Lost generation arts space

Bukit China Oral History Exhibition Opening

2011-09-22T18:39:00.000-07:00

Bukit cina cap

2011-09-22T18:24:00.000-07:00

Bukit Cina Community art project 2011

2011-09-22T18:04:00.001-07:00

Petaling Street Community art Project

2011-09-15T10:38:00.000-07:00

Kuala Lumpur Old Photo Exhibition
Venue: Jalan Sultan


Performance art by Liew Teck Leong

Stamping Project # Jalan Sultan / Petaling Street

Moon walk Petaling street

2011-09-14T07:25:00.000-07:00

“Cabaran Perhubungan Etnik Dalam Pembentukan Komuniti dan Pendidikan Masyarakat”

2011-04-11T21:48:00.001-07:00

“社区历史教育之跨族群挑战” 讲座 Forum: “Cabaran Perhubungan Etnik Dalam Pembentukan Komuniti dan Pendidikan Masyarakat”

日期 Tarikh：14-4-2011 (Khamis)
时间 Masa：8pm-10.30pm
地点 Tempat：隆雪华堂楼下会议室 Bilik Mesyuarat Tingkat Bawah, KLSCAH

联办：隆雪华青、林连玉基金、抢救希望之谷支援小组

Penganjur Bersama: KLSCAH-Youth, Pusat Pembangunan Kebudayaan LLG, Save Valley of Hope Solidarity Group

社区是社会发展的基本单位，是一定地域空间内的人们的生活共同体。现代人的一生，往往从生长到发展都离不开社区，又受制于社区环境。现在，人们普遍要求有个良好的社区生活环境，在物质生活提高的同时，要求提高精神生活质量，提高自身素质和社区文明程度，广大社区民众渴望学习。

Komuniti adalah unit asas bagi pembangunan sosial. Ia merupakan suatu ruang kehidupan bersama antara manusia. Kehidupan manusia sering tidak dapat dipisahkan daripada pembangunan komuniti. Masyarakat masa kini memerlukan persekitaran yang baik dan material yang berkualiti untuk meneruskan kehidupan. Maka, majoriti masyarakat berkeinginan untuk belajar demi meningkatkan kualiti mereka supaya mencapai masyarakat beradab.

于是，以社区为载体而开展的教育活动，即“社区教育”就应运而生了。在社区教育发展的过程中，不同的国家走过了不同的历程，体现了不同的特色、形成了对社区教育的不同理解。

Dengan demikian, munculnya “Pendidikan Masyarakat” yang berasaskan pembentukan komuniti. Pelbagai negara telah mengalami proses pembangunan masyarakat yang berbeza, serta membentuk pemahaman yang berbeza mengenai pendidikan ini.

我国目前有数个民间艺术与历史工作者都正在积极于各社区推动社区历史教育工作，其中包括通过民间社区报采集的民间口述历史，以便能够提供平台，让学生、长辈和本土历史研究人员以共同记忆、当地传说和经验故事及个人经历去认识并诠释他们的共有空间。此外，他们也教导社区学生主动与各族社群互动，创建社区共同记忆。

Malaysia turut mempunyai beberapa agensi dan organisasi yang melaksanakan program “Pendidikan Masyarakat”. Mereka mengumpul sejarah lisan, lagenda tempatan, kenangan awam dan pengalaman peribadi penduduk setempat atau orang tua, serta menerbitkan akhbar-akhbar komuniti tempatan. Mereka turut mengajar kanak-kanak berinisiatif untuk berhubung dengan masyarakat, berinteraksi sosial, demi mencipta ingatan kolektif dalam masyarakat.

该社区历史教育活动是一份结合当地社区、艺术和文史的活动系列。他们所用的方法，是教导孩子进行口述历史记录、草拟社区地图，藉此培养孩子们对该社区的认同感。这样的社区教育方式值得学校历史科教学者、社团学习和模仿。

“Pendidikan Masyarakat” adalah kombinasi antara sejarah, kesenian dan pengajian masyarakat tempatan. Kebanyakan sukarelawan mengajar kanak-kanak pengumpulan sejarah lisan, penyusunan dan pelukisan peta masyarakat dan sekitar, serta menumbuhkan identiti kanak-kanak dalam masyarakat yang sedia ada.

(Balik Pulau Rural Map)

因此隆雪华青、林连玉基金与抢救希望之谷小组将举办一场讲座，邀请社区历史工作者谈谈社区营造（community empowerment）和公民意识建构的重要性。

Demi meninjau cabaran perhubungan etnik dalam membentuk pembangunan komuniti dan mencari cara penyelesaiannya, pihak penganjur telah menjemput mereka yang mempunyai pengalaman dalam pembangunan komuniti tempatan untuk memberi pandangan.

主讲人：

1）曾玉萍——槟城艺术及古迹教育学会（ARTS-ED）与《我的浮罗山背》计划的协调员

2）杨两兴——社区艺术工作者，半山芭社区艺术计划负责人

3）孙春美——加影及呀吃艺术嘉年华负责人

4）法米立扎——我的秋杰计划负责人

Ahli Panel:

1. Chen Yoke Pin – Penyelaras Projek My Balik Pulau

2. Yeoh Lian Heng – Penyelaras Projek Pudu Community Art

3. Sun Chun Mei – Penyelaras Projek Kajang Community Art Carnival

4. Fahmi Reza – Penyelaras Projek Chow Kit Kita

主持人：张集强（文史工作者）

Moderator: Teoh Chee Keong (Sejarawan)

媒介语：英文、马来文、华文（同时三语进行）
Bahasa Pengantar: English, Malay, Mandarin

受邀单位将各自发表社区工作经验，包括工作主旨，目前成果，以及遇到的问题和回应方法。

Panelis akan cuba mengekspresikan pengalaman mereka dalam pendidikan masyarakat, termasuk tujuan dan matlamat, hasil jangka pendek, masalah yang dihadapi dan maklum balas daripada orang awam.

