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175 pounds is not only the total weight of this pile of colorful candies, but also the ideal weight of Félix’s lover Ross Laycock before contracting AIDS.

Félix invites the audience to take away the candy at will. The ever-decreasing number of candies also symbolizes the fading life of Ross, who is getting thinner. The sweetness of candy is the taste of the love that Ross gave to Félix, and the process of candy being "consumed" is like the pain that Félix can't save his lover's life when he sees sickness plundering his lover's life.

This is an extremely sensitive and subtle portrait: there is no need to use photos or paintings to depict the face and appearance of this extremely familiar person. It only requires an intimate, poetic, and erotic action to separate one's body from another. One's body is connected.

Candy: Just like a child's wish, these candies are extremely rich and endless; as people pick them up, this pile of candies becomes thinner and thinner. But even if it was just a wish, they might miraculously return to their ideal weight overnight and reappear in front of people. 

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The works of Slovak artist Roman Ondák have always penetrated into the surface of public spaces with a secret everydayness, whether in art galleries, streets, balconies or biennale gardens, "encountering" with them It's not the experience and knowledge of viewing art works, but the daily experience and memory that is passed by the inertia of time and activated at a certain moment.

The products themselves do not have inherent self-sufficiency and legitimacy in this exhibition hall. They are in a semi-open state, waiting for the audience to supplement a complete "script" through their own experience and memory. Therefore, the physical space here does not mean a container for the works, but can be regarded as a medium for carrying and creating experience; the real works are not visible and tangible objects on the wall or on the ground. , But as a kind of "passage" connecting inside and outside, visible and invisible, reality and imagination. The exhibition is set as a whole "script", and the perceived materials and channels are scattered and secretly distributed throughout the space to ensure that the current real experience can be placed and exported anytime and anywhere.

Although his works are almost always secretly and deliberately related to specific architectural spaces or scenes, Odak’s creations cannot be simply interpreted as a space game, but more drawn from space. Psychological situation, a fascination with "boundary". This fascination not only confuses physical divisions, but also brings about the creation and shifting of situations.

In the experience of searching, recognizing and thinking, the audience has experienced changes from the imperceptible changes in the physical world to the reappearance and re-memory of such changes at the psychological level. This kind of stimulation of real experience is somewhat performative, but it closely fits the texture of daily life, so that the temperament of Odak's works always wanders between cunning and simple. What is also difficult to define is the exact position of his works under the overlap of individual micro-ness and social publicity. Just like this work, Odak "replicated" the same natural landscape as the garden outside the Slovak National Pavilion, making it difficult for the audience to judge the relationship between the architectural space and the external environment, only through careful observation and reflection. Consciously, I can realize the game rules that the work connects and confuses the internal/external environment. However, the problems caused by such methods are not limited to the level of individual experience.

By using the special context of the Venice Biennale, this work raises questions about the boundaries between nature and culture, as well as the cultural boundaries set by the "country" as a unit. It is this kind of social orientation towards a more macroscopic level that makes Odak's works often classified into the category of so-called "system criticism". However, in fact, although many of his works do involve relationships with specific exhibition spaces, Odak’s creations are not as strongly targeted and radical as some conceptual art works in the mid-1960s. Nor does it specifically point to the closedness of the art system itself. Instead, it starts from a more routine and undisciplined starting point to raise questions about the interaction between the broader personal experience and the social environment. The foundation is still microscopic and phenomenological.

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Nielsen criticized the residential area of late modernism in Denmark, and advocated changing the gallery into a space for children to play, allowing them to fully express themselves and be children themselves.

This simple motive requires complex exhibitions. Nielsen must adjust the space with the single function of exhibition, so that children can play freely. Stay away from the cold modern city planned by adults.

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Tehching Hsieh's performance art or ascetic art is an artist who has opened and witnessed Wuyu's life, and an artist who has opened non remaining own consciousness with his body. He becomes a surplus, a superfluous person, a person who is in the world but cannot find a position. This self-imposed imprisonment is to make the house an extended part of the body, just as the literati of Wei and Jin style let the naked body use the heaven and earth itself as their house, opening an open naked garment. The tension space opened by the body is the opening of the distance from the world. It is no longer the space within the world, but the self-imprisonment of the body opens the distance from the world itself, or in other words, within the world, it opens the world in a state of inaction. The externality within.

