tag:blogger.com,1999:blog-18272619800754511142024-03-10T12:13:38.047-07:00Lostgens Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.comBlogger154125tag:blogger.com,1999:blog-1827261980075451114.post-78360192670126907632020-11-30T23:51:00.006-08:002021-01-27T06:25:28.653-08:00 Lostgens’ Digital Database, Archive and Online Platform Project<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NQ-cEQ2zgTMpVu4Rba80t2CVUnl2xl6nDwEYMG9-iFuMduMp5s5jRuhgF00oXkpTU7K9KA6vAi-OwIW7GippyaTdDdij_kMlkRzZ_NAdZug50Sca5YRyrgMgbrT2MV-vl59Ts0O0D-k/s2048/133111299_3727567187265354_4193718699184729929_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NQ-cEQ2zgTMpVu4Rba80t2CVUnl2xl6nDwEYMG9-iFuMduMp5s5jRuhgF00oXkpTU7K9KA6vAi-OwIW7GippyaTdDdij_kMlkRzZ_NAdZug50Sca5YRyrgMgbrT2MV-vl59Ts0O0D-k/w640-h400/133111299_3727567187265354_4193718699184729929_o.jpg" width="640" /></a></div><div class="separator" style="clear: both; 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text-align: left;"><div class="qzhwtbm6 knvmm38d"><span style="font-family: arial;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu jq4qci2q a3bd9o3v knj5qynh oo9gr5id">Dear
Lostgens’ friends and partners, we are pleased to inform you that we
are currently lacquering the final layers on Lostgens’ Digital Database,
Archive and Online Platform Project (up to year 2020) by receiving the
great support from Internationaler Hilfsfonds 2020 / Goethe-Institut. <br /><br />We will release Lostgens’ official website on 28 January 2021, please stay tune!</span></span></span></div><div class="qzhwtbm6 knvmm38d"><span style="font-family: arial;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu jq4qci2q a3bd9o3v knj5qynh oo9gr5id"> </span></span></span></div><div class="qzhwtbm6 knvmm38d"><span style="font-family: arial;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu jq4qci2q a3bd9o3v knj5qynh oo9gr5id"> </span></span></span></div> </div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">Lostgens’ Digital Database, Archive and Online Platform Project</span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><b><span style="font-family: arial;">“ Funded by the International Relief Fun of German Federal Foreign Office,<br />The Goethe - Institut , and other partners: www.gothe.de/relieffund”</span><br /></b></div><div class="separator" style="clear: both; text-align: center;"><b> </b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggAIMXWTPnTK5fO3-vF4mFt85kehm30_P46gZ5ejzm_WmGDol1kjA5FcAJnO_KUuMSMHsrLrGlaL6r2-ZIjTcegIVguUATEBItJczJvuSLBNH7yUInlrihoRTO6lb6IPl7w7-RtK7odnM/s180/AA_Englisch.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="104" data-original-width="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggAIMXWTPnTK5fO3-vF4mFt85kehm30_P46gZ5ejzm_WmGDol1kjA5FcAJnO_KUuMSMHsrLrGlaL6r2-ZIjTcegIVguUATEBItJczJvuSLBNH7yUInlrihoRTO6lb6IPl7w7-RtK7odnM/s0/AA_Englisch.jpg" /></a></div></div><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1KdR_2nHPQe5CiJYlgfXTh45APw_ViVEtS4bLsDBTWjfrYblRH1_8LY6HgnAYSq2siX1cUIlZydrVOseJF1TRP-PSvSRwBg7S8YZp2IyD8Z5-3kiWfF_s2105zlSaOXod7jUQOnaTPk/s1134/Bosch_Logo_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="1134" height="82" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1KdR_2nHPQe5CiJYlgfXTh45APw_ViVEtS4bLsDBTWjfrYblRH1_8LY6HgnAYSq2siX1cUIlZydrVOseJF1TRP-PSvSRwBg7S8YZp2IyD8Z5-3kiWfF_s2105zlSaOXod7jUQOnaTPk/w200-h82/Bosch_Logo_.jpg" width="200" /></a></div><p></p><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIwMR5Y3c0nLeKiC4G1zbGkQ05-zZ_DWWgbnBxUpGteBKgQuzLGYjQ5l2iK4pj2xKA50yz-0gK27j3RGA3vdCfpPlyQvzzglndBYJLsUt34DiPjTYdgGzkSaJKjmMA_x7Wtxp6jNe7c1k/s1413/GI_Logo_horizontal_green_sRGB.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="1413" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIwMR5Y3c0nLeKiC4G1zbGkQ05-zZ_DWWgbnBxUpGteBKgQuzLGYjQ5l2iK4pj2xKA50yz-0gK27j3RGA3vdCfpPlyQvzzglndBYJLsUt34DiPjTYdgGzkSaJKjmMA_x7Wtxp6jNe7c1k/w200-h94/GI_Logo_horizontal_green_sRGB.jpg" width="200" /></a></div><p></p><p><br /><br /><br /> </p><br /><br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-55758111691106833692020-02-07T07:04:00.000-08:002020-02-19T07:12:43.178-08:00 囉-箘 新村:滯留村中駐村計畫展<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">展期 Date | 2020/02/09 Sun. - 3/1 Sun. <br />時間 Time | 14:00 P. M - 20: 00 P. M<br /> *星期一休息 close on monday <br /><br />開幕茶會 Opening | 2020/02/09 Sun 17:00 P. M<br /><br />地址 Address|8c, Jalan Panggong, City Centre, 50000 <br /> Kuala Lumpur. 馬來西亞,吉隆坡<br /><br />電話 TEL|+60 19-683 8397 +60 16-663 9438<br /><br />Kampung Logeen: Stranded in Kampung <br /> <br />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. <br /><br />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.<br /><br />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.<br /><br />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.<br /><br />囉-箘 新村:滯留村中駐村計畫展<br />「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。<br />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。<br /><br />Artist in Residency_駐村成員介紹:<br />Residency Duration_駐村時間:13 January - 10 February 2020<br /><br />方偉文 Fang Wei Wen<br />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.<br />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。<br /><br />廖修慧 Liao Hsiu Hui<br />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.<br />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。<br /><br />陳佳欣 Chen Jia Xin<br />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.<br />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。<br /><br />Sponsor: National Culture and Arts Foundation<br />贊助單位:財團法人國家文化藝術基金會</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> Lostgens' contemporary Artspace </span></div>
Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com1tag:blogger.com,1999:blog-1827261980075451114.post-10171604189156965822020-01-27T01:17:00.002-08:002020-01-27T01:41:05.569-08:00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<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">CURATOR<br />許遠達 HSU Yuan-Ta<br /><br />ARTISTS<br />方偉文 FANG Wei-Wen<br />林煌迪 LIN Huang-Ti<br />林書楷 LIN Shu-Kai<br />拉黑子.達立夫 Rahic.Talif<br />吳其錚 WU Chi-Zeng<br />陳妍伊 CHEN Yen-Yi<br />黃逸民 HUANG Yi-Min<br />黃志偉 HUANG Chih-Wei<br />蔡宗祐 TSAI Tsung-Yu<br />謝宏明 HSIEH Hung-Ming<br /><br />Arts space operation hour 】<br />Mon. Off <br />Tue. - Fri. 14:00 - 20:00<br />Sat. - Sun. 14:00 - 21:00<br />Address|8c, Jalan Panggong, City Centre, 50000 Kuala Lumpur.<br />TEL|+60 19-683 8397 +60 16-663 9438<br />-<br /> </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Underflow - The Historical and Cultural Connection between Malaysia and Taiwan<br />Hsu Yuan-Ta (Assistant Professor of the Department of Fine Arts, Tainan University of Technology)<br /><br />"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. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br />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. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br />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. </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br />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. <br />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. </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">伏流—馬來西亞與台灣歷史文化的牽連<br />文/許遠達 台南應用科技大學美術系助理教授<br /><br />「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。<br />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。<br />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。<br />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。<br />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。</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Organizer:絕對空間 </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Absolute Space for the Arts </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Co-organizer:Lostgens<br />贊助單位:ACC 亞洲文化協會 </span></span>Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-71225882486343059502020-01-13T07:10:00.000-08:002020-02-19T07:10:38.739-08:00滯留村中駐村計畫展 Stranded in Kampung AIR<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Artist in Residency </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">13 January - 10 February 2020 </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">方偉文 Fang Wei Wen</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">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 <span class="text_exposed_show">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.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">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。</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">廖修慧 Liao Hsiu Hui, </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">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.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">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。</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtiZLYUa6Ndu0rL0SEm5EmHcDxXT_zS-liLIBOGwVrnXMTBCB3MBkxA3CWqtyy4CH9nY7DqwpdjA35RTTb6VoDM8QQZl8aMilD66MSfg4Z96CnZuQUHKmZrKlPD0RkZ-YBhLKQQicL2TI/s1600/%25E4%25BD%25B3%25E6%25AC%25A3jiaxin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtiZLYUa6Ndu0rL0SEm5EmHcDxXT_zS-liLIBOGwVrnXMTBCB3MBkxA3CWqtyy4CH9nY7DqwpdjA35RTTb6VoDM8QQZl8aMilD66MSfg4Z96CnZuQUHKmZrKlPD0RkZ-YBhLKQQicL2TI/s400/%25E4%25BD%25B3%25E6%25AC%25A3jiaxin.jpg" width="400" /></a><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">陳佳欣</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">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</span></div>
Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-31916922528494066992020-01-01T08:40:00.000-08:002020-01-05T08:41:30.664-08:00陶朋聚藝聯展<div class="separator" style="clear: both; text-align: center;">
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<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-25446180642918626422019-10-18T01:02:00.000-07:002019-10-18T01:03:29.756-07:00How artist collective and alternative space survive without proper supporting system, case study Hysteria Collective at Semarang- Indonesia<div class="separator" style="clear: both; text-align: center;">
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Artist Talk:<br />How artist collective and alternative space survive without proper supporting system, case study Hysteria Collective at Semarang- Indonesia)<br /><br />Speaker <br />Ahmad Khairudin ( Indonesia )<br /><br />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.<br /><br />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.Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com1tag:blogger.com,1999:blog-1827261980075451114.post-7136342413826376372019-07-24T06:59:00.000-07:002020-06-16T07:01:55.226-07:00Sarah Schodere artist talk<div class="separator" style="clear: both; text-align: center;">
