1. 藝術家設計一個特定的場境 (例如吃多士、砌磚頭) ，來將社會現實轉換過來，或顯示社會現實；
[i] Bourriaud, Nicloas. Relational Aesthetics, Translated by Simon Pleasance and Fronza Woods. France: Les Presses du Réel, 2002. Print.
“Love China Love Hong Kong Thick Toast” and “Erosion of Home?” can be socially engaged art, performance art and relational art. According to the French critic Nicolas Bourriaud, relationship aesthetics can be defined as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”[i] The artist can be more accurately viewed as the “catalyst” in relational art, rather than being at the centre,[ii] comprising of the following elements:
- Artists design a specific context (such as eating toast, using bricks to construct a wall), which is a converted form of the social reality, or which display social reality;
- The audience takes on a major role and participates in the creation of works and interacts with each other. (According to past experience, the Fotanian Open Studio event had many visitors and most of them are art lovers. They actively participated in interacting with the art work. Fotanian Open Studio is a good platform for relational art);
- The focus of the work is not the finished product but the process and open discussion. Therefore the result of the survey of “Love China Love Hong Kong Thick Toast” emphasizes the importance of patriotism or criticizing patriotism is not the focus; the process of the discussion is more important. The answers to “What did you give up to own a flat?” show people’s desire and strategies to solve practical problems. These are the focus of the work, not the object art: the bricks or the toast.