Commissioned by the Times Museum in Guangzhou, the installation occupied the entrance of a residential building. While the museum itself is located on the roof, the ground floor entrance remained largely unnoticed within the everyday life of the neighbourhood. The installation became both an invitation and a marker, making the museum visible to the community around it.

Residents and visitors were invited to draw directly onto its walls, allowing the installation to evolve through collective participation. As the surfaces gradually filled with drawings, they were relocated into the museum, where they became part of the exhibition itself.

Rather than presenting art as something to observe, the project invited the surrounding community to leave its mark. Participation became the connection between the neighbourhood and the museum, transforming visitors into contributors and allowing the exhibition to grow from the people who encountered it every day.

Set in the complex socio-political context, the project addresses themes of separation

and resilience. Through rede"ning spaces that reconnect divided communities, offering

pathways for healing and social cohesion in a post-conflict landscape.

The ampersand connects, it brings ideas, people and disciplines together while allowing each to remain distinct. That openness became the foundation of and or not.

Our name borrows from the language of logic. And connects. Or opens alternatives. Not questions assumptions.

Together they describe an approach rather than a definition. One that embraces collaboration, welcomes uncertainty and leaves room for ideas to evolve.

Transforming sound into architecture and performance into experience. A vessel of cultural resonance.