Sunday, November 16, 2014

5th Kuala Lumpur Experimental Film and Video Festival 2014: THE FIRST TIME


5th Kuala Lumpur Experimental Film and Video Festival 2014: THE FIRST TIME 
19-23 November 2014 in Kuala Lumpur 
Lostgens Contemporary Artspace 8, Jalan Panggung, 3rd floor 
Petaling Street Art House, 54, Jalan Sultan
Gospel Hall Kuala Lumpur, 3, Jalan Hang Jebat
FINDARS, 8, Jalan Panggung, 4th floor 

The theme of this year’s international festival of experimental cinema is The First Time. The program includes: KLEX open programmes, international guest programmes, video installations and audio-visual performances in collaboration with three different spaces, all within walking distance from one another. 

KLEX 2014 has received over 170 submissions from its open call, including works from Australia, Canada, China, France, Germany, Hong Kong, Hungary, Italy, Japan, Malaysia, Mexico, Portugal, Russia, Singapore, Thailand, UK, USA . From these submissions, the curatorial committee has selected 37 experimental short films to create three KLEX Open Programmes and two single-channel video installations. 

In cooperation with the 64th Berlin International Film Festival (Berlinale 2014) and the Goethe-Institut Malaysia, there will be two special screenings of the program Berlinale Shorts Go Abroad, curated by Maike Mia Höhne. 

Sat, 22 Nov at Lostgens Contemporary Artspace 
Admission by donation 

2:00pm: Berlinale Shorts I 
3:45pm: Berlinale Shorts II 

The Berlinale Shorts are a forum for the short form in the Berlin Film Festival, a place for films, which do not compromise, and which take an undisguised look at the present. The 10 short movies from different countries deal with very current topics. 
The program will be introduced by Dr. Torsten Schaar, UPM.  

The Open Programs also include films of the video program Looking at the Big Sky, which was produced by the Goethe-Institut in cooperation with the University of the Arts in Braunschweig, the Arts University for Media in Cologne and the Academy of the Arts in Munich. The films deal with hopes and utopias, big ideas and illusions and were curated by the inter media art institute in Düsseldorf. 

For the full KLEX 2014 programme, please download from the link below. 

And to get more updates, please visit KLEX 2014 official Facebook page: 

KLEX 2014 is supported by the Goethe-Institut and the Berlin International Film Festival.

Wednesday, August 27, 2014

Yang lain-lain 2nd Malaysia road show


Solo exhibition by Carlos Llavata : There is nothing outside the text























There is nothing outside the text

I am not a guy of big words but this occasion deserves an exception. When I say text I mean it, I am not saying language or its evolution. Let’s take an example from the huge wide internet range of information and its monotony. How we are write in it. The writing is becoming the main form of communication and even the real experience; we invent new contractions and new pronunciation, shortcuts and long cuts, a new codex and forms, new realities appears in front of the visual avalanche of the network, unreachable abstraction!

In this exhibition the desire of representing a rational the real world issues through the text on canvas as painting itself runs with a compromise of resting from visual imaginary and aesthetics remarked in the words of St. John: “Words made flesh”. In the other hand, I believe that art has no the need to be legitimize but the industry need those parameters and the codex witch articulates a way of production and evaluation, yes it does, like the label, who’s shadow will always be besides the art piece, the label who say about what you are seeing, the label guilty of someone crossing on, between you and the art piece itself, anxious to check who’s the artist, medium, size…and the year of it, interrupting your contemplation of that art piece at that moment, the label who categorize the level of production(oil on canvas, acrylic on canvas….), the label who says who is in charge (category of the artist))…the label in the pure communion with the real and understandable world, the label as the document which links the ideal with the material, the document as the value of things. That is the ironic confluence of the issue here, an experience only can be remembered but never reproduce, well I am convinced that many of the art consumers likes to contemplate more the label than the art piece itself, but that’s another history… or maybe not.

