RACELAR HO
ARTIST, DESIGNER, RESEARCHER

Exhibiting in a physical space is the dominant demonstrative mode of creative production; it is a default rule in an art system's politics and also a necessary survival condition for the citizen who lives in this system, most notably for creative producers - artists. A substance-free exhibition is the primary means by which artists communicate their ideas to their audiences; conversely, it is the primary means by which audiences receive and perceive information from them. Without a doubt, this is the most effective method of expressing their aesthetic merit; on the other hand, it also serves as an enclosing wall for artists. It is critical for artists to communicate the concept and emotion of their works to audiences, which means they must obtain permission from the relevant organisation or institution that provides a platform for their demonstrativeness.


Artists face considerable difficulty in obtaining this display licence. Particularly for those with an interdisciplinary background; they are more likely to be suspected by the executor of the art system's authority for a variety of reasons, including their professional abilities, aesthetic quality, spiritual depth, academic background, and exhibition experience. To circumvent this "enclosure wall," they attempt to use the internet, which can be located in a virtual dimension, to reveal and display their work, such as an online exhibition that takes on a variety of forms and is accessible via a variety of media platforms. Even if they conduct numerous experiments, such as reforging traditional performance systems and establishing a new method of communicating with audiences, it is still ineffective for audiences receiving and perceiving the information contained in their artwork. Then how can this "death-lock" be broken?


How do we break down this barrier, and how can information be transmitted more efficiently to an audience? We are experimenting in order to establish a new dialogical relationship with audiences, to violate the general rules of the art world's authority, and to reframe art's demonstrative system. Thus, our performance system is divided into three sections (original, duplicate, and virtual), each of which presents the artwork in two contrasting dimensions (entity and non-entity) and three distinct spaces (public, gallery, and computer game), each of which features "illegal", "legal", and "illegal/legal" separately. Additionally, this system, dubbed "A Year Project," is based on a year as the time unit for completing a complete system, which means that these three sections (original, duplicate, and virtual) will be chained together to form an entire system within this time unit; additionally, A Year Project includes three exhibition specimens:

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1. The legitimacy of artistic dissemination;
2. The situation of asserting one's own identity and initiative within an authoritarian art system;
3. Determine the feasibility of conducting experiments and creating interdisciplinary art;