// MorphO // Isolation of (portable) pressure

CURATORIAL STATEMENT to the exhibition written by Chiara Valci Mazzara

// MorphO //

Isolation of (portable) pressure

Morph (-O) -neither metamorphosis nor morphosis- stands for the root of the word. ‘Morph' is meant as for its etymological meaning. It refers to the shape, the change, the form of the object and ultimately the content. It generates the friction created by the ever-changing shape and the ever-changing pieces in reference to each other.

By mutating to define a shape, Morph- narrows down the circularity of an ‘O’ (Morph- seeks for a destination and the O attempts to contain the ever changing matter). 

Morph- means shape and matter. It’s a movement from within. It responds to the idea of transition between material and un-material; when affecting the form, the content mutate.

Morph- is an inner change, it acts on other things and determines a shift from one thing to another: contorting the matter, affecting the form, mirroring an alternative meaning. 

Morph- is everything that happens during a transition: it’s process, it’s boundary, it’s on a threshold: hence it’s intermediate. Morph- is also the ambiguity and the disorientation that occurs in the middle. Can be distortion and a new beginning.

-O draws the outlines and the outlines attempt to contain the constituents, if and when this is somehow possible. The matter is the visible proof of the content. The things that are least important are removed.

-O tries to grasp the moment immediately after the in-between.

-O Is the moment in time, beyond the space in between and after the transitional. 

-O is close to a circle and contains phenomena inside its borders.

-O is the matter when rounds in a shape, is the last letter (Morph-O), is the final step towards the response to a visual stimuli. 

Morph- originally concerns letters, sounds and shapes. -O outlines form, defining the content. It is ever changing during each and every transitional moment of time, frame and context. It determines the form, leaves tangible the matter, resolves the subject.

Morph- makes the object visible and therefore tangible, isolating a variable pressure which becomes perceivable and figuratively portable; the pressure is transferable: from a context to another, from an object to the viewer: the pressure is given by the meaning.

The system of meanings to which the photos and pieces refer is symbolic but what is visible is the shape and weight of the subject. So the portable pressure is the one of the Object represented, the physical weight and -figuratively-  the one given by its past and new contents, its story and new life when translated in photographic works or in sculptural volumes.

Ricarda Roggan, 

Morph- is the in-between and belongs to different places and different moments in time.

-O is the intensity of the photographic investigation, is the stage, the object suspended in space and frame. Is the phenomenon detached and vibrating from an alternate perspective.

Sharp yet intimate and delicate photographs are organised sequentially. The serie of photographs unfolds in a liminal space, where what was is now the next. Where the transformation took place and the time stands still. The subjects of the works are located at a sensory threshold, endowed to elicit a response.

The matter is composed, the object comes from a past life, heir of its past owner’s use. The artefacts are the absolute subjects of each and every stage on which they’re adjusted, they seem to be suspended physically and in tempo

The delicacy of the photographic composition is articulated through the use of the light, so that the shadows are liminal. Each object stands on a physical and figurative brink, it keeps a boundary with the place it comes from but is now isolated in time and space. The meaning is changed: it absorbed a translation of its very core meaning and use. It’s a regression but moving forward.

The things, the objects re-arranged, staged poetically, become apocryphal, being removed from their past context and strayed from their use, they start to vibrate differently.

They’ve not being re-moved -and their meaning re-evaluate- aimlessly: they create a new intimacy, reveal their patterns, past use and new meaning. They are immutable and everlasting. They’re shimmering through the simplicity of the act of being placed on a meta-stage. Super-imposing over the past. Un-disclosing their entity and a myriad of signifiers.  

The pressure is the one of the object on the surface, the one of its past use and value, the new of an unexpected poetry of the photograph.

Each photographic piece is a journey about the past meanings: but only marginally, because now the object is only itself, placed there, under this light, alone, shimmering and enclosing a new meaning: the one of the viewer. 

Jung Sung Tae,

Morph- reveals itself through a closer look, it is there in the pattern, in the shapes of the non-subjects depicted. Normally, as long as it remains unnoticed, the shadow is guaranteed to remain insoluble. But here’s a closer look on its movements around the invisible turning into visible. 

