Gallery & Studio


︎︎︎ EN

Contact ︎︎︎ 聯絡
Support ︎︎︎ 贊助
About ︎︎︎ 關於
       Current ︎︎︎ 當期
       Archive ︎︎︎ 歷年
Artist ︎︎︎ 藝術家
Workshop ︎︎︎ 工坊
Residency ︎︎︎ 駐村
News ︎︎︎ 新聞
Shop ︎︎︎ 販售

FOGSTAND Gallery & Studio is a nonprofit art space and creative education centre. The space is temporarily closed.

This website has served as an online archive since 2022.

FOGSTAND Gallery & Studio. All rights reserved.

︎︎︎ EN











FOGSTAND Gallery & Studio is a nonprofit art space and creative education center located in both Taiwan and USA. Established since 2014, FOGSTAND aims to promote and exhibit rigorous creative projects that maintain the ability to channel into a broader emphasis on creative education throughout eastern Taiwan. Attentive to its unique context, FOGSTAND’s primary focus is on bringing contemporary creative practices into a reciprocal exchange with local communities.

©2014-2024 FOGSTAND Gallery & Studio. All rights reserved. 

2019-2021 program sponsored by NCAF (Taiwan)

2018-2019 program sponsored by VAF through Midway Contemporary Art (USA), Taiwan Film Institue, Taiwan Cultural Center in New York, Minstry of Culture (Taiwan)

2014-2017 program sponsored by NCAF (Taiwan)

Web template
by Cargo

Web maintenance
by Wen-Li Chen

This website has served as an online archive for FOGSTAND since 2022.

Exhibition on view: 10/26 - 11/24/2019
Opening : 10/26/2019, 1-5pm
Venue: FOGSTAND @ Hualien, Taiwan

Joo Choon Lin

Underlying Joo’s practice is her philosophical interest in the nature of reality which might be summarized in terms of the philosophers’ longstanding investigation into the relations between appearance and essence. Choon Lin’s own investigation into these questions is also informed by her interest in technological developments: as the various technologies of representation devise new ways of capturing the likeness of things, so the quality of the surfaces of these things undergoes a transformation. Consequently, reality itself appears as if reconfigured. She has been experimenting with a range of materials and media as a means to examine the relations between phenomena and experiences. Joo has exhibited work locally and internationally, participating in shows such as 4th Fukuoka Asian Art Triennale, Japan (2009), 1st Aichi Triennale, Japan (2010), Roving Eye at Sorlandets Kunstmuseum, Norway (2011), Resolution of Reality at Third Floor Hermes gallery, Singapore (2012), Your Eyes Are Stupid at Singapore Biennale (2013), Be Mysterious, Walter Phillips Gallery, The Banff Centre, Canada (2014), Paradise Sans Promesse, Frac de Pays de la Loire, Nantes, France (2015) and The Blinking Organism X You SPLEEN Me' Round X Operation 2, Esplanade Concourse, Singapore (2017).

Watch your blood the next time you are cut. Look at the blood. Depending on the size of the wound, you will not be able to see into the cut recess, but, instead, observe the pooled up blood —puffed— on the edges of your skin. Bring the wounded area up to eye level so you can see the elevation the blood pulls out from within your body and sits —suspended— until it spills over and down intact skin.

You let me violate you

You let me desecrate you

You let me penetrate you

You let me complicate you

(Help me) I broke apart my insides

(Help me) I've got no soul to sell

(Help me) The only thing that works for me

                 Help me get away from myself

You cannot see into your own body because the draw of blood is always a permeable, yet opaque veil keeping the gaze from the source. Let us move past the figure of bleeding and into the figuration of participation.

Endless participation floods forth. Decor to the antecedentnal tendency. No, not just covering, ornamenting inside a just opened unpredictability. I like what Gerald Granel said: “It is always a detail, and nothing but a detail in the great immense population of things that provokes this infinitesimal suspension”.

I want to fuck you like an animal

I want to feel you from the inside

I want to fuck you like an animal

    My whole existence is flawed

    You get me closer to God

You can have my isolation

You can have the hate that it brings

You can have my absence of faith

You can have my everything

Taken to its detrimental end, I think of Aldous Huxley —high on mescaline— as he attempted to observe his observations of glints gathering on, say, the fluted lip of a golden chalice. He could never predict the wane of his interest during the relation. Therefore, responsibility is almost always on the opposite side of relation that ends the relation creating the positive unfulfillment of what we come to know as inspiration (in this case the lessening affects of mescaline).

(Help me) Tear down my reason

(Help me) It's your sex I can smell

(Help me) You make me perfect

      Help me become somebody else

I want to fuck you like an animal

I want to feel you from the inside

I want to fuck you like an animal

      My whole existence is flawed

      You get me closer to God

The inspired subject confuses his or her own agency within the relation to such a degree that she or he experiences a pleasure that would never be able to finish himself/herself off. When, in actuality, it is more accurate to say the subject could never be able to finish herself/himself off. It is a permissive could, taken for a possible would or, better still, a misinterpretation of one’s responsibility within a relation.

Through every forest, above the trees

Within my stomach, scraped off my knees

I drink the honey inside your hive

You are the reason I stay alive

Text / Darren Tesar (Lyrics from Closer by Nine Inch Nails)