參加本次展覽的六位藝術(shù)家的生活閱歷不同，文化背景不同，藝術(shù)理念不同，作品主題不同，作品元素不同，所用材料不同。然而，當(dāng)他們的藝術(shù)作品在同一個(gè)空間里得以展示的時(shí)候，觀者自會(huì)發(fā)現(xiàn)，這些作品在藝術(shù)形式上的異同既明顯又模糊。這一印象自然會(huì)令人聯(lián)想到地球村的概念，進(jìn)而聯(lián)想到多元文化下的相互影響這一說法。
　　With distinct life experiences, cultural backgrounds and art philosophies, the six participating artists of this exhibition use various media for their work of different themes. Despite this, however, when their work is displayed in the same space, the audience may discover on their own that the similarities and contrasts in the forms of these works are both obvious and obscure. This impression naturally reminds us of the concept of "global village" and furthermore the idea of mutual influence under multiculturalism.
　　在信息傳播如此便利的今天，人類的世界不僅在物質(zhì)層面而且在精神層面看似越來越小，彼此的距離也越來越近。這一日趨明顯的現(xiàn)代人類社會(huì)的景觀像一個(gè)巨大且無形的外殼罩住了原本存在的各種差異，人的行為和人造物進(jìn)入了類似于格柵的序列中。這是一個(gè)人人可以看到的表象。
　　With the convenient dissemination of information nowadays, the human world seems to be shrinking not only on the material level but also on the spiritual level, drawing closer the distance between individuals. This increasingly visible spectacle of modern human society resembles a huge and invisible shell which covers the existing differences, and human behaviors and artifacts have entered a sequence similar to a grid. The above is a representation that everyone can see.
　　在網(wǎng)絡(luò)或手機(jī)上，人們通過看圖去接觸已經(jīng)和正在發(fā)生的各種事物的現(xiàn)象和表象。唾手可得的信息在分分秒秒中更新，人的目光也在從一個(gè)信息迅速移向另一個(gè)。成為碎片的與其說是信息，毋寧說是時(shí)間。時(shí)間的碎片越來越小，人可以在以秒為單位的瞬間里完成對(duì)一張圖像，或一件藝術(shù)品的觀看。換言之，即使是一件藝術(shù)作品，現(xiàn)在的人們也失去了對(duì)其凝視的耐心和興致。
　　On the Internet or mobile phones, people contact with the phenomena and representations of various issues which have happened or are happening by viewing pictures. The easily accessible information is updated every second and people's focus moves quickly from one message to another. It is time, rather than information, to have turned into fragments. Time is crushed into smaller and smaller pieces, and one may finish viewing an image or a piece of artwork in an instant. In other words, people nowadays have lost their patience and interest to look at artwork with concentration.
　　當(dāng)代藝術(shù)家的實(shí)踐卻反其道而行之。他們比藝術(shù)史上的任何時(shí)期的藝術(shù)家都更加相信：對(duì)來自任何歷史，任何地方，任何事物，任何內(nèi)容中的哪怕是一個(gè)極小的局部元素，都存在著--只有經(jīng)由個(gè)人的經(jīng)歷、思考、想象和感知去重新認(rèn)知和界定的--事物特性。為此，他們對(duì)一些看似微乎其微的事物進(jìn)行長(zhǎng)達(dá)幾年甚至一生的"心靈凝視"；不僅如此，他們還以詩性的態(tài)度顛覆時(shí)間的線性運(yùn)動(dòng)秩序，以寓言的方式描述人與事物關(guān)系中的存在與在。
　　The practice of contemporary artists, however, goes absolutely to the opposite. They are more convinced than artists of any period in art history that even a tiny element constituting any history, place, object and content has physical characteristics which can only be re-cognized and defined through one's experience, thinking, imagination and perception. To this end, they carry out the "spiritual gaze" lasting several years or even a lifetime at seemingly trivial things; apart from this, they also subvert the linear movement order of time with a poetic attitude, describing by fables the existence and being in the relationship between men and substance.
　　比昂·諾格（Bj?rn N?rgaard），丹麥藝術(shù)家。是20世紀(jì)60年代以來北歐當(dāng)代藝術(shù)領(lǐng)域最具突破性和話題性的藝術(shù)家之一。他一直以反主流藝術(shù)的態(tài)度，強(qiáng)調(diào)藝術(shù)實(shí)踐的過程，而非作品本身。他相信藝術(shù)的真正價(jià)值是以批判精神介入社會(huì)現(xiàn)實(shí)。他的創(chuàng)作范圍涉及行為，裝置，繪畫和雕塑。
　　Danish artist Bj?rn N?rgaard is one of the most groundbreaking and topical artists in the Nordic contemporary art since the 1960s. With an anti-mainstream art attitude, he constantly emphasizes the process of art practice rather than the artwork itself. He believes that the true value of art lies in intervening in social reality with a critical spirit. His work ranges from performance to installation, painting and sculpture.