Morph- is in the photographs completely revealed: the shapes, the shadows, the form can’t remain evasive any more. The artist moves quickly, catches the moment, takes an accurate look. He isolates elements inside a frame, at the spur of the moment revealing the shadow and an intimate pattern of meanings.

The inner forms of the objects are the elements displayed in his pictures. The rough matter determines his angle of observation: each image is linked to a memory and isolates the matter and details, their shadow, and its very own reflection.

Each picture feels like token in a millisecond. As Looking  through a lens, catching a detail, the light and the shadow and holding the images there, fixed in time. Frozen.

The reflection of the image in the eyes of the viewer is quick, at first not recognizable but slowly making sense. Branches, shadows, patterns, ripped baseball ball, rust and a skull: every element of every image is enlarged because is contained in the choice of the artist. He isolates the matter, re-evaluates the form of the shadow and twists the content into the very reflection of an inner state of perception.

-O is the composition of the pictures, is the attention to the very detail, the set apart a shape, a form, an essential feature from the whole.

The pressure is the meaning of the memory. The leftovers of a moment which the artist attempt to fix in time by isolating its very essence. The pressure takes form through something so ephemeral as a shadow determined by a brief time period: right there and right then.

The shadows and the subjects of the works are merged in a unique entity, invested with the task to be proof of the past moment and evidence of the present perception.

Henrik Strömberg,

Morph- is the change that occurs continuously as well as the shift of the form and the signifier is a condition always to be expected. Both, a transformation and a alteration of content, are occurring simultaneously. The matter is shaped and transferred through different media, all the elements are commuting back and forth regularly concurring, and eventually, overlaying meanings. Nothing can be isolated, everything mutate as when volcanic magma erupts.

In the photographic pieces the roots of the past meanings is perceived diving into an alternate drift of perspective, Strömberg reduces the source to polarise the content at the very core of the image. He doesn’t settle down for clarity, rather he pursues the action of placing triggers to initiate a new existence of the object. The clarity being left aside, it is consequential that the viewer is exposed to an unexpected outcome and to an ephemeral content.

Morph- acts on the in-between, while the installation of the volumes and the different components takes form. A sub ecosystem formed through the combination between seemingly disparate elements appears as a logical consequence. Photographic elements, negative cut outs, paper and sculptural volumes are coexisting but their accumulation is not left to chance but rather to a multiplication of occasions. The various elements commit to deliver a wider perception of the different pieces, it’s like a dance where every single element concur to a higher harmony.

The sequence of reflections, the portions of images and the verticality of the installation take form as an immersive landscape through which the viewer is moving, absorbing the complexity of the elements, never redundant and always cohesive.

There’s not a unique interpretation but rather a kaleidoscope given by the use of different media equally involved in the final result.

The -O, here, narrows down the matter  and the matter is the subject of the onward multiplication in the volumes. The -O is the grid, the attempt, the part and the protagonist of the movement through something, creating something else. Is the glass expanding through the grid of his sculptural volumes, is the depiction of transitory atmospheres in his photographs.

The pressure, in Strömberg’s photographic works, is the one of the ephemeral objects, removed from their nature. It is the one of the pattern of the facade, revealing the texture of the engraved stone in his larger photographic piece, as well as when the pressure is the one given by the heritage of the object trouvee’ and re-assembled  in his intimate shots.

In the sculptures, the pressure is constantly the one of the glass volumes of the stacks, on the paper, on the fragments. The pressure gives verticality to the accumulation of media, elements, contents, new meanings, new paths.

Woo Chang Won

Morph- acts in the work of Woo Chang Won as the variable that acts on the physical property of the matter of the objects. 

Morph- stands between the usual perception of shapes and form and the action of the artist who deconstructs the substance to reach a different core, a different tangibility of the materials. An alternative perception and meaning. He reduces the object - together with the perception of the world around him - to the substance they’re made of.

The physical world of materials is not anymore the element which constructs the subject depicted in the pieces, but rather is the protagonist, disengaged from the context.

On the edge between consciousness and unconsciousness Woo Chang Won isolates the pure material, the matter, the morph-.

He blocks the matter right before it constitutes in a defined shape. He’s fascinated by the response to the materiality, the immaterial content.

 From a general perception of objects,  the artist recedes to the particular of their physical composition:  the rough matter. He untwines the matter and the subject resolves in the bare material.

