The organization What Remains Gallery, established in 2009, is dedicated to encouraging artists and creative practitioners to critically reassess the culturally, socially, and politically constructed meanings of the modern world in relation to gender, class, nationality, and age. These factors shape meaning and deeply influence the sensory experience and conviviality across cities, regions, countries, and continents. 

Their vision is to re-purpose cultural artifacts through reflection on knowledge, history, and socio-economic realities. They also aim to negotiate transformative strategies for memory work and advocate for a better understanding of the critical force inherent in freedom of speech.

Their motivation is to foster diversity, inclusion, and kinship, actively engaging the audience as participants in this process.

The group shares a common objective of using an interdisciplinary art praxis as a prism to explore the categorical distinction between facticity and validity in relation to the organization and symbolic power of ‘cultural heritage’.

shows

Laure Prouvost

Gwangju, South-Korea

A perfomative art-piece to raise questions about the very concepts of preservation, ‘heritage’, immateriality and meaning.
Symbolic values build the conceptual frame for the research on the relationship between words and images in the digitized world, transhistorical authorship, coded connectivness, digital diversification and the residues of the significant other. What remains gallery will focus  the limits of perception through the digitized perspective of non- linear history.

whatremainsgallery – postoffice

In order to prevent art from conservation, an installation from 2016 will be kept on track. Material conducted to meaning will be sent out into the orbit of the art universe to a list of different destinations like space probes. Meaning will be lost and probably be decrypted once again…

The object transcends actively through its evolving transformation, different states of motion and varying conditions of reception.
The material adresses the complex interactions of institutional art practices, its language, terms, codes, signals, rituals, commitments, obligations, potency and the efficacy of artistic communication as an aesthetic practice.
The content identifies a constant meta-space between storage and exhibition, between packing and content, the common and uncommon, between meaning and its ever transforming appearance.
The exhibition continues to expand while dissolving simultaneously.

Every further decision made by the person in charge is right and reasonable.