                                                text by Carlos Llavata at the residency in Lostgens KL 2014S



Kekosongan di luar teks

Diriku bukanlah lelaki yang banyak berkata-kata, tetapi kali ini, keadaan ini berhak mendapat pengecualian. Bila ku katakan teks, ku benar-benar maksudkan teks. Bukan bahasa, bukan evolusi bahasi. Teks. Ambil contoh alam maya internet yang besar dan luas dengan maklumat serta 'membosankan'. Bagaimana kita ditulis di dalamnya. Tulisan menjadi cara utama komunikasi termasuk penceritaan pengalaman sebenar kita. Kita telah mencipta kontraksi dan sebutan baru, jalan pintas dan jalan panjang, kodeks dan bentuk baru, mewujudkan realiti baru di hadapan runtuhan visual rangkaian tersebut. Abstraksi luar gapaian!
Menerusi pameran ini, keinginan rasional untuk merealisasikan isu-isu sebenar dunia melalui teks dan kanvas sebagai lukisan tersendiri adalah seiring dengan kompromi dan estetika tercatit di dalam kata-kata St. John, "Words Made Flesh (Perkataan menjadi isi)." Dari pandangan lain, ku percaya bahawa seni tidak perlu disahkan tetapi industri ini memerlukan parameter dan penilaian yang tertentu. Ya, benar. Ambil contoh label yang sentiasa membayangi sisi sebuah seni. Label ini menceritakan seni yang dilihat, label yang menjadi mangsa kejahilan kita, label yang menjadi penghalang di antara anda dan seni itu sendiri.

Begitu beria-ia kita untuk mengetahui artis, medium, saiz ... dan tahun seni tersebut, menganggu perhatian dan pertimbangan kita pada masa tersebut. Label yang mengkategorikan tahap produksi (minyak pada kanvas, akrilik pada kanvas...), label yang menyatakan siapa yang bertanggungjawab (kategori artis)... label yang menyatukan hubungan suci dengan dunia yang nyata untuk mudah difahami. Label ini mendokumentasikan yang sesuai dengan bahan, nilai sesuatu seni.

Itulah titiak pusat ironi isu ini - sebuah pengalaman yang hanya dapat diingati, tetapi tidak dapat dihidup kembali. Ku yakin, ramai yang ingin 'hilang' di dalam sesebuah seni, namun itu ku simpan untuk sejarah lain... atau mungkin tidak.


                                                                                             Malay text translator Lis Suyanto


没有其他, 除了文字

我不是一个喜欢长篇大论的人,但是这次值得破例。当我说文字,我说的就是文字,不是说语言或其进化史。且拿互联网上庞大而单调的资讯作个例子,我们如何书 写?书写逐渐成了主要的沟通方式甚至真实经验,我们发明新的缩写方式和新的发音、缩短或拉长的句子、新的“法典”和形式、伴随大量视觉上的网络而出现的新 的现实,无法企及的抽象概念。
在这次展览中,我用了帆布上的文字表述理性的真实世界,这个欲望,盖过了视觉想象和视觉美学,就如圣约翰说的“血肉的圣言“。
另一方面,我相信 艺术不需要正当性,但是业界却需要这个参数,以及一部记载生产和评估方式的“法典”。是的,确实如此,就如标贴,跟艺术品如影随形。标贴告诉你你看到了什 么,它就像一个横在你和艺术作品本身的他者,让你焦虑地探查谁是作品的作者、媒介、尺寸、年份……这在你观赏艺术作品的当下侵扰了你。标贴,决定了生产的 水平(帆布油画、帆布阿克力);标贴告诉你谁主掌(把艺术家分类)……是标贴,与真实的、可理解的世界作纯粹的交流;是标贴,把概念和原料连结起来;文案 就是作品的价值。
这就是我的作品要表达的讽刺的交汇。这个经验只能被记取,无法复制,当然我深信很多艺术消费者喜欢欣赏标贴甚于艺术作品本身,但那是另一个历史,又或许不....