The artist proceeds building a visual stage in which the substance floats, not permitting anything else but the matter to exist.

-O works as through a microscope: the subjects of the photographic works are standing still, showing traces of the transformation, of the movement of the material they’re made of.

The substance being revealed, the background being traced back to the essential, the consciousness of the viewer can relate only to the circumstances in which the subject is investigated. The artist recedes to the very core, building a system of objects contained into objects enclosed into other elements, reaching the molecules of the phenomena and re- placing the image in a new perspective.

The abstraction is the result of a backward process to the origin. Between abstraction and reality, the awareness is triggered and results in a deeper understanding which leaves open the interpretation but doesn’t allow any escape from the crucial and urgent view of something un-defined yet momentous.

Deconsecrating Art (dslcollection Manifesto series)

Written By Gabriela Anco for fontaine b.

In 2005 Sylvain and Dominique Levy have decided to start a new collection dedicated to Chinese contemporary art — a choice seemingly personal, based on individual taste and resonances with the culture of a booming economy. It was also a choice seemingly unrelated to any conscious decision concerning any purposeful desire to change the art scene the way it was presented at that particular moment. It was an intuitive decision.

Yet, a collector is an artist of some sort. As the artist senses visions of a future, intending to visualize that which has not yet happened and to foresee the direction of what lays ahead, likewise the collector, by supporting the relevant artists, groups, movements, gives them a voice and a space to express these visions.
dslcollection is precisely this kind of a supporter. An intuitive supporter. Following an inherent trend of the mind and of the heart, they seek to act on a much larger scale than the acquisition and admiration of particular artworks.

Despite that, as Sylvain Levy likes to put it himself: “We are first a collection of ideas, and second a collection of objects”.

Dominique and Sylvain Levy

Dominique and Sylvain Levy

In this frame of reference, an artwork can at times be admired on its own or perhaps as part of a series, but also — on the background of a context, which can be that of the history of art, or history of the world. From this perspective, the collection which the artwork is part of is responsible for providing a two-way context. Often a collection is characterized by the kind of artworks it gathers, however, the artworks are themselves characterized by the belonging to that particular collection. This symbiosis of the artwork and the collection, of the artist and the collector and the multitude of constellations the former pair, is creating a grid of connections and visible and invisible networks. The symbolism which is further shared throughout these connections and the language which is hence being formed is further expanding itself into the present art world: that of production, exhibition, valuation and ultimately — sharing of ideas.


Deconsecration - transfer (a building, an object) from sacred to secular use: the church was deconsecrated in the early nineteenth century. [1]

In order to begin a discussion on the topic of the deconsecration of art, one should should go about questioning its sacrality. Humanity, independently from its cultural origins, has always been more keen on a visual, rather than the auditory or palpable dimension. A great deal can be explained through its inherent need to leave a trace, to create memories, which future generations are to derive and learn from. Knowledge was transmitted through drawings, as a picture is worth one thousand words. Universal truths, suppositions, beliefs found their way in visual rendering throughout various ages up to today — truths that for the longest time of existence of man have been related to the questions of who we are and why we are here. Until today, no answer exists to them with the exceptions of certain religious or spiritual explanations that are gladly accepted by some.

Visual arts are hence the direct descendant of the iconographic symbolism which has traveled from ancient times, morphing on its way to our current contemporary images. In the context of humanity, it has really not been that long that images predominantly represented holy figures, and even though today we do not logically associate contemporary art pictures to a religious entity, it is our ancestral instinct that creates unconscious links in our minds.

