Wednesday, July 27, 2016

Mosquito Bite 蚊子叮 ~ Solo exhibition by CC Kua


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

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

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

Artist Statement

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

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

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

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

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

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

Silently throwing pebbles into the lake, infinite ripples formed.

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

As the ripple spreads on there will be several possibilities:

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

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

我常常在想關於番茄的事情,它到底是蔬菜還是水果?但這一切都不重要,因為離開了人類給予的標籤,番茄也隻是番茄。儘管如此,在我的日子裡,番茄只可以是蔬菜,從小就已經認定。我越來越覺得世界不是被大氣層包圍著,而是價值觀。因此世界不會有公平的一天,所以我們需要哲學和藝術。

我喜歡生活於日常生活裡。瑣瑣碎碎,呢呢喃喃的事情不一定是囉嗦的事情﹔它們都有自己的精髓,等著我們去挖掘,而這種挖掘是要以挖鼻孔的姿態才成立的。我是一個清醒的人,但是我非常喜歡睡覺,因為在夢裡所有奇怪的畫面和劇情會堆疊,並出現了迷人的情節。我在睡覺和畫畫時有一個共同點:都會不知不覺開了嘴巴。

清醒的人不一定清楚,混濁與曖昧之中總會創造出許多故事和可能性﹔好比一個從睡眠中甦醒的高度近視人不戴眼鏡一整天,誤把家裡觀賞的金魚拿去鍋子裡煎,從此人生的履歷表裡出現了吃金魚這件事。

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

CC Kua
柯佳騏

Monday, July 4, 2016

【講座】「社區藝術」的破與立 --《活化廳駐場計劃》出版發佈

「社區藝術」是一個含混模糊的字詞,指稱的是與社區民眾一起創作的藝術?為了社區民眾,像福利和服務的藝術?還是在議題上觸及社區,讓藝術家空降介入,也算是一種「社區藝術」?

與此同時,以社區議題出發的藝術實踐近年開始在亞洲各地盛行,當中包括一些由政府體制與民間合作的社區營造計劃,也有藝術家自發組織,以作為社區保育運動側翼,連繫民眾抗衡發展主義的實踐。藝術家在城市發展的過程裡,其實可扮演什麼角色?是希望之所在,還是完美共犯?與不同持分者合作時,我們又需要考慮到什麼倫理問題?

是次分享的講者,李俊峰,是來自香港油麻地社區/藝術空間「活化廳」的核心成員。他自2011年起,即在「活化廳」策劃了一系列社區駐地交流,這次他會分享到最新出版的《活化廳駐場計劃2:社區-藝術-行動》,及就這些交流計劃延伸的一些反思。

主持:楊兩興
講者:李俊峰
日期:2016年7月10日 (星期日)
時間:1930 - 2130

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有關【活化廳駐場計劃 II : 社區-藝術-行動】

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

本出版希望審視兩個問題。其一,在新自由主義下,亞洲各地正面對什麼共同的處境?藉著跨地域的連結,我們能相互參照的經驗是什麼?其二,隨著近年本地藝術的發展,「藝術介入社區」的模式亦開始盛行,相對於一般以空降社區進行短期考察的策劃方式外,民間組織及至獨立藝術家所推行的「社區藝術」,又應如何定位?

www.aair2013.blogspot.com

Sunday, April 17, 2016

全球華語研究視野下的馬來西亞華語概況


讲师:邱克威
北京大學中文系,語言學博士,大學講師,近年進行馬來西亞華語研究,成果包括:《論“華語”與馬來西亞華語研究》、《“居鑾華語”調查研究》、《丹絨士拔潮州話音系調查研究》

全球華語研究視野下的馬來西亞華語概況
課程內容

1. “全球華語”概念及其研究(2堂課)

- “全球華語”概念
- “全球華語”研究工作的展開

2. 馬來西亞華語的特點及其形成因素(1堂課)

3. 馬來西亞華語概述(4堂課)

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

4. 馬來西亞華語研究現狀(3堂課)

- 馬來西亞華語研究歷史概述
- 語言本體領域的研究現狀
- 語言應用領域的研究現
共十堂課

上課日期: 2 / 5 - 1 / 6 / 2016 (逢禮拜一和三)

上課時間 :8pm-10pm

上課地點 : Lostgens 當代藝術空間

課程收費 : RM 200 

                      RM 150 ( 在籍学生 )

報名方式:請將學費存入 Lost generation gallery

514114444696 (maybank )

