Music and visual arts nowadays have already gone beyond conventional thinking and compound elements are increasingly emerging amid the fusion of diversification. We find quite a few media have seen the edges being blurred and the mutual fusion of various sectors are bringing an unexpected surprise and new possibilities.

Following the first Chinese rock music exhibition for people in China mainland, Hong Kong, and Taiwan, Allow Some Artists to Get Rich First is an experimental multimedia interactive exhibition of upgrade for Serve the Rock brand. By depicting the cultural extension of music bands, the exhibition, with Second Hand Rose band as the sample and the artist Zheng Lu as the curator, strives to break the traditional interpretation from the general public to exhibitions and explore the unlimited possibilities of diversification. The Exhibition reinterprets the apparent comic style but internal seriousness in the culture of Second Hand Rose band. Gathering the designs, drawings, sculptures, and multimedia devices in a same venue, the Exhibition serves as a bridge triggering thinking and interaction among the audiences.

The Theory of Relativity collection by the artist Zheng Lu is inspired by the lyric “a herd of pigs fly high above the sky” of the Second Hand Rose band, in which a pig was split and reconstructed in the exhibition hall, with changing style logos of famous brands. The collection holds an ironic view to the contemporary consumption culture and shows the pity to the excessive desires and deepens the cultural symbol of the brand. The expressive model of ironic face meets well with the spirits and tempers of the band. While The Enigma of Edward FitzGerald is a big device that serves as a visual in-depth interpretation to the connotation of the songs and integrates the classical performing dresses of the artist Song Chen. Providing a more all-around expression of stage elements with manuscripts and videos, the device reintegrates with the exhibition as individuality.

Li Xibin, an artist as well as a designer, interprets the band from speaker box and scarves. With scarves representing the prominent and exceptional temperament of Second Hand Rose, the collection highlights the theme of the exhibition by flattered luxury goods logos. The work makes people reminiscent in the context of material gains. The speaker box, which is built in collaboration with Second Hand Rose, makes music loaders visualized by means of combination of red and green.

In a collision between sound and time, which are like two virtual particles respectively, Y Square Experimental Music Group, inspired by the relationship between the core tone of the exhibition and 3 degrees of music, takes advantage of the computer and Super Collider programming language to break the temporal and spatial limits to enable music to exist matching with the overall style of the exhibition and reinterpret the inborn model between music and spectators, in a relationship between performers and audiences before. The works serve as an integral part of the music to enjoy the fresh and interesting audio and visual feelings.

With some multimedia devices like drawings, photographs, videos, and devices, the 24 artists of Between Art Lab will convey the understanding to the music and lyrics of Second Hand Rose band, realizing an in-depth cross-industry creation experience. In addition, the artists conveyed their personal expressions to reflect the attitudes toward the musical theory and creation of Second Hand Rose band. Using the song Allow Some Artists to Get Rich First highlights thinking of the special artistic atmosphere of China. In a mixed society, the social groups with different identities are being exposed to such realistic environment and showed the status of thinking. The comedy and rebellion have also highlighted the optimism amid the contemporary thinking.

The members of the Second Hand Rose band made a style of flattery women 15 years ago. They always hang a silk curtain in front of the stage. The blurry coquettish and the serious blaming in “game” and “comedy” represent the aesthetics of Second Hand Rose. Light Bunker has again provided a production of fusion for emotion and contemporary technologies. The foresighted curtain technology and that in the era of bars have connected two different ages with a same media. The brand new images will also break the traditional creation thinking and present the possibilities of rock stages in the future.

Growing Grass, the work of Liang Long, the lead singer of the band, also makes presence in the exhibition in an exceptional manner – the most touching voice will be the murmur of the growing grass in the metabolism of “body and skin”.

In this exhibition, the curator Zheng Lu uses the interaction between music and multimedia to implant the unique musical value in the contemporary art system in an efficient manner. He has also made the social value of the contemporary arts come to the heart of the public in all-around manner.

This is like the saying goes: “People Rock for Life and Rock Serves People.”