This is to open a non-world in the world. The cage itself is the void of the world, or in other words, it flips the inside of the world to the outside of the world, and there is no communication or activities related to human language. To the body is a body. In the cage, he did not have any entertainment or communication. Let the body accept the inscription of another kind of space-time tension, or in other words, only calm and empty thoughts to maintain this state of inaction. ——It is the mind inscription of the body. It is the nonsense of the self! It radicalized the behavior of Zen in contemporary times.

Tehching Hsieh's performance art can inspire a calligrapher to write one word every day: prisoner. In this sense, his writing act itself becomes a self-help for this character, all words, his own life, and all lives, and Xie Deqing's works have inspired this writing act. Marks of the body. It seems that he was wasting every specific time. A snapshot of life is left every day, from the first day until the 365th day when you get out of the cage, there are 365 pictures and 365 marks engraved on the wall behind the bed, in the cage space opened by this Wuwei body , Only remembering this every day, let the body get the surface mark.

In a cage-like space-this is outside the world within the world, an internal void space opened by nothing, which has already been treated with the internal blanking of the world. This is penance, a performance by a Kafka-style starving artist. There is nothing to do, only the maintenance of the idea, which is embodied in the time scale engraved on the wall.

It is not only to let the body become zero tension, not only the inscription of the mind, but also to continue to expand the surface tension of this body. How to open the tension between this body and the world?

This idea opens up the distance from the world again, not only does one's own body become a mind, that is, the whole body becomes the embodiment of an instant idea. Mark the time and space outside the world. Moreover, at the same time, this body has to open the distance from the world. Opening the distance from the world, this is the expression of his tension, becoming the so-called machine of desire, opening the tension, with a tensor.

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Bernard, Stiegler, 2015, Art in Anthropocene-Lecture by Stiegler Chinese Academy of Art, Institute of Network society.

After proposing his original theory of Tertiary retention, Stigler quickly shifted to a critical reflection on real life. In Stigler’s view, in today’s digital existence of capitalism, many important existential structures are derived from the profound changes in the most basic electronic Tertiary retention carrier. Stigler tries to take the perspective of phenomenology and ontology. Analyze the essence of these technical prostheses to create a new theoretical basis for critique of contemporary digital capitalism. In Stigler’s view, today’s digital capitalism has completely changed the structure and basic quality of traditional social life. The integrated model of innate reality generated by the construction of analog-digital network information technology has caused existence itself. The emergent characteristics of de-contextualization and the urgency of the speed of light, this non-reality of the living, the presence of remote login, and at the same time, dissolve the presence of people in the spatial sense of territory and real relationships. Today, prosthetics in virtual reality on the Internet is a brand new problem. The subject itself is prosthetized! Every time we log in from WeChat on a smart phone, the presence of the subject is no longer the real Dasein presence, but an electronic virtual subject is present online, and the existence of digital order replaces the negative entropy of life. Heidegger's "this time" and "here" are all différanced. We are obviously sitting at the dinner table of our parents, but we bow our heads to our smartphones. This is a terrible absence in the presence. The encounter of two vests on an online interface may be the simultaneity of the construction of Eastern Time in the United States and Beijing Time in China, or the coexistence of two completely different electrons. In the existence of this new type of virtual network, what has metaphysics lost? What is lost in existence itself? If in Kant’s perspective, the comprehensive framework of a priori concept gives us insights into the phenomenon of being framed in time and space, then the synthesis of otherness organized by the "image industry, remote presence industry, and virtual reality industry" is also like a kind of innate The structure sequenced out a new intuitive world in virtual time and space.

In fact, Stigler's view is not just a theoretical assumption, but the reality that happens around us. When we are awake from waking to sleep, we can log in at any time and space through smart phone terminals and computer screens. Different anonymous subjects can be present in different places between Beijing time and London time at the same time. The existence of true images and a large amount of implosion information have become the innate integrated structure of our intuitive and knowledge world. Before we encounter the world, this digital innate integration that has been inescapable has been automatically integrated through the framework. We may see and hear And the touched world and all phenomena. Kant's view of "naturally presenting to us in a certain form" has now been rewritten to exist and present to us in the form of construction of smart phones and computer screens on the Internet. Stigler said that today's capital is taking advantage of the alienation of the subject in the new external rentention, the digital network, to make us a new type of brainless, subject to money and material desires, and become the intellectual impoverishment of the proletariat.

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Imprecise Details-Not a Model for Big Brother's Spy-Cycle, is an opinion video installation created by Froese in 1985. It aims to express a kind of vigilance and reflection on the relationship between humans and machines.