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<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-86111681826266049862019-07-17T03:23:00.003-07:002019-07-17T03:23:41.659-07:00 《「鬼」哲學 》 <div dir="ltr" style="text-align: left;" trbidi="on">
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<span>《「鬼」哲學 》 <br /><br />「眾生必死,死必歸土,此之謂鬼。」--《禮記•祭義》<br /><br /> 這個世界上有沒有鬼?<br /> 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。<br /><br /> 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。<br /><br /> 不過,這種後現代式的「鬼」的想像,恐怕過於天真。<br /> 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。<br /><br /> 即使,「鬼」可能沒有資格成為任何事物的存有論基礎。<br /> 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?<br /><br /> 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。<br /><br /> 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。<br /><br /> 所以,這是一個具有實驗性的課程。<br /><br />課程綱要<br /> <br />第一課 導論<br />第二課 鬼的形態之現象學分析<br />第三課 論鬼的命名——靈體與形式(一)<br />第四課 論鬼的命名——靈體與形式(二)<br />第五課 論陰陽眼之哲學問題<br />第六課 論靈體俯身之主體性問題(一)<br />第七課 論靈體俯身之主體性問題(二)<br />第八課 論鬼的本質之形上學探討<br /><br />參考書目:<br /><br /><閱微草堂筆記>紀昀<br /><子不語>袁枚<br /><聊齋誌異>蒲松齡<br />六朝志怪小說選<br /><明鬼>墨子<br /><新編中國哲學史>勞思光<br /><通靈者之夢>康德<br /><天堂與地獄> 史威登堡 Emanuel Swedenborg<br /><br /><br />講師:卡夕<br />80後,台灣中興大學中文系學士,台灣中央大學哲學碩士。<br /><br />(八堂課)<br />開課:13/8/2019 -1/ 10/ 2019 (每逢星期二)<br />時間:8:00pm -10:30pm<br />地點: Lostgens‘ 當代藝術空間<br />8c, Jln Panggung, 50000 KL.<br /><br />学费: Rm 200 <br />单堂课 Rm 30<br /><br />報名方式 <br />請將學費存入 Maybank<br />LOSTGENS CONTEMPORARY ARTSPACE <br />564119424427<br />然後將存入單、姓名及聯络 Email 到 lostgens@gmail.com</span></div>
Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-14163035500873728332019-07-17T03:20:00.000-07:002020-06-16T06:46:38.485-07:00Artist Talk Sarah Schoderer<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="1ie7a-0-0"><span data-text="true">Kuala Lumpur / Frankfurt AIR Exchange Program 2019</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="5a4ue-0-0"><span data-text="true">Goethe-Institut KL / Lostgens contemporary ArtSpace KL</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="bjrh-0-0"><span data-text="true">/ Basis Frankfurt .</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="2sgg4-0-0"><span data-text="true">Artist Statement </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="cbcna-0-0"><span data-text="true">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.</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="155cr-0-0"><span data-text="true">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.</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="37plf-0-0"><span data-text="true">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.</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="55pps-0-0"><span data-text="true">Artist Links:</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="fa1ba-0-0"><span data-text="true">1. http://www.perpetuel.net/de/gallery/solo/exhibition/81 </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="38d7b-0-0"><span data-text="true">2. braeuningcontemporary.com / Sarah Schoderer</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="61etg-0-0"><span data-text="true">Date: 21 July 2019</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="c8pcj-0-0"><span data-text="true">Time: 4pm </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="apes6-0-0"><span data-text="true">Venue: Lostgens' Contemporary Artspace</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span data-offset-key="8l81l-0-0"><span data-text="true"> 8c Jalan Panggung </span></span></span></div>
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Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-49260196510252485602019-05-04T01:28:00.004-07:002019-05-04T01:28:56.049-07:00CTRL + ____ . A group exhibition<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">CTRL + ____ . A group exhibition by Emily, Car Chuan, Kah Wah, Yi Henn and Lim Jing<span style="font-family: serif;">.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-family: serif;"> </span><br />Exhibition Motive:<br />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.<br /><br />Artist:<br />1. Emily Chow Wen Qi (b. 1998, Selangor, Malaysia)<br /><br />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.<br /><br />2. Lim Car Chuan (b. 1995, Selangor, Malaysia)<br /><br />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.<br /><br />3. Lok Kah Wah (b. 1996, Kuala Lumpur, Malaysia)<br /><br />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.<br /><br />4. Teo Yi Henn (b. 1998, Johor, Malaysia)<br /><br />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.<br /><br /><br />5. Lim Jing (b. 1998, Perak, Malaysia)<br /><br />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.<br /><br /><br />Date: 6/5/19 - 19/5/19, Close on Mondays<br />Operating time: 11 AM - 6 PM<br /><br />Opening on 5th May, 7 PM till midnight<br />Light refreshment provided</span>Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-64762743488154726122019-04-24T01:46:00.000-07:002019-05-04T01:47:02.168-07:00Bicara Kemanusiaan Pendidikan Anak Marginal<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1hSjv4jkpnwH8PIpT_NbYym-G7iu0dm-Kx4zf2obj0B8sB4HtPD80jJu4A5zk0Sg9_S6ryeKFQWzPZ8oomAfK7r73uNBdZcF2W_qn_3KMkMRn3nbyc4rLRM9-rCmeS0ONQ5LGNnx2XM/s1600/IMG_E0753.jpg" style="margin-left: 1em; margin-right: 1em;"><span aria-level="4" class=" _2iem" role="heading">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-</span><span aria-level="4" class=" _2iem" role="heading">anak ini</span></a></div>