In a similar way to artistic works, books have also been bearers of universal beliefs. In his essay Dematerialization and deconsecration: the book as a symbolic object [2] Régis Debray explains the development of writing and of books themselves, passing from supports such as erasable wax tablets used in ancient times to permanent supports such as the volumenrotulus and later the codex. In a way, this transition from the impermanent to the permanent support of the book is reminding us of the objectified status the works of art have acquired through the move from the first drawings, passing from temporary surfaces of sand and ground into the permanence of the cave walls, which then became objects on their own. With the change of the millennia and specifically the destruction of the Second Temple (in Jerusalem) in the year 70 CE, writing obtained a fully sacred status. By year 135 CE the Jewish communities were banned from Jerusalem, scattered around the world, bringing nothing along, except for their belief. Debray compares the opposition of the erasable wax writing tablets, the backbone of the Greek and Roman pride of their land, their polis, their gods that are the incarnation of nature and space, to the new faith in the One Almighty. In the absence of geographical borders to be associated with, the Jewish people turned their full trust to the Torah, which was written on scrolls, and kept in a special case reminding of the lost Temple. Primitive Christianity was itself also u-topical and a-spatial, the first Christians being traveling pilgrims, holding on to their writings as their homes. These opposite, yet constant relation in between the Latin pagus and pagina [3], the new base of the codex which was to take over the literate world in the future, is leading us to another essential question, that of space. Material writing needs space, its existence depends on it, as the existence of any physical object such as an artwork.

Museums — temples of the artifacts — can therefore not be disregarded in this frame.
In the context of dslcollection, the sacrality of the museum is questioned on its own. Notwithstanding the sacrality of a work of art, the idea itself of gathering artifacts, displaying them in a particular contextual relationship, which until very recently was bound to respecting consensual taxonomic requirements of the scholar community, is bound to holding an enormous responsibility. Not long passed since museums had as the main role the enrichment of the population not only with scientific knowledge, but also with cultural values, acquired by previous generations, in order to create a national identification to those artifacts holding certain truths. The determinations of what and how to display would belong to imminent curators, who would decide upon the inheritance of educational values. More recently, museums turned from static bearers of knowledge to fluctuating entities offering permanently evolving food for thought in the form of temporary exhibitions and ever-changing cultural activities [4]. These sacral institutions have however been partially desacralized with the development of computers and the digital revolution, which became responsible for the indexing and rotation of artifacts. Man was no longer the key holder to the door of the big Wunderkammer, and the objects on display became an index number, chosen by an algorithm [5].


The evolution of the printing press in the 15th century has shaken up the sacrality of the writing in the same way as centuries later photography would do with the works of art. In the first case, the ceasing of manuscripts, which coincides with the age of discoveries, frees the codex from its main sacral role and opens secular literature to the public. In the second case, unlimited reproduction through images separates the intellectual essence of the artwork from the material it was made in, or as otherwise Walter Benjamin famously puts it, the mechanical reproduction of an artwork strips it of its aura.
The deconsecration of the artworks was persevered by certain artistic movements such as the Dadaists and later Fluxus. Marcel Duchamp invented the ready-mades cutting the umbilical cord in between the creation and the creator, at the same period as Hugo Ball created his famous Gadji beri bimba no-language poem. Later, Joseph Beuys promoted the full democratization of art, through the use of cheap material or no material at all, the creation of limited editions in thousands of copies, but most importantly, turning art into lectures. The actual object of the work of art became secondary.

Joseph Beuys on his lecture "Jeder Mensch ist ein Künstler – Auf dem Weg zur Freiheitsgestalt des sozialen Organismus" photographed by Rainer Rappmann [de] in Achberg, Germany, 1978

Joseph Beuys on his lecture "Jeder Mensch ist ein Künstler – Auf dem Weg zur Freiheitsgestalt des sozialen Organismus" photographed by Rainer Rappmann [de] in Achberg, Germany, 1978

Nonetheless, despite the visionary ideas, such as Le Musée imaginaire of André Malraux as early as 1947, which proposed the creation of special museums displaying photographs of any artifact in the world, thus cutting through space, proportions, and the singularity of the work of art itself, the many copies humanity had the possibility to produce were in need of a place to be stored, and the question of belonging to a space — and hence identification to an object — was still valid.
Today, with the development of the cyberspace, the topic of the physical limits has disappeared. We have unrestricted storage for all possible cyber interpretations of any text or physical object.

Dennis Adams  , (video still) Malraux’s Shoes, 2012,    Courtesy: Kent Fine Art, New York.

Dennis Adams, (video still) Malraux’s Shoes, 2012,

Courtesy: Kent Fine Art, New York.

What is left is nonetheless a meta-dependance that humanity still has on the objects themselves, prompting the phenomenological position that reality is to be interpreted at first through the physical sensations of our own singular bodies. The object of the physical book, as the object of the work of art, is nowadays still a taboo. Though the essence of it might have been transmitted otherwise, the disposal of the actual object continues to feel barbaric in our materialistic society even now. And it is precisely out of these needs that the collections, the Wunderkammer and the museums have evolved.


