Classical contemporary art creation has a profound critique and re-appropriation of cultural symbols, which not only brings social reflection but also considers economic alternatives. The “exchange” in these works often spans the capture of individual sensory feelings, the use of behavior, and the usage and dialogue of society.

Is it possible to design a trading system that allows people to directly intervene in the “exchange” of contemporary art, and to spread and scale it up to form a force to change our society?

Co-produced by British artists Harwood, Wright, and Yokokoji in 2008, The Tantalum Memorial has won the first prize of Transmediale 2009, is a profound reflection of society, connections, and inspiration while exchanging works across the field and the public sector, as well as a real system of real operations. Following the customer service center, telephone exchanges, mobile hardware technology, and global manufacturing industry, rare metal materials, internal turmoil in the Congo, the artists brought this knowledge to the Congolese politically difficult community in London, allowing people to exchange the latest domestic news in the country; at the same time, they also walked into the middle school classroom to communicate with students about the refugees and mobile phone usage in everyone’s daily life.

The exchange scene in this work of art allows us to conceive a social network that surrounds the critical thinking of contemporary art. How to unite people through contemporary art? Dismantling the production process of the artist and the “delivery” - the audience interaction process after the completion of the artwork, “components” and redesigned the exchanged economic system. Take the sample work as an example - How do refugee organizations connect with local communities and family networks in their home countries? How does an education system to be incorporated into real situations and challenges, inclusive and collectively making choices about the environment? It is not just about the circulation of information and knowledge, but also the establishment of an autonomous “regional” financial practice network through consumption and exchange.

In this workshop, we target to construct a prototype of the network demand for autonomous regional financial practice through more discussions and dialogues with classical contemporary artworks, and further in search of alternatives in dialogue with machine governance, as well as to investigate the idea on developing tools and supporting systems on blockchain networks.

經典的當代藝術創作有深刻的文化符號面的批判與再挪用（critique and re-appropriation），既帶來了社會反省，同時也思考著經濟上的另類可能。在這些作品中的「交換」往往跨越了個人感官感受的捕捉、行為的運用與社會的使用與對話。

是否有可能設計一套交易系統，讓人們能夠直接介入當代藝術的「交換」，並且將之擴散與規模化，建構成改變社會的力量?

英國藝術家組合 Harwood、Wright 與 Yokokoji 2008 年製作，獲得Transmediale 2009 年首獎的作品《鉭紀念祭》（Tantalum Memorial）就是一個深刻反思社會、連結與啟發，同時交換跨越領域與公共部門的作品，同時也是一個真實運作的實際系統。串接著客服中心、電話交換機、手機硬體技術與全球製造產業、稀有金屬原料、剛果國家的內部動亂， 藝術家把這樣的知識帶到倫敦剛果政治難民社群中， 讓人們交換國內最新的母語新聞;同時也走進中學課堂， 跟學生們交流難民與每個人的日常生活手機使用。

在這個藝術作品中的交換場景， 可以讓我們來構想一個在地的、環繞著當代藝術的批判思維的一種社會網絡。如何透過當代藝術讓人們團結起來? 拆解藝術家製作的生產過程,與藝術作品完成後的「投遞」（delivery）—— 觀眾互動過程，將其「元件化」，重新設計交換的經濟系統。以範例的作品為例，在地的難民組織如何與當地社區、母國的家族網絡聯繫？教育如何納進真實處境與挑戰，包容並且共同對環境作出抉擇？不只是訊息與知識的流通，更是透過消費與交換，建立起一個自主性的「區域」金融實踐網絡。

我們希望藉由工作坊來與更多經典當代藝術作品對話，建構一套自主區域性金融實踐網絡需求的雛形（prototype），與機器治理的議題對話與尋求另類出路，並且討論在區塊鏈網路上發展工具與支援體系的構想。