“How would I imagine a show carrying the quality of an afterword?”
「我想想像一個展覽，它帶有幕布的性質，要怎麼做？」
“Plus, a fundamental condition is that it excludes all visuals.”
「而基礎條件是恰逢其時。」
I have been thinking about this – how to show ‘the positioning of two opposing things which are, in fact, inherently connected,’ like weekends and weekdays.
我在想著這樣的東西，要怎麼「挪移兩個不一樣的東西，然而它們本身無處不描述其實是相連在一起的。」就像節日，跟平日。
A and B follow a sequence, yet they can, too, take one another’s position.
AB 是左右關係，甚至可以交替循環。
However, concerning the order of time, as one may present B before A, a show may open with an afterword.
但你想在時間上，先描述 B 再 A，就像一個展覽的開場就叫謝幕。
“How would I imagine a show carrying the quality of an afterword?”
“Plus, a fundamental condition is that it excludes all visuals.”
I have been thinking about this – how to show ‘the positioning of two opposing things which are, in fact, inherently connected,’ like weekends and weekdays. A and B follow a sequence, yet they can, too, take one another’s position. However, concerning the order of time, as one may present B before A, a show may open with an afterword.
「我想想像一個展覽，它帶有幕布的性質，要怎麼做？」
「而基礎條件是恰逢其時。」
我在想著這樣的東西，要怎麼「挪移兩個不一樣的東西，然而它們本身無處不描述其實是相連在一起的。」就像節日，跟平日。AB 是左右關係，甚至可以交替循環，但你想在時間上，先描述 B 再 A，就像一個展覽的開場就叫謝幕。
“How would I imagine a show carrying the quality of an afterword?”
“Plus, a fundamental condition is that it excludes all visuals.”
I have been thinking about this – how to show ‘the positioning of two opposing things which are, in fact, inherently connected,’ like weekends and weekdays. A and B follow a sequence, yet they can, too, take one another’s position. However, concerning the order of time, as one may present B before A, a show may open with an afterword.
「我想想像一個展覽，它帶有幕布的性質，要怎麼做？」
「而基礎條件是恰逢其時。」
我在想著這樣的東西，要怎麼「挪移兩個不一樣的東西，然而它們本身無處不描述其實是相連在一起的。」就像節日，跟平日。
AB 是左右關係，甚至可以交替循環，但你想在時間上，先描述 B 再 A，就像一個展覽的開場就叫謝幕。
“我怎麼能想像一場演出能有後記的品質呢？”
“另外，一個基本條件是它排除了所有視覺效果。”
我一直在思考這個問題——如何展現“兩個對立的事物之間，它們實際上本質上是相互聯繫的”，例如週末和工作日。
A 和 B 遵循一定的順序，但它們也可以互相取代。然而，就時間順序而言，由於 B 可以先於 A 呈現，因此展覽可以以一段後記開場。