邱黯雄 未知博物馆LZH： What kind of research subjects h a s “M u s e u m o f U n k n o w n”focused on？ The topic of interdisciplinary collaboration has been discussed a million times in the past 5 years. You mentioned discussions that happened on the platform of “Museum of Unknown”： did they point at or resolve any questions related to the notion of inter ?C disciplinary work？ Why was“Museum of Unknown” essential for the issues it addressed？QAX： Producing artistic work is not the major goal of “Museum of Unknown”： we only produce work after an idea is mature. Meanwhile， we never do one-off works - we will stick with one idea and develop versions continuously. In the past a few years， we have been discussing on the following topics：I.the crIterIa of art value We did the As we talk about art， what are we talking about？ project， at BizArt new exhibition space（2010）， and later in UCCA （2012）； Decor project， at Arrow Factory（2011）； Lent Art project at Shanghai Contemporary Art Museum （Power Station） Shanghai （2013）.II.the seat of medItatIon project In this series， we did： The Seat of Meditation-Museum of Unknown， Art House， Shanghai （2010）， Social Meditation- Party， at AIKEDELLARCO （2012），Social Meditation ?C Drift， at Yuan Space， Beijing（2013）， Social Meditation Social Meditation- Goodman from Sichuan performance project of Museum of Unknown， Germany Culture Center Shanghai（2014）， and The Seat of Meditation， Gastr？um Public Art Festival （2014）.III. t h e r e l at I o n s h I p b e t w e e n a r t and scIence In this series， we did： PatternVortex-Encounter， Museum of Unknown， Space Station， CAFA， Beijing and Time Art Museum， Guangzhou（2011）， as well as EventStructure discussion， at the OutLook Magazine， Village， Beijing.As for “inter-disciplinariness”，we are not really passionate about this “fashionable” topic. When we launched “Museum of Unknown”， we realised that Chinas art world was limited in its thinking methods and knowledge， which also set boundaries for its vision. In response to this， we wanted to construct some channels for communication， to bridge discussions between art and science.As a start， we worked with Songshuhui-Association of Science Com- municators and invited scientists to join the discussions， and later on more people became interested in this subject. For us， the process of discussion is also the process of learning - learning what was， back then， unknown to us. These discussions did not look for particular answers： most questions about inter-disciplinary work cannot reach straightforward conclusions. Til today， discussions and conversations around these topics are still going on. What we do is like kindling the flame of discussion， igniting peoples interest， as opposed to providing answers or solutions. We do， nevertheless， look for methodologies and paths without knowing who will be the one to solve the questions： there might not be results， but thats where the value of “Museum of Unknown” lies，regardless. Regarding “essential” for the general public， the sense of something being essential emerges when something is accomplishedhowever， not for an abstract， yet to be delivered idea. I think perhaps this feeling of “essential” is more about yourself， it is the belief and urge to conduct and achieve something. Back then when we started “Museum of Unknown”， we just thought that the discussions on art were replaced by those on markets and auctions. What we did was not to deny that the market is a part of the art scene and that we ought to avoid talking about it， but to argue that the criteria or assessment of art was overly driven and guided by market price， and that was problematic - art should always have independent criteria. So this was the backdrop of the motive of“Museum of Unknown”； and also what I just mentioned， the issue of knowledge and visions.LZH： In terms of artistic methodologies， how does Museum of Unknown differ from your own practices？ What subjects are you responding to？QAX： My own artistic practice has its own range and idea： the pursuit for artistic languages is fundamental and my embedded motive. My work also relies on art mechanisms， or working around them - which is problematic. The work of “Museum of Unknown”， on the other hand， is more like a laboratory where you are allowed to make mistakes and are encouraged to collaborate with others. It is also where we can work in various contexts， on diverse subjects. You are allowed to open up. “Museum of Unknown”feels like a type of retreat for me， retreating from the systems that I am so engaged in. From it I earn the freedom to be distant， and to wander around. Of course in this process I more or less got involved in the conventional system again， but the core intention is to let “Museum of Unknown” stay independent in its working methodologies and guiding attitudes.LZH： I think it is interesting that you mentioned the art system， what is the art system in China？ Generally， an art system ought to have