Saturday, October 22, 2016

Curator Talk by Alice Ko 柯念璞 The Geography of Abandoned People ーSpatiality, Resistance and Art Activism in East Asia

The Geography of Abandoned People ーSpatiality, Resistance and Art Activism in East Asia

The talk will take Funamoto Shuji as a reflection of contemporary human condition in emerging process of urban change in East Asia.Funamoto Shuji was born in Manchuria in 1945. Since 1968, he has been active in the day-workers’ labor movement in Osaka and Tokyo’s Yoseba (the day-labor market. Day-workers were the workers who were used and disposed of on a day-to-day basis, suffering from very unstable working and living conditions. Most radically problematizing the characteristics of the day-workers who appeared in the process of Japan’s modernization, Funamoto defined them as “fluid underclass workers.” He also stressed the fact that they had been mobilized by state policy and then ruled and disposed of by the violent labor control. In June 1975, Funamoto self-immolated in front of the gate of the US Kadena Military Base, protesting against the Okinawa visit of the crown emperor, Akihito.

The speaker will take Funamoto’s path as a unique point and a historical perspective to look into the impact of state and social relations on urban development in contemporary society. And from different East Asian geographical locations,such as the border, shelter, and labour market areas, as its starting points to reflect on the connections between national and politics of life. Through a great amount of fieldwork, artists have investigated, narrated, and made a collective effort to create different sample slides, which have created a diverse portrayal of East Asia in spatial contexts.And how artists through an understanding of geographic space, wandering, and settling, at the borders of their home country and community, to themselves, the land, and others, and those that have been defined as dangerous and contagious objects; those excluded from the city set out on a journey for the renewed pursuit and the process of establishing a dual perspective.

本講座引自船本州治(Funamoto Shuji)「棄民」一詞之意,作為開啓反思當代都市中生命近況的參照,其意指為在國家與資本權力操縱下被迫移動的生命處境。1945年出生於滿洲的船本州治,1968年開始參與東京山谷及大阪的都市勞工運動。同樣身於日雇型勞動環境之中,船本捕捉了日本現代化後,特定社會空間下所生產的流動底層勞動力。最終,船本於1975年於沖繩的美軍嘉手納基地前,於皇太子親訪沖繩時抗議並自焚而死。講者以船本州治作為一個重拾其歷史意義放置於當今社會的支點,回看亞洲在當今疆域的侵略、經濟圈的融合、土地的佔有與仕紳化.本次講座將以講者自身研究及策展經驗為核心,並於案例報告中討論如何以從東亞的邊界、勞工聚落、郊區等地理空間,理解並探尋東亞歷史之間的聯結與生命政治,藝術實踐談如何以田野調查、敘事、集體合作、共同體再造等多樣的生產方式重新詮釋並展現東亞社群的異樣切片。並透過個體的遊走或駐守,在國家的邊界與社群,對異己、土地與他方,以及那些定義為危險污穢之物、從城市裏排除的他者,建立起雙重視角的探索歷程。

Speaker : Alice Ko

Alice Ko as an independent curator and researcher focusing on building the connection and platform of the contemporary art in East Asia.Her curatorial practice centers around use of urban studies in East Asia, artistic action, social movement, and colonial history.In 2013, she was the curator of Reverse Niche – Dialogue and Rebuilding at the City’s Edge (Hong Kong, Osaka and Taiwan). In 2014, she participated in the Bi-City Biennale of Urbanism\ Architecture (Hong Kong) and organized the symposium We Are Everywhere—Community Art in the mist of Proletarianized Spatial Production—A Critical Approach (Hong Kong). In 2015, she was the curator of Beyond the Borderline- Exiles from the Native Land (Taiwan, Hong Kong, Tokyo, Korea and Beijing).