然後將收據,姓名,職業及聯絡email

到 lostgens@gmail.com。

報名截止: 27/4/2016

Tuesday, March 8, 2016

Drawing —> Sculptur


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

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

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

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

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

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

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

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

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

Register :
Workshop fee : Rm 50 for 2 day
Email: lostgens@gmail.com
Fb: : Lostgens
H/p : 0196838397
http://lostgenerationspace.blogspot.my

Sunday, February 28, 2016

宗教哲学

Lostgens' 学社: <宗教哲學>



 

課程簡介:
   
  Whatapps、Facebook、Iphone、拍照、工作、旅行……這就是我們今日的生活形態。然而,在我們的後現代生活,神在哪裡?
  理論上,後現代是一個不可以有神的時代。因為,我們這一代人的潛台詞在於,如果真有一個獨一無二的上帝,為何不同文化、不同族群之間,幾千年來卻都有屬於各自的最高神祇?到底哪一個才是真神?
  還是說,全部都不是?
  在我們的時代,似乎已形成了一個最好的答案:或者,根本就沒有一個真正上帝?上帝,都是人在不同時代、不同情境的知識建構。或者說,神是一個隱喻的事件。上帝,即是在歷史敘事的文本中,一再被不同的人建構出來的。   
  這當然就是尼采「上帝已死」的歷史效應。
  但是,可能尼采也不知道,原來「上帝已死」最後並沒有將人類從超驗世界中隔離出來。從各種跡象顯示,它反而提出了一個「神位」的空缺。事實上,人類繼續追求一個新的宗教,一個新上帝。
  這個新型的上帝,必須是一種更具流動性的神學。更明白地說,這個新神,它被要求更能夠跟資本主義結合,並可以從哲學上說明:無生老母、耶穌、耶和華、阿拉、大梵天、太上老君、玉皇大帝、佛陀……等一切的存在,它們本質都是「同一」的--是人類的語言、敘述之有限性,把它們區分成不同內容罷了。
  哲學一點來說,它必須能夠解決各種「一」V.S.「多」的概念問題。
  這就是我們後現代的宗教心理。
  如果要選擇一個可以充分揭示上述文化情境的當代思想家,來自印度的哲學教授奧修(Osho)應該是最好的一個。奧修,原來即是在這個文化背景下產生的哲學天才。
  本課程會以奧修的神祕主義思想為出發點,追問一些後現代宗教的哲學問題。

課程會討論的概念:

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

講師簡介
卡夕,80後,台灣中興大學中文系學士,台灣中央大學哲學碩士。在台灣中央大學大學擔任了兩年半哲學通識課助教,接著在尊孔獨中、韓新學院擔任哲學、音樂、歷史、華文、藝術史等課程的講師。偶爾參與教育、音樂、影視編劇、藝術、哲學等社會活動,經常在媒體發表劇評、影評、書評、政治等類型的文化評論,研究範疇為藝術哲學、宗教哲學、後現代主義等等。現為<獨立新聞在線>(已停刊)與<東方日報>專欄作家。

(十二堂課)
開課:15/3/2016 -31 / 5 / 2016 (每逢星期二)
時間:8:00pm -10:00pm
地點: Lostgens‘ 當代藝術空間
8c, Jln Panggung, 50000 KL.

学费: 工作人士 Rm 220 ( 共十二堂课)
在籍学生 Rm 150
报名方式:請將學費存入 Lost generation gallery
514114444696 (maybank )
然後將收據,姓名,职业及联络email
到 lostgens@gmail.com。
询问: 019-6838397 兩興

Wednesday, January 20, 2016

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








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

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

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

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

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

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

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

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

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

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



羅秀芝簡歷
現職:
獨立策展人, 獨立影片工作者, 淡江大学讲师

展覽策劃:
〈我‧書‧寫──關於書寫的一個我的向度〉,策展人,東海大學藝術中心及隔樓藝術空間,2001年9月10日-9月27日。
〈上海酷〉,台灣策展人,策劃〈普普丸〉,上海多倫美術館,2005年3月2日-4月3日。
〈台北市第二屆公共藝術節大同新世界〉,協同策展人,臨時性公共藝術「街頭劇場」策展人,2005年4月10日-5月7日。
〈越界—城市影舞〉,策展人,台南藝術大學藝象藝文中心,2005年7月15-8月27日。
〈越界—城市影舞〉(雙城記),策展人,台北國際藝術村,上海正午藝術空間,2005年12月16日到2006年1月6日。
〈風情萬種〉當代藝術展(財團法人國家文化藝術基金會「視覺藝術策劃性展覽獎助計畫」),策展人,台北市信義新天地,2006年7月15日-8月13日。
2007年第四屆保加利亞瓦納爾當代藝術節(Festival of Contemporary Art Varna)台灣策展人,策劃〈影詩疆界〉。
2012上海雙年展,特別展「中山公園計畫」聯合策展人,2012年10月1日至2013年9月4日。
〈臺東廢墟學院〉,策展人,臺東,2014年。
〈人島之諭〉,策展人,蘭嶼,2014年。

