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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)

Web template
by Cargo

Web maintenance
by Wen-Li Chen

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

展期: 05/18 - 06/22/2018
開幕: 05/17/2018, 6:30pm - 8:30pm
地點: 紐約臺灣書院

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Related Event
[he'] (Mandarin Chinese), translated into English, means, among other things, with.

Being an art platform that attempts to co-exist with different geographic origins, sensual experiences and ideological motivations, FOGSTAND often likens itself to being both an intruder and site of intrusion. At first glance, these two words - [he'] and intrusion-seem to be in opposition, but we think they actually form a powerful relationship epitomized by visual art. A relationship based on engaging our perceptions of, values in and participation with commonality.

FOGSTAND operates under the belief that in order to be truly inclusive, one must be liable to sometimes be intrusive, for it, alone, touches on our being-in-common, as opposed to presuming, normalizing and rendering any common-being. It is our search for commonality without a common denominator that ensures a formative tension, enacted by the sight of a single visitor, all the way to the dense site of a country, in this case Taiwan. 

We believe Taiwan shares this vision with contemporary visual art, that of being a multiplicity that brings forth a positive and productive hesitancy to unify under any formed "common" due to the upending quality of a continued inclusivity. To be together, without the need to gather it and to gather without the guarantee of becoming together, Taiwan exists as a sight/site for acting out the [he'].

In closing, our exhibition-purposively without any coherent image of Taiwan or its visual art-trusts that after we cease to seek an image we stand only to imagine, which, due to its genuine anticipation to greet and include, becomes imaging, itself.