黑料不打烊

Since the modernist movement in the early 20th century, many art practitioners have taken on multiple roles. Black Mountain College was crucial in integrating this interdisciplinary and symbiotic movement. The students held different identities and social attributes, including architects, dancers, physicists, and art critics. The 鈥淪upine Dome鈥� experiment, although eventually collapsed, embodied the essence of Black Mountain: an interdisciplinary community of artists and researchers that integrate art with life, learning, and play.

Today, we hope to break down the rigid dimensional barriers and invite art practitioners from various working sectors. These individuals have historically contributed to content presentation, exhibition setup, academic positioning, and implementation of artist projects. They are the bridges and links in the art industry, which means they are often required to set aside their subjective agency. In this exhibition, these hidden bridges and obscured agencies are revealed. This exchange of identity also furthers the divergence of thought.

Jointly presented by ShanghART M50 and SUHE HAUS, this exhibition features works from 53 art workers (and all their other identities). The exhibition presents a pure art feast by rejecting the commercial attributes of art and bridging identities and opinions. Either conscious or unconscious, the decisions made by the art workers for this exhibition are bound to be affected by both their identity as artists here and their identity as art workers elsewhere. Behind the aesthetics or non-aesthetics, we aspire to highlight the hidden individuality of the art workers instead of persistence for the 鈥渇inished product鈥�. These conformational thoughts shall be the healing and supplements to our artistic system.