                                                                                                 
中文翻译: 陈慧思 

Thursday, July 24, 2014

刻舟求剑 - Pulau Melayu - Lost and Found


Introduction 展览简介 :

刻舟求剑 - Pulau Melayu - Lost and Found features recent art works by 4 cross disciplinary Malaysian artists: Chong Kim Chiew, Liew Kwai Fei, Low Yi Chin and Minstrel Kuik Ching Chieh, whose work include painting, printmaking, photography, installation, video and writing.

It is less exciting to define the meaning of contemporary art in Malaysia than to make it happen. By doing so, the four artists took the initiative to group and work together, guiding by their admiration and respect for individual artistic practice. Despite doubts, delays and distractions in between times, the clarity and inspiration of making art have finally come to rendezvous. The group exhibition aims to connect with its audience through a rich, emotive and layered perspective developed by each artist along the years, in co-related topics engendered by local contexts existing in the Malaysian society.

Due to the quota system implanted by the ethnic policy in Malaysia, the four Malaysian artists who were born in the 70’s of the last century were either trained in local private colleges or/and overseas during their tertiary education. Their diverse educational background and hybrid experiences are later transformed into a personal and unique visual language in their artistic expression in order to resist nation building and to participate actively in the transformation of the society.

The group exhibition “刻舟求剑 - Pulau Melayu - Lost and Found” is self-curated and will be showing at Lostgens’, an independent art space which has been fighting for free expression, coexistence of ethnicity, social and cultural values in Malaysia. By doing so, the artists wish to create more in-depth dialogue that is vital to nurture the pluralism, not simply in the local art scene, but also in our country.

Exhibition : 2014/8/2 - 2014/8/30
Opening : 2014/8/2. 8pm
Location : Lostgens' contemporary art space (8c, Jalan panggong, Kuala Lumpur, Malaysia)
Opening hour : 1pm - 6 pm(Monday Closed)


今年8月,Lostgens’艺术家自主空间将展出【刻舟求剑 - Pulau Melayu - Lost and Found】,分别由四位本地艺术家张锦超、廖贵辉、刘宜振与郭静洁自主策展的多元形式創作,其中包括绘画、版画、攝影、影像、装置、文字等,呈现当代艺术多元敘述和跨界的可能性。作品内容凝视现下社会的错綜复杂,彼此重叠与交互纠纏的面向,借此建立作品与观者之间多维度的连接。

展览名称选择以三种语言呈现,分别为“刻舟求剑” 、“Pulau Melayu”与“Lost and Found”,不同的字义和语言,涵盖展览主题的不同面向与思考脉络。

四位艺术家同样生长于70年代,虽来自不同的成长教育背景,却因为国家教育政策使然,他们的艺术教育养成,师承本土私立学院或海外高等学府,显现游移在国家主流教育体制外的学习经历。他们混融交杂的背景,发展出各自不同的视觉语言和创作形式,回应国家进程各式议题,积极参与社会转型的境况。

展览由四位艺术家自主策划,经过不断交流和沟通,有別於商业画廊的运作模式,脱开策展人策展的论述,让艺术家重新掌握话语权。【刻舟求剑 - Pulau Melayu - Lost and Found】在 Lostgens’艺术家自主空间展出,艺术家回应对该空间历来所提倡透过艺术做跨界,跨族的平等交流的支持,同时也展现了体制外,异质的生命力。

展期 : 2014/8/2 - 2014/8/30
地点 : Lostgens' contemporary art space (8c, Jalan panggong, Kuala Lumpur, Malaysia)
开幕 : 2014/8/2. 8pm
开放时间 : 1pm - 6 pm(星期一休息)


http://dailyseni.com - pulau-melayu-lost-and-found-sebuah-pameran-seni-di-ruang-lostgens 

Saturday, July 12, 2014

Lostgens' July artist residency Arson Ong Chun Wen


Arson Ong Chun Wen
Born in 1990 and graduated from Dasein Academy of Art , He passionate in cross disciplinary art including drawing, painting, installation and performance. He have been taking part in exhibitions and performance art regularly. Besides,  Arson also run an art space with artist friends to educate children in art making.  


