CUI YUXUAN 

Documentary Photography, Place, Journey

  1. Puppet Manchukuo: Echoes in the Layers of Time
  2. Divided Spaces, Dissolved Orders
  3. Deconstruct the “Tools” 
  4. Lost, Lost, Lost  失，失，失
  5. Wuchang五常，Wuchang无常
  6. Swan City-State

Space, Narrative, Installation

  1. What you will  第十二夜
  2. Love Me Tender, Bite Me True 
  3. Trespass 飞（非）地烟花
  4. 溯流 Go Upstream
  5. Jiakong, Jiakong 
  6. -Borderline as Storyline- 

Object, Text, Life, Act on Instinct  
  1. 言之凿凿 As if It's Carved in Stone
  2. Cleaning as Method  
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©2024 Cui Yuxuan

2023-2024
(In collaboration with Huaiqian Liu)
Remnants of fireworks, cardboard, wire netting, video Installation 11’06’’



The exploration of border and enclave landscapes in our work challenges the conventional notion of borders as impenetrable walls or insurmountable barriers. In a physical sense, these barriers and obstacles are not singular structures but intricate compositions of multiple elements. Through walking and drifting, we seek to reveal the significance and impact of these borders, shedding light on how they are constructed. Consequently, borders become more than just geographical divisions; they transform into a methodology, a profound approach to comprehending social, cultural, and political differences.
我们作品中对边界和飞地景观的探索挑战了将边界视为不可逾越的墙或障碍物的传统观念。从物理意义上讲，这些障碍物和障碍并不是单一的结构，而是由多个元素复杂构成的。通过步行和漂移，我们试图揭示这些边界的意义和影响，揭示它们是如何构建的。因此，边界不仅仅是地理分界线，它们转变为一种方法论，一种深刻理解社会、文化和政治差异的方法。

The inspiration for our work stems from the perception of borders, which, simultaneously visible and invisible, create a state of suspended uncertainty, reflecting the inherent contradictions in the surrounding landscapes. In this "in-between" space, we utilize "border materials" to capture the delicate balance between the visible and the invisible. Following several visits to the enclave area of Baarle-Nassau, we chose fireworks and their remnants to serve as metaphors, aiming to evoke the overlapping and permeation of things and cultures, transcending physical boundaries. This intertwining extends beyond geography; it encompasses cultural and emotional dimensions.

我们作品的灵感来自对边界的感知，这些边界既可见又不可见，创造了一种悬而未决的不确定状态，反映了周围景观中固有的矛盾。在这个“居间”状态下，我们利用“边界材料”来捕捉可见与不可见之间的微妙平衡。在多次访问巴勒-纳绍飞地地区后，我们选择烟花及其残余物作为隐喻，旨在唤起事物和文化的重叠与渗透，超越物理边界。这种交织不仅限于地理，还涵盖了文化和情感层面。