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<span aria-level="4" class=" _2iem" role="heading">anak ini.</span><img border="0" data-original-height="1292" data-original-width="1600" height="515" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1hSjv4jkpnwH8PIpT_NbYym-G7iu0dm-Kx4zf2obj0B8sB4HtPD80jJu4A5zk0Sg9_S6ryeKFQWzPZ8oomAfK7r73uNBdZcF2W_qn_3KMkMRn3nbyc4rLRM9-rCmeS0ONQ5LGNnx2XM/s640/IMG_E0753.jpg" width="640" /></div>
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<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com2tag:blogger.com,1999:blog-1827261980075451114.post-14600864845861097572019-04-16T00:27:00.002-07:002019-04-16T00:28:21.246-07:00Kelab Bangsar Utama X Lostgens': Jelajah Kempen Anak Tanpa Negara<div class="separator" style="clear: both; text-align: center;">
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<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Dengan kerjasama <a href="https://www.facebook.com/Kelab-Bangsar-Utama-452835114784996/" target="_blank">Kelab Bangsar Utama</a> dan <a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a> serta <a href="https://www.facebook.com/Buku-Jalanan-Chow-Kit-1483443061951061/" target="_blank">Buku Jalanan Chow Kit</a>, Jelajah Kempen Anak Tanpa Negara akan singgah di <a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a> untuk Bicara Kemanusiaan yang bertajuk "Pendidikan Anak Marginal".<br /><br />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.<br /><br />Kali ini, bicara akan disampaikan oleh:<br />+ <a href="https://www.facebook.com/rockchill.kembali" target="_blank">Mukmin Nantang</a> (guru <a href="https://www.facebook.com/SekolahAlternatif.MY" target="_blank">Sekolah Alternatif</a>)<br />+ <a href="https://www.facebook.com/hudaahmadtoha" target="_blank">Huda Ahmad</a> (penyelidik)<br />+ <a href="https://www.facebook.com/siti.baharin" target="_blank">Siti Rahayu Baharin</a> (guru <a href="https://www.facebook.com/Buku-Jalanan-Chow-Kit-1483443061951061/" target="_blank">Buku Jalanan Chow Kit</a>)<br /><br />16/4/2019, hari Selasa jam 8 malam di <a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a>.<br /><br />Jemput hadir semua, rakyat Malaysia!</span></span></h3>
Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com1tag:blogger.com,1999:blog-1827261980075451114.post-87459838137802879692019-04-09T00:35:00.000-07:002020-01-27T01:35:55.360-08:00His works and Sa Sa Art Project + Cambodia Art Scene<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Lim Sokchanlina<br />Base in Phnom Penh, Cambodia<br /><a data-lynx-mode="hover" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.limsokchanlina.com%2F%3Ffbclid%3DIwAR03X34qXJUmr5xj2Hemjfy6yZaOMZQ51WQUu--v0ThbCwDpkLCiPnCvRVc&h=AT1Ux2zD5XQe9v9k1vDal_23-tebX3GKGYK_YkGpGvxkKIT5metc3CLQJn0JVe_dF7FrbcINOyqamPl2XRQIaRdvivsw2xHTKvti4Do2KIIHVHdqq5MC3pgpU3YfGA-dw8SbE2hHlPM1T0CpAG_pgdw" href="http://www.limsokchanlina.com/?fbclid=IwAR03X34qXJUmr5xj2Hemjfy6yZaOMZQ51WQUu--v0ThbCwDpkLCiPnCvRVc" rel="nofollow noopener" target="_blank">www.limsokchanlina.com</a><br /><br />Talk: <br />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.<br /><br />Bio:<br />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. <br />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- ).<br /><br /><br />Sa Sa Art Project<br />Phnom Penh city, Cambodia<br />info@sasaart.info<br /><a data-lynx-mode="hover" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.sasaart.info%2F%3Ffbclid%3DIwAR1s19EQLG8IFwEnLN8dE4FSMkbeag-UwTG_t9LckG3nlBdQCpf6uqbj6LY&h=AT1KZAcnswnISyApLOmLn0DbG7QncGGpDHUfEgQiKFNEz8Q-HCzQTqy3WihEeyXjxyLsSFKNysThr7H1Oj1MJ93xO0gtnznBJYoHX20DGyxda0npQcXb5LXPJyWAjAG0BNwBiPGuN6pK-IgEQ74Wv_c" rel="nofollow noopener" target="_blank">www.sasaart.info</a><br /><br />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.<br />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.<br />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.</span>Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-3288155357052630182019-03-31T00:23:00.001-07:002021-02-16T03:46:37.021-08:00聲與影的遊藝場——1950-1970的南洋電影文化<div class="separator" style="clear: both; text-align: center;">
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聲與影的遊藝場——1950-1970的南洋電影文化<br /><br />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。<br /><br />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。<br /><br />潘舜怡主講人<br /><br />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。<br /><br /><br />電影文化工作坊<br />20- 21. 04. 2019 (六、日)<br /> 2pm - 6pm<br /><br />工作坊內容<br />- 冷戰時期的新馬電影文化市場<br />- 香港、新馬的影視遊藝場<br />- 香港、新馬電影的音樂與歌舞文化<br />- 官方語言政策對新馬影視格局的影響<br /><br />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<br /><br />地點 8c, Jalan Panggong, 50000 Kuala Lumpur.<br /><br />學費 一般公眾人士 RM 200;在籍學生 RM 150 <br /> ( 2天課程共8小時,含茶點 ) Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-33933043366337637272019-02-19T22:58:00.004-08:002019-02-19T22:58:54.262-08:00 "Konfabulasi" - Drawings and a wall installation by German artist Astrid Köppe<div dir="ltr" style="text-align: left;" trbidi="on">
