不同部區域/異邦-亞州獨立藝術空間連線

Asynchronous States -AIA Asia in Independent Asia

展 期:2013/06/29 – 2013/07/27
開幕酒會:2013/06/29 (六) 19:00
展覽地點:VT Artsalon 非常廟藝文空間 (台北市新生北路三段56巷17號B1)

FreeS 福利社 (台北市新生北路三段82號B1)
座  談:2013/06/29 (六) 14:00 – 17:00
座談地點:文化大學大新館圓型演講廳 (台北市延平南路127號)
網 址:https://www.vtartsalon.com
聯絡電話:02-2597-2525
EMAIL:info@vtartsalon.com



非常廟藝文空間 VT Artsalon 簡介

非常廟藝文空間成立於2006年3月,主要成員有:姚瑞中、陳文棋、陳浚豪、胡朝聖、涂維政、吳達坤、
蘇匯宇、何孟娟,及包含40位藝文相關工作者共同組成。非常廟藝文空間以推展台灣當代藝術為主要
目的,推廣藝文觀賞人口,並推介年輕世代藝術家。

一、提供藝術工作者交流空間。

二、成為國際交流之文化櫥窗,接待各國藝文人士來訪。

三、落實藝術推廣、深植生活美學,提供觀眾無拘束的當代藝文欣賞空間。

非常廟藝文空間除提供年輕、實驗的展出空間之外,並透過VT網絡推介台灣藝術家進入國際舞台,與
藝術家建立長期的合作默契。

因此,我們自許為台灣當代藝術圈的“培養皿”。

經營方向:

> 跨領域合作
> 藝術推廣
> 協力培育年輕藝術家的養成
> 協助藝術行政人才、新生代藝評與策展人的育成
> 出版


OpenSpace Bae 簡介

OpenSpace Bae是一個在韓國釜山的非營利藝術替代空間。”Bae” 這個韓文名詞有多重意義,指梨、船
或複次次數。這個名字本身意謂空間位於梨園,釜山港口城市的地理位置和對藝術的推廣。同時,這個名
字更代表了我們的目標,與我們作為一個替代空間在當代藝術界必須怎麼做。

OpenSpace Bae 從2006年起即開始進行多種不同的計畫,諸如展覽計劃、國際藝術家駐村計劃、大眾
傳播藝術、藝術家培育計劃等。我們為了讓更多的藝術家可以有機會展出各自的作品,特別規劃許多不同
的展覽模式與活動計畫,其中著名的有藝術家駐村計畫幫助了不少藝術家發展他們的作品與思想概念。
除此之外我們也有許多非營利活動計畫注重於藝術實驗與發展。

位於城市的郊區,在大自然的環繞之中,Openspace Bae 是一個可以讓觀眾逃離城市與傳統的架構,
一個可以真正的自由發展藝術的空間。Bae 是一個可以讓藝術家,策展人與藝評能有開始一段對話的平
台互相交流創造穩定的聯絡網路。


福利社 FreeS Art Space 簡介

社團法人中華民國視覺藝術協會(視盟,AVAT)與悍圖社(1998)這幾年就如一群騎在馬背上的遊牧
民族,沒有根據地、不受拘束,憑藉著對藝術的野心,除了在國內外美術館、畫廊及藝術空間四處徵戰,
也致力於開發、整合並監督視覺藝術環境現有的資源,而現在正面臨改變的時刻了,是時候讓遊牧民族
定居下來了。我們共同做了一項前瞻性的決定─「擁有自己的家」,繼續為藝術環境努力。而「擁有自己
的家」只是一個開始,需要大家協助成長,為視覺藝術環境持續努力,在未來寫下更加高遠的歷史新頁

新空間由視盟與悍圖社共同命名為「FreeS福利社」。可以多元解讀為「自由共享的靈魂(Soul)、空
間(Space)與工作室(Studio)...等」。視盟與悍圖社將秉持為藝術公民服務與回饋藝術環境的初衷,
於展覽空間的使用上,除了視盟與悍圖社自行規劃外,將開放大部分的檔期供藝術家與策展人申請。期
望能透過此空間,呈現更多嶄新的藝術與展覽想法,也期望經由展覽空間的介面,能夠促進台灣新一代
藝術家對於藝術的深度探討、藝術視野的開啟與創作風氣,從而擴展藝術對話交流。


