Friday, February 7, 2020

囉-箘 新村:滯留村中駐村計畫展


展期  Date | 2020/02/09 Sun. - 3/1 Sun.
時間 Time | 14:00 P. M - 20: 00 P. M
*星期一休息 close on monday

開幕茶會 Opening | 2020/02/09 Sun 17:00 P. M

地址 Address|8c, Jalan Panggong, City Centre, 50000
Kuala Lumpur. 馬來西亞,吉隆坡

電話 TEL|+60 19-683 8397 +60 16-663 9438

Kampung Logeen: Stranded in Kampung

The word “Village” could refer to the meaning of a settlement or an assembly of a commonwealth whether directly or indirectly. Kampung Logeen refers to three artists who were concentrated in their field without working together before. They gathered and form into an aggregate in the smallest unit, linger and stay in different places in Kuala Lumpur within this 29 days and trying to collage and piece up this city with their observation and both familiar and unfamiliar feelings towards the city.

Fang Wei Wen chooses the word “Kampung” as the keyword for his artwork. He uses the abstract concept of “settlement”, to show out the different unit and spaces of a Kampung (Village). This Kampung doesn’t refer to anything figurative but tended to direct to the aggregate and restricting of different level of spaces in the world. He uses his observation of the extend and transformation of Malaysian Chinese culture and his experience of living in Petaling Street area, transform the text into one of the elements to create site specific installation and works on paper.

Hsiu Hui came out a story draft, the embryo of the script has three acts, the main character is a “walking monument”, the details of the story require participants of audience to continue and finish it. According to the story, the monument meets the audience during its trip, the cross dimension meets up add variable into the story.

Jia Xin keeps her live flowing in recent years. She born in Tainan, Taiwan, she often self-occupied as a southerner. But while she came to Kuala Lumpur - a more southern place, she felt anxious and confused during her adjustment process but found out another daily routine and balance during her residency period. She found out that plant is a group that witnessed the changes of human culture and history and they are the easiest local that we can get close to. Therefore she chooses plants as her element, attempt to do some exercise and collage with her feelings and impression during her residency period.

囉-箘 新村:滯留村中駐村計畫展
「村」可以具體的指涉聚落,也能指共同體的直接或間接集結,囉-箘 新村 指的是三位從未一起共同工作卻又不同專注領域的藝術工作者,以三人(方偉文、廖修慧、陳佳欣)為新的集結體,作為最小的聚集單位,在29天內停留於吉隆坡的各處,透過駐村期間的許多參訪與日常觀察及熟悉陌生感,拼貼與輪廓出對於此城市的各自片段感受與作品。
方偉文將「村」 (Kampung)作為駐村作品的關鍵詞,用集合的抽象聚落,去呈現一個「村」中的各個不同單位空間,這個村並不指涉任何的具象單元,傾向是一個世界中空間差異單位的集合與重組、大小與層級不同的場所,居住在唐人街區陌生又熟悉的日常經驗,觀察街區華人文化展現的衍生與變異,反將文字成為造型操作的裝置元素之一,成為現地製作的裝置及紙上作品;廖修慧則生產了一個劇本草案,劇本雛形一共三個段落,主角是一個會「走路的紀念碑」,細節需要來訪的觀眾參與書寫並繼續完整完成,劇本中紀念碑所遇的現場觀眾將使故事產生了變形和增添,關於可走路、有腳「紀念碑」的碰撞旅途,文字及裝置的劇本草案;陳佳欣近年讓自己處於不斷移動的生活狀態,生在臺灣臺南,對她來說,慣以南方自居的自己,在來到相對更南方的吉隆坡的適應過程及差異感受,焦慮面對自我的迷茫,反而在吉隆坡駐村的過程中,找到自己的另一種日常與平衡的嘗試。她認為植物是一個見證人類文化變化的群體,也是最容易主動親近且感受的在地對象,在這裡駐村生活的時間所帶來的感受,嘗試進行一些跟植物有關的視覺拼貼及習作。

Artist in Residency_駐村成員介紹:
Residency Duration_駐村時間:13 January - 10 February 2020