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"Konfabulasi" features about 70 new drawings and a wall installation by German artist Astrid Köppe, produced during her current stay in Kuala Lumpur. <br /><br />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.<br /><br />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.</div>
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Exhibition Opening <br />23 Feb 2019 8pm</div>
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"Konfabulasi" runs from 23 Feb until 10 March 2019 at Lostgens' Contemporary Arts space.</div>
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opens daily from 1pm to 7pm, closed on Monday. </div>
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Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-5778640390889772172018-09-19T06:26:00.002-07:002018-09-19T06:26:57.602-07:00街區/社區踏查研究:台灣–馬來西亞兩地交流論壇<div class="separator" style="clear: both; text-align: center;">
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<span>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。<br /><br />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」。<br /><br />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。<br /><br />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!<br /><br />// 本次論壇流程 //<br />14:00-14:30<br />講題:台灣藝術生態機制與東南亞藝術合作之可能<br />主講人:高森信男(策展團體「奧賽德工廠」廠長)<br /><br />14:30-15:00<br />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<br />主講人:楊兩興(Lostgens' contemporary art space創辦人、策展人)<br /><br />15:00-15:30<br />講題:參與式文化─高雄老舊社區的記憶/翻新/再造<br />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)<br /><br />15:30-15:45<br />中場休息<br /><br />15:45-16:15<br />講題:社區藝術工作與在地情感連結<br />主講人:吳敬賢(Lostgens' contemporary art space成員、設計師)<br /><br />16:15-16:45<br />講題:台南歷史街巷踏查與刊物經驗分享<br />主講人:黃逸民(絕對空間執行長)<br /><br />16:45-18:00<br />綜合座談<br />主持人:陳湘汶(獨立策展人、文字工作者)<br /><br /><br />時間:10/06(週六)14:00-18:00<br />地點:絕對空間二樓(台南市中西區民生路一段205巷11號)<br />聯繫方式:absoluteartspace@gmail.com<br />主辦單位:絕對空間<br />指導贊助單位:文化部<br /><br />※本場活動無名額限制,歡迎大家踴躍參加。<br /><br />---------------------------------------------<br /><br />【駐地交流單位簡介】<br />Lostgens’ contemporary art space|<br />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。<br /><br />【講者簡介】<br />楊兩興 Yeoh Lian Heng |<br />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。<br /><br />吳敬賢 JJ Ng Zing Shein |<br />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。<br /><br />高森信男|<br />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<br />;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。<br /><br />李怡志|<br />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。<br /><br />黃逸民|<br />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。<br /><br />陳湘汶|<br />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。</span></div>
Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-65815890830710443162018-09-17T01:31:00.000-07:002020-07-01T03:10:19.814-07:00 Maike häusling artist talk <div class="_5pbx userContent _3576" data-ft="{"tn":"K"}" data-testid="post_message" id="js_u5">
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Kuala Lumpur / Frankfurt AIR Exchange Program 2019<br />
Collaboration<span class="text_exposed_show"><br /> Goethe-Institut KL / Lostgens contemporary ArtSpace KL<br /> / Basis Frankfurt .</span><br />
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<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-61377637874743090062018-08-25T21:12:00.002-07:002018-08-25T21:12:32.120-07:00Interdisciplinary Art Festival Tokyo 17/18 in Malaysia<div class="separator" style="clear: both; text-align: center;">
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Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-21516111436672179062018-08-21T09:26:00.000-07:002018-10-09T09:28:04.438-07:00DECAYEDJUNGLE a group exhibition by S?&K!&Y?<br />
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<br />
“decayedjungle”,
comes from a theoretic metaphysical concept of being in between states
of existence, a transient space where objects are put in a state where
it is neither functioning nor decomposing, serving as a tangent part of a
whole. This tangent space is represented by site-specific installations
within a few spaces of abandon, selected based on the properties and
aesthetics of the location and its surroundings. <br />The constructed
theory is then applied to the elements that surround the theme of urban
living, whether it be development and demolition, acceptance and
alienation or even production and destruction.<br /><br />Along the city
centre, three artists collaborate as a unit to create installation works
that embody and interact with forces that come and go within this
metaphysical property. These locations with constructed artworks serve
as a field of attraction, through its reaction and interaction with the
surrounding forces, it display the somewhat ritualistic processes which
