展览遵循以下思路： 考察：复原恩里克·加尔万在1934年绘制的地图，具有复杂的跨国结构。 转译：这是一个非常实际和被误用的话题，边界、边缘、国家在界线的一侧制定公约，来反对另一边可能发生的事情。 流线：变形的、半透明的网格指示方向，提供了潜在的多样性叙事，模糊了南北走向。 地形：一个隐晦的三维空间网格，没有明确的所属性。 选择：苏珊·桑塔格在乔纳森·科特的《滚石全集》（耶鲁大学出版社，2013）中表示“如果我必须在大门乐队和陀思妥耶夫斯基之间做出选择，我当然会选择陀思妥耶夫斯基。但是我必须做出选择吗？”

The exhibition design follows these lines of thought: Fieldwork: the resurrection of Henrique Galvão’s 1934 map, a complex referential transnational framework. Translation: the very actual and misused topic of borders, peripheries, nations dictating conventions on one side of a line against what might happen on the other. Lines: suggested by a deformed, half invisible grid offering potential narratives of referential diversity, blurring north-south orientations. Geography: an insinuated three-dimensional space grid eludes any clear belonging. Choice: “if I had to choose between The Doors and Dostoyevsky, then – of course – I’d choose Dostoyevsky. But do I have to choose?”Susan Sontag in Jonathan Cott, The Complete Rolling Stone Interview, Yale University Press, 2013

▼项目概览，overall view © Francisco Nogueira

网格有一种特殊的力量，它远远超越图形的存在。在艺术领域，它曾作为探索透视的视觉手段，在保罗·乌切洛时代尤为常见。在地图学中，十七世纪以来，地图界广泛应用笛卡尔坐标系作为参考。正如罗莎琳德·克劳斯在1980年《10月》杂志上发表的文章《网格》中所表述的那样，网格的特殊性在于它能掩盖和揭示，设置一场看似有序的出现和消失之间的游戏。它揭示的是网格排列好后上面出现的内容。它覆盖了背景，掩盖或隐匿的是表面下的原始状态。

▼轴测图，axon drawing © BUREAU

The grid has a particular power that extends way beyond its graphical presence. In art, it appeared as an optical device for visual explorations on perspective, particularly intense in the times of Paolo Uccello. In cartography, Cartesian coordinates have occupied extensively the world of maps as a reference system since the 17th century. The particularity of the grid, as Rosalind Krauss has expressed in her 1980 article “Grids” published in the magazine October, is its capacity to mask and reveal, setting a seemingly ordered play of appearance and disappearance. What it reveals is what might appear over the grid once it is laid out. What it masks or occults is a pre-existing condition that its own laying out has covered, as an erasing action over a prevailing context.

▼主要展览空间，main exhibition space © Francisco Nogueira

▼格栅划分两侧空间 © Francisco Nogueira the grille divides the space on both sides

▼格栅一侧，view from the side of the grille © Francisco Nogueira

▼格栅细部，details of the grille © Francisco Nogueira

因此，关于网格作为参照系统的有效性的讨论自然是复杂的，在应对后全球化环境的展览中更是如此，该展览将核心思想放在地图上（恩里克·加尔万在1934年绘制的“葡萄牙不是一个小国”），打开了地图作为殖民地工具的大门。这些地图通过笛卡尔网格呈现出世界的特定视图，并且这些视图由军事意志所决定。

The discussion about the validity of the grid as a referential system is thus naturally complex, even more so in an exhibition dealing with post-globalism conditions that has placed its pivotal line of thought on a map (Henrique Galvão’s 1934 Portugal não é um pais pequeno – Portugal is not a small country), opening the door to cartography as a colonization tool. The maps presented specific views of the world with its Cartesian grid, and these views were informed by the martial will of conquering parts the world presented in those same maps.

▼二层展览空间，the exhibition space on the 2F © Francisco Nogueira

▼游客在坡道上观看展览，visitors watch the exhibition on the ramp © Francisco Nogueira

▼墙上布满网格，the walls are covered with grids © Francisco Nogueira

该设计展谦逊地讲述了这段复杂而漫长的历史，将网格应用至三维层面，以解决当今绘制世界地图及其基于数据事实变化的问题。一旦南北或东西划分的权利博弈被模糊，正如当前世界地缘政治状态所显现的那样，什么样的网格系统能够准确地排序物理和虚拟存在的地理位置？政治上仍然可以接受笛卡尔坐标系吗？它曾被接受过吗？间接地说，网格的无穷性也引发了关于边境、国界和统治的讨论。

X IS NOT A SMALL COUNTRY design exhibition modestly addresses this complex and long history, bringing the grid to a three-dimensional level to address the contemporary issues of mapping the world and its transformation in data-based realities. Once the power game of north-south or east-west classifications has been blurred, as the geopolitical state of the world obviously indicates currently, what grid system could faithfully order or re-order the geolocation of physical and virtual presences? Is the Cartesian coordinates grid still politically acceptable? Was it ever? Indirectly, the endless nature of the grid opens a discussion as well on borders, frontiers, and domination agendas.

▼多种媒介，various media © Francisco Nogueira

▼展品近景，closer view of the exhibits © Francisco Nogueira

▼网格元素，grid elements © Francisco Nogueira

艺术、建筑和科技博物馆的独特椭圆空间为这种后全球存在假说提供了有趣的背景。展览空间做了分隔处理，使游客面临路线的选择。设计和艺术作品公开提出了民族身份传统理解产生的不归属感。在展览空间中，它们自由地散布在现实和虚构边界墙的两边。它们的出现和消失与博物馆的建筑和展览设计有关。参观者可以选择重新安排东西南北的逻辑，并在当下环境中将它们重组，谱写新的历史故事。

The particular oval space of the MAAT offers an interesting background to host such hypothesis of post-global presences. For X IS NOT A SMALL COUNTRY a division has been traced for the visitors to somehow confront them with an itinerary choice. The design and art pieces tackle quite openly this sense of dis-belonging following the conventional understanding of national identities. In the exhibition space, they spread “freely” on one side or the other of a physical and fictional line: a border wall. They appear and disappear in relation to each other, the museum’s architecture, and exhibition design. It is the choice of the visitor to re-arrange north-south-east-west logics and to recompose them in a contemporary condition, a renewed historical fiction.

▼细部，details © Francisco Nogueira

▼局部轴测图，partial axonometric © BUREAU

▼平面图，plan © BUREAU

▼剖面图，section © BUREAU

▼家具，furniture © BUREAU

Project: BUREAU (Daniel Zamarbide, Carine Pimenta, Galliane Zamarbide) Concept design: Daniel Zamarbide, Carine Pimenta, Jolan Haidinger Construction supervision: Carine Pimenta, Jolan Haidinger Construction drawings and documentation: Chiara Pezzetta, Loïs Weber, Katerina Gkimizoudi Publication drawings: Ignacio Martínez Pendás Location: MAAT, Lisbon, Portugal Context: X is Not a Small Country — Unravelling the Post-Global Era Exhibition Program: Exhibition design Curators: Aric Chen, Martina Muzi Graphic design: Joana Pestana, Max Ryan Completion date: 03-2021 Photographer: Francisco Nogueira With projects: Bard Studio (Rupali Gupte and Prasad Shetty), Bricklab (Abdulrahman Hisham Gazzaz and Turki Hisham Gazzaz), Ibiye Camp, Revital Cohen & Tuur van Balen, He Jing, Liam Young, Paulo Moreira (with Chão – Oficina de Etnografia Urbana and José Sarmento Matos), Rael San Fratello (Ronald Rael and Virginia San Fratello) and Wolfgang Tillmans