The Noitc-Elloc project is deeply rooted in classical sculpture while contemplating its place in the postmodern landscape within museums and other institutional settings. It extends its exploration to encompass linear history and the realm of postcolonial museology.

Comprising three distinct elements, the project encompasses a video art installation, a vertical structure featuring two sculptures facing each other, and a performance proposal aimed at fostering a collective ambiance of negative space. This endeavor seeks not only to visualize but, more importantly, to revive the original connotations and vitality of objects that have been appropriated, collected, and transformed by their role in museum exhibitions.

The video employs a Mini Endoscope Camera to capture the perspective of sleepwalking inside the fractured sculptures, akin to a travel vlog. It is complemented by an abstract, spontaneous, and dreamlike dialogue between two individuals, delving into themes of history, art, postcolonialism, and the experience of being within institutional spaces. Enhanced by a soundtrack featuring the sounds of breathing, blood flow, and echoing footsteps, the video conveys the vital essence of classical sculpture as if it were intrinsic to an organic body. It provokes thought and introspection in the audience through a combination of linguistic and visual stimuli.

The project explores the concept of utilizing TAI (TAI Escuela Universitaria de Artes) as an institutional reference to construct a negative space. In this context, TAI is metaphorically envisioned as a living organism, undergoing a surgical procedure where an incision is made along its surface. This process involves the extraction of its internal organs, ultimately revealing the negative side of its skin to the audience.

A specific classroom adjacent to the Patio area is chosen as the central point of this body, serving as its metaphorical navel. The initial incision is made in the wall adjoining the patio, effectively creating a gateway that connects the external environment with the realm of the reverse space within the institution.

I envision the classroom as a colossal glass enclosure, akin to the display cases used in museum exhibitions. At the heart of this space lies a Guzheng (古筝), a traditional Chinese musical instrument, serving as the focal point of the exhibit. During periods when it is not being played, the Guzheng remains veiled beneath a protective plastic sheet.

In the context of a performance, when the musical instrument is skillfully played, it undergoes a transformation, coming to life within that space. It reveals its original significance and establishes a profound connection to its performer, transmitting its essence to the audience through the vibrations of sound. Throughout the performance, the audience is confined to the patio area, where they observe the musical spectacle through the classroom's glass windows, much like observing a captivating exhibit in a museum showcase.

Is classical sculpture truly solid, or does it conceal a hidden essence within? What secrets lie within its form, and what untold narratives are etched into its surface before it finds its place in a museum? Even sculptures with missing limbs or damaged features—do they continue to experience deterritorialization, a transformation of their original meaning?

The sculptural creation in question endeavors to extract and represent the inner essence of Michelangelo Buonarroti's Schiavo morente, the iconic sculpture. It takes the form of two vertical pieces crafted from resin and clay, softly illuminated by warm lights. Through this artistic expression, it seeks to materialize ideas rooted in Taoist philosophy, where everything possesses animism, where an eternal struggle unfolds between heaven and earth, interior and exterior, soul and body, light and shadow.

It is undeniable that the institutional spaces of museums and universities play a vital role in fulfilling the societal responsibility of democratizing knowledge. However, historical shifts, the erosion of original ideologies and spaces, and external influences such as colonization, occupation, or modification have led to the removal of the aura surrounding objects. What remains are their exhibition and collection value, and they often serve the utilitarian function of representing a nation or culture's identity.

Within this context, the concept of negative space emerges with the intention to not only visualize but, more crucially, to revive the original significance and vitality of objects that have been appropriated, collected, and altered in meaning through their exhibition within museum settings. My aim is akin to the indigenous cultural practice of revealing the side that is concealed when an object is folded, much like the title suggests, inverting the word "collection."