入场免费，欢迎各界踊跃出席。Masuk percuma, sila hadir.

任何疑问，请洽询联办单位秘书处卢小姐（03-22746645）。

Untuk pertanyaan, sila hubungi Sekretariat KLSCAH 03-22746645.

Bangun 2011

2011-04-06T21:12:00.000-07:00


This November .... Lostgen KL In collaboration with Fallen Leaves UK Bangun Penang Clan Jetties Community Arts Festival 2011 will see us return to the Chew Clan Jettys in Georgetown, Penang, to build upon the successes of the 2009 festival and further consolidate the relationships created between artists and the local community. It will aim to develop local, national and international relationships highlighting the issues faced by community groups in Penang and Malaysia. The art festival will feature several weeks of workshops to produce community-based artworks for exhibition at the festival through installations, performances and music. The festival will also be precluded by a series of longer term projects to collate the cultural heritage of Chew Clan Jetty through oral history recordings and an exhibition of photographs collected from residents and archives.

Community project - Sayang-sayang Hulu Langat

2011-04-06T19:06:00.000-07:00

looking for installation point

Traditional Chinese medicine in orthopedic

talking to local resident

Building with Taiwan's KMT (国民党） Party logo

Pre-war buildings

Resident in community

Pre-war buliding 1929

Sayang sayang Hulu Langat community carnival 2011

【缘起】 -- 嘉年华制作人兼艺术总监孙春美艺术是最好的沟通和表达工具，原本就淌流在每个小朋友的血液里，但是随着年岁的增长，面对应考和成绩导向的学习模式，艺术的细胞早已经被重重压力扼杀。庆幸的是近几年频频传来“素质教育”、“教育改革”的声浪，而素质教育及教改的前提便是美学教育的推广。 “社区艺术嘉年华”的概念机缘巧合地在教改声浪中于2008年被引进马来西亚，并两次成功落实于加影，即“又见文化城—2008加影社区艺术嘉年华”，以及“2009轻松唱游绿色加影”，其成果是非常令人鼓舞的。由此，一群努力将艺术的元素注入社区的艺术工作者便自称“社区艺术工作者”，并且非正式地成立团队，立志把兴趣和责任转化成使命，希望从一个点，连接成一条线，再扩大成一个面，梦想着全国各地兴起筹办嘉年华的氛围，呼应着教改和素质教育的决心，为国家开拓“艺术旅游”垫铺坚厚的艺术基石，实现全民艺术的马来西亚！！ 2011年，借用企业集团为华小筹募基金的概念，嘉年华采取“一年二华小”的动力机制，短期目标希望可以在五年内带动加影及乌鲁冷月城市和周边小镇的华小，同时也开放给各族群的小朋友参与，让社区艺术嘉年华成为加影及乌鲁冷月甚至全国大小城镇和乡村的特色，还原小朋友对艺术的渴慕，带动大人一起来实践艺术美梦，让艺术嘉年华成为社区的祝福、社区的共同节日、社区的文化象征！艺术的种子必须撒播在优质的土地上方能开花结果，因此我们选择了地缘自然、景色优美、居民纯朴热情的乌冷县华小。我们相信，因为嘉年华，社区的旅游业将被带动，落实政府所谓的“艺术旅游”概念。

【艺术踩街】日期： 2011年6月11日 ·· 活动对象：学生艺术创作营的学生、社区表演艺术团体、乌冷县各学校（大专院校、中小学及幼儿园）的表演团体、宗教表演团体、乌冷县舞狮舞龙团体、原住民团体、安老院、孤儿院、以及有兴趣的独立人士。

活动内容：着重“听觉”即节奏、敲击；“视觉”即造型、撑偶、花车等，主题不限，但主视觉必须跟社区的人文背景、传说故事、自然环境有关系。 ”

Lost gen artist
yeoh lian heng participate as a Installation artist & facilitator for the oral history project.

Tsuji Lam are the design artist for this community project.

Art Talk & Sharing by UK Artist Harminder Judge

2011-02-10T06:31:00.000-08:00

Art Talk & Sharing by UK Artist Harminder Judge

Date 21st Jan'11 (Friday)
Time 8pm
venue Annexe Gallery
Jalan Hang Kasturi, Central Market, 50470 Kuala Lumpur, WP Malaysia.

Harminder will talk about the development of his art practice, in particular the performance installation entitled The Modes of Al-Ikseer. This piece explores an ancient Hindu myth concerning the creation of Amrit, the holy nectar of life, merged and collided with 80’s electro pop music and Depeche Mode’s song Personal Jesus. Harminder will also speak about the organisation and creation of the artist-led space Grand Union.