牛房倉庫 Ox Warehouse 簡介

「牛房倉庫」為本地一個非牟利的民間藝術組織,2003年三月起搬往牛房倉庫,專職籌辦各項面向公眾
的文化藝術活動,種類多樣化,包括:各大小藝術展覽、劇場及形體演出、電影放映(如實驗或獨立電
影類型)、藝術工作坊、專題講座、與外地藝術家的交流活動等等。

牛房倉庫的展覽及演出等各類活動的策劃方向,以非主流的另類當代藝術類型為主,以彌補本地在非主
流藝術的推廣及教育上的不足;全力進行藝術文化推廣活動,開辦主題藝術工作坊,培養藝術氛圍,激
發個人創意及實驗精神;組織跨地域藝術交流計劃,讓本地藝術工作者/愛好者有更多對外合作機會,
使牛房倉庫成為本地藝術創意的實驗基地。

牛房倉庫的活動目前是由澳門民政總署作出部份資助及借出場地。


活化廳 Woofer Ten 簡介

「活化廳」是一個由十多位本地文化藝術工作者共同營運的藝術組織,期望以持續性的對話建立一個「藝
術/社區」彼此活化的平台。置身於上海街,一個充滿本土特色卻又面對變遷的社區,「活化廳」期望
試驗一種建立在生活關係的「社區/藝術」,並藉著不同主題的藝術計劃,引起人們對藝術/生活/社
區/政治/文化的思考和討論,亦藉以打通社區豐富的人情脈絡,帶動彼此的參與、分享和發現,勾勒
一小社區鄰里生活模式可能。

「活化廳」的四大目標方向:

1. 作為「藝術/社區」的對話平台, 以嶄新方式建立當代藝術與社區的對話,讓雙方互促發展,進行具啟發性的實驗;
2. 以持續的平臺空間,將「社區/藝術」帶出的議題進行探討,為生活環境發揮積極作用;
3. 帶動香港藝術中社會意識的提高,政治藝術的平常化;
4. 與市民分享生活化的當代藝術同屬於普羅大眾的意識。

活化廳的主要活動可分為三大類:

A. 精選專題計劃
按特定主題的加以研究探索的專題計劃,並由不同的策展人推行。
B. 永不落空計劃
定期舉辦不同類型的活動,使活化廳不時保持清新形象,讓街坊持續參與。
如每月一次的《活化報》、《你肯學.我敢教》工作坊和《每月益街坊》,尚有配合節日時令的應節活
動,講座,放映會等。
C. 互撐項目
作為社區資源的活化廳鼓勵任何人主動參與,歡迎社區團體與藝團洽談合作。


藝述館

“藝述館”是一個集藝術工作室、藝術資料庫和藝術活動空間為一體的北京非營利獨立藝術空間,由中國
獨立藝術策展人、藝評人、藝術家舒陽創建。

“藝述館”地處北京“宋莊藝術村”核心區域,位於“宋莊藝術工廠區”C區12排。“宋莊藝術村”距北京
市中心約30公里,是中國最大規模的藝術家聚集區,包括美術館、藝術中心、畫廊和工作室等當代藝術設
施。目前超過5000位藝術家聚居這一地區。

2003年在北京CBD,舒陽主持了SOHO現代城“藝述館映館”,主辦“首屆北京DV電影節”、“芬蘭電影節”
等活動。2006年在北京798藝術區,由舒陽開辦“藝述館”,主辦“第6屆大道現場藝術節”、“別慌!別
慌!——行為藝術現場”等活動。2009年在北京宋莊藝術村,舒陽及其家人租用1500平米土地,並設計
一所鄉下住宅式房屋作為“藝述館”新的藝術空間。首期建築於2010年由聯合投資人舒丹監造,面積
600餘平米。

“藝述館”通過與國際藝術機構和個人建立網絡工作推進當代藝術。“藝述館”開展涉獵廣泛的藝術項目,
包括國際藝術駐地、藝術文獻、展覽、表演、工作坊、研討會等活動。

始於2012年的“藝居北京”,是“藝述館”的藝術家駐地項目。“藝居北京”為不同藝術領域的國際藝術
家、策展人、藝評人、設計師、作家、學者、研究者和學生,提供2周至6個月在北京生活和創作的機會。



