David Roberts ART Foundation

Museums are houses full of thoughts’, according to Marcel Proust,DRAF can be such a house, rich in sensibilities, styles, and voices.

馬塞爾•普魯斯特(Marcel Proust)曾經說過“博物館是滿載思想的穀倉”,DRAF也致力於成為這樣的一個地方,充滿豐富的情感,風格和不同的聲音。


Every time an artwork is acquired the whole collection’s dynamic changes. In fact, the whole reacts to the parts, as each time a new acquisition is made, the entire collection expands with new possibilities of existence. This is an intrinsic quality of a collection: in order for it to be alive, it needs to always be activated and reconsidered; it is always in t he stage of ‘ becoming’.



Study is not an attempt to capture or seize but a methodology of encounter and the insistence on the provisional as both form and content within the process of research. It is an exercise in responding to the infinite demands of the work, not meant to bring forth any historical truth but rather to enter into dialogue with the work.


A: So there isn’t a set mode for doing projects?

V: I don’t want to have any hierarchy between a 5 seconds performance, or 5-6 months long exhibition, I think everything is important. Everything should have the same importance to us.




A: Do you do anything to promote young artists, curators etc.?

V: Not necessarily young, because I don’t base my research on generations. For instance, we recently worked with Bruce McLean, a historical artist here in the UK, and we work also with emerging artists, as talent doesn’t have any age. It doesn’t make sense to me actually. Having said so, when you come to the openings, when you come to our performances you realize our audiences are relatively young, the visitors come to participate with us, they co-produce a culture.


V:不一定是年輕人,我們的研究領域沒有輩份之分。比如,我們最近才與英國的史學藝術家布魯斯·麥考林(Bruce McLean)合作,同時我們也與一些新晉的藝術家合作,才華並沒有年齡的限制。我認為按輩份區分是不合理的。但當你參加首映、參與我們的活動時也會發現,前來參加的觀眾都是相對年輕的群體,他們參與到我們的項目之中並與我們共同參與文化生

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