Yet today, some museums, as the dslcollection, are becoming entirely virtual, questioning the above compulsion for the physical object, and bringing Malraux' ideas further. In the age when digital image has completely imposed itself, major museums create their own sort of versions of their virtual exhibitions, at first on CDs and DVDs, online today. This trend has provoked fears and doubts from the opponents of the de-materialization of the exhibitions, nonetheless, the physical museums did not suffer at all from the digitization of their collections, with museums like the Louvre breaking records of attendance (10.8 mill visitors in 2018). This proves to us that the new technologies are in reality contributing to the promotion of the traditional type of establishments, and not at all competing with them.

Photo by Alicia Steels

Photo by Alicia Steels

Dominique and Sylvain Levy have hence aimed to open the collection, open the thoughts, share and spread the ideas. The technology development from the beginning of the 2000’s played a vital role in the reasoning which was on the basis of the collection, which adopted early on various social media platforms such as Facebook and LinkedIn, gathering thousands of followers. In 2013, the collection took the crucial decision that a virtual reality designed museum is to be preferred in favor of a permanent physical space for its own pieces. Pioneering players in the industry of the arts and culture, dslcollection is a great supporter of the development of virtual and augmented reality overall and embraces it alongside the usual settings of museums, art centers, galleries. In a way, creating a space for a collection of 250 pieces which one is to see through a virtual reality headset we are inevitably reminded of the Marcel Duchamp’s La Boîte-en-valise.

Believing that artworks are in the first place sources of knowledge, dslcollection thrives to make it public to all those who desire to see it, regardless of physical, financial and geographical restraints. Even if this means that the work is to be dematerialized.

dsl collection, The portable museum

dslcollection, The portable museum

Thus the dematerialization of an artwork or a museum is not to be seen solely from the perspective of deconsecration, instead gain the position that they acquire this different status as a response to the changes in the society. The inevitable development of the digital space is altering the consciousness and demands of the people, social media is shaping the minds of future generations. The democratization of art, a term much discussed presently, is itself dividing into different aspects. There exist of course the open sources such as the virtual museums explained above. However, one can also address it as Germano Celant in relation to the huge popularity of artists like KAWS who lead to “the democratization, industrial and commercial, of a contemporary aesthetic, which is supported by the digital network” [6]. Yet we can not ignore that the virtual world has taught us to think virtually. Conceptualization of space and objects is learned earlier in our development and at very intuitive levels, thus the question of the existence, or reality of an entity is not going to be addressed, to begin with, by the future generations. If an idea exists, virtually or not, it is real. Most importantly, the democratization of art brings about the essence of the etymology of its own word, demos = the people, kratia = rule, which implies the essential existence of the people, of the community, who have a say in the handling of the object, its truths, ideas, questions and theories. dslcollection thus thrives to see art not as a sacred entity, but rather as a tool generating a dialogue.

[1] Source : Oxford Dictionary.

[2] Régis Debray, Dématérialisation et désacralisation : Le livre comme objet symbolique, in “Le Débat” 1995/4 (n° 86), pages 14 to 21

[3] Pagus - In the later Western Roman Empire, following the reorganization of Diocletian, a pagus (compare French pays, Spanish pago, "a region, terroir") became the smallest administrative district of a province.
Pagina - a written page, leaf, sheet

[4] See more about this topic in Daniel Jacobi, “Exposition temporaire et accélération : la fin d’un paradigme ?”, La Lettre de l’OCIM [online], 150 | 2013, posted on Novembre 29th, 2015, consulted on May 30th, 2019. URL : http:// journals.openedition.org/ocim/1295 ; DOI : 10.4000/ocim.1295

[5] Bernard Deloche explains the process of the French National Museum of Popular Arts and Traditions, where in the 1980s 14000 files were catalogued digitally and what changes that brought to the organization of the museum.

Bernard Deloche, “L’irruption du numérique au musée : de la muséologie à la noologie” in inNouvelles tendances de la muséologie, dir. François Mairesse, Paris : La Documentation française, 2016, pages 145 to 157.

