Rave as Resistance

Curatorial Work in Progress

The project ‘Rave as Resistance’ takes the form of a performance that guides the visitor through the multi-disciplinary and multi-faceted dynamics behind the rave as a form of resistance. Visitors are invited to interact with five characters that live in the exhibition’s anarchic room amongst a few meaningful objects. Their performance demonstrates how the diverse assemblage at raves can manifest itself into a foundation that prompts moments of self-reflection, wherein the individual can feel free, and part-take in the mass experience of playful vitality at the rave. This ultimately unveils the intrinsic ability of raves to transform our understanding of each other into a more organic acknowledgement of opposites.

The Process of the Rave.jpg
Exhibition Space Proposal:

Reminiscent of the underground scenes, the curatorial space replicates an abandoned space that has accumulated graffiti and posters from past visitors. 

These spaces embody a historical and political significance for the rave movement. As a form of resistance, abandoned spaces and buildings have always been harbours for rave gatherings.


Actors in the space can tell stories that would otherwise be lost in the space. To create an experiential space, the majority of information within the exhibition is told mouth-to-mouth, just like at a rave. 

Actor scripts draw from first-hand stories and historical cases. "Generation Ecstasy: Into the World of Techno and Rave Culture" by Simon Reynolds (1999) is a key source of historical content from the rave scene of the UK and USA in the 80s and 90s to inform scripts that refer back to the start of rave culture in the West. 


Projectors with images from online archives show photos of the development, as well as similarities, of rave as a movement from the 1980s up until contemporary scenes.