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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.

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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)

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

Exhibition on view: 05/27 - 06/18/2017
Opening : 5/27/2017, 7-10pm
Venue: Sadie Halie Projects @ Minneapolis, MN, USA

Fiona Burke is an Irish artist currently based in Hiroshima, Japan. She graduated from Glasgow School of Art in 2010. Recent exhibitions include Finite Project Altered When Open (David Dale Gallery, Glasgow, 2015), Tablet, (Custom House Gallery, Mayo, Ireland, 2015), Behind Bushes, (Talbot Gallery, Dublin, 2014), Dearth, (QSS, Belfast, 2014), Things Go Dark, (The Model, Sligo, Ireland, 2014), Lorg Presents (The Shed, Galway, 2013), Fiona Burke and Marzia Rossi (David Dale Gallery, Glasgow 2012).

Burke has also exhibited at Ormston House (Limerick), The Briggait (Glasgow), The Centre for Contemporary Arts (Glasgow), The Royal Scottish Academy (Edinburgh), Kunstlerhaus Bethanien (Berlin), and Kuhturm (Leipzig).

Jo-Mei Lee is a Taiwanese artist currently based in Taipei, Taiwan. She graduated from National Taiwan University of the Arts in 2011. Recent selected group show includes Mark, (Crane gallery, 2016), My Hometown Nan-Du, (Taipei Economic and Cultural Representative Office in Japan), Blue Bird in the Labyrinth: A Walk from Japanese Modern Art to Asia Contemporary Art Scene, (galerie nichido Taipei,

2016), The Lost Garden, (Eslite Gallery, 2014). She has also participated in residency programs in France, Japan, Thailand and Australia.

Photo by Jes Ekstrand
Gif Design by Sadie Halie Projects

FOGSTAND Gallery & Studio is excited to announce "", the second exhibition in an two part exchange with Sadie Halie Projects (Minneapolis, MN, USA). Integrating sculpture, painting, photographic images and curatorial writing, the exhibition deals with an overexposure to the artifactual, more often than not preferred over the non-authored givenness some now doubt to call nature. This exhibition marks the first exhibition for both artists, Irish artist Fiona Burke (based in Hiroshima, Japan) and Taiwanese artist Jo Mei Lee (based in Taipei), in the USA.

Running concurrently at FOGSTAND Gallery & Studio is Pink Man:Origins, curated by Sadie Halie Projects. This exhibition marks the first exhibition in Taiwan for American artist Samual Weinberg.

Grey Goo. A role-play of the worst possible outcome of nano-technology. One where the nano-machine is capable of constructing and deconstructing at the atomic level. At such a fundamental level, a ham and a hydraulic press are the same, for they are assembled from the same building blocks—neutral or ionized atoms. Differences in templation.

The cautious ring to this doomsday scenario is the risk of a rogue nano-particle, capable of reproducing not only itself, but also the rogue de-templation it carries out. Unresponsive to human intention, these self-replicating rogue agents could then begin dissembling the already assembled, reducing everything—around its increasing mass—into a slosh of pre-templation. Cities, forests, water bodies and human bodies. All dissembled down to the atomic level, leaving a grey goo in the place of all previously formed intent.

Fortunately, the presentation made possible by the allegorical Grey Goo can only be met with the same orientation that the remaining experiential properties allow: a sense of unicity, made possible by the multiplicity it is made out of. The unicity of multiplicity is just another differential.

Suicidal tendencies, enabled by an overexposure to the artifactual. Contemplative antecedents preferred over the non-authored givenness some now doubt to call nature. This is due to Grey Goo being the Artifact, par excellence, for its sequence of operations cannot recognize anything as given. It does not matter what state the tortoise or the toilet brush are met in, or in what fashion they protest their participation, since, in the end, any and all distinctions will be picked apart until they operate as a pre-templable property.

The operation is self-destructive without particular reason, save for a total reason, namely that there be an artifact, attesting to the lack of anonymity. Being anything is already beyond the allowed conditions of inclusion. To be completely included there cannot be being, for being contains the conditions of becoming. In a word, future, uncertain to be unified in its total inclusion.

At the moment of total inclusion, no-one is left to witness the final suicide ofmthe last remaining nano-bot, attempting to cannabilize itself into the last particle in the Grey Goo. Eternity is a partially composed nano-particle atop an immeasurable mass of undifferentiated wholeness.