In the space of video installation art, the effective participation of viewers is an important guarantee for the integrity of the work. In this interactive work in television seems to be as an object to be viewed as a viewer are looking at, at the same time, the audience also watched the machine being monitored. This confrontation even make participants feel uneasy and unhappy, especially when the latter realize that they are being deprived of their personal privacy of the machine monitoring. The surveillance machine in this work is not essentially different from the giant surveillance network manufactured by various modern precision technologies in the public space of the real society.

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Henri Lefebvre, 2002, Critique of Everyday Life, Vol. 2 Foundations for a Sociology of the Everyday, Translated by John Moore, Verso, p429. 

Lefebvre elaborated on an important concept "Moment" in the second volume of Critique of Everyday Life. He will instantly Moment as a short and decisive sense (eg carnival, happy, offensive, surprise, fear, violence) which to some extent seems to be an expose and inspiration for everyday life lurking totality possibilities. Some such movements are fleeting and will be forgotten by people indifferently. However, all the possible ways in the transformation process are often decisive, but sometimes they are revolutionary. They are yet to be discovered and yet to be discovered. achieve. "Moment" Lefebvre was conceived as a meeting point for all kinds of rupture, possibly hidden upheaval and a strong sense of happiness.

Moment is a special and complex time structure and practice process, it has a certain special continuity, this continuation means it is not a harmonious and linear process, but it is not completely broken, because the moment has its own history.

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Jacques Derrid, 2005,  On Touching, Jean-Luc Nancy, Translated by Christine Irizarry, Stanford University Press.

For Derrida, touch or tactile theory is not only a question of body and life, writing and meaning, it is also a question of the encounter between the subject and the other, and it is also a question of the limits of closed Western metaphysics. In "Touch-Jean-Luc Nancy" published in 2000, Derrida formally investigates touch as a serious philosophical question through reading Nancy. It can be said that the tactile thought vaguely runs through Derrida's long thinking journey.

What inspires Derrida's interest is the particularity of touch. The tactile sensation distributed on the epidermis is exposed to the outside of the body like vision, and has the same directness of contact as vision. It is a boundary between the subject and the other. Derrida wrote: "Se toucher, in French grammar, can mean at the same time: to touch something by oneself, to be touched, to touch each other (male or female, between two or more), in contact, Touching is also touched; in other words, when I touch something, I have been touched. In other words, I am touched by others first, and then I can touch something. Touching-touched is a pair of always connected The fold and tangent that are together and where the subject meets the other are only tangent but not blending.

The discovery of the importance of touch is also the discovery of haptocentric metaphysics in Western culture. It is the boundary of Western metaphysics on the spot, and the entire truth of the West is based on this foundation. Obviously, this discovery means that Derrida has deepened his criticism of Phonocentrism, logocentrism and intuitionism of Western culture. Western culture is not a visual-centrism culture, but a tactile-centrism culture. The sense of touch is more fundamental than vision. In other words, sensory mechanisms such as hearing, vision, and taste can all be restored to touch. In the Western philosophical tradition, the image of tactility is used as a guarantee of metaphysical direct presence. The emphasis on the privileges of continuity, immediacy, directness, presence, and identity of tactile sensation exists in a series of philosophical texts such as Plato, Husserl, and Merleau Ponti. Although the culture of tactile centrism already includes the emphasis on the body, it is still controlled by the sense of presence. How to get rid of the traditional contact law of the body is exactly Derrida's task in Reaching Jean-Luc Nancy.

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Her Long Black Hair, created in 2004, is a 46-minute journey, which is a creation with a strong narrative style. The sound guides the experiencer through the park, and occasionally when they arrive at a preset location, they will be prompted to pull out and view a photo. Experiencers of the work will follow in the footsteps of a mysterious woman with long black hair in Central Park, New York.

This work is a complicated plan about time, place, sound, and story. It uses a person's story to link truth and fiction, and at the same time, it is a side film to state the historical changes of New York. It is not only an empirical expression of a physical space, but also a complex exploration of emotion and history, and it also has a film-like narrative.

In the context set by Janet Cardiff, the photo leads to the present. The photograph is no longer a mere record of information in the work, but a video installation together with the real environment. The scenery of the photo is right in front of the viewers, but the physical space is nothing but humans. As Susan Sontag said, through photos, we also become customers of events, including events that are part of our experience and events that are not part of our experience.

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One of William Kentridge unique core techniques is: (Erasure), that is, use an eraser to smear the strokes of the charcoal. But the charcoal is usually difficult to completely erase. In this way, in the movie, you can see the traces of  that existed at that time, and become a metaphor for the shadows of time, history and memory.