occur between states of existence.<br /><br />As an exchange, they collect
sounds, objects, documentation and retranslate them into different forms
in the exhibition space, as a means to complete the transmission of
forces from one space to another.<br /><br /><br /><br /><br />展覽
“decayedjungle” 源自 “在架構之間找不到棲息地之存在”
的形上學構想。在轉瞬的時空裡,物體存於一種懸置的狀態,即無法發揮本色,亦無法被分解,成為了體系中的偏離之物。這個偏離的時空以裝置藝術結合數個城市內的廢棄空間為元素,並在廢棄空間的選擇上考量了其位置及環境的特殊性。<br /><br />偏離時空的構想接著延伸至圍繞著都市生活的議題中,無論是發展與拆遷、接納與異化、
抑或是生產與毀滅。沿著城市中心,三位藝術家聯合而為一,在帶有玄意的空間創作作品,讓寄居在空間中的無形能量得以彰顯,藉作品为媒介與那些來了又去的無形能量互動。空間因放置了作品而擁有特定的引力,通過作品與無形能量的互動,得以示出發生在狀態之間帶有儀式性色彩的交流。<br /><br />作為交換,三位藝術家收集廢棄空間的聲音、物件及作品紀錄,將它們轉譯成各種型態,展出於展覽空間內,从而完成一個空間至另一個空間的能量傳遞。Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-76888588400206000992018-08-05T09:07:00.000-07:002018-08-18T09:09:05.523-07:00 DECAYEDJUNGLE<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKmtR7AdXE9w7TgAgUJb0PZhFIpPSuKWp9jxEsxmnImuZGkbX91aYjYBaQPlBGuw17UoHQJzJ7iFFoDxSIjZNMZIq_act5ffu-gcKAswhn9Shgj55N7-fKUZyFguYGh4kZWacl66IUXYw/s1600/37217191_10209723926614983_8168322206879711232_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKmtR7AdXE9w7TgAgUJb0PZhFIpPSuKWp9jxEsxmnImuZGkbX91aYjYBaQPlBGuw17UoHQJzJ7iFFoDxSIjZNMZIq_act5ffu-gcKAswhn9Shgj55N7-fKUZyFguYGh4kZWacl66IUXYw/s640/37217191_10209723926614983_8168322206879711232_o.jpg" width="640" /></a></div>
<span>EXHIBITION OPENING<br />(Sat) 04 August 2018 , 7:00pm - 10:00pm<br /><br />VENUE<br /><a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a>’ Contemporary Art Space & <a href="https://www.facebook.com/moutouars/" target="_blank">Moutou 無頭體</a> Artist-Run Space<br /><br />ADDRESS<br />3rd Floor & Rooftop, No.8, Jalan Panggong, City Centre,<br />50000 Kuala Lumpur, W.P. Kuala Lumpur.<br />(opposite MRT Pasar Seni)<br /><br />Refreshments will be served.<br /><br />-<br /><br />EXHIBITION DATES<br />05 August 2018 – 19 August 2018<br /><br />OPENING HOURS<br />Tuesday - Sunday 11:00am – 6:30pm<br />Closed on Monday<br /><br /><br />-----------------------------------------------------<br /><br /><br />DECAYEDJUNGLE<br />a group exhibition by S?&K!&Y?<br /><br />“decayedjungle”,
comes from a theoretic metaphysical concept of being in between states
of existence, a transient space where objects are put in a state where
it is neither functioning nor decomposing, serving as a tangent part of a
whole. This tangent space is represented by site-specific installations
within a few spaces of abandon, selected based on the properties and
aesthetics of the location and its surroundings. <br />The constructed
theory is then applied to the elements that surround the theme of urban
living, whether it be development and demolition, acceptance and
alienation or even production and destruction.<br /><br />Along the city
centre, three artists collaborate as a unit to create installation works
that embody and interact with forces that come and go within this
metaphysical property. These locations with constructed artworks serve
as a field of attraction, through its reaction and interaction with the
surrounding forces, it display the somewhat ritualistic processes which
occur between states of existence.<br /><br />As an exchange, they collect
sounds, objects, documentation and retranslate them into different forms
in the exhibition space, as a means to complete the transmission of
forces from one space to another.<br /><br />The first part of the exhibition will be at <a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a>’ Contemporary Art Space, and the second at <a href="https://www.facebook.com/moutouars/" target="_blank">Moutou 無頭體</a> Artist-Run Space.<br /><br /><br />-<br /><br /><br />展覽
“decayedjungle” 源自 “在架構之間找不到棲息地之存在”
的形上學構想。在轉瞬的時空裡,物體存於一種懸置的狀態,即無法發揮本色,亦無法被分解,成為了體系中的偏離之物。這個偏離的時空以裝置藝術結合數個城市內的廢棄空間為元素,並在廢棄空間的選擇上考量了其位置及環境的特殊性。<br /><br />偏離時空的構想接著延伸至圍繞著都市生活的議題中,無論是發展與拆遷、接納與異化、
抑或是生產與毀滅。沿著城市中心,三位藝術家聯合而為一,在帶有玄意的空間創作作品,讓寄居在空間中的無形能量得以彰顯,藉作品为媒介與那些來了又去的無形能量互動。空間因放置了作品而擁有特定的引力,通過作品與無形能量的互動,得以示出發生在狀態之間帶有儀式性色彩的交流。<br /><br />作為交換,三位藝術家收集廢棄空間的聲音、物件及作品紀錄,將它們轉譯成各種型態,展出於展覽空間內,从而完成一個空間至另一個空間的能量傳遞。<br /><br />展覽被分為兩個部分,第一部份在 <a href="https://www.facebook.com/lostgens/" target="_blank">Lostgens</a>’當代藝術空間展出,第二部份則在天台的 <a href="https://www.facebook.com/moutouars/" target="_blank">Moutou 無頭體</a>藝術家自營空間裡展出。</span>Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com1tag:blogger.com,1999:blog-1827261980075451114.post-42480237943334024242018-07-29T10:19:00.004-07:002018-07-29T10:19:52.704-07:00Lostgens 學堂: 心理學不學<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">讲师简介<br /><br />林道勇 学历: 马来亚大学辅导与谘商学系硕士 南澳州大学心理学本科 现任: 啟航心理谘商中心 (The
insight growth center)创办人之一 马来西亚注册辅导员 (Lembaga Kaunselor Malaysia)
马来西亚催眠与辅助治疗学会会员(Association of Hypnotherapy Practitioners Malaysia)
美国催眠家的国家协会会员(The National Guild of Hypnotists)<br /><br />第 1 堂 (11/8 )<br />心理課 科普心理學<br />課程將會以一種輕鬆有趣的互動去談心理學。不僅僅是我們一般上認為的心理治療科學,讓大家看見更多不同的心理學課。<br />讓對心理學有興趣的你深入淺出地聊一聊。<br /><br />第 2 堂 ( 18/8 )<br />輔導治療與心理學<br />這課程會講解許多心理大師,包括弗洛伊德,榮格,阿德勒,維克多弗蘭克等。有興趣走向了解人類心理發展,這堂課會帶給你一個心理知識的框架。<br /><br />第 3 & 4 堂 ( 15/9, 29/9 )<br />性<br /><br />第 5 & 6 堂 ( 13/10, 20/10 )<br />催眠<br /><br />第 7 & 8 堂 ( 10/11, 17/10 )<br />亲子<br /><br />時間:730pm - 930 pm<br />学费:Rm 300 ( 8 堂課 )<br />單堂: Rm 50<br />报名方式:請將學費存入 Lost generation gallery<br />514114444696 Maybank<br />然後將收據,姓名,职业及联络 Email 到 lostgens@gmail.com<br />询问: 019-6838397 Yeoh</span>Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-55726091658226740052018-05-01T19:49:00.001-07:002020-07-02T10:19:43.843-07:00Exhibition : Games and Politics <br />
