This exhibition aims to deconstruct the power structures within spaces through the compulsion of interpellation mechanism of art: artists and viewers enrich the power and cultural composition within spaces through fluid creation and interpretation, thereby deconstructing the fictional and fluid nature of power structures. Power structures are a legacy of historical paradigms or contracts; human's instinct to learn and imitate drives civilization as a whole to retrospectively seek experiential assurance from the historical paradigms, and thus perpetuate their discourse. It is reasonable to question the inclusivity and universality of historical paradigms from both existential and metaphysical perspectives. The contingency, cultural independence and intentionality inherent in history and geopolitics predetermine that the paradigms are necessarily one-sided. The goal of this exhibition is to redistribute space and power through art, directly integrating artistic activities with social practice and spectacle renovation. Additionally, I pose a question to all artists and viewers: "Can this be a completely spontaneous practice?"

In this exhibition, respecting the artists' freedom of placement selection is intended to emphasize the artistic discourse of spectacle and environment. I challenge the concept of the boundaries of between an artwork and an object: in the postmodern context, the "can-be-concretely-interpreted-ness" of an artwork is a fallacy, whereas "can-be-interpreted-ness" is an inherent attribute of artworks. the "can-be-interpreted-ness" directly questions the boundaries between artwork and object, and even threatens the necessity of the existence of artists.

The delicate relationship between artists and viewers, as evidenced by the unfortunate author expelled by Foucault and killed by Roland Barthes, reveals that the artist expresses but does not directly generate social meanings; rather, the artist can only provide a “motive” for viewers to directly generate social meanings. This is particularly extreme in the postmodern internet age; for example, AI art is totally an unilateral interpretation of viewers. As an artificial intelligence without free will and autonomous consciousness, it lacks initial expressive motivation, and therefore does not express. AI only showcases the presentations of signified through program execution, while viewers freely and honestly decode them. Therefore, the boundary between artwork and object lies in the perceptibility of the “motive”, which may be arose by the beauty, spectacle, sublime, similarity, cultural resonance, prototypes, even the title of an “artist” or an “artwork”.

We can easily find out that perceiving the motive can be a completely spontaneous activity, and this process does not necessarily require the intervention of an artist. If viewers can autonomously transcend the boundary between artwork and object, then to some extent, the ideals of Situationist International are realized. Through random artistic interpretations, viewers deconstruct the power structure within their living space, which realizes a spontaneous variability and fluidity of power within space, thereby achieving a spontaneous integration of art with social practices and spectacles.