From Alex Lee: “I am interested in exploring the power play in public spaces, like how defensive designs deny undesired users access to certain area (it goes both ways, shopping malls or slumps).”
From Alice Ko: “…focusing on building the connection and platform of the art activists in East Asia in these years cultural geography, contemporary East Asian culture, urban movement and social engagement art.”
“… the voices of the people have always been positioned at a disadvantage, seemingly rendering all efforts futile.”
“…no observed growth in dissenting movements, which serve as a check on the progress of urban development.
“…to know various geographical conditions and historical backgrounds of south east asia and I hope to discover this field and build broad vision.”
“…opportunity to develop and work on an artistic intervention.”
From Caique Tizzi: ” …Agora Collective is a project space with the mission to create a prototype of a community, which is constantly researching ways of interacting and working in today´s context – developing formats to work collectively in the fields of food, art and education.
…My practice is dedicated to the conceptualization of collaborative frameworks, exploring notions of affection, generosity and togetherness. I am specially interested in investigating the social and its iconographies via experimental methods of group work, organising events and educational programmes for artists.
… I did not have the chance to be in a space for reflection of the activities and programmes I have been devoted to. I see this programme as an unique opportunity to combine practitioners to discuss better practices, exchange knowledge and most importantly, working hands on projects that could affect our understanding of our work and impacting somehow the spaces and city we will be in.”
From Chen, Guan-Jhang : “… I am interested in local narratives, indigenous culture, folk religion, liberal arts, etc. For the past seven years, I have been video-recording the life of an indigenous shaman in the hope of figuring out what the role of a shaman is and what it means to be a shaman in a contemporary social context.
… By attending this workshop, I hope to gather diversified viewpoints of how others see the relationship between art and activism (For example, what are the possible ways that art can be applied as a means to participate in a community and society? How an artist’s long-term participation and cooperation with the local may further generate knowledge exclusive to the community?)
… Displaying the art piece in the tribe allowed me to ponder how an artist may collaborate with the tribe. I guess what ensues is the shift of focus from the artist himself to a whole tribe. With the participation of the shaman and his fellow people, I hope to develop a collaborative model of recording and representing the community in question.
… Therefore, “collaborative production” and “returning local knowledge to the local community” will be my main concerns in this workshop. Part of what I am engaging in is alternative education.”
From Djuwadi, Taring Padi: “… Regardless Taring Padi as a collective or me myself as an individual artist, we believe in the idea of art and artists as the mediums to integrate the environment, art practice in a social environment could be the medium to learn together, raise awareness, and strengthen the universal values in a society for example.
… Exchange ideas and skills with the others.”
From Elaine Ho: “…I find myself in an extended period of transition, as HomeShop, the artist-run project space that I founded and co-organised for five years in Beijing, came to a close at the end of 2013.
… This is not only about questioning what “public” can mean to us today, but about how networks and splintered means of production and reception have altered those connections between publics.
… I am a firm believer in our efforts as human beings to engage them.
…At the same time, I am often cynical about artists’ ability and responsibility for enacting political change.
… Right now I am working on a project with an urban agriculture group called HK Farm, whereby we are bringing together several other farming/activist/art groups from Hong Kong and mainland China to create a three-day publication-making workshop in the form of a collaborative, performative event of embodied knowledge.”
From Haymann Oo: “…Art centre, residencies, exchanges professional art education in post- dictatorship country, New Zero Art Space is only independent art space in Myanmar.
… Learn new ways, alternatives, network.”
From Jakob and Manila Bartnik: “… Our main interest is to work on the local given conditions, belongings of people living there and the rounding nature. We are looking forward to interchange with other artists and citizens. Our motivation is also to learn new methods of participation.
… In their work, Jakob ( the head) deals mainly with restriction. Manila (the heart) mainly with permeability. This combination optimizes the form-finding process and is surely our main power.”
From Lim Paik Yin: “… By using the presence of oneself and transforming everyday spaces through performance, I can view the self as a separate entity and thus intervene in my everyday routine creating a temporal opportunity to express what is unspoken or hidden. My current work explores the concept of Home from the nationalistic level, the family level and personal level.
… As my work is starting to become insular, it greatly interest me to find strategies where the processes of the work is with another person and audience participation is active. I am also interested in creating collective action in public spaces either temporal or permanant. I think it is important to create art projects that bring a multitude of people from different social stratas to interact and draws personal stories to be shared with the community/public.
… I would hope to have a discussion on what makes a sucessful socially engaging artworks. To meet individuals from different perspective and practices to discuss on personal ethical response to having members in the public in art works (photographs), using the creations of the participants as artworks.
… To share and learn different strategies and project ideas. Also to have a better understanding of the art systems on a global scale.
… When I think about renewable energies and sustainable living it never fail to amaze me how the simplest thing in life we do can be part of the change.