* Harminder Judge an artist currently based in Birmingham, UK. He is also the co-founder of Grand Union, a studio group and project space which opened in Eastside, Birmingham in March 2010.
* Awarded an IFICAN 6 week research residency in Kuala Lumpur, Malaysia, to focus on inter-faith connectivity and contemporary KL culture, dates TBA.
* http://www.harminderjudge.com/

for more information
Yeoh h/p: 019. 6838397
Tsuji h/p: 016. 3018039
lostgenspace@gmail.com

organised by
Lost Generation art space
http://lostgenerationspace.blogspot.com/

supported by
Annexe Gallery
http://www.annexegallery.com/

【艺站•旅人】追忆戴良贵艺展

2011-01-19T05:42:00.001-08:00

【艺站•旅人】追忆戴良贵艺展

艺术家戴良贵（1953-2008）自小就流露出艺术天分的戴良贵，1953年出生于吉隆玻Setapak,中学毕业后就从巴生港口乘上邮轮，展开了长达十几年的流浪之旅。其足迹遍布了印度、尼泊尔、阿富汗、土耳其、德国、意大利等欧洲国家。在旅途中的所见所闻让他思考了生命的意义和志向。经过几年的旅程，戴良贵最终选择了瑞士做为中途驿站。当时相对于社会激进运动的其它欧洲国家，瑞士是较为平稳而文人云集的好地方。

1979年他踏入了瑞士现代设计的摇篮- 巴塞尔艺术与设计学院(Allegemeine Kunstgewerbeschule,Basel School of Art & Design)修读；主修字形和影片设计(Letterform & Film Design)。在巴塞尔期间他受教于几位当时设计界的大师，其中有瑞士国际风格主义大师阿明.霍多曼( Armin Hoffmann ), 以及拥有新浪潮平面设计之父之称的(The Father of New WaveTypography)沃夫根.魏纳特(Wolfgang Weingart)。这五年学术气息浓厚的学习生涯奠定了戴良贵往后艺术创作发展和设计教学的基础。

从1985年回国至2008年离世为止，戴良贵不同时期在吉隆玻的设计与艺术学院担任讲师及主任，其中包括了中央艺术学院、马来西亚艺术学院、PJ college、Msc、Cenfad 及世纪大学学院(Segi University College)等等。在教学方面，他引用了严谨，理性的瑞士国际风格，及强调型式与表现的新浪潮平面设计概念，影响了无数本地设计科系的学生。同时他也着重设计概念和纯美基础并重的教育方针，为本地设计界培養了不少人才。

虽然专注于教学，但是戴良贵始终坚持进行艺术创作。在技法上他以实验性的手法进行了氧化、拼贴、拓印、再生纸制作等创作。有时也融合好几种技法在同一画面上。在他的作品〈文字编排系列〉(Typography Series)里，他将字体设计(Typography)与纯美创作作结合，这样的结合成了他系列创作的主轴。从这点我们可看出，戴良贵实践了其老师沃夫根.魏纳特所所说的：“我视字体为一种能说话的图像。”

〈木屋区系列〉(Squatter Series) 作品的概念则是源自于戴良贵小时候所居住的木屋区经验。木屋区对他来说有特别的意义，也是创作灵感来源的地方。从他所收集的参考素材可看出，他用摄影记录了木屋区木板的纹路、雕刻、涂鸦、文字，甚至木屋的结构与建筑材质。在〈木屋区系列〉创作材料的应用上，除了传统的油画媒材，惯用的废弃木板、草席（Tikar mengkuang）、铁钉之外，他甚至在作品的木板上涂抹黑油，做法就如木屋区会涂上黑油来防白蚁般。

〈氧化拓印系列〉(Oxidation Print Series) 是他重要的创作之一。他让铁板氧化和生锈后再利用宣纸拓印出铁板上自然形成的痕迹及斑点，拓印后的宣纸成了单色而斑斓的抽象图案。其中他也裁剪拼贴，将拓印出来的斑痕重组成具象的作品。这种解构与再组合的多向思考方式可看出戴良贵对自然及环境生成物的敏锐观察力。

他在〈再生纸系列〉（recycled paper series）的制作中也应用了本地自然材料，如巴蕉树树皮、洋葱皮等。有时其再生纸作品还可发现中文、英文、爪夷文及淡米尔文等的报章书刊文字残迹。他笑称这是为了突显马来西亚的多元文化的社会。

【艺站•旅人】追忆戴良贵艺展，将从1月25日开始，在吉隆坡中央艺术坊Annexe Gallery展出三个星期。这次的展览主要呈现艺术家历年不同时期的艺术创作。包括了氧化拓印系列(Oxidation PrintSeries) 、木屋区系列（Squatter Series）、再生纸系列（recycled paper series）及留学时期的习作等等。除此之外也会展出戴良贵自制的乐器及他生前的一些私人收藏物品、书籍、生活照等，让观众一窥艺术家创作的思考脉络和轨迹。

戴良贵严谨却不羁，热爱宇宙灵性的个性让他漫步在艺术的疆域里。喜欢自制乐器，都是随手可得的自然材质和废弃物；竹、椰壳、贝壳、种子、木盒、饼干桶、抽屉等。这些不起眼的废弃物，经过他的精湛手艺被赋予了新生命，就算你不懂乐理，这些平易近人的自制乐器，只要一拿上手就可敲击出独特的声音。

开幕1月25日当晚，将邀请戴良贵生前的朋友、学生来畅谈分享他的艺术创作及教学点滴，同时也请大家随兴敲击他所设计制作的乐器。

1月25日晚上8点，我们诚邀您一起来参与戴良贵的艺术生活之旅，重新再认识我们的— MrTeh .

部落格【艺站•旅人】追忆戴良贵

'DARKSTRANGE FAMILIARLIGHT' Volker Hamann’s Solo Exhibition

2010-11-15T06:39:00.000-08:00

DARKSTRANGE FAMILIARLIGHT, Volker Hamann’s Solo Exhibition will be softly opened on 22 Nov.

Volker Hamann is currently (15 Nov - 15 Dec) – for the second time – the German artist in residence at Lost Generation Space; in 2007 he exhibited together with his Malaysian artist friend Chin Kong Yee at Wei-Ling Gallery and in 2008 he exhibited his wood-sculptures at the Notthatbalai Festival in KL. Most of the Pictures in his current Exhibition were taken during Volker Hamann’s former visits to Malaysia.