贊助單位 中華民國文化部 Ministry of Culture (Taiwan)

Wednesday, July 27, 2016

Mosquito Bite 蚊子叮 ~ Solo exhibition by CC Kua

Mosquito Bite 蚊子叮 ~ Solo exhibition by CC Kua
Curator: Yeoh Lian Heng

Exhibition date : 31 July (sun) - 14 August (sun) 2016
Open: Tuesday to Sunday, 1pm - 6pm
(Monday closed)

Exhibition opening
Date : 31 July 2016, Sunday, 8pm.
light refreshment will be served.
admission free

Artist Statement

I often wonder a question about tomato: is it vegetable or fruit?
This is not important, as being apart from the tags defined by human, tomato is just a tomato by itself.

Despite of this, I stubbornly classify tomato as vegetable, this has been affirmed since I was a child. As I grow older, I gradually came to realize that our world is not enveloped by atmosphere, but our values and perception. Hence it is impossible to achieve total equality in the world, and that’s the reason why we need philosophy and art.

I enjoy living in ordinariness of life, petty and trivial things are not necessarily insignificant; instead, they have their own intrinsic quintessence waiting for us to excavate, yet this effort of uncovering only works in an impromptu manner, just like nose picking.

I am fully awake, but I love falling into slumber, as in the realm of dream, every illogical sequence and fragment accumulates, forming mesmerizing plots.

I share the same gesture in sleeping and drawing, which my mouth opens inadvertently.

Being conscious doesn’t mean that you see things clearly, in the midst of ambiguous and turbidity there lies infinite possibilities; like a person with high myopia just arising from his bed without glasses mistakenly fry his goldfish as normal fish, since then this was registered as one of his life experience.

Silently throwing pebbles into the lake, infinite ripples formed.

To me, art is something like that, it is a little destructive, a little elusive, a little therapeutic, carries a touch of Zen.

As the ripple spreads on there will be several possibilities:

1.the lake returns as it was before
2.the ripples grow bigger and eventually turn into a whirlpool
3. the ripples transform into a WIFI router.

I rather throw more pebbles. I believe human exists first before art, and art is just a medium, not a grandiose mall.




一個人站在湖邊丟石頭,於是起了漣漪。藝術對我而言就是這種感覺,它有點破壞性,有點迷幻,有點療愈,有點禪味。漣漪之后的世界有幾個可能性:1.湖水恢復平靜 2.湖水變成了漩渦 3.漣漪變成了WIFI。我願意丟多一些石頭。我相信先有人才有藝術,藝術是媒介而不是殿堂。

CC Kua

Monday, July 4, 2016

【講座】「社區藝術」的破與立 --《活化廳駐場計劃》出版發佈




日期:2016年7月10日 (星期日)
時間:1930 - 2130

有關【活化廳駐場計劃 II : 社區-藝術-行動】

「活化廳駐場計劃」期望就亞洲各城市的藝術行動與批判實踐提供交流平台。是次計劃分別邀請到來自北京「家作坊」的何穎雅和Fotini Lazaridou-Hatzigoga、吉隆坡的「茨廠街社區藝術計劃」、台灣藝術家高俊宏及香港藝術家盧樂謙和梁志剛。


Sunday, April 17, 2016




1. “全球華語”概念及其研究(2堂課)

- “全球華語”概念
- “全球華語”研究工作的展開

2. 馬來西亞華語的特點及其形成因素(1堂課)

3. 馬來西亞華語概述(4堂課)

- 近現代漢語形成視野下的“馬來西亞華語”
- 馬來西亞華語的詞彙特點
- 馬來西亞華語的語言、語法特點
- 馬來西亞華語方言概述

4. 馬來西亞華語研究現狀(3堂課)

- 馬來西亞華語研究歷史概述
- 語言本體領域的研究現狀
- 語言應用領域的研究現

上課日期: 2 / 5 - 1 / 6 / 2016 (逢禮拜一和三)

上課時間 :8pm-10pm

上課地點 : Lostgens 當代藝術空間

課程收費 : RM 200 

                      RM 150 ( 在籍学生 )

報名方式:請將學費存入 Lost generation gallery

514114444696 (maybank )



報名截止: 27/4/2016

Tuesday, March 8, 2016

Drawing —> Sculptur

A new workshop by German artist Astrid Köppe,
by now a regular collaborator of the Goethe Institut.

