

本次研究計畫獲得文化部東南亞人士來臺文化交流合作計畫補助支持,「街區/社區踏查研究:台灣–馬來西亞兩地交流論壇」亦為這項計畫之延伸系列活動,除了楊兩興及吳敬賢分享其東南亞社區經驗以及駐地期間之經歷感受,我們也邀請到高森信男、李怡志、陳湘汶等人,藉以不同視角來切入討論歷史記憶、社區與藝術活動、理性與感性等不同層面。

除了本場交流論壇,最終駐地成果也將於10/14(週日)進行發表,當天也將另舉辦一場座談,詳情將於近期公佈。此外,駐地期間也將有街區工作坊等相關活動,敬請期待!

// 本次論壇流程 //
14:00-14:30
講題:台灣藝術生態機制與東南亞藝術合作之可能
主講人:高森信男(策展團體「奧賽德工廠」廠長)

14:30-15:00
講題:從空間經營者角度談馬來西亞社區概況與藝術介入成效
主講人:楊兩興(Lostgens' contemporary art space創辦人、策展人)

15:00-15:30
講題:參與式文化─高雄老舊社區的記憶/翻新/再造
主講人:李怡志(國立中山大學社會系研究助理、社會系兼任講師)

15:30-15:45
中場休息

15:45-16:15
講題:社區藝術工作與在地情感連結
主講人:吳敬賢(Lostgens' contemporary art space成員、設計師)

16:15-16:45
講題:台南歷史街巷踏查與刊物經驗分享
主講人:黃逸民(絕對空間執行長)

16:45-18:00
綜合座談
主持人:陳湘汶(獨立策展人、文字工作者)


時間:10/06(週六)14:00-18:00
地點:絕對空間二樓(台南市中西區民生路一段205巷11號)
聯繫方式:absoluteartspace@gmail.com
主辦單位:絕對空間
指導贊助單位:文化部

※本場活動無名額限制,歡迎大家踴躍參加。

---------------------------------------------

【駐地交流單位簡介】
Lostgens’ contemporary art space|
來自馬來西亞吉隆坡,由一群藝術家創於2004年。雖然位在繁鬧城市,Lostgens卻總將自身精神歸於邊僻位置,因此對社會及藝術的觀察總具備特定程度的低調和銳利。Lostgens是他們自主管理的實驗性空間,基於獨特性、創造性、個人性等目標來推動當代藝術與社區藝術計畫,他們藉由提供這樣另類的替代空間模式,去發展各式創新的展覽及表演。Lostgens從一開始私人群聚的經營方式,到現在已走進社會大眾,他們的想法是最終能融進當今複雜的多元文化藝術環境,是一種更勝於匯聚藝術家的遠大理想。除此之外,Lostgens也是多層藝術文化交互揉合並且迅速發展的一大平台。

【講者簡介】
楊兩興 Yeoh Lian Heng |
畢業於吉隆波中央藝術學院,現為Lostgens' contemporary art space創辦人、策展人。在馬來西亞主要策劃包括2011年「依井環山─馬六甲三寶井社區藝術計畫」、2011-2013年「茨廠街社區藝術計畫」、2016年「TransAction in the Field行動跨彊界」、2016-2017年「PublikArt公共藝術計畫」,並曾參與「韓國釜山雙年展」(2012)、「印尼SIASAT雅加達雙年展」(2013),「韓國光州Asia Kula-Kula Ring ACC」(2016)。近年重要經歷包括「歷史真巷」社區活動策劃人、「實兆遠牧師樓墾場博物館」策展人,以及於雪蘭莪麻瘋病院社區「希望之谷故事館」策展人。

吳敬賢 JJ Ng Zing Shein |
Lostgens' contemporary art space成員、設計師。畢業於馬來西亞吉隆坡達爾尚藝術學院(DAsein Academy of Art),專長平面設計,現為Lostgens' contemporary art space成員、設計師。重要經歷包括2015年「TransAction in the Field 行動跨疆界」計畫協調員、2016年曾赴韓國光州Asia Culture Center參與Asia Kula Kula-ring、擔任「戲院街8號藝術週」(Panggung Lapan Art Weekends)歷史街區活動協調員、參與「甘榜萬達達蘭文化藝術地圖工作坊」、「PublikArt公共藝術計畫」。近年協助Lostgens'活動如「歷史真巷」社區活動、「實兆遠牧師樓墾場博物館」裝置製作、雪蘭莪麻瘋病院社區「希望之谷故事館」裝置製作等。

高森信男|
策展團體「奧賽德工廠」廠長、台北市政府國際事務委員會委員
;近年重要策畫展覽包括2011年「後態度:台灣年輕當代藝術家聯展」(墨西哥城Ex Teresa Arte Actual)、2012年「南國.國南:台越藝術家交流計畫」(胡志明市Zero Station、台南齁空間)、2013年「Sommerreise」(柏林GlogauAIR)、2014年「拾荒花園」(台北誠品畫廊)、2014年台灣國際錄影藝術展「鬼魂的迴返」(台北鳳甲美術館)、2015年「我不屬於」(台北恆畫廊)、「野生傳說」(金山朱銘美術館)、2016年「迷宮中的青鳥:從日本近代美術至亞洲當代藝術」(台北日動畫廊)及2017年「菸葉、地毯、便當、紡織機、穴居人:當代藝術中的工藝及技術敘事」(台北鳳甲美術館)等。

李怡志|
畢業於高雄師範大學跨領域藝術研究所,目前任職於國立中山大學社會系研究助理、兼任講師。關注城鄉發展、公民參與和社會實踐,作品多與人文歷史、傳統技藝、庶民美學及地方智慧有關。與林佩穎共同著作《港都人生:鹽埕市井》、《港都人生:旗津島民》,編有多期社區刊物《旗刊》、策劃「巷口邂逅—旗津民間美學藝術節」、「行家博物館-大溝頂」及「江帆歸港:打狗港上的雙槳仔」等展,亦於TED x LoveRiver分享打狗文史再興會社社區經驗。2018年,與鹽埕弔詭畫廊策劃「易地戀」展覽獲台新藝術獎評審提名。目前著手規劃年底「埕人扛棒子:社區招牌計畫」展。

黃逸民|
現為絕對空間執行長。畢業於台南藝術大學造型藝術研究所,過往作品多以帆布或塑膠充氣材質作為媒材,並透過裝置的手法與周遭繁華快速的生活步調相映襯,藉以隱喻當今社會中重視外表與速成的現象,作品往往帶有一種猶如超現實作品中拼貼、不合理、荒謬的特質。2013年在台南成立絕對空間藝術工作室,提供當代優秀創作者在台南發聲的機會,並以長居台南體驗的廟宇文化為題,將搜集所耳聞之廟宇文化加以研究與想像,近期作品呈現對於城市文化、宮廟空間、媒材技術、社群關係的多重挪用與反思。

陳湘汶|
來自內地南投,獨立策展人、文字工作者,現工作主要來往於台南與台北。近期計畫的內容多以台灣文化歷史肌理的爬梳,藝術研究和展覽為方針,測繪熱帶的精神圖誌。