Art Talk : From Bangun Penang Clan Jetties festival to Pudu Community art project

2010-10-27T02:41:00.000-07:00

艺术进驻，深耕社区》座谈会
从Bangun 槟城桥装艺术祭到半山芭社区艺术计划

日期：2010年10月30日（星期六）
时间：晚上8点
地点：马六甲荷兰街12号沂水阁
主讲人：
杨两兴 - 艺术工作者，Lost generation art space 总监。
张吉安 -乡音采集人、《乡音考古.民俗演祭》发起人、爱FM 电台广播人、行为艺术工作者。

太多你我身边的文化及历史遗产不断地流失着，与其在不断地叹气、惋惜，不如以实际的行

动去将它留住。
座谈会上，主讲人将会以两个安案例-Bangun 槟城桥装艺术祭和KL半山芭社区艺术计划，来和大家分享如何通过艺术文化让大家重新追寻，记录，保存及珍惜先辈在一条老桥及一条老街留下的生活历史痕迹。

本次座谈会将采取随喜乐捐，支持文化付费的方式入场。如有任何疑问，欢迎拨打06-2842686 或 012-6812183咨询详情。

Pudu Comunity art project 半山芭社区艺术计划

2010-10-20T03:10:00.000-07:00

一项以人文历史和社区为关怀的艺术计划

A community-based outreach project linking art, humanity and culture

Artist work in studio

2010-10-20T03:03:00.000-07:00

Astrid Köppe

LGS German Air Program Astrid Köppe

2010-07-26T03:28:00.000-07:00

My work consists to a large amount of drawings. For about ten years now, my works on paper have strictly been done in the same size portrait format (A4). Onto these sheets I place my single or group motifs.

I work almost exclusively with things I have actually seen - filtered through my kind of selective perception. What I show is actually a subjective essence of the perceived object. I do not invent forms, but sometimes reduce or exaggerate certain aspects of a thing, or I compare or contrast it with similar shapes. By doing this, already in the process of planning a drawing, several ways of interpretation open up and I try to keep them as open as possible. In the finished works, the motifs can never be fully finished; they remind of something familiar that can scarcely be summed up in words.

The drawings that satisfy me based on objects that are shown settled and unsettled at the same time. This balance between clarity and blur, certainty and uncertainty, interest me. In order to retain their ambivalence, my drawings have no titles."(Astrid Köppe)

Duration air 30July to 30 September 2010

http://www.astridkoeppe.de/

Community space Litmus in korea Air program calling for application

2010-04-14T07:53:00.000-07:00

Community space Litmus’ is an alternative space in Ansan-si in Korea.

Community Space Litmus’ residency program 2010 will be proceed on from August to September.

Website URL-http://www.litmus.cc/

Animation workshop

2010-03-31T18:44:00.000-07:00

An animation workshop conduct by Emma Ota ( Uk/Japan)

Emma Ota - curator/researcher based in Tokyo
Has been encouraging international exchange between children since 2005 and is a founder of inter-play, an organization which has facilitated visual communication between children in Japan, UK, Canada, Philipines, Thailand and Indonesia.

http://www.dis-locate.net/

http://www.inter-play.org/

Workshop result Clay animation
Drawing animation

Map art festival

2010-03-23T16:08:00.000-07:00

memory of our artist friends Caecar Chong

2010-03-08T01:47:00.000-08:00

永遠懷念我們杰出的藝術家朋友張忠勇

1974 – 2010

notthatbalai 2005

notthatbalai 2004

Respond dari symposium buka baju

2010-03-04T22:16:00.000-08:00

by Ili Farhana Norhayat

hi hi...
sorry agak lambat bagi respon ni, tapi aku harap masih boleh diguna pakai untuk kebaikan dan pembangunan bersama. harap semuanya baik2 aja dan berjalan dgn lancar.Aku mungkin harus bagi feedback sedikit tentang symposium kelmarin.overall, ok. tapi mungkin ada beberapa persoalan yg aku mau tanya pihak organiser.

1) pemilihan speaker/presenter: Overall presenter aku rasa ok dan relevan (macam rahmat, yeoh dan seorg artist yg buat street peformance tu-sorry tak ingat nama ) dan aku tidak punya masalah dgn org2 old timer seprti ray/kung yu etc. Tapi setelah dengar presentasi dari kebanyakkan oltimer ni, aku rasa sudah cukup, kita bagi ruang utk mereka ni...no offence. Bukan aku disrespect mereka, tapi kadang, perbincangan itu boleh ditebak dan kadang terlalu arts/conceptual sgt...sehingga persoalan kenapa performance itu dibawa ke public masih tidak terjawab dan masih ada atas angin. Aku sebetulnya mengharapkan mungkin perbincangan yg lebih mendalam tentang hubungan seni performance dgn public...dari idea development sampai respond2 yg artist dapat dari public etc. dan adalah lebih baik kalau diskusi kelmarin itu ada penjelasan yg Performance art yg dimaksudkan ini seni performance apa? performance ada banyak juga cabangnya apa theather, musik atau seni performance yg di public etc...mungkin aku ada tertinggal banyak masa diskusi (sibuk melayan anak2 tu juga) tapi yg aku dengar masih hal2 yg sama pernah aku baca /dengar.
mungkin akan lebih relevan dalam konteks/spirit mengajak anak muda bergerak berbuat sesuatu, dgn bukan hanya mengajak diorg ni sebagai pendengar/audiance symposium tapi, meletakkan mereka sebagai presenter/speaker. Aku rasa dah sampai waktu utk kita professionally invite "young", underground.DIY (atau apa2 lah) untuk bagi respect yg sama dgn oldtimer. Kita harus betul2 bagi kepada mereka, ruang untuk present/perbincangkan karya mereka yg lebih mengangkat issue semasa dan idea/karya2 yg interact langsung dgn public etc.

