How does Lin Yu-Sheng use the "Highway Residency Project" to discuss the relationship between art institutions and artists? How does he criticize the power structure of art institutions through this work?

In the "Highway Residency Project", Lin Yu-Sheng uses a mobile art village in the form of a car to allow artists to create while traveling on highways. Although it appears to be a free and open experience, the artists inside the car are actually confined to a small space. Through this form, Lin Yu-Sheng discusses the challenges faced by contemporary artists and criticizes the power structure of art institutions.

In terms of the challenges faced by contemporary artists, Lin Yu-Sheng highlights the difficulties of obtaining support and resources from art institutions, as well as the pressure to conform to the expectations of the art world. By confining the artists within a small space, he symbolically represents the limited support and resources that artists often receive.

Regarding the criticism of the power structure of art institutions, Lin Yu-Sheng points out the control that these institutions have over the careers of artists. By forcing artists to conform to their expectations, institutions limit the creative freedom of artists and maintain their own power and authority. The mobile art village in the form of a car becomes a metaphor for the artist's desire for freedom and mobility in the face of institutional control.