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Exhibition Poster
Exhibition
Collapsed and Reassembled: on the reading of contemporary art
21 Nov 2018 – 28 Nov 2018
Event times
11AM to 8PM
Cost of entry
Free Entry
Address
- (Entrance in Duke's Rd)
- Euston Road
- London
- NW1 2BA
- United Kingdom
Travel Information
- Tube: Euston or Euston square
An exhibition full of contradictory and discordance? It features international emerging artists with diverse artistic practices and from different cultural backgrounds, aiming to challenge an established and singular interpretation of contemporary art in the current social context.
About
UPCOMING EVENT: ARTIST ONLINE CHAT
on Sunday 25th November 12:00 to 2:00pm at Crypt Gallery
We invite you to come to chat with our participating artists who are mainly out of the country at this moment. Share your thoughts and comments, and ask them questions that you are curious about!
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What indeed do you see, when the object is drawn away from the established social context and public perception?
How do you understand contemporary art, when the artwork is delivered without the interpretation of artists and critics.
Undoubtedly, contemporary art has challenged the conventional aesthetic experience. As the creation, presentation and interpretation of art are becoming more open, artists, art agencies, art critics and audiences are increasingly involved in the regeneration of aesthetic criteria. According to Jacques Ranciere, under the aesthetic regime of art -- which usually refers to contemporary art and modern art -- the dissensual community is more likely to be expected. The concept of dissensual community indicates a great audience agency that can freely interpret artworks on the light of their own knowledge and experiences. Comparing with conventional art with a single definitive interpretation, contemporary art is embedded in an open environment which encourages free and diverse interpretations. Given the status, we, as audiences, should boldly reflect and ask the questions: is the right of free interpretation truly equal? Are social backgrounds and language contexts silently influencing free interpretation? If audiences differ with artists, is any interpretation superior to the other? How do we define overinterpretation and the logics of interpretations, if there is one?
Through assembling artworks with different aesthetics, and combining with the parish church gallery environment, the exhibition aims to deconstruct the original contexts of the artworks. Excluding the possibilities of stereotypical implication from similar artworks, the exhibition provides a platform for artists to make responses to the environment, artworks, and audiences, thus an accidental encounter full of uncertainties. It also encourages audiences to get out of the given social contexts and make their self-interpretation.