2) topic perbincangan: ok fine, kelmarin tu ada presentasi dari satukali...tapi bukankah satukalisatukali bukanlah pertama yg buat acara performance dan tak patut pun hanya acara itu diberi ruang...masih ada beberapa acara performance /acara seni yg menggangkat seni performance yg boleh dan baik kita buat perbincangan, samada mau buat perbincangan dari segi konsep acara/fest itu atau pemilihan artist yg terlibat, interaksi dikalangan artist as audiance and public itu sendiri...street performance /acara seni performace yg tidak menggunakan ruang seni sama sekali. Dan akan baik kita lihat kenapa mula tumbuh acara2/seni performance itu sendiri ...kenapa artist2 dan org2 yg terlibat dalam coordinating/organising fest/project mula berani buat dipublic, kenapa mereka pilih untuk langsung buat di public etc. pernah buat perbincangan khusus atas incident yg berlaku/tentang event itu sendiri? mungkin akan lebih baik, kalau boleh kita buat perbincangan tentang acara2 performance yg pernah dibuat di malaysia/at least di KL..sebab kenapa aku rasa ini penting, kerana ini bertujuan untuk menarik minat org utk datang juga & get involve, ya hopefully lah. dan mungkin dah sampai waktu utk kita letak experienced, well known/ local-international artist ni sebagai org yg kita invite as audiance utk dengar dan bagi respond dari presentation/idea yg dibentangkan artists2 muda dan mereka2 yg lebih fresh.

ini hanya respond personal aku lah..mungkin aku penat kot dengar oldtimer cerita pasal experiance diorg...sebab banyak kita boleh google/baca penulisan tentang karya mereka ni dpublication, arts mag di katalog gallery2 etc..tapi bagaimana dengan anak2 muda yg sebetulnya karyanya lebih dekat dgn society dan layak diberi perhatian?

so yah, ini respond aku lah...aku harap ini berguna dan tidak mengecikkan hati sesiapa. kalau ada, minta maaf lah ye, I'm just being honest...

Buka Baju - a symposium & open discussion on performance art

2010-02-26T08:08:00.000-08:00

'Buka Baju' is an entree to the main meal, 'Buka Mulut' - a performance art event which will be held at a restaurant the next month. What is performance art? Is it a dance to music you can't hear? Is it when artists take their clothes off and make love to chairs? Is it using fake or real blood and shocking an audience that is half-afraid and half-fascinated? Is it an art movement that began in the west a few decades ago and then spread across to Asia and the rest of the world? Is it stuff you see at current performance art festivals like Freedom of Imagination (Singapore) and Asiatopia (Thailand)? Is it confusing your audience to the maximum level? KO! Powerup! Is it politics? Is it protest? Is it freedom? Is it giving out flowers to the public on the street or is it giving a pillow to the Prime Minister? Why is the art scene so boring right now? Can you get arrested doing performance art? Naked! Naked! Naked!

Let's whet our appetites by uncovering all this and more. Take it off! Presentations, talks and open forum on performance art - what it is, what it isn't, what people have done, what people would like to do, what is possible and what is just... like dat.

Kuala Lumpur Dreaming

2010-01-24T19:57:00.000-08:00

A group exhibition presented by The Annexe Gallery
Thu 4 - Sun 21 Feb, 2010
Hours: Sun-Thu: 11am-8pm | Fri & Sat: 11am-9.30pm
Admission free

We came to KL to dream big. To find and create opportunities. To start anew and to call it home.
Kuala Lumpur is now home to 1.6 million dreamers and counting. Is it big enough for all our dreams?
Representing the visions of 30 artists, photographers, sculptors, as well as communities of Burmese refugees, orang asli and children affected by HIV, this exhibition shows how we imagine our little space in the city, find boldness in our expression, and appreciate each other's dreams.

Artists:
Amir Muhammad
Bright Lights At Midnight
Esther Horn
Fathul Luqman Yusuff
Ilshah Shahbir
Julya Oui
The Kachin Refugee Women
Kamarulzaman
Liza Manshoor
Niki Cheong
Raja Azhar Idris
Rosli bin Mohd
Rumah Solehah
Sabina Arokiam
Sharaad Kuttan
Shieko Reto
Terry Law
Vignes Balasingam
Yeoh Lian Heng

Review - the star online
- EALD studylog(A0177)

Sponsored by Goethe Institut Malaysia
Supported by Central Market

Photography Exhibition-BEYOND OUR CITY: LIGHTS & MYTHS

2010-01-24T06:22:00.000-08:00

You are cordially invited to the

Exhibition Opening

Thu 4 Feb, 8pm

Presented by Goethe Institut Malaysia, with support from The Annexe Gallery & Central Market
Admission Free

for more information:Beyond our city

Artist Talk - Esther Horn

2010-01-22T00:37:00.000-08:00

Date: 27^thJanuary 2010
Time : 3: 30 – 5: 00

Venue: Dasien Academy of art , Lecture hall

             No.30 3A-12-G
             Jln Wangsa Delima 10
             Desa wangsa setapak

53300 KL

Contact: Yeoh 019 6838397

Kim Ng 019 4325341

Admission is free @ All are welcome

Esther Horn artist in residence 2010

2010-01-10T08:01:00.000-08:00

Esther Horn is currently working on nocturnal, light based series of paintings. Photographs, sketches but also moviestills are starting points for night imagery: Petrol-stations, landscapes at night, scarcely illuminated scenarios, which establish ambiguous situations between urban no man´s land, town and desert. The situations become unreal, similar to dreams, memories, a video-stills from security camera or a “film-noir-sceneries”.

