This exhibition, as stated by Andy Grunberg, is a photo exhibition that deviates from the photography in terms of modernist art. The works in this exhibition showing photography that is not strict to the standards of photography–in some ways even break them. Then, do we really need definitive boundaries of art photography and its derivatives? For the curator, all belongs to the artist. But seeing the works featured in this exhibition, certainly difficult to set boundaries of art photography. Because, obviously, from the works shown, what is so called work of art photography becomes so blur. As far as the artist saw something to do with photography, so the result is work of art photography. Several works showed that the photography does not have to be exclusively the execution of the artist him/herself. Contemporary artists often use the found images.
From the title Crash Project: Image Factory, we can’t be immediately called that this exhibition is a photographic exhibition. However, this exhibition is intended to try to question the realm of photography in the contemporary art world. Not all the works featured in this exhibition can be categorized as works of photography. There are several video works that could not immediately be placed as a work of photo. In fact, digital technology has led to a convergence between moving images, stills and audio voices in the same database. Perhaps, to borrow a term used by Naville Wakefield, this exhibition also displays works that embrace the “Aesthetic of Disappointment” credo, and doesn’t pay much attention for conventional boundaries.