[6] Anny Sham, “KAWS célèbre: street artist's first survey—and huge inflatable—make waves in Hong Kong”published in “The Arts Newspaper” on the 25th March 2019

dslcollection MANIFESTO

Written by fontaine b.


This Manifesto for the dslcollection is a statement, a tool, a way to discover a new perspective.

This Manifesto is a body of content that will initiate a wider communication with the public : a communication that will take shape through the act of producing, sending and sharing different content each month in order to explain and deepen the mission of DSL Collection.

This Manifesto aims to flip the perception of art, deconstructing the old and inspiring a new vision and sensitivity. The act of collecting and the value of the collection, initiating an immediate transformation, are guiding the viewer to seeing new meanings. Intending to counter the public’s present short attention span, the Manifesto suggests a new approach/vision/inspiration conceived to direct this ephemeral moment to a profound understanding.

Using new tools and media as catalysts and above all, allowing accessibility to the collection and its meanings, the art works and its references, the Manifesto follows the Collection in valuing interactive and participatory approaches and refining the traditional and crystallized relationships between art and its audience.


dslcollection DECONSECRATES art

By deconsecrating the public’s approach to art, limiting the intimidation by art, countering art as an elitist, exclusive means and fostering invitation to see, feel, create, admire, collect.

By deconsecrating the collection: the act of collecting and its outcome. Instead, create a graspable, enjoyable, achievable heritage.

By deconsecrating the artwork from holy object to pure meaning: recognizing its value as a witness of an act, as a proof of the spirit of the times, as the manifestation of the collective aesthetics and sensitivities.

Art ceases to be a luxury item holding an outdated system of references, rather it shines as an incredible source of inspiration and intellectual wealth.

By observing a sense of passion, through sorrow and zeal, constructing a collection, which delivers a sense of new profane proximity with the viewer, the public, the community.

Zhang Huan, “Foam”, 1998, C-print, 15 works 152.4x101.6cm each (courtesy of dslcollection)

Zhang Huan, “Foam”, 1998, C-print, 15 works 152.4x101.6cm each (courtesy of dslcollection)

dslcollection believes in PROGRESS 

The innovation challenges the status quo. The Collection doesn't intend to change but rather inspire a new logic, beyond the frame, investigating new parameters.

Progress serves art; technological advancement is a tool to perceive art in an easier, better and more thorough way. DSL collection draws the scenario of new meanings which will portray the future, starting from the present situation asset.

As the past tubular mail, Internet is now present everywhere, opening access and reaching once anonymous doors. Through new virtual media and methods of communication and diffusion, the collection strengthens the distribution of ideas, theories and inspiration to embrace a new approach.

Virtual and Augmented Reality grant an altered way to perceive art, fostering a new kind of proximity, granting the collection a strong sense of cohesiveness. The possibility to experience anything, anywhere and anytime, though a controlled curatorial insight on works collected and brought in common dialogue, going beyond our spacial dimensions and limitations. VR and AR offer not only a new way of exposing, but also of creating, of generating reality. A reality, which can also be attained by reliefography, giving a chance to masterpieces to travel and be seen in a cloned physicality. 

But overall, the Collection rouses the development of a new logic, a new way of acting, marching towards an improved and more advanced condition.

Cao Fei, “RMB City”, 2007, interactive multimedia installation (courtesy of dslcollection)

Cao Fei, “RMB City”, 2007, interactive multimedia installation (courtesy of dslcollection)

dslcollection INSPIRES: 

By activating curiosity, spreading ideas. Ergo primarily a collection of ideas, dslcollection delivers content through new media, expanding a collective vision.

It is the new media then, taking over, initiating a dialogue which comes before the objects.

By taking the lead in using innovative means to share the collection. Perceiving, adapting, aspiring towards new technologies, and inciting new progressive thinking.

Building upon established convictions of the 20th century, the Collection converts their essence to our days. Marcel Duchamp’s portable museum acquires a new meaning with a virtual reality set allowing to visit the DSL Collection, the Fluxus diffusion of material is being managed through skillful manipulation of virtual networks. 

By creating, adopting and cradling ideas, valuing and spreading them. 