著作:
《台灣美術評論全集:王白淵》(台灣省立美術館策劃,藝術家出版社出版),1999年。
《台灣當代美術大系‧議題篇:文化‧殖民》,台北市:行政院文化建設委員會,2003年。
《台灣美術地方發展史全集:竹苗地區》,台北市:行政院文化建設委員會,2006年。

影片拍攝:
〈在廢墟看見一道彩虹〉(姚瑞中+LSD「海市蜃樓-台灣閒置空間抽樣踏查」計畫紀錄片),導演,2012年4月20日,台北城市遊牧影展首映,獲頒「佳作獎」。

獲獎與獲補助記錄:
〈台北市第二屆公共藝術節大同新世界〉,協同策展人,獲文建會第二屆公共藝術獎:卓越獎,最佳策劃獎。
〈風情萬種〉當代藝術展(財團法人國家文化藝術基金會「視覺藝術策劃性展覽獎助計畫」),策展人,台北市信義新天地,2006年7月15日-8月13日。
「亞洲文化協會」受獎人,2012年。

Tuesday, January 5, 2016

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

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

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

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


Artist Talk



Friday, December 18, 2015

Lostgens' Dcember 2015 ~ January 2016 Residency artist Chan Lai Kuen

                     Artist Website:   http://www.laikuenchan.com/


    Eerste Les van Kantonees
    2014  


                  The Witch Ring
                 2013
 
    Homo Homini Lupus 
    2015


Chan Kai Kuen


Born (1986) in Kuala Lumpur, Malaysia. Lives and works in Groningen, The Netherlands.



Education

2011- 2015          Academie Minerva Groningen, The Netherlands


2006- 2008        Dasein Academy of Art, Malaysia



Exhibitions 
2015   Destillaat #17, Extrapool Nijmegen, NL 
           One Hour Expo, Groningen, NL


           Hyper, Degree Show Academie Minerva, NL 
           Kuhntradictions, Syb Kunsthuis, Beetsterzwaag, NL
           Cold & Mumbling Basement, In Limbo Exhibition, Biologisch Centrum Haren


 2014  EEA Remix, Gerrit Rietveld Academie, Amsterdam, NL               
           _ASV cont. Soundworks_, Vespro Groningen, NL
           Look! Do You Want to Know Me?, Groningen, NL
           By The Dozen, EEA14, Beelitz Heilstätten, DE
           In The End It Is Not Only You, Maydays, Ratata Groningen, NL
           De Stem, Festival Terug Naar Het Begin, Groningen, NL
           Reference Frame, The NewBridge Project, Newcastle upon Tyne, UK
           We Give You Something to Like Me, Academie Minerva Groningen, NL
           Drive Wild, Grand Theater, Groningen, NL
  
2013   Do You Know What I’m Saying, KABK, The Hague, NL
           Academy of the People, Groninger Museum, NL
           Energy, Nacht van Kunst en Wetenschap, The Night of Art and Science Groningen,
           Verras Vader, Groningen, NL
           The Real Heavy Metal, Martini Tower Groningen, NL
           The Polite Distance of A Foreign Cat, Which Entertains, Pruim Groningen, NL


2012   Kunstmaand Ameland, Ameland, NL
           White Noise, Academie Minerva Groningen, NL
           Stamps, PIT Gallery, Groningen, NL
           Get Real, Simplon Poppodium, Groningen, NL


2010    MAPS KL, MAP Arts Festival, White Box Solaris Dutamas, Kuala Lumpur, MY
            The Dialogue of Art, Graduation Exhibition, Annexe Gallery, Kuala Lumpur, MY
            House Warming, Lost Generations Art Space, Kuala Lumpur                                         

Tuesday, October 6, 2015

哲學的力量: 細讀德勒茲的《一千個平台》

講師介紹:

薛承兴博士现在新加坡国立大学(NUS)担任教学与研究工作. 他的研究兴趣包括现代哲学, 法国左派政治经济学, 现代东亚思想学等等. 学术出版包括德国哲学家海德格 (Heidegger)的存在与政治学和法国哲学家德勒兹 (Deleuze)的国际文章.