The workshop is going to examine the relationship between drawing and sculpture & installation and look at possible transformations of 2D- towards 3D-techniques.

In the first part on Saturday, Astrid Köppe will talk about her own experience of developing 3D-artworks that have their starting point in drawing as well as introduce positions of other artists who work in the field. Afterwards the participants will have the opportunity to try out a few of these approaches for themselves, discuss their ideas and develop own concepts for the construction of lines in a 3D space.

We will start and end rather early that day to give participants some time in the afternoon to research and procure own materials for the second part of the workshop.

On Sunday we will go through the materials brought in by the participants and discuss their plans. The next 3-4 hours will be devoted to developing new artworks while employing and adapting the methods we studied earlier.

Astrid Köppe will be working on a piece herself and be there for advice and debate throughout. The event will be concluded by a final presentation of the works.

The workshop is aimed mainly at art students and young artists, but anyone interested in the subject and with at least a basic drawing knowledge is most welcome to take part.

Date & Time:
Saturday 12 (sat) March 2016 , 10 am - 2 pm
Sunday, 13 (sun) March 2016 , 1 am- 5 pm

Lostgens’ contemporary art space
8c, Jalan Panggung
50000 Kuala Lumpur

Register :
Workshop fee : Rm 50 for 2 day
Fb: : Lostgens
H/p : 0196838397

Sunday, February 28, 2016


Lostgens' 学社: <宗教哲學>




東方神祕學-Everything is god-實體-吸引力法則-分裂-铃木大拙-肉身成道-跟宇宙結合-浪漫主義-謝林-Gnosticism-轉世-榮格-集體潛意識-催眠-量子物理學- 超人-真愛-海德格爾-傾聽存有-輪迴-靈魂-超理性-泛神論-藝術形上學-通靈-斯賓諾沙-GURU-老子-一元論-後現代哲學-New age movement-嬉皮士-All is one-磁場-超意識-真神-超二元對立-聖經-光與宗教-能量-<秘密>-<與神對話>-<六祖壇經>-佛陀-天人合一-基督-活在當下-覺悟……等 等。


開課:15/3/2016 -31 / 5 / 2016 (每逢星期二)
時間:8:00pm -10:00pm
地點: Lostgens‘ 當代藝術空間
8c, Jln Panggung, 50000 KL.

学费: 工作人士 Rm 220 ( 共十二堂课)
在籍学生 Rm 150
报名方式:請將學費存入 Lost generation gallery
514114444696 (maybank )
询问: 019-6838397 兩興

Wednesday, January 20, 2016

Curating Topography: Art Curating, Globalization and the Sense of Place by Sandy Hsiu-chih Lo 策展地誌學:藝術策展/全球化/地方感 /羅秀芝

Date : 24 Jan 2015
Time: 7 pm
Venue: Lostgens'  

The conception of “curating topography” (or “topographic curating”) I raised here can be briefly described by the graph of curating topography (see figure 1). The “origin” in the middle refers to the origin of “cognitive mapping”, which emphasizes the cognitive mapping proposed by Fredric Jameson. It tries to endow individual subjectivity by intensifying new sense of place in a global system, and creates new model of representation with complex represent dialectics, in order to enhance the self-positioning accuracy, prove the ability of understanding the world, and represent the imaginative relationship between oneself and the real situation . The “origin” is similar to the “standpoint” and “point of viewing” of traditional landscape painters, and is also the origin of curating topography”. Only by starting from this “origin” is the topographic curating able to show the representation of space with a sense of place, and to lay a real foundation for subject positioning.

