During an exhibition in gallery, the white cube enables the maximum performativity of the artwork since the work of art has been stripped off from its creating environment, the viewing context and the perceived experience. Once the show ends, the functional and instrumental spatial signifier (e.g. plinths and staircases)will also be peeled off from the original context and be put to an abandoned place.
What I try to do is to reverse the relationship between the two places, to question the quality of the performative space. How could an artwork deprived with experience process a value of art? Or can a trash that full of memory be a piece of artwork? Do spatial instruments contain any content or memory in a wider open space?
It is a contest
between the trashes of artworks and the trashes as artworks,
between the gallery context and the garbage context,
between solidarity and chaos.
Artist:Victoria Wanyi Lin
Time:11am - 5pm Oct 3rd, 2017
Location: Garbage area around the parking lot at Caochangdi, Chaoyang District, Beijing