不同步區域∕異邦Asynchronous States
文│吳達坤

前言
「亞洲獨立藝術空間連線」(AIA Asia in Independent Asia,以下簡稱AIA連線)是一個串聯亞洲獨立藝文空間的計畫,目前組成單位來自台灣、中國、韓國、香港與澳門共六個獨立藝術空間。本計畫擘劃兩年時間,台北為計畫的第一站,未來將與各國替代空間進行不同主題的展示與論壇,預計每年一次,巡迴於亞洲各城市。2011年非常廟藝文空間(VT Artsalon,以下簡稱VT)曾經出版了《搞空間─亞洲後替代空間》,為台灣少見的亞洲獨立空間介紹性專書,可被視為是AIA這個結盟策略的暖身,而「不同步區域/異邦」一展與AIA連線的成立則是由出版跨向實體展覽與論壇的第二步。

後全球化時代之下
在解釋「不同步區域/異邦」這主題之前,我們首先來看看多年前的維多莉亞時代。19世紀盛值巔峰的大不列顛帝國,因為要管理包括亞洲在內的龐大國土而訓練出一套的精於外交政策與數字化管理的現代文官,讓他們鞏固帝國利益與女王的旨意。同一個時代,西方經歷工業革命,制式化的生產線帶來更有效率的商品與文化傳遞,這是咸信的第一次的全球化思想。而回顧更早的中國科舉制度,其實也是企圖為過去中原的皇帝訓練出能夠管理龐大帝國疆土的技術官僚。此刻無論從地理上或是制度上看來,近代的亞洲無疑是經歷了高密度的政治與文化的外在影響,過去中國歷史上界定「異邦」的中原文化思維,早已轉變成為區域中心或多元中心的概念。在21世紀的世界全面被全球化浪潮席捲之後,亞洲該如重新界定自己與世界的關係?

過去的亞洲VS今日的亞洲
最初「Asia」這詞是由腓尼基語「Asu」轉化而來,到西元前一世紀時,Asia成為羅馬帝國一個行省的名稱而延用至今,19世紀殖民主義高峰時期,亞洲意味著歐洲殖民母國那片物產豐饒的土地資產。也可以說,第一個亞洲的概念是使自西方的。相當諷刺地,對「亞洲人」而言,亞洲恐怕是一個外來名詞。而當時間來到了亞洲在思想層面更深刻自覺的時代時,如何重新詮釋這個「外來用語」也成了亞洲當代藝術家的顯要課題之一。什麼是亞洲?為何需要亞洲這個概念?在政治上與文化上,亞洲這個概念(被誰)投射著甚麼樣的利益與理想?

不同步國家∕不同步狀態
在亞洲各個國家,因著政治與文化的差異,藝術生態亦衍生出不同的生長策略。問題在於,這策略的相異之處可否被清楚的描繪,而這些個別地區的策策略又可否彼此截長補短,因而得以開發出更多積極的策略來因應其在地情勢?「不同步區域∕異邦」一展企圖提出一個比較的可能,並在這個比較過程中,凸顯這種每個制度∕國家(states)的不同步 (asynchronous) 狀態(states),又或者,我們也可將這一比較視為是一種政治學上的轉換現象考察。

以亞洲之名
藝術家∕藝術團體總是那處於社會夾縫之間的邊緣聲音,AIA以及「不同步區域∕異邦」一展的另一個意圖即是藉由這一個考察,將這些邊緣者的政治策略加以結盟並壯大。AIA不只希望可以用展覽做為交流形式,同時也期望能透過各國空間在台北的工作過程及高峰論壇,把這些空間的經驗以及發展脈絡跟彼此分享,藉此為亞洲替代空間(alternative space)∕藝術家空間( artist-run space)發現其潛在共有的特質、發展策略與創意,並進一步的,在這些發展經驗上發現某種「亞洲性」的積極可能,以「亞洲之名」開創相對於以西方為主導的當代藝術論述,詮釋出更清晰的亞洲主體性。