Curating topography also starts from and aims at the place outside the “origin” and the concentric circle of “sense of place”. Cognitive mapping is related to self-positioning and understanding the world, and “place” is also “a way of seeing, knowing and understand the world”. “If we regard the world as a composition of different places, we can see different matters. If the ‘origin’ is the self-position of cognitive mapping, then ‘place’ is the positioning anchor of one’s identification and worldview. ” Just like what Harvey has said, “The preservation or construction of a sense of place is then an active moment in the passage from memory to hope, from past to future.” The place is regarded as the foundation of resistance of politics and an important force to fight capitalist commodity flow and monetization. It activates the environment and society by combining local characteristics and recovering collective memories. However, Harvey also emphasized the dangerousness of exclusive nationalism and local fascism in particular. If, the memory of place is closely related to local conceptions, and it’s difficult to share with outsiders, then insurmountable barriers, exclusive nationalism and localism will take shape.

The “sense of place” is like what Massey has said, “What we need, it seems to me, is a global sense of the local, a global sense of place.” No matter in Harvey’s “cosmopolitanism” or Massey’s “global sense”, the sense of place expressed by art language may surpass the limits of place and acquire more universality because the art language can be shared more easily. Besides, the imaginative “place” is greatly powerful, because it’s away from the present and the past, and aims at the future. Driven by the utopian thoughts and desire, it plays a more important role in politics. Then, what is more appropriate than art to describe the utopian imagination? In the art reality of the globalization, biennial exhibitions and art fairs, which are seen everywhere, are the mainstream art trends. They are not only the main functioning operational mechanism in global art that increasingly converge, but also an important link of transnational capitalism economy. Curating topography maybe a way out to break through the mechanism that confine the power of art and wear down the creativity of art.

In my theory of curating topography, the art that stems from the origin of cognitive mapping and the sense of place reappears some “landscapes” of place, which I name them as “being landscapes” and “becoming landscapes”. The “landscapes” of these two types interact as both cause and effect with the “sense of place”. However, “landscape” is different with “place”, the former, in general, combines physical landscape (object of being seen) and viewpoint (way of seeing). Most viewers are outside the landscape; on the contrary, they are in it as far as “place” is concerned . Both of “being landscapes” and “becoming landscapes” stem from and are shaped by the “origin” of cognitive mapping, in which viewers are exposed to both outside and inside of the landscape, and afford the cognitive mapping of place—“sense of place”. If there is a deeper connection between “being landscapes” and “imaginative” place, then “becoming landscapes” is more closely connected with the place in the real world. Eventually, “being landscapes” and “becoming landscapes” that stem from the “sense of place” will become new elements of it and jointly compose the huge collage of the place.

Curator Bio
Sandy Lo Hsiu-chih lives in Hsin-chu, Taiwan, and works as an independent curator, art critic, film critic and filmmaker.

Her major curatorial projects include “Di Hwa Sewage Treatment Plant Art Installation: A New Cosmopolitan World”(co-curator, Taipei, 2004-2005), “Pop Pill” (“Shanghai Cool”, Taiwan Section, Doland Museum, Shanghai, 2005), “Border-crossing: the Shadow Dance of Cities”, (Taipei, Tainan, 2005), “Border-crossing, A Tale of Two Cities” (Taipei, Shanghai, 2005-2006), “ Exorcising Exoticism”(Taipei, 2006) ,“Poetic Borderline” (“Borderliner”, Taiwan Section, Festival of Contemporary Art Varna, Bulgaria, 2007). She is the co-curator of the related project of 9th Shanghai Biennale “Zhongshan Park Project”(Taiwan, China, 2012-2013). Her recent curatorial works are “A Revelation from Ponso no Tao”(Orchid Island, Taiwan, 2014) and “Taitung Ruin Academy”(Taitung, Taiwan, 2014).

「策展地誌學」(curating topography,或稱「地誌學式的策展」),其主要概念可以藉策展地誌學圖示(上圖)簡要說明。最中心的「原點」(origin)指的是「認知繪圖」的原點,強調詹明信所主張的認知繪圖美學,企圖在全球系統下藉由增強某種全新的地方感而賦予個人主體性,並以複雜的再現辯證法創造全新的再現模式,以便更準確地自我定位和增進認識世界的能力,並精確再現自我與真實處境的想像關係 。這個「原點」類似傳統風景畫家的「立足點」和「觀視點」,同時,也是當代「策展地誌學」的起點。唯有由此「原點」出發,地誌學式的策展才可能呈現一種具有地方感的空間再現,並為主體定位奠定真實的基礎。