 

Artist statement

My vulnerable health condition since young prodded me to think about the meaning of bodily existence. Thus, I fondly observe human’s body language in daily live and in dance that consciously and subconsciously connected with social and political issues. In my studio practice, I am interest in the relationship between our bodies, objects and their surrounding environment.

The process of my work caught up with the changes and possibilities available in drawing, painting and performances. It captures the language of drawing and performance and connects them together. It is through the multifaceted body and emotions that I could continue to tell my story.





Friday, July 11, 2014

Lostgens' July residency artist Chong Yi Lin

Chong Yi Lin  (b.1992, Kuala Lumpur) 
Live and work in Kuala Lumpur. 
Graduated in Diploma in Fine Art from Dasein Academy of Art, Kuala Lumpur in 2013. 
She is using her life events as inspiration on works and her works are to explore personal states and ideas of self-representation between figuration and abstraction currently.




Tuesday, July 1, 2014

Lostgens' July residency artist Carlos Llavata Gascon ( spain )




Carlos Llavata Gascon (1964)
Lives and work in Valencia, Spain

Plastic artist, In 1983 started art education at the ceramics school of Manises, after he moves to San Francisco and could`nt attend to SFAI (no money), he backs to Spain, and he finished Fine Arts university in Valencia, and later on he graduates at The Gerrit Rietveld Academie of Amsterdam at 2001. He has been in many colectives shows events (mostly action art)  6 solo shows under Carlos Llavata´s name.       
He is cooperating with some galleries  and projects around the world, Mirta Demare (ARCO 2010) Rotterdam, Art Amsterdam 2011 (Artkitchen Gallery), "Splattered" Golden Threat Gallery Belfast, Sign in Groningen, Zé dos Bois, Lisbon, La Pieza, Madrid, Artpotheek Brussels, Lost Generation Space, Kuala Lumpur, MY, Pensart Madrid, ES 

Carlos Llavata
by Nelo Vilar

Engraver-expeditious-of-action, pop icon.
I seriously  asked myself why Carlos Llavata causes explosions, why the firecrackers, why the unpleasant guns. I began to investigate in his materials, starting in the beginning, the monotypes and the ceramics, and then I understood everything to it: Carlos is,"simply", a engraver(recorder), well that an Recorder-expeditious one. To the model of engrave of unique unit that represents the monotype to only adds "a small" element: the chance. They are the shots, the explosions,those that burden (record or engrave) his silhouette on a fabric or a wall. Or those that leave their printing on a clay tower, or on a perfectly modeled vase made a live. The forms that remains are amazing, but it is the process which seems to interest before anything. In this case, CarlosLlavata would be an Recorder-expeditious-of-action, as Jackson Pollock or Georges Mathieu, they were painters-of-action.
     For a long time I have been dividing to the artists between whom they produce useful work for an impossible infantile program of television and those that don't. It is not about childish, of triviality or simpleness, but of the "world" that there is back the work of a determined author, the naturalness, the talent and humor as opposed to the solemnity and the religious bigotry of others. I talk about, of course, to a chimerical infantile program, not necessarily tolerated to minors, in whom outside possible the political, erotic work, etc. Robert Fillliou, for example, is  brilliant applied to the children. Beuys not as much. Nor possibly Tàpies. Brossa yes. And Bartholome Ferrando. And good part of the Fluxus, some surrealistas... Dadá, of course, and the first futurism... In this hypothetical ideal program that would changethe life of children and adults, I see like a in habitual section to Carlos Llavata. Imagine a fellow, a personage who goes that way exploding everything, that it has piano that instead of  musical notes it activates fireworks (and that in the end explodes), that bursts things that fly, that runs, daily things (since the Valencian children in the insuffrable Fallas  of València); that one stains, that is singed like Mortadelo. That pop icon, I think, would have astonished to the surrealistas, would have made lose the composure to the solemn ones, would have made run to the hieratic ones in front of a Napolitan cracker. I vote by the humorous, ingenious, surprising Llavata, a little naíf, that sends us the wonderful thing, to the fantastic thing, to the absurd...