藝術在世界的分工中
過去數百年的近現代文明大抵是以單一價值觀點來對待這個世界,這個觀點想像有一個整體的,普世的發展模式,忽略每個區域的政經、地理等先天條件,不協調的機制也讓環境、人類也因此付出許多代價。但今日的世界選擇了朝向分工的方向運行,無論是一家麥當勞加盟店,或者是一家專推錄像藝術的非營利畫廊,這些分工各自跟隨某個信仰或價值體系,從未同心協力地朝向某個想像的理想前進,但他們都在發揮作用。我們走訪世界各地後發現,藝術家們也是一樣,對應機制呈現出不對稱的發展,在這世界形成許多小型分工體系,讓資源互補 (與衝突)。因此,這個由亞洲六個藝術家機構所集合起來的連線,它作為一個概念起點,也被期許能是個運行機制,亦或是一群亞洲藝術家的宣言。這是一個以藝術作為信仰而結合的亞洲連線,它亦被期許為一個能謀合這「不同步的」一切的機制,一個從哲學家到藝術家再到今日世界分工體系的重要環節。

Asynchronous States
AIA Asia in Independent Asia

Exhibition:2013/06/29 – 2013/07/27
Opening:2013/06/29 (六) 19:00
Location:VT Artsalon (B1, No.17, Ln.56, Sec. 3, Xinsheng N. Rd, Taipei, Taiwan)
              FreeS Art Space (B1, No.82, Sec. 3, Xinsheng N. Rd, Taipei, Taiwan)
Forum :
Forum Date : 2013/06/29 (六) 14:00 – 17:00
Forum Venue:Chinese Culture University 大新館圓型演講廳
(No.127, Yanping S. Rd, Taipei, Taiwan)
Website:https://www.vtartsalon.com
Tel:02-2597-2525
Email:info@vtartsalon.com


VT Artsalon

VT Artsalon, established in March 2006,

Core Objective of VT Artsalon includes

Promote Taiwanese contemporary art, foster public appetite for art appreciation, and
cultivate a newgeneration of young artists.
Provide a space for interaction among artists.
Become a hub for international cultural exchange by inviting artists from around the world.
Promote art, cultivate aesthetics in daily life, and provide an unfettered space for the
public to enjoy contemporary art.

VT Artsalon’s new permanent location

After various reincarnations, by the end of 2011, 8 members decided to purchase the
current dedicated 330m2 basement location, to become the current VT Artsalon offering
long term stability in the promotion of the newer generation of artists.


Openspace Bae

OpenSpace Bae located on the slopes of Mount Ilgwang in the outskirts of Busan was
created in 2006 by the hands of local artists and activists to realize the possibilities of
an artist space in the midst of nature in contrast to urban spaces. “Bae,” a non-profit
arts organization, is a private organization that is supported by funds from Arts Council
Korea, Busan Cultural Foundation, and numerous artists’ donations. With Busan as its
base, Bae had realized a thriving global network through its various programs and
projects such as the international residency program “Open To You,” an educational
program for children “Play with Art,” a program to help young artists fresh out of
college adjust to real life “Artist Incubating Program,” and public art programs
such as “Anchanggo Project” and “Hillside Road 1-Bunji –
The City has Alleyways,” along with an exhibition program “Are you Ready?”
which supports talented artists with potential and artists who are worth re-examining,
as well as an “International Artist Exchange Program” for exchanges with
foreign art organizations.


FreeS Art Space

The Association of the Visual Arts in Taiwan (AVAT) and Hantoo Art Group (1998) have
been living like nomads in the past several years, roaming from point to point, unbounded
and free. Driven by our shared ambition for art, in addition to exhibitingat local and
international art museums, galleries, and art spaces, we have also been dedicated in
developing, integrating, and supervising existing resources for the visual artworld.
However, the time has come for change and for us, the nomads, to settle down.We have
made the joint decision to find “a place to call our home” and to continue to strive
forward and work hard for art. To find a home is just a beginning and we need others'
help to grow and expand and to continue to devote ourselves for the improvement of the
visual art world and to create new chapters in history fill with ambitious and meaningful contents.

This space that we call our home is jointly named by AVAT and Hantoo Art Group as
“FreeS ”. The name has multifold meanings, as it symbolizes being “Free” and the
“S” could stand for” Soul”, “Space”, “Studio”, and much more, because the
possibilities are boundless . Hontoo Art Group and AVAT will continue to stand
by our original mission to provide services to citizens of art and to contribute to the
art world. In regards to how the space could be utilized, in addition to organizations
done by AVAT and Hantoo Art Group,it will be made
available extensively to artists and curators as well. We hope that this
space could inspire more art and exhibitions of new and different concepts, and we also
hope that through this exhibition platform to encourage younger generation artists in
Taiwan to carry out in- depth discussions and open up their perspectives for art and
creativity. We anticipate for profound exchanges and dialogues of art to take place here
at a home that is shared with everyone.