在「原點」外圈和其成同心圓的「地方感」(sense of place),是策展地誌學的另一個起點,同時,也是目的之一。認知繪圖關乎自我定位和認識世界,「地方」(place) 也是也是一種「觀看、認識和理解世界的方式」 。我們若把世界看成由各種地方組成的世界,就得以看見不同的事物。如果,「原點」是認知繪圖的自我定位點,那麼,「地方」也就是認同與世界觀的定位錨。誠如哈維所言,「地方是承載集體記憶的場域,寄予了對未來的諸多想望。」 地方被視為抵抗政治的基礎,透過凝聚地方特質與復甦集體記憶,得以激活環境和社會,是對抗資本主義商品流動與貨幣化的重要力量。不過,哈維也特別強調排他性國族主義和地方法西斯主義的危險。如果,屬於一個地方的記憶和地方概念緊密相連且難以和外人分享,將形成難以逾越的隔閡和排他性的國族主義、地方主義。關於「地方感」,一如梅西所言「對我而言,重要的是全球在地感和全球地方感。」 不管是哈維所指的「寰宇主義」(cosmopolitanism)還是梅西的「全球感」(global sense),或許,藉由藝術語言表達的地方感,由於具備共享性的藝術語彙,而得以超越地方侷限,獲得更大的普遍性。此外,想像的「地方」具有強大的力量,因為脫離現實與過往,面向的是未來,被一種烏托邦的思想和慾望所驅動,在政治中扮演更為重要的角色。那麼,還有什麼比藝術,更適合勾勒烏托邦想像呢? 全球化下的藝術現實裡,隨處可見的雙年展和藝術博覽會是主流的藝術趨勢,不僅成為全球藝術日漸趨同的主要運作機制,也扮演著資本主義跨國性經濟的重要環節。企圖突破此侷限藝術能量與消磨藝術創意的機制,或許,「策展地誌學」是個可能的出路。

在我的「策展地誌學」理論中,由認知繪圖原點和地方感出發的藝術,再現了地方的某種「風景」,我稱之為「存在的風景」(being landscapes)和「流變的地景」(becoming landscapes)。此兩種類型的landscapes,和「地方感」有互為因果的關係。但,風景(地景)和地方有別,風景,一般而言,結合了有形的地貌(被看的事物)和視點(觀看的方式)。大部分的觀者在風景之外;相反地,就地方而言,大部分的觀者則置身其中。 同樣由認知繪圖「原點」出發所形塑的「存在的風景」和「流變的地景」中,觀者穿行於風景內外,並共構了一個地方的認知繪圖──「地方感」。倘若,「存在的風景」和「想像」的地方有更深的連接,那麼,「流變的地景」就與真實空間中的地方有更緊密的勾連。最終,源生自地方感的「存在的風景」與「流變的地景」,也將成為組成地方感的新元素,共同完成地方的巨幅拼貼。

獨立策展人, 獨立影片工作者, 淡江大学讲师

2007年第四屆保加利亞瓦納爾當代藝術節(Festival of Contemporary Art Varna)台灣策展人,策劃〈影詩疆界〉。




Tuesday, January 5, 2016

The Other's Words ~ Video installation by Chan Lai Kuen

“There can be no such thing as an isolated utterance. It always presupposes utterances that precede and follow it. No one utterance can be either the first or the last. Each is only a link in the chain, and none can be studied outside this chain. Among utterances there exist relations that cannot be defined in either mechanistic or linguistic categories. They have no analogues.”- Mikhail Bakhtin

Exhibition Opening : 9 January 2016 (Sat ) 8pm
Performance : 9 January 2016 (Sat) 8.30pm
Artist sharing ( with Dutch cheese ) : 10 January 2016 (Sun) 4pm

Exhibition : 9 January (Sat) ­- 22 January 2016 (Fri)
Space opening hour : 2pm – 7pm, Closed on Monday

Artist Talk