… I would like to create an exchange and a dialogue with the people who has experienced knowledge about our local herbs and traditional ways of living with urbanites and corporate bodies which are open to having communal gardens and traditional living ways. I believe that there are systems in place that have the structure of facilitating communal gardens such as public schools, eco parks and cooperatives.
… I would like to explore the idea of activating public spaces that allow public participation through the idea of sharing personal stories, momentos and/or plants.”
From Misako Ichimura: “… How do we conceptualize the vision without reproducing neocolonialist assumption that collude with globalization and neoliberalism, nationalism such as the “convivial” party or the contemporary war system?
… I also expect to collapse the binary frame of urgency political versus stability from TrancAction.
… Actively engaged in various projects including creating art work, writing essays, an organizing workshops on themes such as feminism, capitalism, and antigentrification.
… I organize a homeless women group and I have started workshops and research to transcribe a journal of a homeless woman, Ms. Koyama who died in 2013.”
From Renan Laru-an:“… opportunity to rethink, recalibrate, and reorganize my thoughts and actions around the highly tenuous context of/for art and culture in Southeast Asia.
… Subverting the uneven material conditions for operation through affective strategies could be a useful proposal in working around the complicated construction of public/s.
… As a researcher and curator whose practice lies in the differentiation of knowledge sites and knowledge scenes, I am keen to learn how practitioners in the region and in Germany position themselves in the discursive architecture and choreography of their communities, say in an artistrun space, a collective, a research department, a graduate program, or a production company.
… Waiting Sheds reacts to the complacency of educational programs and to the calcification of collaboration as frameworks of knowledge production; and constitutes a sustainable support group for independent intellectual and artistic endeavors.”
From Rika Aki: “…During Trans Actions, we can share each of the problems we have and their differences. We can invent new activism by finding out the relationships between my problems on the island and your local issues. Through Transaction, we will be able to go beyond nationalism and discover the creative lives.”
From Zikri Rahman: “… The dynamics of the core Principle with its ability to capture the masses is what keeps Buku Jalanan motivated to continue the ideal of cultural and literacy works. In this regards, the expectation for us to share, learn and practice together will be huge as to continuously challenge the paradigm and endless possibilities of arts for the public at large.”
From Zulu Kageyama: “… Art Lab Ova has activities at Wakaba-cho in Yokohama where is unknown back street in center of city and It is said more than 30 nationalities people are live in. On that day,Many of Koreans murdered by Japanese ordinary people around here ,too. Now Wakaba-cho is the place looks like nothing happen and nothing particular. But If we watch carefully here, we can see what’s happen in the world. Invisible problems in this town is the invisible problem in the world. Our activities as artist is watching,intervening and connecting quietly.
… We know, if we have disaster like great earthquake now, people can be cruel as 92 years ago. We feel a sense of danger in this situation.”
From Okui Lala: “Working part time as an artist and facilitator in community arts project; I am particularly interested in the relationship and identity formed between me and you (another individual) and us (small community).
…. For e.g. I questioned my approach: ” how much does my collaborator felt engaged?” and ” where shall we move on now from this “art project”?”
… Although I would not expect myself to immediately found the answer for the questions within the master class, Although I would not expect myself to immediately found the answer for the questions within the master class, Although I would not expect myself to immediately found the answer for the questions within the master class, but I do appreciate that the course includes the theory + discourse part. And most importantly, I look forward to meet the like-minded friends and learn from all! “
From Alecia Neo: ” I am an artist trained in the field of photography and my current work involves working with different communities to create collaborative art projects. I have a particular interest in how people and places experience and cope with loss and the healing rituals we adopt. I am interested in how our environments shape our behaviour, and how active listening and participation can aid in shifting public perception. For the past three years, I have been developing work with visually-impaired communities, beginning in Taiwan (2013), and presently in Singapore (2014 – 2016).
… I believe much can be improved in the disability sector, and I am interested in how authorities or institutions choose between the needs of a particular group over the perceived majority.”
From Lee Cheah Ni:
|“I hope that we can sharing our experience and having more discussion ,share opinion and critic. I would like to share the project that I have done before and also the things that I have observe , will like to have more dialogue and critic, it helps to sort out and rethink.
I hope that in Master Class can learn others experience and know more project that can expand arts’s reach or experimental works in non-conventional venues, from communities to public spaces and temporary sites, dispensing with institutional art spaces and gatekeepers.”
|quoting from: <The Origins Of The Wooferten AAiR – a Trans-territorial art/activist network？> published in <AAiR 2011-12>: “In recent years, I have met many who are preoccupied with the same question, and who have stood on the frontline of struggles or built infrastructures of resistance in neighborhoods. These encounters have demonstrated, in exemplary ways, the forms that art can assume in relation to social movements, but I was always left with the feeling that there was no exchange between these various experiments, no way of putting something in circulation between them, so that experiences could be shared and examined collectively. “|