Some reflections on the Embassy archive exhibition: “The rich compost of before.”
A huge share of archive exhibition, for the Embassy gallery’s history of works. They are shared with the public at the entrance with their publications. Such as posters, handouts, print cards, and postcards related to their past contributions and events. The texts written down in the handout book impressed me:” To start making this work/prototype/change we first need to break with the harmful relationships, practices, and structures that choke our ability to imagine a new.” It showed their vision of art is ambitious, an uneasy goal to achieve. The values are based on the attempts to imagine, propose, and experiment with alternative structures and governance as a means to try to make change happen.
I could tell through the papers, their things documentation is recorded the trace of their efforts in each poster, the voting box, the file paper, the keys, the clothes, and the CDs pile up in the wooden cabinet. The structures in the space they built with a discursive model hold internal conversations.
(POSTERS, COMMONS) 
(LOGOS, SIGNS, CARDS, BOX) 
(FILE PAPERS) 
(WOODEN CABINET) 
(CDs DISPLAY) 
(FEEDBACKS ON CABINET) 
(SWIN RING AND CLOTHES) 
(TABLE DISPLAY) 
(KEYS) 
(PAPER ON WALL)
My workshop event on 21 April from 10:00am-17:00pm:
I prepared thirty pamphlets and thirty interview papers on the day ready for my participants. Due to the less effect of social media promotion, I only collected fifteen scores and interview papers until the end. This work still could continue to generating with the quantities numbers for future collection.
(Pamphlets and interview papers)
The experimental music workshop is processing simultaneously with Ruxue Li’s fashion workshop, which takes more interest from the participant who is coming they both joined two workshops for more pleasure. The observation notes demonstrated they really enjoyed creating any speculative, abstract drawing/writing/object-making. However, many of them gave feedback on interviews paper involving the memory of exams. They are enjoying making their scores but suffer writing the interviews.
Another observation point that I noticed the participants do not have much patience to read about the methodology mentioned in the pamphlet rather than freestyle of making scores. In other words, they prefer simple instructions rather than indications. Also, they asked me about the connection between the scores and music. Based on that, I need to explain to them repetitively. To sum up these notes, the participants are likely to play around with the materials to make their score in their own version, however, they are confused with the intention of the workshop on account of lack of music knowledge. Therefore, contemporary music is free and diverse, the participants do not need knowledge about music during their process of making, but it is hard to explain to them the intention repetitively needs further reflection on improvements, despite that, the participants all enjoyed the score-making and they wrote on the interview paper with the writing notes: “It is interesting to see music differently with making objects and thinking about materials/graphics/texts.”
(OBJECT-MAKING) 
(SCORE-MAKING) 
(COLLECTIONS WITH PLASTIC SEALING) 
(STUCK ON BOOK FORM)
Leave a Reply