‘KL Noir’, the focal point in KL will be photos, sketches and graphics at night. I´m looking forward to delve into this unknown atmosphere of the city and to assimilate impressions with consciously defined media.

Mean Shadow of a god - Site specific installation
DAC gallery Genua 2009
by Esther Horn & Christian Heilig

Duration of residency 4 Jan - 25 Feb 2010

http://www.estherhorn.de/

http://www.montanaberlin.de/

Angelika Boeck Des 09

2009-12-25T05:59:00.000-08:00

The German artist Angelika Boeck is investigating forms of expression, practices, rituals or signs in various cultural contexts (eg. work, art, religion, everyday life) and demonstrating them as means of identifying, recognising, representing, characterising - in short 'portraying' a human being.
The strategy of her research and series of art works, the 'Dialogical Portraits' is the placing of herself as subject to be negotiated and represented through interpretations which are authored by the other cultural system of producers encountered during the field work.
Actually she is realising the fifth project in this series together with sign-readers in Malaysia.

http://www.angelika-boeck.de/

Volker W.Hamann _Nov 2009

2009-12-09T05:14:00.000-08:00

Volker W.Hamann (Germany)

work as a fulltime artist for 16 years. He started as a sculptor, after few years, photography also became important for him an his work. As next step he was searching a way, how he can connect sculptures with photography. Followed by his Temporary Lightsculptures, a mix of sculptural aspects and video-art.

Again and again he reaches for the limits of his physical and psychological capacity, he seems to be overtaken by his ideas, giving us the impression of not being fast enough to express his visions, that he is lagging behind in this speedy race, hardly able to sketch tings down in time. Every day is bringing new innovative powers t the fore and be it in workshops, on trips or travels, these powers are close to eruption point.

Evil is all aroud ~ Choo kok choon solo exhibition

2009-12-01T21:25:00.000-08:00

Choo Kok Choon (born 1980), currently living and working in Johor Bahru. This is his first solo exhibtion in Kuala Lumpur, that presents his 2009 new series - "Du-Lan Man" and some of his unique life drawing. Kok Choon's artworks is about his horrible thoughts and feeling in everyday life. He tried to figure out the discrepancy between strong and weak, the threatening around us. The word "Du-Lan Man" is from one of the Chinese dialect, means "man of hatred". He intend to depict the dangers and tragedy which could possibly happens in our country, and even to us innocent peasants. We are indeed trapped in a horrible place!

朱国俊，毕业于澳洲塔斯马尼亚大学纯美科系，主修绘画；回国后持续不断埋首于他艰辛的创作中。由于国俊有视障问题，视力无法集中，只能用其微弱的视力来辨别描绘，所以在创作的大小上有所侷限。然而，他却将其集中力堆积在脑里，再浑身解数地释放在画笔上。他怪诞的谬想有意无意地揭露市井小民的抑郁与悲哀。并将真实的自我毫无保留地摊开在画面上。这种混合了幻想与现实，黑色鬼魅的手法虽每每在揭开自己心里的苦闷与恐惧，却也同时向这世界提出了质疑。

2009 年的最新力作－小不点人物 "Du-Lan Man"。此文来自中文方言，带有“厌恶”之意。此创作主题在于表现我们身处于国内所受到的生活危害与灾难的威胁，尤其画家所居住的城市新山，无辜老百姓们生活在惶恐当中与别无选择地面对。笔下的Du-Lan Man孤立无援，寂寞惶恐；时而手持枪械，是为攻击抑或防卫？既强悍又脆弱，既矛盾又坚持。黑色太阳笼罩大地，受委屈的小小路人着黑色衣服，画家朱国俊所描绘的灰暗面一再表现其生活的无力感，却又可看出他对生活的执著。

http://artaddict2007.blogspot.com/

http://www.artschannel.com.my/en/?p=624

Naima Dell'ava

2009-12-01T08:54:00.000-08:00

Naima Dell'ava Italian music-arts therapist and performer, she used to work with children, handicap people, victims of torture of war, victims of sexual abuses in different realities like slums, refugee and gipsy camps, south american’s favelas. She performed in different contexts in festival and streetfestival around Italy, France, Spain, U.S.A., Argentina and India and she was a member of the companies “The Living Theatre” and “Malamurga” .

Duration of residence July to October2009
An artist residency program Support by Lostgen arts space

George Paul Wielgus _2007-2009

2009-09-30T03:36:00.000-07:00

Between December 2007 and September 2009 George Paul Wielgus was a resident artist at the Lost Generation Art Space in Taman Seputeh, Kuala Lumpur. During his stay there he participated in a broad variety of events and activities, focusing on his specialist area of community theatre and spoken word. As well as regularly organising events, he used the center as a base for his work with people’s theatre company Fallen Leaves, directing and coordinating a training programme which took a group of recovering drug users and people living with HIV on a national tour of peninsular Malaysia and Sabah, performing devised stories about their experiences to over 5000 people in over 50 seperate performances and workshops. He championed the development of forum theatre as a medium for generating discussion and activation around taboo subjects such as drug use and sex work.

In addition to his direction of Fallen Leaves, George performed onstage numerous times at the KLPac open mike theatre event The Platform staging original devised pieces with Nurul Hamizah Mohamed and The Civilly Disobedient. These pieces received rave responses from audience members as examples of boundary-stretching experimental theatre. He also worked in local schools developing syllabuses of speech and drama for younger teenagers.