Ox Warehouse

Ox Warehouse is a local not-for-profit art association that relocated to its current
premise in March 2003. Since then the group has been organizing a multifaceted
range of artistic and cultural activities, namely art exhibitions, big and small,
theatre pieces and body performances, film screenings, including experimental
and independent movies, arts workshops, seminars, as well as exchange
programs with artists from outside Macao, etc.

Ox Warehouse’s distinguished takes and endeavors in art matters have made
its venue the Macao’s experimentalist base for art and creativity. Firstly, in curating
exhibitions and organizing performances and other events, Ox Warehouse
emphasizes non-mainstream, alternative contemporary arts, aiming to
compensate the inadequate promotion and education of this kind of arts in Macao.
Secondly, it promotes art and culture eagerly by organizing activities, such as
themed art workshops, to nurture an art atmosphere and stimulate individuals’
creativity and experimentalist spirit. Thirdly, it launches cross-regional art exchange
programs, offering local art professionals and enthusiasts further opportunities to
cooperate with overseas counterparts. All these features have contributed to Ox
Warehouse’s unique standing in the local arts scene.

Ox Warehouse activities are partly sponsored by IACM, which also leases
rent-free its current venue, i.e. the Ox Warehouse. 


Woofer Ten

Woofer Ten is a non-profit art organization funded by Hong Kong Art Development
Council. We are based at Shanghai Street Artspace in Yaumatei, an aging
grass-root community and neighborhood. Formed by a group of like-minded artists,
curators, critics, researchers, educators, Woofer Ten aims at introducing a lively
conception of contemporary art engaging the community. Therefore, instead
of attempting an out-of-place white cube arty gallery, Woofer Ten moulds itself
more like a community centre, a platform for art projects to explore new
approaches in bridging the community and art making. Woofer Ten treasures
the participation of our neighboring community and audiences, and see its art
programs as creative interventions upon our community and society at large.
Exhibitions will change from month to month, alongside with plenty of ad hoc
activities such as performances, guide tours, workshops, talks, screenings etc.,
offering the public not just experimental contemporary art and curating, but
also art that are close to our everyday life and with social-political relevance.


Eshu Art House

Eshu Art House is a nonprofit independent art space including studio, achieve
and art event space in Beijing, China and founded by Chinese independent
curator, critic and artist SHU Yang.

Eshu Art House is located at No.12 Zone C, Art Creative & Studios, Songzhuang
Art Village, Tongzhou District, Beijing, China. Songzhuang Artist Village is the
largest artist community in China with museums, art centers, galleries and
studios for contemporary art, 30 kilometers east from downtown of Beijing.
More than 5000 artists currently are living in the area now.

In 2003, a cinema of Eshu Art Center was launched at SOHO New Town at
CBD area in Beijing, directed by SHU Yang. Several film events were hosted
there such as ‘The 1st Beijing DV Film Festival’, ‘Finish Film Festival’ etc. In
2006, Eshu Art House was opened by SHU Yang at 798 Art Zone in Beijing.
Few art events were hosted in the space such as ‘The 6th DaDao Live Art
Festival’, ‘Relax! Relax!: performance art event’ etc. In 2009, SHU Yang
rented a 1500 square meters land with his family at Songzhuang Artist Village,
Beijing and designed a suburban villa style building as a new art space for
Eshu Art House. The first building was built for more than 600 square meters
in 2010, supervised by co-investor SHU Dan.

Eshu Art House builds network with international art organizations and art
persons to promote contemporary art. Eshu Art House hosts a wide range
of programming, including international artist residency, art achieve,
exhibition, performance, workshop, symposium etc.

EAH Residency is an artist residency program at Eshu Art House since 2012.
EAH Residency provides international artists, curators, critics, designers,
writers, scholars, researchers and academics from any kind of art fields with
the opportunity to live and create works in Beijing. The duration of the
residency is from 2 weeks to 6 months.

不同步區域∕異邦Asynchronous States
Wu Dar-kuen

Preface
Asia in Independent Asia (AIA for short) is a project connecting independent art spaces in Asia, current consist of spaces from Taiwan, China, Korea, Hong Kong, and Macau, totaling six independent art spaces. AIA is a continuous project starting with Taipei as its first stage, in the future moving annually to spaces from different countries presenting exhibitions and forums on various subject and issues. In 2011 VT Artsalon (VT for short) released a publication “Creating Spaces”, a rare introductory book for Asian Independent Art Spaces, this can be considered as the preparation to the AIA alliance strategy, and Asynchronous States exhibition provide the second step into realizing the project from publication to actual exhibition and active forum.

