Seeking performance artists whose work suits the theme of the show to perform at the opening event. Production states: "'Filth' is about embracing the ugly, the dirty, and the profane - and doing it with elegance. We all know that we live in a filthy world. The challenge is to sublimate the grime into something we can savor. You cannot eradicate vulgarity or entropy, so rather than resist those forces, there may be merit in the attempt to acknowledge and embody them with sophistication. This exhibition is about exploring aesthetics and elevating the unmentionable in a way that could make you think that maybe it’s not so bad to be an impure person in an unclean world. Some would say that vulgarity presents nothing of value to society. Instead, there is pressure to shun the so-called immoral, obscene, and pornographic in order to maintain the status quo. This abject refusal to acknowledge the profane robs us all of the opportunity to find meaning in the seedier back rooms of our own culture. One famed example of a person punished for depicting the taboo is Pier Paolo Pasolini, the celebrated director of 'The Canterbury Tales' and the widely banned film 'Salò.' 'Salò' is based on Marquis de Sade’s '120 Days of Sodom.' At face value, the film may be nothing but a gross fetishization of sexual abuse. But Pasolini was assassinated for this film. Clearly, to the fascists ruling Italy at the time, the message embedded in the work he created meant more than the sum of its parts. The work struck deeper than the mere depiction of sex acts, it is more than porn. If you wanted to see taboo for the sake of taboo, you could watch 'A Serbian Film.' 'Salò' is injected with political critique. This is something you cannot achieve without mentioning the unmentionable. We are often punished for being open about our forays into the darker underbelly of society - but why? Perhaps the powerful do not enjoy having a mirror held up to themselves. The artists included in this exhibition are encouraged to investigate what treasures can be extracted from an exploration of filthiness. There are many questions to be addressed - what do we miss by ignoring the underground? What beauty can we create from the muck of the world? Can we be freer if we embrace the vulgarity inside of us all? What can we gain from an attitude that allows space for the unanswerable to be fully considered? What will we deem as truly filthy once we’ve truly taken it all in? Can we be rotted and classy all at once?"