George’s onstage presence was especially successful in the field of performance poetry and spoken word, and during his time in Malaysia he won three poetry slams and one in Singapore. The New Straits Times called him ‘the undisputed champion’ and a ‘gripping performer’. In addition to numerous street corners and punk gigs, his onstage poetry persona Mighty Jah-J! also appeared at Indiependent Arts Festival in Penang in 2008, the Singapore Young Writer’s Festival in June 2009 with young Malaysian poetry group The Lost Poets, of which he was a founder and organiser along with Elaine Foster. He published a zine in 2008 in association with the RiceCooker (Ignore the War), was included in Poetry Underground’s Voices From The Underground. His writing also appeared on Malaysian Poetry Chronicles.

The culmination of George’s residency came with his involvement in Bangun Art Project 2009 on the Clan Jetties in Penang. A follow-up to Bangun Project 2008, which George also performed and presented an installation, the week-long festival featured workshops and performances on the world heritage site in Georgetown. During this week, George performed, assisted the Fallen Leaves Theatre Company, video-documented, screened footage and operated as Project Manager.

Residency dates: 2007 to 2009
An artist residency program Support by Lostgen arts space

Dean Linguey _May - June 2009

2009-07-11T09:43:00.000-07:00

Dean Linguey’s art language utilises sound, video and sculptural/installation elements and is informed by his experience as a physical performer and sound artist. His works usually explores the relationships between the body and the built world and the effects upon the individual. Dean has conducted workshops in sound and performance for The Melbourne City Mission, Australia and as a guest lecturer/facilitator for performance studies at Victoria University of Technology, Melbourne, Australia. Graduating from RMIT University (Melbourne) in Sculpture (Honours)and Sound he has exhibited and performed in Australia, Vietnam, Malaysia and Indonesia. In 2009, Dean is the Asialink Visual Arts Residency Artist at Lost Generation Space in Kuala Lumpur, Malaysia.

This is an Asialink Project funded by the Australia Council and the Australian High Commission, Kuala Lumpur.

Klue urbanscapes 2009 - The city’s all-day arts festival

2009-06-30T14:31:00.000-07:00

Urbanscapes is organised by Klue and is the first and only all-day “user-generated” creative arts festival. Bringing together communities and participants from the fields of music, arts, fashion/lifestyle and film under a single banner, Urbanscapes aims to showcase the best of the local scene.

an Installation by Tsuji Lam & Yeoh Lian Heng

Title : Because they wear black on may 7

http://www.urbanscapes.com.my/

House Warming- new lost generation arts space opening

2009-06-01T09:20:00.000-07:00

Lost generation arts space has relocated to a terrace in Taman Seputeh, but is continuing its mandate of independent homegrown arts curation with this first event.

The aim of this event is to encourage further connection and cooperation between our resident artists from Australia and the local artists, as well as introducing our new LostGenSpace has relocated to a terrace in Taman Seputeh, but is continuing its mandate of independent homegrown arts curation with this first event.

"Mau Lagi... Performance by Richelle Spence

2009-04-27T09:07:00.000-07:00

http://au.linkedin.com/pub/richelle-spence/16/bba/81

Lgs map

2009-04-01T08:55:00.000-07:00

"Asking for advice" 09 - artist talk

2009-02-24T09:24:00.000-08:00

Natascha Borowsky _Aug - Oct 2008

2008-12-31T08:35:00.000-08:00

Natascha Borowsky born in Germany.She studied with Bernd and Hilla Becher at the Academy of Arts, Düsseldorf, Germany, graduating as master student. Her work has been exhibited in museums and galleries in Germany and abroad.Since 2006, she has been teaching at the University of Krefeld, Germany. The approach to her work being a conceptual one, the artist is engaged in an ongoing project, using found objects and material and an analogue large format camera.

In 2008 from August to October working as artist-in-residence at Lost Generation Space on invitation of the Goethe Institute, Kuala Lumpur and The Lost Generation Space.

Urbanscape 2008 - urbanescape installation art exhibition

2008-07-28T14:41:00.000-07:00

Lost Generations in Urbanscapes 2008 - Review by Dean Linguey

The carnival is a wonderful event. It reconfigures the way we navigate our everyday world and reconstructs the borders of control. Some could say it’s just shifting the power slightly to the left yet I think any shift is a good start to see how things are normally while also testing and moving these borders. Apart from this, it collects many different people in the one place and everyone seems to get on just fine.

KLPAC (Kuala Lumpur Performing Arts Centre) is normally used in a particular way – cars are parked in the car park, the main entrance is along a corridor bordered by a rock-garden that ends at the foyer and from here you move to the rooms where the events, screenings, etc., are held. Our movements, most of the time without us even being aware of it, are regulated by the paths to and from various spaces.

Lost Generation’s contribution to Klue’s urbanscapes festival was curated by Yeoh Lian Heng and featured five installation/sculptural works which challenged the navigation of the spaces they were held in and therefore asked to be negotiated and interacted with. Artworks in a festival like this quite often become a backdrop and the usual contemplative space of the gallery is replaced by the busy to-and-fro movement of punters as they go to listen to music, watch films, shop or get something to eat or drink. This is just how it is and it requires artists to rethink the positioning and means of presenting their work in an environment which is vastly different and of a different focus to the usual places of art presentation. Installation, performative and interactive works lend themselves well to this kind of festival vibe.

Aisyah Baharuddin’s work, Overloads, made a gift of the main entrance to KLPAC for everyone to receive. Pink ribbon wrapped large sections of the rock garden spaces while pieces of KLPAC’s wire furniture were wrapped in red while seating teddy-bears and painted rock “people”. Rocks were also repositioned to form pathways, hollow spaces and mounds in what is usually a continuous sea of rubble. The public space was offered freely to the public (as it should be) and drew attention to particular parts of KLPAC which were “off the beaten track”. Without even being conscious of the installation, people had to move around and under Baharuddin’s work while the teddy-bear components seemed to be a popular photographic opportunity for capturing a moment at the festival.