Under Post-Globalization
Before explaining the title of “Asynchronous States”, let us first look back to the Victorian period. During the 19th century, peak of the British Empire, from the need to manage the vast territory it now controls, this including Asia; a system of bureaucrats specialized in foreign affairs and numerical management is developed, this allows them to strengthen the interest of the empire and wish of the Queen. At the same period in history, the Western World underwent the industrial revolution; regularized production line provides efficiency within products and aids the delivery of culture, creating for the first time a generally accepted globalised method of thinking. Reflecting further back to the Chinese Imperial Examination system, it is also an attempt to educate a group of bureaucrats with the ability to manage the vast territory of its empire for the emperor. Currently, whether from the geographical or institutional aspect, there is no doubt that Asia experienced condensed and concentrated outside influence on its politics and culture, the previous Central of China concept models that has defined “foreign tribes” (異邦), have long been transformed into the concept with relation to “Central of the Region” or “Central of the Multicultural Collective”. In the 21st century when the whole world has been washed by waves of globalization, how should Asia redefine itself with relation to the world?

Asia of the past vs Asia of today
Originally the word “Asia” was derived from “Asu” from the Phoenician language, until around 100 BC, where the Asu became Asia, a province of the Roman Empire, and the term is used until present. In the 19th century during the peak of colonialism, Asia represents a land with plentiful resources to the colonial countries in Europe. Hence it could be said, the first concept of Asia comes from the West. Ironically for “Asian people” perhaps Asia is a foreign term. As we move to a period where we are far more self conscious on a philosophical level, reinterpreting this foreign term becomes an imperative task for contemporary artists. What is Asia? Why do we need the concept of Asia? On a political and cultural level, what sort of benefits and ideals is projected onto the concept of Asia (and by whom)?

Asynchronous States / States of Asynchronous
Each of the countries in Asia, because of political and cultural differences, developed an art environment that suited to their own growth strategy. The question lies in; can the difference between these strategies be clearly outlined? And can we draw on the advantages from these strategies that originated from different locations, in term develop even more active tactics to respond to local state of affairs? “Asynchronous States” exhibition attempt to raise the possibility of comparison, and through this comparison highlight the asynchronous between each countries (states) and the state these countries are currently under. Or on the other hand we can also view this comparison as an observation of a transformation event in political studies.

In the Name of Asia
Artist/art groups always find their voices contained in a narrow gap and on the fringe of society, another intention that AIA and “Asynchronous States” exhibition has is through this investigation, provide the ones on the fringe an alliance that will allow their politic strategy to strengthen. AIA not only intend to use the exhibition as a form of exchange, but also hope through physical cooperation in Taipei prior to the exhibition and summit forum, share our experience and development with each other. From this exchange, discover the underlying common traits, potential for developments, and strategy these Asian alternative space/artist-run space could have; actively seeking for an “Asian-ness” based on the experience of the project, finding a contemporary art discourse “in the name of Asia” creating a dialogue contrasting the western-oriented art theory, and reinterpret a much clearer and precise Asia entity.

Art in the division of work in the world
For the past few hundred years civilization more often developed with a single perspective with regard to its values, using it as the upmost priority, ignoring the localized political, economical, geographical and any other natural complications, the biased development mechanism caused the environment and human a great deal of loss. However today the world choose to function in a method that allows the division of labor, whether it is a McDonald’s franchise restaurant or a non profit art space that specializes in promotion of video art, these kind of division of labor each follows its own believe or value system, although they never striving for the same ideals, but each performed their own roles. Journeying around the world we realized it is the same for artists, corresponding developing mechanisms display an uneven development, creating various little division of labor, allowing the complementing (or competition) of resources. Therefore the connecting of six independent art spaces/artist run spaces, standing as an initial concept, also contains expectation that it can be a functional mechanism, or possibly a manifesto for artists in Asia. This connection within Asia relying on art as its belief, it also contains the expectation of coordinating this ultimately “asynchronous” mechanism, an essential link from philosopher to artist to the division of labor in todays world.