参加本次展览的六位艺术家的生活阅历不同，文化背景不同，艺术理念不同，作品主题不同，作品元素不同，所用材料不同。然而，当他们的艺术作品在同一个空间里得以展示的时候，观者自会发现，这些作品在艺术形式上的异同既明显又模糊。这一印象自然会令人联想到地球村的概念，进而联想到多元文化下的相互影响这一说法。
　　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.
　　在信息传播如此便利的今天，人类的世界不仅在物质层面而且在精神层面看似越来越小，彼此的距离也越来越近。这一日趋明显的现代人类社会的景观像一个巨大且无形的外壳罩住了原本存在的各种差异，人的行为和人造物进入了类似于格栅的序列中。这是一个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.
　　在网络或手机上，人们通过看图去接触已经和正在发生的各种事物的现象和表象。唾手可得的信息在分分秒秒中更新，人的目光也在从一个信息迅速移向另一个。成为碎片的与其说是信息，毋宁说是时间。时间的碎片越来越小，人可以在以秒为单位的瞬间里完成对一张图像，或一件艺术品的观看。换言之，即使是一件艺术作品，现在的人们也失去了对其凝视的耐心和兴致。
　　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.
　　当代艺术家的实践却反其道而行之。他们比艺术史上的任何时期的艺术家都更加相信：对来自任何历史，任何地方，任何事物，任何内容中的哪怕是一个极小的局部元素，都存在着--只有经由个人的经历、思考、想象和感知去重新认知和界定的--事物特性。为此，他们对一些看似微乎其微的事物进行长达几年甚至一生的"心灵凝视"；不仅如此，他们还以诗性的态度颠覆时间的线性运动秩序，以寓言的方式描述人与事物关系中的存在与在。
　　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·诺格（Bj?rn N?rgaard），丹麦艺术家。是20世纪60年代以来北欧当代艺术领域最具突破性和话题性的艺术家之一。他一直以反主流艺术的态度，强调艺术实践的过程，而非作品本身。他相信艺术的真正价值是以批判精神介入社会现实。他的创作范围涉及行为，装置，绘画和雕塑。
　　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.
　　王强，中国艺术家。他自90年代起进行实验艺术创作。实践范围涉及装置，绘画，摄影，影像，行为和雕塑。作者以幽默、反讽的叙事风格，对来自历史和现实中的不同事物的固有文化身份或属性--借助于对各种材料的功能转换--作出消解的同时创造出带有悖论性质的解读内涵。
　　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·顾蒙逊（Sigur?ur Gu?mundsson），冰岛艺术家。他是上世纪60年代以来北欧激浪派和概念艺术的最具有代表性的艺术家之一。早期作品以行为和摄影为主，情景是作者常用的作品名称。摒弃任何象征性的和字面的意义表达，Sigurdur总是从诗性的哲学层面上，在日常事物中发现与人类的存在方式相关的各种情景。
　　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.
　　顾小平，中国艺术家。自90年代起，顾小平从实验艺术入手，介入中国社会的各种现实，以批评的态度摒弃艺术中的各种陈词滥调。艺术家向观者展示了这样一种态度和智慧：以极简和消解的手段把--个人对现实的质疑、对历史的反思和个人的文化记忆--三者构成的复杂性准确地表达出来。
　　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），美国艺术家。他的艺术创作灵感多来自于中国古代哲学，尤其是老子的无为而为的学说。近几年来，他以水为主题，创作出大量的绘画，雕塑和行为作品。这些巨大尺寸的作品与其说显示了绘画本身的视觉张力，毋宁说艺术家是在一个无与有的场域里展开了对生命含义的精神体验与表达的过程。
　　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.
　　秦俭，中国艺术家。自90年代起致力于参与并运作与当代视觉艺术有关的教育，展览和驻地……等国际艺术交流活动。艺术实践以绘画创作为主。去除意义、或对无意义的发现是他在艺术实践中一直保持--对各种意识形态中所下定义进行质疑，进而重新感知和解读现实--的一种态度。以不期而至的方式让个人的很多记忆或体验在同一件作品中共存则是他进入寓言叙事的一种方式。
　　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.
　　秦俭
　　Qin Jian