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Situational Anomie in 4’50
Performance /video    4’50

This work employs dancing, photography, videography, and other materials. By using “snapshots” to interact with various real scenes, the work encodes the real-time into the virtual timeline, links multiple independent events together, in order to reveal how, within 4’5’’, a booth photo printed at the underground station manages to maximize its value in an art museum. The work intends to discuss how the value of the same object varies with different situations, as well as the meaning of the work of art.

In this work, I symbolize my personal figure and make it interact with the institution of art. I bring my photograph printed at an underground station into an art fair, which makes it, in the shortest period, become a work of art. I use the camera to record the whole process, including multiple stops on the way to the art museum: the photo was put on the ruins of the demolished houses; in the basket of a shared bicycle; and so on. Each scene creates a unique situation with the photo, while the value of the photo varies with the movements. 
In the end, I put my photo inside an art museum, where public participation grants the value of contemplation to it. Thereby, the value of the photo is maximized in the art fair. 
Ironically, through my editing, it seems that it only takes 4’5’’ to print the photo and send it to the fair. During this time, the real-time and the virtual timeline are reshuffled. Virtual time breaks reality and creates new acts.


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