作為一個物件到成為一件藝術品，它必然要經歷被設置在某個場域，而海德格曾解釋：「設置也意味著在供奉與讚譽之中建立起來。」當今的藝術作品無奇不有，各種光怪陸離已經可以被接受，然則離開了藝術的展示空間之後，它要如何跳脫其物性，帶領觀者進入它的藝術語彙？失去了它作為藝術品的神聖性後，是否還能發揮其有效的揭示功能？

我們要如何創作出一個想法直到他被重視，脫離了藝術的視角後，還依然保有那份價值？

嘗試做出一些會出沒在展燈周圍的物件，干擾觀眾在觀看藝術品時的光源，以破壞構成藝術品的某些基本要素。


Represented as works of arts, objects need to be placed in a certain horizon. Martin Heidegger explained, "The setting up we refer to is an erecting in the sense of dedication and praise.” With all possibilities of forms and concepts, contemporary artworks are questioned: how would they bring audience into their art contexts if they are out of any exhibition space? Would they still be effective agents to reveal the truth when their divinity fades?

How can we represent ideas which can still possess the values of art when they are outside the sphere of art?

Lurking around the exhibition lamps, the objects are set to disturb the lighting for the audience to see, as an action to destroy their constitution as art works.