In the system of contemporary art, endorsement functions as an implicit institutional logic. It shapes not only the order of the art world but also the very way an artist becomes visible. To be recognized as an “artist” often depends on external naming — institutional validation, curatorial discourse, and media narration. Together, these dynamics construct what Pierre Bourdieu might call the “field of endorsement” — a structure that defines both artistic order and visibility.

“To be endorsed, or not to be endorsed?” does not reject the system; rather, it reexamines the reciprocal relationship between structure and existence.

The “not to be” here carries a question mark — it asks whether an exhibition seemingly without endorsement might, in fact, propose another kind of validation: one that arises from the artist’s own spiritual structure, from a renewed dialogue with the environment, or from a reactivation of cultural memory and lived experience across…