方偉文 Fang Wei Wen
Born in Brunei as a first generation of oversea Kimen, Fukien descendant in 1970, went to Chung Hwa Middle School from kinder-garden, started to interested in drawing during middle school because of Hong Kong comics. After finishing high school, decided to go to Taiwan for undergraduate studies in art. Enrolled in TUNGHAI University, Fine Arts Department in 1988. Determined to take on a career in art after graduation in 1993, stayed and worked in Taichung for four years. Moved to Tainan in 1997 for graduate programme at Tainan National University of the Arts, and has been living and worked in Tainan since then.
1970年出生於汶萊,第一代海外金門人、祖籍福建。從幼稚園開始就讀於中華中學,當時因香港漫畫對繪畫感興趣。高中畢業後,決定在台灣學習藝術創作,1988年進入東海大學美術系,1993年畢業後決定成為職業藝術家,於台中逗留短暫四年,1997年移居台南,在國立台南藝術大學造形所繼續攻讀研究所,畢業後一直在台南生活、工作。

廖修慧 Liao Hsiu Hui
Graduated from National Cheng Kung University Institute of Arts Studies. After finished her master degree, she worked in an alternative space called Absolute Space for the Arts about a year. Then she's now working as film producer of Your Bros. Filmmaking Group, independent curator, and freelancer in Tainan.
成功大學藝術研究所畢業,畢業後於台南絕對空間工作一年,離開後擔任製片同時為策展人、藝術工作者、你哥影視社成員,工作與居住於台南。

陳佳欣 Chen Jia Xin
Born in Tainan, Taiwan. Graduated from Tainan National University of the Arts. Major in Art History. Interested in the feeling between body and space. Now work as exhibition project specialist and researching artworks and artists. Like milk tea and and sharpening pencils.
臺灣臺南人,國立臺南藝術大學藝術史學系畢業,對人之於空間的感知、身體感覺、路上觀察尤感興趣,現為展覽企劃專案執行,曾任臺南國際攝影節教育推廣工作坊專案執行/阿川行為藝術節專案執行/蕭壠兒童美術館展覽企劃/絕對空間藝術行政等;以藝術史研究方法對作品分析、研究撰寫等。

Sponsor: National Culture and Arts Foundation
贊助單位:財團法人國家文化藝術基金會

                    Lostgens' contemporary Artspace

Monday, January 27, 2020

伏流—馬來西亞與台灣歷史文化的牽連 Underflow - The Historical and Cultural Connection between Malaysia and Taiwan




CURATOR
許遠達 HSU Yuan-Ta

ARTISTS
方偉文 FANG Wei-Wen
林煌迪 LIN Huang-Ti
林書楷 LIN Shu-Kai
拉黑子.達立夫 Rahic.Talif
吳其錚 WU Chi-Zeng
陳妍伊 CHEN Yen-Yi
黃逸民 HUANG Yi-Min
黃志偉 HUANG Chih-Wei
蔡宗祐 TSAI Tsung-Yu
謝宏明 HSIEH Hung-Ming

Arts space operation hour 】
Mon.   Off
Tue. - Fri. 14:00 - 20:00
Sat. - Sun. 14:00 - 21:00
Address|8c, Jalan Panggong, City Centre, 50000 Kuala Lumpur.
TEL|+60 19-683 8397 +60 16-663 9438
-
 



Underflow - The Historical and Cultural Connection between Malaysia and Taiwan
Hsu Yuan-Ta (Assistant Professor of the Department of Fine Arts, Tainan University of Technology)

"Underflow" came from the search of relevance between the historical development of Malaysia and Taiwan. After the national independence movements in Southeast Asia since the World War II, the two seemingly irrelevant countries turned out to have been closely connected since ancient times due to the ocean. Therefore, "Underflow" intends to uncover the historical development and cultural relationship that have long been covered by political borders. 