当今，音乐与视觉艺术早已突破惯常思维，复合型的事物在多元化融合大环境下层出不穷，我们会发现许多媒介的边缘开始变得模糊，领域之间互相交融带来意外与惊喜，以及新的可能性。

“允许部分艺术家先富起来”是继2014年两岸三地首届华人摇滚展之后，为摇滚服务品牌再次升级，所发起的实验性多媒介交互展。展览以二手玫瑰乐队为样本，艺术家郑路担任策展人，通过表现乐队个体文化领域的延伸，力求突破公众对于展览的传统解读，探索多次元的无限可能性。展览将二手玫瑰乐队的表面戏谑而内核严肃的文化表达再度重解。本展览将互动产生的设计、绘画、雕塑、多媒体装置汇于一个场域当中，使之能够成为一道引发公众思考与互动的桥梁。

艺术家郑路的“相对论”系列灵感来自于二手玫瑰乐队的歌词“一群猪飞上了天”，被割裂重组后的猪出现在展厅里，身上贴满了名牌LOGO的变体，作为对当下消费文化的戏谑，荒诞中透出对人类无节制欲望的悲悯，不断深化二手玫瑰乐队的文化符号，这种带着嘲讽面孔的表达方式，与二手玫瑰乐队的精神气质不谋而合。而他的“爱德华菲茨杰拉尔德之迷”则是对乐队歌曲内涵的视觉化深入解读，并且将艺术家宋陈为乐队设计的经典演出服装进行二度创作集合成一个大型装置，并运用手稿、影像将舞台元素呈现更为立体，整个装置作为个体又同展览空间重新整合。

李习斌兼具艺术家与设计师的双重身份，从音箱和丝巾为出发点解读乐队，将二手玫瑰强烈又独特的气质赋予丝巾这一优雅名词代表，用浮夸的奢侈品logo点睛展览主题，在这个一切均可物化的大时代背景下，此作具有深刻的反思意味。而与二手玫瑰合作款的音箱，以红绿色彩结合的方式将音乐载体视觉化。

同时，Y方实验音乐小组通过声音与时间作为两束虚拟的粒子流进行碰撞，以《允许部分艺术家先富起来》的核心音调和三度音程关系作为主要动机，利用电脑与Super Collider声音编程语言，打破现实世界中时间与空间的限制，使音乐可以作为配合展览整体气质的空间密度存在，重新解读以往音乐与观众只是表演者与听众的固有模式，在其作品中，观众作为音乐的构成部分同时也享受着新鲜有趣的视听感受。

Between Art Lab的24位艺术家将通过绘画、摄影、影像、装置等多种媒介传达出对二手玫瑰音乐与歌词的理解转译，实现深层次的跨领域创作的实验。并通过艺术家的个人表达折射二手玫瑰的音乐理论与创作态度。借此选择《允许部分艺术家先富起来》这首歌曲，这是对当下中国特有艺术氛围的思考，在一种混生的社会现实之中，具有不同身份定位的社会群体面对这样的现实语境所产生的思考状态，戏谑与反叛的同时也在思考当下意识形态中产生的模式化的乐观情绪。

十五年前，二手玫瑰把自己涂抹成风尘嫂子的模样，他们总是在演出台前挂一层纱帘，暧昧的骚情加上不留情面的指摘，“戏”、“虐”，从此成为二手美学的代表。LIGHT BUNKER「光掩体」再次为他们织补一层纱幔成为情感与时代技术的糅合产物。而前瞻性的纱幕技术与酒吧时代二手芳心的纱帘，同一介质连接了两个不同的时代。这种全新的可视化影像呈现，也将突破LIGHTBUNKER「光掩体」的传统创作思路，呈现一个未来摇滚舞台的可能性。

二手玫瑰主唱梁龙的艺术作品“长草”以别出心裁的方式出现在展览之中——在一切“体肤”新陈代谢的过程当中，最动听的音色莫过于长草般的呻吟声。

在此次展览中，策展人郑路通过音乐与多种媒介的深度交互，独立音乐的文化价值更有效地渗透进当代艺术体系，亦令当代艺术的社会价值能够更立体地走进公共。

正所谓：人民为生活摇滚，摇滚为人民服务。