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vibrARTion · ACTION SERIES
Form Without Form
A cross-media, site-based linguistic series that grows through action
Emerging from vibrARTion’s trans-regional artistic actions, this series approaches artworks and art history through the concept of “before form.”
Since 2012, “Form Without Form” has served as a latent thread in our observation of contemporary art: shifting attention away from volume, style, or thematic content, and toward material temporality, traces of bodily intervention, and the energetic structures of exhibition sites—following works and actions that exist *before* or *outside* form.
It is neither a stylistic category nor an aesthetic type, but an evolving line of judgment—one that remains open, revisable, and continuously re-examined.
Series Writings
Selected writings from the series, including methodological notes, exhibition studies, and curatorial conversations.
Origins of the Series
The line of judgment that later became “Form Without Form” first took shape in 2009 during my studies in Europe, through the writing of a curatorial proposal completed in the United Kingdom. It was the first time the notion of “before form” was written into an exhibition structure.
The 2012 NordArt exhibition in Büdelsdorf, Germany marked the first large-scale site where this judgment was practiced and publicly articulated.
Node Timeline
Each station represents a site where a judgment was proposed, revised, or re-opened. Click the year to enter the corresponding exhibition archive.
The starting point: materials and scale pushed toward their maximal tension in old factory halls and outdoor grounds.
The judgment enters the white-cube institution; exhibition-making itself becomes part of the linguistic experiment.
The humidity and flow of a Yangtze River city intervene in the presentation of works, altering the distance of viewing.
Against the backdrop of a port city’s industrial history, the judgment extends toward social and historical structures.
A concentrated review of the judgments formed in earlier stations, within the context of a different institution.
The first entrance into the Swiss contemporary art system, where the judgment is placed within a more open linguistic field.