In terms of either the differentiation and migration of Austronesian languages, or the branches of the diverse Austronesian languages, Taiwan is closely related to South Pacific Islands. Whether it is inferred from the differentiation of language family or the genetic diversity theory of paper mulberry, scholars currently agree with the "Out-of-Taiwan model" in terms of the Austronesian origins. There are certainly a lot of theories behind; however, just considering that the languages used on Orchid Island and Batam Island are 60% similar, and that there is also similarity in their clothing and food habits, the traces of migration are quite evident. Furthermore, scholars have proved that Austronesian languages are somehow related in terms of the numbers, and all the Austronesian languages have the same pronunciation of five as "lima". On the other hand, the mass migration since Ming and Qing Dynasties is also something Taiwan and Malaysia have in common. According to researches on the Malaysian immigration history, there were already prosperous commercial activities and cultural interactions with China back in Tang and Song Dynasties. There were Chinese immigrants during the Yuan Dynasty as well. The Ming treasure voyages also left many immigrants and historical sites in Melaka. As for the relationship between Taiwan and Mainland China, according to the Shihsanhang ruins and Blihun ruins, the earliest nautical trade already existed in prehistoric Early Iron Age. Recorded history of Chinese immigrants dates back to Tang, Song and Yuan Dynasties, and during the Ming and Qing Dynasties, large numbers of Chinese people crossed the Taiwan Strait and immigrated in Taiwan. As a result, there are great similarities in the Chinese immigrant history, language, culture, religion and food. 


Besides, during the Age of Discovery in the 17th century, Taiwan and Malaysia were both colonized by the Portuguese and the Dutch Empire, so many colonial architecture and culture remain. For example, a Taiwanese unit of measurement "jia" (甲) came from the Dutch word "akker" when colonized by the Dutch and the Spanish. A typical Dutch architectural feature called "Muuranker" is seen everywhere in Malaysia. Moreover, the Anping Fort and the Chihkan Tower in Taiwan, and the Red House in Melaka are well-known historical sites. Thus, Malaysia and Taiwan have much in common in terms of the indigenous and Chinese cultures. They were both influenced by World War I and II, and broke from the political and military colonization after the wars. 


However, due to the geographical and natural environment, the historical culture and the neighboring immigrant culture, Malaysia and Taiwan have developed different cultures of their own. For example, the Malaysian, Malaysian Austonesian and neighboring languages merged into the Baba-Nyonya. And Taiwanese Chinese have developed many linguistic and food cultures that are hugely different from the immigrants’ hometowns. In terms of religion, take the temple religion for example. Due to the economic development with the colonizing empire and the colonial administration, Malaysian Chinese established "hui guan" (會館, literally meaning "meeting hall") in the name of "kongsi" (公司, literally meaning "company"), for the immigrants originating from the same Chinese province. In Taiwan, due to the rule of the Kingdom of Tungning, the tradition of local committee remains. Besides, languages and food cultures have turned out even more different because of many other connections.
Therefore, the exhibition is curated out of the concept of "underflow", expecting to explore and gaze the underflow by means of these creative works originated from history, culture, religion, language and so on by each artist. Through the works of the artists in this exhibition, we hope that the underflow of Malaysian and Taiwanese history and culture get to be seen. 


