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Established on 9th January 2017 in Seoul and Guangzhou, Independent Various ART SPACE (IVAS) strives to explore the relationship between audio-visual media and both tangible and virtual spaces, while endeavouring to generate novel visual and creative outputs.


At Independent Various ART SPACE, we employ hybrid and interdisciplinary visual approaches to recontextualise contemporary concerns. Consequently, we are undertaking a comprehensive experiment that encompasses exhibition curation and creative production within physical and virtual gaming environments.

Despite confronting numerous realistic impediments, artists remain resolute in integrating creativity into their thought processes and practices, seeking an elusive spiritual utopia. As a response, we have devised a singular exhibition format for independent artists, enabling them to augment the impact of their auditory expressions through this performance system, which showcases their creative concepts in two discrete dimensions: tangible and intangible.

The performance system comprises three segments: the initial exhibition (set in an unauthorised space), the duplicate exhibition (situated in a sanctioned space), and the virtual exhibition (presented through computer/video games). By exhibiting three distinct pieces, we illustrate how to facilitate a discourse between corporeal and ethereal notions of space and time. This system is flexible rather than rigid, permitting a unique display of the artist's work whilst endeavouring to evoke a specific sentiment within the audience.


Racelar Ho

· Racelar Ho (Founder)


1. Based in Toronto, Canton, Seoul, currently in Toronto;
2. Independent Artist, Architecture and Landscape designer, Visual designer, instructor of
experimental art and art history;
. Racelar Ho received her B.A. (2014) in the department of Architecture and Landscape design from Guangzhou Academy of Fine Art (GAFA, China) and M.F.A.  (2015-2018) in the Department of Experimental Art from GAFA. And now, she is a PhD student of Digital Media at York University. 

Shannon Zhang (Previous Co-Founder)


1. Based in Hainan, China, currently in Canton;
2. Shannon Zhang received her B.A. (2016) in the department of Art History from Guangzhou Academy of Fine Art (China) and is currently working on her graduate program (2016-2019) in the Department of Experimental Art from Guangzhou Academy of Fine Art (China).

Shannon Zhang



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:

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;



A year project is combined and framed by three sections; in addition, we will raise a theme per year which is about the political and social significance, experimental and interdisciplinary of creation.

#03.1 The First Section: Original Exhibition (entity dimension - illegal space)


As the base in this performance system, ORIGINAL EXHIBITION is the first step to framing a gradual developing process from entity to virtual space. Moreover, for artists either-or system. This is also an essential condition to obtain a sheer process of self-identity, it is not for control the time-space, but aiming to gain a practised and dialogic feasibility of through realistic space. ORIGINAL EXHIBITION is demonstrated in a public space which is an interventional exhibition, and also, the period of an exhibition is only one day means it will appear and disappear quickly within a neighbourhood.

#03.2 The Second Section: Duplicate Exhibition (entity dimension - legal space)


DUPLICATE EXHIBITION is demonstrated at a legitimate space (gallery, museum and art space), which is a duplication to Original Exhibition; In this section, Original Exhibition will evolve and pretend to be a formal (legal) exhibition to loot the legal identity and initiative.

#03.3 The Third Section - Virtual Exhibition (non-entity dimension - legal space)


VIRTUAL EXHIBITION is demonstrated at virtual space through an audio-visual media (computer game). The Virtual Exhibition presents a converted form of artworks, in other words, in this computer game that each level will be created by different artists according to their entity artwork, to construct a different dimension dialogue between artists and audiences.


Sarah C. Vollmer (Co-Founder)


1. Based in Toronto, Canada;
2. Digital Media/Human-Computer Interaction | Collaborative Computational Creativity/Mixed Reality Experiences | Embodied Expressions/Philosophy of Mind | Consciousness and Ontological&Sensorial Heterotopias/planetary techno-ecologies; cyber-biologies; more-than-human worlds; other ways of knowing; Spatio-temporal states individual intuitive kinaesthetic movements/tactile expressions translated into virtual form/hand & body gestures-in-motion augmented with dynamics-driven simulations.

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