The Research looks at the informal spaces where the artists of the Chinese Avant-garde were able to express themselves between 1979 and early 2000, between the death of Mao and their recognition by the art market.
These spaces originally not intended for the exhibition of art, have greatly influenced the perception of the content of the works. The radicality of some of these spaces, in terms of spatial configuration and meaning, at times exceeds the radicality of the actual works shown.
At this point the research provides an initial analysis of a selection of these places, aiming to define the analytical/narrative tools and describing them as an alternative to the current dogma of the museum: White walls, comfort, stability, controlled environment, political correctness etc.
At the turn of the century, the Chinese art market entered the white0cube condition of the official museum, making it even more urgent to reflect on and preserve the memory of these improvised and transitory museum spaces.
These slides were taken from a presentation that look to highlight the moments of challenge between the Official and the Unofficial acceptance of a budding Contemporary Art form.