© Nelo Vilar 2007,  Excerpt from:
Catalogue, Marte et Arte, Exhibition at espacio grupo forja, 2007, Valencia, Spain.

Tuesday, May 6, 2014

“Connected: Dialogue through / with / in the arts” Workshop by Susanne Bosch

This is a weekend workshop with the focus on participation and conveyance, two different conditions of being involved in artistic and other processes.

The weekend focuses on artistic and communicative methods that complement each other and will be contributed both from the participants as well as the guest artist.
We will look at international artistic examples and do hands on exercises. The focus will be on a number of key questions:

Which potential do artistic-collaborative processes have for the individual, for the community and for the common or civil society?
How do I behave or experience myself in unfamiliar settings?
What are my artistic and communicative tools?
Which topics and themes attract my attention?

Date: 24th & 25th May 2014
10am to 6pm (start sharp, please be in time)
Participants: Max. 15-20
Bring your mobile phone and/or camera and cables for documentation purposes, be prepared to be outdoor
Please register here: lostgens@gmail.com
No fee, no pre-knowledge required



    Common ways to cross the square, Mannheim, Germany, July 2013

Wednesday, April 30, 2014

Artist Talk, Q & A by Susanne Bosch


Susanne Bosch works predominantly with and in public. Her work addresses long-term questions around ideas of democracy. Bosch has taken on issues of money, migration, survival, work, societal visions, and models of participation. She formally uses site- and situation-specific interventions, installations, video, drawing, audio, dialogical work, but also writing, speaking, workshops, seminars and Open Space Technology.

From 2007-2012, she developed and led the Art in Public programme together with artist Dan Shipsides. She works internationally on two projects in public space, examples are City(Re)searches (in Cork, Derry, Kaunas and Rotterdam, 2012-2013) and Jericho – beyond the celestial and terrestrial in the series of City Exhibitions, Birzeit Museum, (West Bank, Palestine, 2012-13). Susanne is also co-editor and editor of publications. She will give some examples of her previous work and give hopefully enough spice for a “hot” debate!

Susanne Bosch is here in Kuala Lumpur as artist in residence from March until June. The residency is organized in cooperation between Lostgens and Goethe-Institut Malaysia .

www.susannebosch.de


    
    2011, Learning form the freegans in NY

Monday, April 14, 2014

Artist talk: MY STORY photo project: through the eyes of the Thai/Burma community..

Talk by Nathaniel Tileston and Susan Tileston ( Canada )
 

Moderator : Susanne Bosch 




After studying at the Art Institute of Chicago, Nathaniel Tileston moved to New York City where he worked as a professional photographer from 1976 until 1982. He worked mainly in dance and theatre; some of his work is in the permanent collection of the Whitney Museum of Modern Art, New York City. He also worked for the Soho Weekly News, photographing downtown dance and performance. His work has been featured in the New York Times and many international dance and theatre publications.

Susan Tileston left her career as a Montessori teacher in 1976 to travel to Japan, where she bought a Nikon and fell in love with taking pictures. On returning to New York City, she decided to break into the world of professional photography. It so happened that Nat was looking for an assistant at the time; a mutual friend introduced them, and the rest is history! Susan worked in the darkroom, eventually stepping out to photograph musicians, visual artists, and writers.

In 1982, Nat and Susan moved to the oldest town in Canada, Annapolis Royal, Nova Scotia. There they ran a bed & breakfast for 16 years, while Nat photographed for Parks Canada and Susan served as executive director of the Annapolis Region Community Art Center, an artist-run space. Since 2006, they have divided their time between Nova Scotia and the Thai/Burma border.