　　王強(qiáng)，中國藝術(shù)家。他自90年代起進(jìn)行實(shí)驗(yàn)藝術(shù)創(chuàng)作。實(shí)踐范圍涉及裝置，繪畫，攝影，影像，行為和雕塑。作者以幽默、反諷的敘事風(fēng)格，對(duì)來自歷史和現(xiàn)實(shí)中的不同事物的固有文化身份或?qū)傩?-借助于對(duì)各種材料的功能轉(zhuǎn)換--作出消解的同時(shí)創(chuàng)造出帶有悖論性質(zhì)的解讀內(nèi)涵。
　　Chinese artist Wang Qiang has been engaged in the experimental art creation since the 1990s. The scope of his practice involves installation, painting, photography, video, performance and sculpture. In a humorous and ironic narrative style, the artist dissolves the inherent cultural identity or attributes of different things in history and reality by means of functional transformation of various materials, and meantime creates a paradoxical interpretation.
　　思故都·顧蒙遜（Sigur?ur Gu?mundsson），冰島藝術(shù)家。他是上世紀(jì)60年代以來北歐激浪派和概念藝術(shù)的最具有代表性的藝術(shù)家之一。早期作品以行為和攝影為主，情景是作者常用的作品名稱。摒棄任何象征性的和字面的意義表達(dá)，Sigurdur總是從詩性的哲學(xué)層面上，在日常事物中發(fā)現(xiàn)與人類的存在方式相關(guān)的各種情景。
　　Icelandic artist Sigur?ur Gu?mundsson is one of the most representative artists of the Nordic Fluxus and conceptual art since the 1960s. His early work primarily focuses on performance and photography and Situation is a frequently used name for his work. Discarding any symbolic and literal expressions of the meaning, Sigur?ur always finds in everyday things different situations related to the way human beings exist from the philosophical perspective of poetry.
　　顧小平，中國藝術(shù)家。自90年代起，顧小平從實(shí)驗(yàn)藝術(shù)入手，介入中國社會(huì)的各種現(xiàn)實(shí)，以批評(píng)的態(tài)度摒棄藝術(shù)中的各種陳詞濫調(diào)。藝術(shù)家向觀者展示了這樣一種態(tài)度和智慧：以極簡(jiǎn)和消解的手段把--個(gè)人對(duì)現(xiàn)實(shí)的質(zhì)疑、對(duì)歷史的反思和個(gè)人的文化記憶--三者構(gòu)成的復(fù)雜性準(zhǔn)確地表達(dá)出來。
　　Starting from the experimental art, Chinese artist Gu Xiaoping has been intervening in the realities of the Chinese society and discarding all kinds of clichés in art with a critical attitude since the 1990s. The artist demonstrates to the audience such an attitude and wisdom: using a simple and dispelling method to accurately express the complexity made up of the individual's questioning upon reality, reflection on history and personal cultural memory.
　　斯蒂文斯（Stevens），美國藝術(shù)家。他的藝術(shù)創(chuàng)作靈感多來自于中國古代哲學(xué)，尤其是老子的無為而為的學(xué)說。近幾年來，他以水為主題，創(chuàng)作出大量的繪畫，雕塑和行為作品。這些巨大尺寸的作品與其說顯示了繪畫本身的視覺張力，毋寧說藝術(shù)家是在一個(gè)無與有的場(chǎng)域里展開了對(duì)生命含義的精神體驗(yàn)與表達(dá)的過程。
　　American artist Stevens mostly seeks his inspiration for his art from ancient Chinese philosophies, especially Lao Tzu's doctrine of inaction. In recent years, he created a large number of paintings, sculptures and performances under the theme of water. Rather than saying that these large-sized works show the visual tension of the painting itself, it is more accurate to say that the artist launches the process of mental experience and expression of the meaning of life in an inexplicable field of being and non-being.
　　秦儉，中國藝術(shù)家。自90年代起致力于參與并運(yùn)作與當(dāng)代視覺藝術(shù)有關(guān)的教育，展覽和駐地……等國際藝術(shù)交流活動(dòng)。藝術(shù)實(shí)踐以繪畫創(chuàng)作為主。去除意義、或?qū)o意義的發(fā)現(xiàn)是他在藝術(shù)實(shí)踐中一直保持--對(duì)各種意識(shí)形態(tài)中所下定義進(jìn)行質(zhì)疑，進(jìn)而重新感知和解讀現(xiàn)實(shí)--的一種態(tài)度。以不期而至的方式讓個(gè)人的很多記憶或體驗(yàn)在同一件作品中共存則是他進(jìn)入寓言敘事的一種方式。
　　Chinese artist Qin Jian has been devoted to participating and organizing international art exchange activities such as education, exhibitions and residency programs related to contemporary visual art since the 1990s. His art practice focuses mostly on painting. The removal of meaning, or the discovery of meaninglessness, is an attitude that he has maintained throughout his art practice - an attitude to question the definitions from various ideologies and to re-perceive and interpret reality. Allowing multiple memories or experiences of an individual to coexist within the same work in an unexpected way is his method to achieve the fable narrative.
　　秦儉
　　Qin Jian