 "Felix in Exile" and "History of the Main Complaint" appeared in due course. Imprisonment, nakedness, land surveying, fish, water, lust... all are constantly superimposed and flowed, and nothing can disappear completely, and nothing can be left completely. Kentridge started with the desolation, ugliness, and abruptness made by humans. He opposed the picturesque aesthetics in the European tradition, and was more willing to show the garden rebuilt on a land of slaughter.

Kentridge’s work is political art, an art of suspiciousness, contradictions, unfinished gestures and uncertain results, an art that can restrain optimism and restrain nihilism.

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Known as the "Father of Performance Art" in South Korea, many people did not think that Lee Kun Yong was such a dynamic and interesting artist. He has performed this kind of performance countless times in the past few decades, and each time the audience and scene are different, it also brings him different feelings.

In this concise and vivid performance like a "Zen", the demonstrative pronouns in the artist's mouth both respond to  philosophical contemplation Merleau-Ponty: There must be a'here' before there will be a'there.  It also responds to the dialectical thinking of the East since like Zhuangzi: He comes from right, and he is because of him.. At the same time, with the aggressive gestures and shouts of the artist, the audience was also forcibly involved in this performance. The purely watching behavior that was originally outside the incident was destroyed by the indisputable fact of "simultaneous presence". In the end, In the respective time and space and experience dimensions of the performer and the audience, the relationship between the world and the body will be perceived and confirmed again.

With the help of the traces left by the paint on the surface of the wooden board, Li creates “figurative” action paintings in his own way. In the subsequent works, the artist leaned back on the canvas, extended his arms as far as possible, and painted ray-like lines on the canvas behind him along his own contour; or used the shoulder as the axis to record the natural swing of his arms. . In a certain sense, when Li  selects the body to create, the body becomes the key to solving all mysteries. As he said before, it is the body as the medium that connects the internal experience of life with the external world. Under various conditions or restrictions set by him intentionally, the body explores its own scale through the most basic actions, and draws a "self-portrait" of the body in the action.

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Opalka's work combines clear concepts with the medium of painting. He looks for "∞" (infinity) in painting and makes this "infinity" a phenomenon. Many scholars regard it as parallel to Haig. Philosophies. Opalka found the potential infinite possibilities in the simplest way of painting. For him, every work is not limited to the "now", it also contains the past and the future at the same time, that is, the idea of linear development is constantly appearing and disappear.

Since 1968, Opalka has combined black and white photography in his creation: After finishing his daily work, Opalka will take a frontal portrait of himself in the studio. When a set of "Detail" is completed (usually a few weeks), Opalka will select an avatar to match each work.

In 1972, Opalka added a recording element in the creative process. Whenever he drew a stroke, he read the numbers drawn in his native Polish. The tape recorder clearly recorded his voice at the time, and these recordings were provided to the visual ( Photo) adds another dimension-hearing, which makes the whole series more complete.

With these figures, photos, and voices, the concepts of "time" and "life" are delicately integrated into all aspects and dimensions of Opalka's works. Each "Detail" is a part of the overall work.

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In the exploration and thinking of the "time" in art, Qiu Zhijie has contributed to the completeness of the calligraphy classic "Orchid Pavilion Preface" written on the same rice paper a thousand times. The first time of writing is imitation, and the text is recognizable and literary. As the number of temporary writing increases, the ink marks occupy more blank space on the paper, and the function of writing gradually disappears until the fiftieth time. The face was completely dark. The video recorded the writing process of the first fifty times, showing the process of gradually disappearing from the blank space to the gradual appearance of the black space on the paper. After the fiftieth pass, the writing is done entirely on the black background. Qiu Zhijie wrote in the self-statement of this work: What was first unfolded in time was the knowledge archeology of the principles of Chinese calligraphy, using the method of peeling onions to gradually clean up the insubstantial factors in traditional calligraphy. The first thing to exclude is Literariness is to restore calligraphy to modeling activities, that is, the composition of ink marks, thereby achieving abstract visual purity. The second step is to restore writing to the writing action itself rather than the creation of the shape... Repeated writing on the ink base, That is, it strictly abides by all the classical norms of Chinese calligraphy and strengthens its inherent connotation as a "calligraphy"...so write it 1000 times.

"Orchid Pavilion Preface" is a restoration of Chinese calligraphy as far as its medium is concerned, rather than an innovation in any sense. "He also mentioned that 1000 times is a arbitrarily set goal, in terms of its function, the number can be extended or mixed with water. Choosing "Orchid Pavilion Preface" is not mainly because of the special feelings for the motherland culture, but because of its high popularity. Because the corpses of acquaintances are more attractive than the corpses of strangers, it also makes the gestures performed by the deceased have their presence. 