As a windmill feeding on thoughts and concepts, existing or newly revealed, the collection embraces and transforms them into new matter and new ways to « consume » art.

By supporting disruptions, keeping a dynamic and flexible position. Understanding and adjusting to changes, learning from the past, working for the future, yet living in the present.

By favoring the art of the present, creating a vibrant collection, from works with alive, vivid spirit.

Ding Yi, “Appearances of crosses (triptych), 2001, acrylic on tartan, 3rd of 3 works (260x140cm) (Courtesy of dslcollection)

Ding Yi, “Appearances of crosses (triptych), 2001, acrylic on tartan, 3rd of 3 works (260x140cm) (Courtesy of dslcollection)

dslcollection believes in the FLUX 

Flux as an artistic movement and act of the past, but also as the re-evaluated action of dslcollection: it solidifies the flux action by publishing and spreading ideas, visions, content, and through the use of technology and the media of our times.

The idea of « flux »  suggesting a “flow” and an “effluent”: continual change. The « flux » is the origin of Fluxus movement of the 1960’s, which focused on the action, on the phenomenology of the act, and on the diffusion of information.

dslcollection is in a state of flux, flowing, sharing, enacting, committing to a group. Flowing - as adjusting; flowing - as disseminating; flowing - as free sharing of ideas. Flowing - as Fluxus, and Fluxus - as an attitude.

The works of art are a place of interaction between the artist and the viewer. The collection is therefore an organized gathering of constant exchange amongst the artists, the audience and the collector.

The works of art are a democratic form of creativity available to everyone. The collection is thus a playground for flourishing imagination.

The works of art are works of life. No walls should be placed between art and reality. The collection crosses art and life in a new kind of reality, the virtual reality. 

Art is meant to be consumed by all the people, without requiring particle accreditation. 

Art infiltrates. 

Art is a complex organism in which ideas, behaviors, sensitivities and media blend together contributing to a new vision.

He An, An instant of my purity is worth a lifetime of your lies, Installation, Lightbox and LED Lights , 120 x 120 x 10 cm 2014 (Courtesy of dslcollection)

He An, An instant of my purity is worth a lifetime of your lies, Installation, Lightbox and LED Lights , 120 x 120 x 10 cm 2014 (Courtesy of dslcollection)

dslcollection is a COMMUNITY 

By creating a virtual common ground for individuals with common interests to interact and exchange.

In times where physical distances are not as restrictive, people display a need for attachment. dslcollection attracts like-minded individuals to circulate around one common fire. People bring ideas, and ideas create changes.

By collecting ideas before objects. Artworks are a cluster of choices made by an artist, and a collection is a cluster of choices of the collector. Adapting this conceptual perspective, dslcollection choses the collect choices, thoughts, impressions, ideas. 

By interacting with the audience, for all community is sharing, is giving and receiving. Emitting signals, and accepting the replies, the collection does not stay indifferent to suggestions. 

By adopting an evolving state of constant flux, the collection creates a flexible community of contributing individuals.

By being an active ecosystem of inspirational ideas, operating in hyper-communication and innovation to suggest and ultimately gain a higher level of access to art.

Xue Song, “Bamboo”, 2013, 7 screen video installation (Courtesy of dslcollection)

Xue Song, “Bamboo”, 2013, 7 screen video installation (Courtesy of dslcollection)

dslcollection lives in the ZEITGEIST

Zeit-geist is time. Zeit-geist is spirit. Zeit-geist is now. 

By collecting. By the act of gathering the samples of the present in order to create a portrait of the times. 

By collecting Chinese contemporary art, a country leading the XXI century economically, strategically. By registering the very change in collecting attitudes from the strong focus on the Western contemporary scene to the Eastern.

By limiting the collection to a set number of artworks finely tuned with the Zeitgeist.

By embracing the technology of now, translating its potential into a new form of diffusion to empower cultural exchange. 

By gathering a community of like minded individuals, that resonate on an invisible frequency, which depicts the spirit of our age. 

By adapting to the changes times, keeping flexible and trusting the future generations. 

By inspiring the history being formed now. 

Xu Tan, “Uniform velocity”, 1992, mixed media installation (Courtesy of dslcollection)

Xu Tan, “Uniform velocity”, 1992, mixed media installation (Courtesy of dslcollection)