Website: http://msppa.org/

Wednesday, April 2, 2014

Lostgens' German residency artist ~ Susanne Bosch






Residency duration 23 March - 17 June 2014

Susanne Bosch

born in 1967, Wesel, Germany.
Susanne Bosch is an artist, art based researcher and teaches. She achieved a PhD about her public artwork in 2012. From 2007-2012, she developed and led the Art in Public master programme at the University of Ulster in Belfast together with Dan Shipsides. She works predominantly in public and on long-term questions, which tackle creative arguments around the ideas of democracy. Works include among other things issues around money, migration, surviving, work, societal visions and participation models. She formally uses site- and situation-specific interventions, installations, video, drawing, audio, dialogic work, in addition formats such as writing, speaking, listening, workshops, seminars and Open Space conferences. She is a trained Open Space facilitator (2008) and trained in conflict analysis and - management (2004). Susanne works internationally on exhibitions and projects.  
Artist website:
http://www.susannebosch.de

http://3.bp.blogspot.com/-mWLd6WIfIJs/UT8M5Bx8QPI/AAAAAAAACbI/jk0jy25f1Cc/s200/goethe+logo.jpg

Thursday, March 13, 2014

Talk & Performance by artist from Myanmar art space - New zero art spac

Nora

Nora was born in Dawae, the southern part of Myanmar in 1990. She started her art study at New Zero Art Space in 2009 and she lives and works in Yangon. She is one of the young talented artists who already participated not only at the exhibitions, art fairs and festivals, also in some international events. She also organized Southeast Asia art Exchange program “Gender under Reflection” with the woman artists from Southeast Asia countries in Yangon in 2012. She deals with different kinds of media like photography, video, installation, painting and yet performance art. As a young artist like her age, she strongly expresses her artistic creations upon social and political situations by her own opinion. Most of her works of artistic creations are related to human rights, child rights and political issues of the country.

Yin Nan Wai

The young, woman artist, Yin Nan Wai started her art practice at New Zero Art Space since 2009. She was born in Yangon in 1982 and now she lives and works in Yangon. She mostly focus on painting and she also deal with other mediums like photography, video and installation. Most of her works are related to her individual livelihood experiences with her family and a woman life in the restricted community. She already participated in several group exhibitions, art fairs and festivals in Yangon, Myanmar.

Thyitar

Thyitar was born in Yangon in 1988. She is working as multidisciplinary artist. She finished her art study at New Zero Art Space in 2009. Since then, she already participated in several group exhibitions, festivals and other art related events in Myanmar. As her foreign participation, her works once has been exhibited in France Art Exhibition in France in 2011. She is also one of the coordinators of New Zero working group and also the editor of monthly New Wave art and literature magazine. The young woman artist, she approaches individual perception upon feminism and religious issues and composes her opinions to the artistic creations.

对缅甸的印像是人政权, 女民主斗士,僧人上街示威。。。。。

甸的艺术工作者也是人政府查及督的象,艺术工作者因为创作的作品而被局投身监狱。熟悉艺术圈的朋友曾近说过甸画展 ,画家必一支黑色的 Marker pen, 为开幕前有官来进查,如果得某一作品有政治不正确,就必拿下,然后传单上的作品照片以 Marker pen 涂黑!

样的一个作受到高度监视环境下也促使了,向往自由作的艺术工作者做出相对应变。而5060年代起于洲的艺术 为艺术Performance art 成了他的另一种艺术表达的出口,一些艺术工作者平常画景水彩画,下一秒身就成了前的行为艺术家,然有时这样做也逃不无所不艺术审 查。

不同于画或雕塑的构成方式,行为艺术需具四个件即 时间,地,行为艺术者的身体,及现场观众。 为艺术调过程意,及艺术创作自由,同也有某一些是注重众的与,甚至一起共同经历创作的程。然而行为艺术也有只能存下的时间局限,程也可以用记录,但是却失去了现场感。其某个程度也成了艺术审核上面及追究上的挑

年,昂山素姬的放政局的改甸的艺术限制也得到了一些松些改直接影艺术工作者作思与方式。甸首都仰光的艺术组 New Zero Art space 的策展人将为说这些年化,冲及思考。同3 New Zero Art space 艺术工作者 Yin Nan Wai , Nora Thyitar 将现场进行行为艺术表演。