電影「一個人的收藏」裡，提到了某一年Art Basel會談現場中，講者曾開完” Do Not Touch the Art. ” 而在這場展覽裡，你可能分不清什麼是藝術品，而什麼是生活中每天會碰觸的東西。
This year, 《Arena》, curator Jo Hsiao from Taiwan, and the Curator at Gwangju Museum of Art, Lim Jong-Young. Ultimately, through its works “Arena” presents a real-world scenario to its viewers, allowing them to act as the protagonists. The denouement may be a state of ever greater openness and inclusion or one of disorder, but undoubtedly it will push the situation toward a hidden arena of social interaction.
Snow Huang’s large-scale “graphical notation” installation is also a musical instrument.
再拒劇團+黃思農〈年度考核協奏〉Concert of Performance Review，再現現實情境下人的勞動處境，對於資本主義結構底下，人們的勞動價值發動攻擊。 全面商品化的消費社會裡，最終，我們都在看似如此自然的物化過程中成為商品。〈當我們都不在了, 記憶如何存在而不過渡於寂靜之中。〉
The exhibition try to build the scene of the daily life that people get throw every day. The huge scene just like a stage with so many different kind of activity of human being, Sang-hwa Park’s art, as Gwangju residents’ eternal haven, Mudeung-san Mountain is comparable to a mother’s embrace, and mudeung means “no hierarchy,” constantly reminding locals of egalitarianism.
Shang-chi Sun, Choreographer, reconsiders the body itself. Dancers pass through a variety of spaces, their actions seeming to collectively interpret a series of events. Visitors moving freely through the spaces also seem to be incorporated into some kind of happening. At the same time, the space is furnished with metal sheets, metal rods, beds, pillows, blankets, sheets and other commonplace objects, suggesting a sense of suffering arising from daily life.
The artist Yi-wei Keng is presenting a metaphor about time, to determine its paradoxical symbolic meaning. The philosophical contradiction is that table football is a collaborative competition, requiring the participation of eight people. In this work the artist implies that participatory behavior is mastered through “collective action,” and such collective action is founded not on self-interest but on cooperation with others.
Only in this way can one respond to Hans-Georg Gadamer’s proposition regarding the artistic experience – that play cannot take place in isolation but is a whole formed by participants and viewers, and that only when the viewer has entered into a work does it truly exist.
Indeed, after injecting the drug of technology, we have become ever more dependent on the world produced by technological infrastructure. We collectively live in a “technological landscape” through which we interact with the world. This is the new motive force to which we look and upon which we build our lives. And the cruelest reality is that our new faith has pulled us into a collective imagining of the world, and we have lost the ability to communicate and dialogue with the real world, resulting in collective social dysfunction.
Yong-hyun Lim is pointing to the commonality shared by Coca Cola and art- global universality and expansiveness. Art and colas also both provide catharsis and pleasure. Yong-hyun Lim created his work wishing all of humanity will indeed be able to enjoy art, just like how they enjoy Coca Cola. The quick tempo of Lim’s images is sure to be as refreshing as colas to viewers.