In the invisible writing, the awareness of classical norms is truly clarified. The existence of these rules shows the fundamental function of art: dividing life into purposeful labor and intellectual labor, into rationality and irrationality. The self-rest of the subject in its search for rules is a necessary death and the foothold of reflective imagination. At this time, writing "Orchid Pavilion Preface" 1,000 times becomes an ontological argument for art.

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Miyajima Tatsuo is one of the most important artists of contemporary Japanese art and a representative of the "Post-MONO HA". Since the beginning of his art career in the 1980s, he has created a series of technology-driven installations, sculptures and performance art works. Miyajima uses LED as an artistic symbol, placing it in different geographical locations, spaces, and events, trying to achieve a kind of criticality

Miyajima is most famous for his cool installations made with LEDs, but at the same time, performance art has always accompanied his creations. Today, the 60-year-old Miyajima Tatsuo has always adhered to his artistic philosophy. He told reporters that he has always emphasized the three concepts of "continuous change", "connection of all things" and "lasting forever" that he proposed. The concept is mainly derived from several larger propositions, human life, the permanence of time and the universe.

In addition to constant change, connection of all things and continuous eternity, another important creative concept of Miyajima Tatsuo is: Art in You.

In 1994, Miyajima Tatsuo learned that a persimmon tree had survived the atomic bombing of Hiroshima and began to help the persimmon tree restore its health and collected persimmon seeds for children to plant in their hometown. This is called "Time Recovery: Persimmon Tree Planting Project" since 1995. The seeds have been passed on, the persimmon trees have been growing, and the participation of the children has truly completed the "Time Recovery".

Another masterpiece by Miyajima Tatsuo, "The Bell of Death," makes it more interesting to include artists and participants to create art together. Participants, after purchasing the "Bell of Death" device, enter their name, date of birth, and their predicted time of death in the network program, and the page will convert the remaining time of life, using "seconds" as the counting unit. Participants can watch the countdown to death every day and generate a new sense of survival.

In fact, in addition to "impermanence", this not only regards the work as the object of observation, but also focuses on the relationship between the work and the audience, which is also the embodiment of East Asian thought. Although some Western critics such as Rachel Kent regard Miyajima Tatsuo as the successor of Duchamp and Cage-they all recognize the key role of the audience in aesthetic behavior, or, in the Western sense of Husserl’s inter-subjectivity. Modern philosophy embraces Miyajima's creation. But the more important source should be the "ma" in Japanese aesthetics. "Between" is regarded as the existence of relations between things, so "between", like the thing itself, is also an integral part of the whole thing. Aesthetics not only cares about the object itself, but also pays more attention to the ever-changing relationship between object and object, object and environment. From a longer context, East Asian traditional culture has always been like this, focusing on the relationship between the subject and the subject, such as the interrelationship between things and self in Zen Buddhism, such as Mencius's "people and things," such as Zhuangzi's harmonious unity between man and nature.

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Altermodern Explained by Nicolas Bourriaud

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Do not go gentle into that good night, Dylan Thomas

Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning they

Do not go gentle into that good night.

Good men, the last wave by, crying how bright

Their frail deeds might have danced in a green bay,

Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,

And learn, too late, they grieved it on its way,

Do not go gentle into that good night.

Grave men, near death, who see with blinding sight

Blind eyes could blaze like meteors and be gay,

Rage, rage against the dying of the light.

And you, my father, there on the sad height,

Curse, bless me now with your fierce tears, I pray.

Do not go gentle into that good night.

Rage, rage against the dying of the light.

Dylan Thomas is full of urgency for life. His works revolve around the three themes of "life, desire, and death" throughout his life. Language is as powerful as a bomb, he is a master of his own. This song "Don't Walk Into That Good Night Gentlely" is actually a curse of death, and "Good Night" is the boundless darkness brought by death.

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Art Which Can’t Be Art, Alan Kaprow

Happenings, as a branch of performances/performances, emphasizes participatory, random and everydayness. And the works created under this concept may seem to be very different from ordinary things and events. Are these works worthy of being called art? Is this different from art-like things created by ordinary people?

In 1986, Alan Kaprow published "Art Which Can’t Be Art" (Art Which Can’t Be Art). As a key figure in "Happenings", he explained his artistic activities in the past thirty years in short and clear text.  This article explains all the important parts of its art, which is also part of the difference with ordinary art-like things-art problem-art purpose-art strategy-art realization.