伏流—馬來西亞與台灣歷史文化的牽連
文/許遠達 台南應用科技大學美術系助理教授

「伏流」來自於馬來西亞與台灣歷史發展間的關聯性探尋,二次戰後的東南亞民族獨立潮流後,看似無所關聯的兩個國家,卻因海洋而自古有著許多密切的牽連關係。因此,以「伏流」企圖顯現那些長久以來被政治界線遮掩的歷史發展與文化關係。
無論是南島語系的分化遷移,或是南島多元語系的分支,台灣與南太平洋群島的關係密切,無論是依據語系的分化推論抑或是以構樹遺傳多樣性理論,目前南島起源被學者認為是「出台灣說」。這裡面當然學者有諸多的理論,但單就蘭嶼與巴丹島的語言有60%相似,加上穿著、飲食等等,都有著極為明顯的遷移痕跡。而學者更證明了南島語言在數字上的語音若干對應關係,而其中數字五(lima)的發音在各語族間無所不在。抑或是明清以來華人的移民潮,據學者研究馬來西亞移民史唐宋十已有密切的商業活動及文化交流,元代時即有華人在當時定居,明代鄭和下西洋更於馬六甲留下許多的移民與歷史遺跡。而台灣與中國大陸的關係從十三行遺址及近來挖掘的漢本遺址看來,台灣最早在史前的前鐵器時代與中國大陸即有航海貿易的關係。而在文字記載的華人移民在唐、宋、元以來即有交往,明清時期,即有大量的華人跨越黑水溝前來移居。因此,華人的移民史、語言、文化、宗教信仰、飲食有著極大的類似性。
另外,在17世紀大航海時期也都接受過葡萄亞人與荷蘭人的帝國殖民階段,因此也都遺留了許多的殖民建築遺跡與文化,如台灣的「甲」的單位便是來自於荷西殖民時期荷蘭語「akker」的文化遺緒,及荷蘭的鐵剪刀建築形式,在馬來西亞亦隨處可見,台灣的安平古堡、赤崁樓、麻六甲的紅屋更是知名的歷史遺跡與古蹟。由此,馬來西亞與台灣在原民文化、華人文化有著許多的相關性。於戰後,也都經歷了世界第一、第二次大戰的歷史渦流,而於戰後脫離政治軍事殖民。
然而,卻由於地理、自然環境與歷史文化與鄰近地區移民文化的發展不同的文化差異,如馬來西亞與馬來南島族群及鄰近族群語言融合下所形成的峇峇娘惹(Baba-Nyonya)族群,而台灣的華人也發展了許多與華人移民原鄉極大差異的語言與飲食文化。在宗教上舉寺廟信仰為例,馬來西亞華人族群因與殖民帝國間的經濟發展與殖民地治理的關係,而以「公司」為名,建立族群的會館,而台灣則因明鄭的關係,而維持地方傳統頭人的委員會方式。另外,語言與飲食更是在許多的連結下發展著更多的差異。
因此,本展以「伏流」的概念成展,期望藉由個藝術家由歷史、文化、宗教及語言各方面的創作,探索伏流,凝視伏流,藉由本展藝術家作品的展現使馬來西亞與台灣的歷史文化伏流得以可見。


Organizer:絕對空間 Absolute Space for the Arts 
Co-organizer:Lostgens
贊助單位:ACC 亞洲文化協會

Monday, January 13, 2020

滯留村中駐村計畫展 Stranded in Kampung AIR




Artist in Residency
13 January - 10 February 2020 

方偉文 Fang Wei Wen
Born in Brunei as a first generation of oversea Kimen, Fukien descendant in 1970, went to Chung Hwa Middle School from kinder-garden, started to interested in drawing during middle school because of Hong Kong comics. After finishing high school, decided to go to Taiwan for undergraduate studies in art. Enrolled in TUNGHAI University, Fine Arts Department in 1988. Determined to take on a career in art after graduation in 1993, stayed and worked in Taichung for four years. Moved to Tainan in 1997 for graduate programme at Tainan National University of the Arts, and has been living and worked in Tainan since then.

1970年出生於汶萊,第一代海外金門人、祖籍福建。從幼稚園開始就讀於中華中學,當時因香港漫畫對繪畫感興趣。高中畢業後,決定在台灣學習藝術創作,1988年進入東海大學美術系,1993年畢業後決定成為職業藝術家,於台中逗留短暫四年,1997年移居台南,在國立台南藝術大學造形所繼續攻讀研究所,畢業後一直在台南生活、工作。



廖修慧 Liao Hsiu Hui,
graduated from National Cheng Kung University Institute of Arts Studies. After finished her master degree, she worked in an alternative space called Absolute Space for the Arts about a year. Then she's now working as film producer of Your Bros. Filmmaking Group, independent curator, and freelancer in Tainan.
成功大學藝術研究所畢業,畢業後於台南絕對空間工作一年,離開後擔任製片同時為策展人、藝術工作者、你哥影視社成員,工作與居住於台南。

 

陳佳欣
臺灣臺南人,國立臺南藝術大學藝術史學系畢業,對人之於空間的感知、身體感覺、路上觀察尤感興趣,現為展覽企劃專案執行,曾任臺南國際攝影節教育推廣工作坊專案執行/阿川行為藝術節專案執行/蕭壠兒童美術館展覽企劃/絕對空間藝術行政等;以藝術史研究方法對作品分析、研究撰寫等

Wednesday, January 1, 2020

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.

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