Another popular photographic opportunity was under and inside the work red caution (artists Yeoh Lian Heng, Joseph Teo, Kim and Tsuji Lam) - a large space created by two cones of taught red cord, one inside the other suspended from a tree and fixed to pegs in the green lawn. This moment in time would be captured while people were framed within the artwork - wanting to be seen within the space that the artwork created. The simple relationship between a body and a space and the desire to interact with this delicately defined area was telling about our attraction to the height and shape of particular spaces. This visually engaging work which could be appreciated from a particular distance to take in the whole of the sculpture or be physically entered into, seemed to define an empty space in relation to, and in comparison with, the solid space taken up by the tree that it was suspended from. Following this relationship one could draw conclusions which highlight the absence the installation defines, and at the same time protects, with its brightly coloured borders – a danger or a warning perhaps? As it grew dark, tea candles rimmed the perimeter of the grass area and light illuminated the installation.

Simon Keogh’s three parallel hanging planes, playfully entitled Absolute Naked – hanging music sheets, swayed in and out as a result of punters moving through the corridors the planes created. The beauty and intrigue of Keogh’s work is that it operates on many different levels at once - a reflection of Keogh’s diverse background and interests. The work can be viewed as a painting, a sculpture, an interactive installation, architectural space and, as the title suggests, even music. Whether the work is some form of graphic score or the reference to music is more in the movement of the planes or some other poetic form (a combination of these elements even?) is really up to the viewer yet Keogh delicately brings forth an interplay between the poetic and the solidly stated (with a touch of humour). While most artists would be overwhelmed by dealing with so many elements in an artwork Keogh seems to revel in the interplay and connections between them. This shifting of forms and definitions challenges our desire to name the work (painting, sculpture, installation, etc.) and thus can refresh our view on the most given of material circumstances.

Sounds Unreal was a sound installation consisting of four speakers, one suspended at each corner of the open corridor entrance to KLPAC, by Dean Linguey. The sounds referenced natural sounds yet were just “off” or would distort and warp in synthetic ways unlike their obvious reference. One could decipher the “unreal” sounds of birds, frogs, insects and the beloved mosquito. Another feature of this installation was the movement of sound between the ends of the thorough-fare in which it was situated. A sound would start at one end and over time move to the other or some would shimmer between the two ends immersing the listener into the audio environment. What becomes problematic with this type of installation at a festival is that there is so much other sound going on that it is difficult to hear the finer elements of the sound pieces. As with the “visual” art becoming something of a pretty backdrop at a festival, sound art can also be set back into the aural backdrop lessening the engagement that a viewer/listener might normally have with the work. This is the challenge that artists face in these types of situations.

The work by Poh Ziyang, Habitat, was something like an architecturally modeled piece of furniture. People were sitting on it and climbing on it and it looked about as comfortable as the wire and concrete furniture that already exists at KLPAC. The main feature of this work, apart from its very strong construction, was the fact that it played with both straight lines and planes as well as curved planes. This gave it a feeling of movement and an unending and cyclical sense. What I like about this work is the strong link and equal weight between the artist’s concept (stated in Lost Generation’s flyer/catalogue) and the physical result. I don’t think all work should demonstrate its concepts in this way (or necessarily have a concept) but here it makes sense in the solidity of the materials, the “contradiction” of straight lines and curved planes and the translation of the artist’s very personal vision and conflicted logic (the striving for freedom by working harder to attain it - which in turn restricts having this freedom).

As with the carnival, where social and physical boundaries are redrawn, the installation pieces here also “re-draw” boundaries by creating spaces and boundaries which promote some form of change in the physical navigation of the viewer. This interaction is the success of these artworks and as mentioned earlier, the difficulty and challenge of artists participating in events like Klue’s urbanscapes is to rise to the level that this “carnival” atmosphere creates and not to fade away into the background.

Australia artist talk – Tobias Richardson & Hayley West

2008-07-01T01:58:00.000-07:00

hi! I’m Hayley West, the current artist-in-residence at Lost Generation. On Saturday 5th January Tobias Richardson (who is the current artist-in-residence at Petronas Gallery) and i gave a talk on our practices, our involvement with DVAA (an artist run space in Darwin, Australia) and our views on the art scene in Darwin. We had over 20 people attend which was fantastic, sharing information for over 2 hours… alas i had no voice left at the end! thanks everyone for coming, it was a great night.

Hayley West _ 2008

2008-06-19T02:05:00.000-07:00

Hayley West (b. Melbourne 1971). Since graduating with a BFA (Sculpture) from RMIT University in 1998 Hayley has been exhibiting in Artist Run Initiatives (ARI), public art spaces and contemporary art spaces throughout Australia. After arriving in Darwin in 2004 she became the Administrator/Coordinator of the ARI Darwin Visual Arts Association Inc. (DVAA) for four years. Hayley’s art practice is primarily sculptural/installation based, with recent exploration into photography and performance.

Residency dates: 2008
An artist residency program Support by Lostgen arts space

Traveling in the world of political-art

2007-10-22T10:24:00.000-07:00

Talk- Creative ventures in social practice

2007-07-06T21:25:00.000-07:00

Talk and Performance workshop by Burma artist Htein lin

2007-01-21T07:59:00.000-08:00

http://www.hteinlin.com/

Sun Kang Jye 孫康杰

2007-01-06T20:10:00.000-08:00

Residency dates 2006 to 2007
An artist residency program Support by Lostgen arts space

Asking for advice - Performance by Lea and Pekka Kantonen , Finland

2005-12-31T02:53:00.000-08:00

Art & culture exchange - Paris art student visit

2005-10-25T01:03:00.000-07:00

Visit of Paris fine art university student Lukas Hoffman and Cecile to LGs