Jason Kofke

  • Atist In Residence2010
  • Born in1979 born in US
  • NationalityUS, Lives and works in China
  • Websitehttp://jasonkofke.com
For the residence in ARCUS

When human relationships begin, develop, or end, I cannot help but notice the channel through which they change: An SMS message, a text post on a social network, a Skype chat. The devices that connect the thoughts and emotions of humans can just as easily end. When a friend leaves, when lovers separate, when a family member dies, the information is delivered in an email or through a mobile phone. Human relationships, continuing or ending, are mediated in devices.

Machines are a part of human relationships. These inventions preserve human stories, transfer human ideas, and became a part of humanity’s records. When they no longer work properly, machines are discarded. When outdated, devices are neglected. Things that break are fallible, even if they are machines.
Humans are fallible.

The way we treat the things we make reveals much of ourselves. I repair things yet observe the merits of having something broken. I identify myself in discarded machines and moribund devices. In fixing them, I am a part of a new dialog and a new relationship. Being naturally inclined to repair things, I mend my self in things. And from this I extrapolate a discussion of hope.

Everything will be ok.

I thought that the strength of this application came from the artist’ obvious expertise in working with obsolete technology. The work has a strong sense of materiality, and harnesses aesthetic beauty to a simple, compelling conceptual idea (Everything will be OK…). I responded to the directness of his project and felt that his time at Arcus would be extremely productive. He is an artist that has maintained a traditional “studio” practice in the pursuit of site-specific, project work.

Ted Purves


Working with discarded technologies seems to be culturally and technologically interesting as a project in a place, charged with technological progress as is the case with Japan. What I specifically liked is that the artist is concerned with which social layer of the participants he is interested in, when he is addressing the possibility to collaborate with the older generation that knew old generations of technologies. His work talks also about inscribing one’s personal history into the historical clichés that are shared globally.

Nataša Petrešin-Bachelez


From the exploration of the machines and related community, probably it projects the extension of artist himself and brings the discussion of social transformation.

Hu Fang


Selected WorksShow Image

Resident Artists 2010

Song Ming Ang  <Singapore>

David Brazier (with Kelda Free)  <Australia>

Jason Kofke  <USA>