GOOD STUFF 👂 展 期  2021年11月21日-12月20日 
时 间  每日19:30-23:30
地 点  fRUITYSPACE 北京市东城区美术馆东街13号   

那些被视作“废物”的物品，因为破碎、陈旧、有光鲜的替代品，而困于生活背光面，难以实现其预设功能，也无法被轻易丢弃，但“废”是这些物品生命的终点吗？  今年9月，KRO船长、水手和KRO的朋友们组成一支21人的“废物再生创作组”，带着各自的一件废物登上KRO这艘航船，开始为期4个月的“海上旅行”。在此过程中，相识、或本不相识的创作者们通过抽签随机两两配对，相互交换自己的废物，再以此进行创作。会收到来自谁的废物，TA的废物会是什么，在打开废物包裹前一切全然未知。  交换的废物中，有从垃圾桶里抢出来的所谓垃圾——鸡蛋盒、扇贝壳、咖啡罐、花瓶碎片；有不再用到的闲置物品——乒乓球训练器、木箱、相机、陶罐；也有不知如何处理的数码垃圾——曾经的建筑施工图纸、双重曝光的菲林和过期的电子乘车卡月票。当它们跟随邮寄路径流动到新的环境之后，又再次成为重要媒介承托起另一个人的思考与想象，不论是成为绘画的载体，还是作为对美、童心、魔法、生态共生的物质呈现：“废物”穿上了带有另一个人性格的外衣而重新生动起来，它们出现在名为「好东西」的展览现场，值得一位又一位观者的专属注视。  对KRO而言，“废物”并非绝对本质，而是对物品被置于错误位置的一种状态描述，“废”的终点也是新生命阶段的开始时刻。“废物”的称谓，不止于物品，当我们观看被称为“废物”的物品们，亦在指涉被称为“废物”的一切。

Items considered as "waste," trapped in the backlight of life due to being broken, outdated, or replaced by shinier alternatives, find themselves unable to fulfill their intended functions and challenging to dispose of easily. But is "waste" the endpoint of these items' lives? In September of this year, Captain KRO, sailors, and friends formed a 21-person "Waste Regeneration Creative Team." Carrying their respective pieces of waste, they boarded the KRO ship for a four-month "journey at sea." During this process, authors, whether acquainted or strangers, were randomly paired through drawing lots, exchanging their waste and using it as a basis for creation. The recipients had no prior knowledge of whose waste they would receive or what it would be. Among the exchanged waste were items rescued from trash bins—so-called garbage like egg cartons, scallop shells, coffee cans, and vase fragments. There were also unused items—ping pong ball trainers, wooden crates, cameras, and ceramic pots. Additionally, there were electronic waste items with uncertain fates—past architectural construction drawings, double-exposed film, and expired electronic travel cards. After flowing through the mailing paths into new environments, these items once again became crucial mediums supporting another person's thoughts and imagination. Whether serving as canvases for paintings or material presentations of beauty, innocence, magic, and ecological symbiosis, the "waste" adorned itself with the personality of another person and came alive. They appeared at the exhibition called "Good Things," capturing the exclusive gaze of one viewer after another. For KRO, "waste" is not an absolute essence but a state description of items placed in the wrong position. The endpoint of "waste" is also the beginning of a new life stage. The term "waste" goes beyond just items; when we observe items called "waste," we are also referring to everything labeled as"waste."

我拿到的是一张过期的新宿月票。作为交换，我提供了一页管道穿墙的施工图纸。
I got an image of an expired Shinjuku monthly train pass as part of the exchange. In return, I provided a page of construction drawings for pipe penetration.