General features for formatting alternative spaces

It has been four decades since the first alternative space was set up in Soho. So far, the form and content of alternative space has had its changes, corrections, and geographic space extended far from the United States, to other continents, especially in Asia​. However, because of being born, fortified, and nurtured in the air of resistance, both cultural and artistic, political, as introduced at the beginning of the article, the most important concept of the concept every alternative space is always in opposition to all kinds of traditional display spaces such as museums, or commercial galleries. Its interpretation can be summarized in the following four characteristics

  1.Direct calculation

Direct contact with life not through any intermediate system is an important feature of every alternative space. This characteristic will be the most important trace to distinguish the space of origin from all systems. Other art display systems, systems that are dominated by commercial demand or cultural power, tend to complicate their activities. In this respect, alternative space is always activism and more open than traditional display spaces, always formally closed and closed. The content of the relationship between the alternative space and life is always cultural/social, and the form of that relationship is always multi-dimensional interaction, not limited to the art / American content. learning and the form of static relations, a range of closed spaces such as museums or traditional galleries

2.Non-commercial

The fact shows that all classical destructive methods are non-commercial or non-commercial spaces. However, some of the recent alternative spaces in third-world cultural areas or peripheral areas for the world – must exist and operate in environments with cultural and economic infrastructure. very weak economy – has also begun to take commercial acts as a stand for alternative activities, such as opening bars, or Internet cafes. It must be emphasized, however, that commercially viable strategies used by these spaces always aim at the ultimate goal of maintaining the art of breaking up and the independence of opinion, never to aim at use alternative art as an advertising label for the purpose of economic or cultural gain – the goals that will inevitably lead to practices that disrupt compromise

3. Interaction with local issues with global thinking and action

<p align="justify"It is always looking for a way to escape from a purely scholarly and scholarly relationship of commercial forms of museums or galleries, of course, the primary concern of alternative spaces is the themes locality. In a way, the nature of every space in the way is always tending to respond to needs from the region. However, here is a point to note, because the metaphor of alternative spaces is always a "station / station / station" (English: Platform / Station) [Note that there is a lot of space to break the world. use these metaphors to name themselves], which means to consider yourself as an area in the middle, an intermediate area, so the deliberate spaces focus on local issues / topics not in the sense of creating a negative local / international opposition, but in a sense helping to transfer local issues into a global discussion. In this way, it creates a creative area, where local reality will be read by global vocabulary, at the same time, global vocabulary, will be translated into the local experience.

4. As a bridge and there are exchange programs with other alternative spaces in the area  One of the characteristics of alternative spaces, is their meshing in a regional (or even global) strategy to find ways to face the macro strategies of global requirements ( even the president of Venice Biennale, David Croff, a young man who has studied banking, in an interview, has a strong interest in saying: “There are public who can’t go to the Venice Biennale, so we have to bring the Biennale to them … ”). This grid connection is a response of local independent alternative spaces through which to support and recognize each other in an effort to recreate the global style of art definition that is being dominated by the decision institutionalize and commercialize culture, as a consequence of global style one way from top to bottom, and imposing.
In recent years there have been many interrelated and interrelated activities of alternative spaces (especially the alternative spaces in Asia and Northern Europe – places considered to be the edge of the Western cultural arena). , which is typically the Gwangju Biennale 2002, with the theme P_A_U_S_E (temporarily translated: Dinh) to promote the activities of non-American alternative spaces. In the 2002 Gwangju Biennale, hundreds of alternative spaces around the world, mostly from peripheral areas, were invited to organize their activities.