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Games
and Politics is an interactive exhibition by the Goethe-Institut, in
cooperation with ZKM | Center for Art and Media, which has been touring
worldwide. The exhibition features 18 significant politically-ambitious
video games, and encourages viewers to examine how they each unfold
their unique political potential.<br /> <br /> The selected games cover a
wide range of political and social topics. The political aspect of these
games becomes visible to the players either directly as they make
decisions affecting social groups and economies to win elections
(Democracy 3), or indirectly as they witness social injustices such as
precarious labour conditions (Sunset), the treatment of refugees (Escape
from Woomera) and addre<span class="text_exposed_show">ss gender issues
(Perfect Woman). The games also lead the players to confrontations with
the surveillance state (Touchtone) and the consequences of armed
conflicts (This War of Mine). Adopting the characters of
often-marginalized people, players experience limited possibilities and
negative sanctions through both the characters and the game play.<br /> <br />
Visitors can also view an introductory film about political games and
short documentaries about some of the games. The accompanying exhibition
catalogue provides background information on the unifying concepts of
these independent games.<br /> <br /> During the exhibition period several
programmes are going to be implemented: Live Playthroughs, Public
Lecture, Documentaries, Workshop and Panel Discussion. The particular
times and dates will be announced on individual Facebook events <a href="https://www.facebook.com/goetheinstitut.malaysia/" rel="nofollow">https://www.facebook.com/<wbr></wbr><span class="word_break"></span>goetheinstitut.malaysia/</a> and on our website <a data-lynx-mode="asynclazy" href="https://l.facebook.com/l.php?u=https%3A%2F%2Fwww.goethe.de%2Fins%2Fmy%2Fen%2Fver.cfm%3Ffuseaction%3Devents.detail%26event_id%3D21258772&h=ATNnJDUsVjkY65U7T0iNC1TubiCRASJrBcu954pmlWNmAebJU_b4vC3DTdPm1GOu7T9UuFZQVuX0v_tUUhweS3CF5dAsSCdt2NMouHrLQtMRro9Kkea3Z9mCo1kYo9QgKSSw9KKi" rel="nofollow" target="_blank">https://www.goethe.de/ins/<wbr></wbr><span class="word_break"></span>my/en/<wbr></wbr><span class="word_break"></span>ver.cfm?fuseaction=events.d<wbr></wbr><span class="word_break"></span>etail&event_id=21258772</a><br /> <br /> FEATURED GAMES<br /> -1378(km) (Jens M. Stober, 2010)<br /> -Coming Out Simulator 2014 (Nicky Case, 2014)<br /> -Democracy 3 (Positech Games, 2013)<br /> -Dys4ia (Newgrounds, Anna Anthropy, 2012)<br /> -Escape from Woomera (Katharine Neil, et.al., 2004)<br /> -Killbox (Biome Collective, 2016)<br /> -Madrid (Gonzalo Frasca, 2004)<br /> -Orwell (Osmotic, 2016)<br /> -Papers, Please (3909, Lucas Pope, 2013)<br /> -Perfect Woman (Peter Lu & Lea Schönfelder, 2016)<br /> -Phone Story (Molleindustria, 2011)<br /> -Sunset (Tale of Tales, 2015)<br /> -The Cat and the Coup (Peter Brinson and Kurosh ValaNejad, 2011)<br /> -The Westport Independent (Double Zero One Zero, 2016)<br /> -This War Of Mine (11 bit studios, 2014)<br /> -TouchTone (Mikengreg, 2015)<br /> -Unmanned (Mollenindustria, 2012)<br /> -Yellow Umbrella (Awesapp, 2014)<br /> <br /> Mature themes are addressed in the exhibition.<br /> <br /> The exhibition is presented in Kuala Lumpur by the Goethe-Institut Malaysia and Lostgens’ Contemporary Art Space. <br /> <br /> The exhibition is free of admission. <br /> <br /> <a data-lynx-mode="asynclazy" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.goethe.de%2Fmalaysia&h=ATNMV0Z1IHM9t97NJsxMJYIA4G1Xu9A7LzeN5fKDn7gXI6DFVqEHvbtIlcSY1ynt78mQjElCjv2MYGTeY--y6jnN82v1oF2piifLRp-nqR-85yDiQf7dwPNggTySWzbyfGz3JhbU" rel="nofollow" target="_blank">www.goethe.de/malaysia</a></span></span><br />
<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-55602470190973639612018-04-15T04:57:00.003-07:002018-04-15T04:57:57.494-07:00Encounter ~ solo exhibition by shiro masuyama 増山 士郎<div class="separator" style="clear: both; text-align: center;">
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<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com1tag:blogger.com,1999:blog-1827261980075451114.post-74342996165166294282018-04-15T04:25:00.001-07:002018-04-15T04:28:16.096-07:00Oh! ‘Rupanya’ Cinta Itu Bunga. Solidarity Festival, Art, Artivism, Collectivism.<div class="separator" style="clear: both; text-align: center;">
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">Photo credit Sim Hoi Lin</span></div>
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details">‘Oh! Rupanya Cinta itu Bunga’, adalah sebuah idea tentang keterlibatan Seni, Aktivisme </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> dan kolektivisme khususnya di Kuala Lumpur dan Selangor. Berdasarkan keterlibatan ini, </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> sejak dari tahun 1998 sehingga kini, secara personal mahupun berkolektif, berkesenian </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> telah memberi kesan yang besar terutamanya dalam perkembangan Politik, Sosial, </span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> pendidikan dan sebagainya di Malaysia.</span></div>
