展览设计遵循这些思路。实地调查：复活恩里克-加尔旺1934年的地图，一个复杂的参考性跨国框架。翻译：边界、周边地区、国家等非常实际和被滥用的话题，在一条线的一边对另一边可能发生的事情进行支配的惯例。线条：由一个变形的、半隐形的网格暗示，提供潜在的指称多样性的叙述，模糊了南北方向。地理：一个含蓄的三维空间网格避免了任何明确的归属。选择：”如果我必须在《门》和陀思妥耶夫斯基之间做出选择，那么–当然–我会选择陀思妥耶夫斯基。但我必须选择吗？” (Susan Sontag in Jonathan Cott, The Complete Rolling Stone Interview, Yale University Press, 2013) 。
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).
网格有一种特殊的力量，远远超出其图形的存在。在艺术领域，它作为一种光学装置出现，用于对透视的视觉探索，在保罗-乌切洛的时代尤为强烈。在制图方面，自17世纪以来，直角坐标作为一种参考系统广泛地占据了地图的世界。
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.
正如罗莎琳德-克劳斯（Rosalind Krauss）在1980年发表在《十月》杂志上的文章《网格》中所表达的那样，网格的特殊性在于其掩盖和揭示的能力，设置一个看似有序的出现和消失的游戏。它所揭示的是一旦网格被铺设好就可能出现的东西。它所掩盖或隐藏的是它自己的铺设所覆盖的预先存在的条件，作为一种对普遍存在的背景的擦除行动。
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.
因此，关于网格作为一个参考系统的有效性的讨论自然是复杂的，在一个处理后全球主义条件的展览中更是如此，该展览将其关键的思路放在地图上（Henrique Galvão的1934年《葡萄牙不小》–葡萄牙不是一个小国家），打开了作为殖民化工具的地图学的大门。这些地图以其笛卡尔网格展示了对世界的具体看法，而这些看法是由这些地图中展示的征服世界部分地区的军事意志所决定的。
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 have 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 of the world presented in those same maps.
XIS NOT A SMALL COUNTRY “设计展谦虚地讨论了这一复杂而漫长的历史，将网格带到一个三维的水平，以解决绘制世界地图的当代问题和它在基于数据的现实中的转变。而且，它承认在参考世界方面存在着某种程度的错综复杂的混乱。一旦南北或东西分类的权力游戏被模糊化，正如目前世界的地缘政治状态所明显表明的那样，什么网格系统可以忠实地排列或重新排列物理和虚拟存在的地理位置？笛卡尔坐标网在政治上还可以接受吗？它曾经是吗？间接地，网格的无尽性质也开启了对边界、边境和统治议程的讨论。
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. And it confesses a certain degree of convoluted confusion in referencing the world. 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.
MAAT的特殊椭圆空间提供了一个有趣的背景来承载这样一个关于后全球存在的假设。在 “X不是一个小国 “中，我们为参观者设计了一个分界线，使他们在某种程度上面临着行程选择。设计和艺术作品相当公开地处理了这种对国家身份的传统理解所带来的不归属感。在展览空间中，它们 “自由 “地分布在一条物理和虚构的线的一边：边境墙。他们的出现和消失与彼此、博物馆的建筑和展览设计有关。
The particular oval space of the MAAT offers an interesting background to host such a 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.
各种各样的媒体，物理的和虚拟的也被组织起来，提供关于不可能分类的迹象。这是参观者的选择，重新安排南北东西的逻辑，并在当代条件下重新组合它们，一个更新的历史虚构。
The variety of media, physical and virtual is also organized to provide indications about the impossibility to classify. 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.
Architects: Daniel Zamarbide
Year: 2021
Photographs: Francisco Nogueira
Design Team: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
Curators:Aric Chen, Martina Muzi
Graphic Design:Joana Pestana, Max Ryan
With Projects:Rupali Gupte, Prasad Shetty, Abdulrahman Hisham Gazzaz, Turki Hisham Gazzaz, He Jing, Liam Young, Paulo Moreira, José Sarmento Matos, Ronald Rael and Virginia San Fratello, Wolfgang Tillmans
Others:Bard Studio, Bricklab, Ibiye Camp, Revital Cohen & Tuur van Balen, Chão – Oficina de Etnografia Urbana, José Sarmento Matos, Rael San Fratello, Wolfgang Tillmans
City:Lisboa
Country:Portugal