遠古時代，土地就像是我們所呼吸的空氣，并無邊界。早期社會與宗族制度的建立逐步促生了邊界的形成，各宗族以此為限保衛(wèi)自己的領(lǐng)地。現(xiàn)代社會，邊界仍為國家間互相防御之功用。然而，歐元區(qū)的創(chuàng)建可稱是開創(chuàng)先河，區(qū)域內(nèi)各國間人民對話成為可能并輕而易舉。從這個意義上說，從此大陸相連，邊界演變?yōu)槿肆骷八枷氪┰絽R通的橋梁。

本次展覽旨在為歐洲藝術(shù)家與中國藝術(shù)愛好者搭建文化橋梁。西方藝術(shù)家的審美創(chuàng)造力可從兩重含義解構(gòu)。其一，每位藝術(shù)家的創(chuàng)造性表現(xiàn)和差別如此顯而易見，換言之，藝術(shù)家因由創(chuàng)作技巧和主題而區(qū)分于彼此。其二，觀眾生息于中國的藝術(shù)空間，獨具東方審美趣味。因此，審美創(chuàng)造力的邊界在雙重解構(gòu)下，反而通向一個新的創(chuàng)造性語境。

這次合作的成就難以一言蔽之。展覽為一個非西方社群提供了一個西方社群的寫照，自我和他者的界線變得不再那么清晰分明。藝術(shù)家獨特的“聲音與選擇”是其創(chuàng)造力的客觀反映，浪漫地說，每位出眾的藝術(shù)家是一個天賦、想象、發(fā)明、靈感和創(chuàng)意的創(chuàng)作者，展覽作為整體擔當觀念相異國家間的文化橋梁。如此，本展覽成為一種社會性現(xiàn)象并為當代藝術(shù)鑒賞開啟新的空間。

“Borders and Bridges” International Contemporary Art Exhibition

Academic Advisor： Qin Feng

Curators： Nour NOURI， Michael SUH

Organizers： Pashmin Art Gallery， Hamburg； Museum of Contemporary Art， Beijing

Venue： Museum of Contemporary Art， Beijing

Opening Vernissage： 3：30 p.m.， Aug. 6， 2016

Exhibition Duration： Aug. 6， 2016 - Sep. 18， 2016

While in very ancient life， not society， the land was considered like the air we breathe， that is， without borders， the creation of very early societies and clans slowly and slowly led to creation of borders where each clan had to protect its territory. In modern societies also borders are there to protect each country from the other. However， the creation of Euro zone can also be considered as a new phenomenon where easy dialogue between people within each territory is possible and easy. In this sense， even continents are related to each other and borders are turned into bridges where people and their ideas can walk from one side to the other and meet each other easily.

This exhibition works as this cultural bridge between European artists and Chinese art lovers. The aesthetic creativities of western artists are deconstructed in two senses. First， the creative expression and difference of each artist is visibly seen in his or her section. That is， each artist is separated from the other in his or her techniques and motifs. Second， the viewers live and breathe in a Chinese art space with their own oriental appreciation of art. Accordingly， the borders of aesthetic creativity are deconstructed in two ways and this， in turn， leads to a new creative atmosphere.

The positive aspects of this cooperation is unforeseeable. The exhibition provides a portrait of a western community to a non-western community and the borderline between self and other becomes less clear and finite. The individual “choice and voice” of each artist is mirrored as an objectified portrait of？his or her creativity. In a Romantic sense， each versatile artist turns to be a creator of individual genius， imagination， invention， inspiration and originality and as a whole， the exhibition works as the cultural bridge between “nations of different notions”. Thus， the group exhibition becomes a social phenomenon and opens a new space for the appreciation of contemporary art.