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> Bermula tahun 2004, berterusan giat berkolektif di sekitar Shah Alam. Kami merupakan</span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> sekumpulan pelajar dan seniman bergerak atas nama ‘Komuniti Jalan Kempas’ di ruangan</span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> studio Jalan Kempas, Seskyen 3 yang aktif sejak tahun 2000 sebagai ruang latihan muzik,</span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"> berkumpul dan bekarya bersama. “Salah satu fokus utama komuniti ini adalah memer<span class="text_exposed_show">hati </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dan mempelajari bagaimana sesebuah organisasi berfungsi, Jadi komuniti cuba </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> membentuk cara berorganisasi yang baru dimana, setiap kerja dilakukan bersama, tanpa </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> ada hieraki dalam organisasi dan keputusan yang diambil melalui konsensus. Pemilihan </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> nama ‘komuniti’ juga cuba menunjukkan yang ia bergerak secara komuniti dan terbuka, </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dimana setiap orang akan dikira sebagai ahli komuniti jika mereka aktif bersama </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> membina aktiviti (open group).” KJK 2004</span></span></div>
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> Pelbagai aktiviti dan acara telah di laksanakan sepanjang 2004-2006, terutamanya </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> keterlibatan Seni Aktivisme dalam merespon dan menyentuh isu semasa. Musik dan Mural </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> antara platform utama kami dalam berkegiatan dan juga sebagai medium penyampaian </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> yang berkesan dalam usaha menggabungkan kumpulan dan individu lain supaya bergerak aktif </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dan bersuara dalam membangunkan serta memasyarakatkan kesenian. </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> “Ini adalah satu reaksi terhadap permasalahan dan kekurangan yang dirasakan berlaku </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dalam amalan seni lokal. Secara khususnya, komuniti ini cuba menginjak satu pendapat </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dengan pembentukan ruang alternatif (konsep ruang bukan fizikal) yang cuba </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> mengorganisasikan dan membentuk acara dalam ruang seni yang secara semulajadinya </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> tidak mendiskriminasi. Ia juga merupakan satu reaksi terhadap ruang setempat yang </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> tidak proaktif dengan aktiviti seni walaupun ia begitu berpotensi atas faktor-faktor </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> tertentu. Komuniti ini cuba menjadi penggerak ataupun pencetus idea dan digerakkan </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> bersama-sama dengan komuniti lain yang berkongsi idea yang sama atas dasar </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> perkembangan seni, kesedaran, dan perubahan positif.” KJK 2004</span></span></div>
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<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> Lanjutan dari kesedaran itu, dalam penciptaan ruang alternatif, bergerak secara indipenden </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dan bebas berkesenian telah tercetus dalam memberi gerakan terhadap perkembangan </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> seni setempat. Dengan semangat aktivisme, berkolektif memberi nilai yang interpersonal</span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dalam berinteraksi, berkreativiti dan beraksi bersama setelah hampir 20 tahun, seiring </span></span><br />
<span class="_4n-j _3cht fsl" data-testid="event-permalink-details"><span class="text_exposed_show"> dengan Pergerakan Reformasi di Malaysia.</span></span></div>
<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0tag:blogger.com,1999:blog-1827261980075451114.post-37759902744631006632018-03-28T20:43:00.002-07:002018-03-28T21:18:37.173-07:00ARTIST IN RESIDENCE IN FRANKFURT 2018: OPEN CALL FOR MALAYSIAN VISUAL ARTISTS <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Kuala Lumpur and Frankfurt created a 3-month residency exchange program for young Malaysian artists. The residency of the Malaysian artist takes place in Oct, Nov and Dec 2018 with project partner Basis e.V. in the city of Frankfurt, Germany. Application deadline 1st of May 2018.<br />Residency information and the application form can be found at </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.goethe.de/ins/my/en/index.html">https://www.goethe.de/ins/my/en/index.html</a></span></div>
<br />Lostgenshttp://www.blogger.com/profile/02513690887332004906noreply@blogger.com0