課程內容:
福柯曾經說20世紀將是一個“德勒茲的”世紀。這是福柯對人類與政治改變的一種期望和預言。本課程將介紹德勒茲的歷史背景和主要思想概念與發展。學生將對哲學有重新的認識和理解, 並且掌握哲學在生命, 政治, 藝術和文學中的“力量” (puissance). 為了實現這目標,我們將有機會細讀德勒茲的一些主要作品,有如《表現在哲學》,《尼采和哲學》,《一千個平台》,《反俄狄浦斯》,《電影1和2》,《哲學是什麼? 》等等。

1.介紹德勒茲的政治歷史背景: 巴黎68年5月的意義

2.德勒茲和形而上學:表現哲學

3.德勒茲與其他哲學家: 柏拉圖,康德和黑格爾

4.德勒茲的哲學:《差異與重複》

5.德勒茲和瓜塔里:《一千個平台》, 《反戀母情結》,《哲學是什麼? 》

6.德勒茲與藝術,電影和文學: 閱讀培根,卡夫卡和愛森斯坦

7.德勒茲和政治:尼采或馬克思?

8. 結論: 當代德勒茲學說


(共四堂課)
開課:10,11, 31 Oct & 1 Nov /2015 (每逢星期六和日)
時間:12:30pm -4:30pm
地點: Lostgens‘ 當代藝術空間
8c, Jln Panggung, 50000 KL.

学费: Rm 200 ( 共四堂课)
报名方式:請將學費存入 Lost generation gallery
514114444696 (maybank )
然後將收據,姓名,职业及联络email
到 lostgens@gmail.com。
询问: 019-6838397 兩興

Sunday, September 6, 2015

Madline2.0 馳續逕行~ Solo Exhibition by Eddie Choo



Madline2.0 馳續逕行~ Solo Exhibition by Eddie Choo

Opening 12 Sept 2015 ( Sat ) 19:00
Exhibition :12 ­~ 25 Sept 2015
Space opening hour:13:00 – 19:00, Closed on Monday
Venue:Lostgens Contemporary Art Space
8c, Jln Panggung, 3rd floor, Kuala Lumpur, Malaysia.


"I draw what i see when I drive where I go how I think who I am"
The artist apprehends that leaving behind the familiar place inevitability leads to a new voyage. The disorientation of streets, ports and the alleys fancy a river that drift towards endless ocean of uncertainties.
A voyage has two opposing points - the beginning and the end respectably. Suppose a voyage is just a fictitious space-time, the sceneries end at the point where the traveller arrived. The numbers of sceneries dictates the numbers of junctions. The possibilities of the end route are vast.
In “Madline 2.0”, the artist continues her voyage from the pervious exhibition “Diary of Madlines”. The artworks are expressed using basic elements of dots, lines and plane. The random yet mechanical qualities of drawings convey the traces of the artist’s voyage of life. The traveling lines and the impressed dots made up to the idea of endless route.
Madlines—being swift yet direct, tirelessly travelling towards the other side…
                                                                                                                                 
Text by Eddie

Artist bio
Eddie Choo, a Malaysian born artist that graduated from Fine Art program in Dasein Academy of Art, Malaysia. She is currently furthering her studies in Taipei National University of the Arts. Eddie participated in 2013 artist residency by Lostgen Contemporary Art Space where she held a solo exhibition that titled: “Diary of Madline.” In year 2015, she was one of the recipients of Outstanding art prize by Taipei National University of the Arts. The artworks were presented in the group-exhibition held in KdMoFA (Kuandu Museum of Fine Arts) under the titled “This is Not a Poisoned Apple”

離開日常生活的城市後,抵達陌生的國度,开始嚮往著另一段新的旅程。關於這街道、巷口以及小徑,無法拼湊出方向感,猶如河流邁向神秘未知的大海。
旅行有兩個端點,一端是出發,一端是抵達,假設旅程只是虛構的時空,抵達時風景就結束。有多少處風景,就有多少分岔口,換句話說,途徑有很多條。
點、線與面構成繪畫的基本元素。駕駛這個動成為繪畫媒介,將旅程以點、線和面刻畫在紙張上。隨機性的因素與保持機械控制的質量,旅程的过程产生了實際的繪圖。遊走的線條與停頓的戳點反映了途徑。
身在异乡的我,馳線直情徑行 ,朝著線的另一端徑直奔去。

注:馳線(Madline)為粵語諧音「癡線」

文 / Eddie Like

藝術家簡介: 朱雯儀 Eddie Choo Wen Yi
出生長大於馬來西亞,畢業自純美術達爾尚藝術學院。目前就讀於台北藝術大學美術系學士班。2013年駐館Lostgens’,並舉辦首次個展《馳線手記》。2015年獲得國立臺北藝術美術創作卓越獎,台北關渡美術館《這不是毒蘋果》聯展藝術家之一。

lostgenerationspace.blogspot.com/
www.facebook.com/lostgens
lostgens@gmail.com