‘Transnationalizing Modern Languages’ [TML] raised essential methodological questions for the study of Modern Languages and cultures. It privileged a reading of languages as diasporic systems that are not tied to one sole geographic ‘origin’, but rather are living organisms, engaged in a constant process of mutation and ‘translation’ as they move in a global space. TML focused on italianità as an exemplary case of this condition of mobility, and in line with the project’s self-reflective research philosophy, an exhibition was envisaged as one of the key research outputs. From the onset, therefore, Beyond Borders was based on a conceptualisation of the exhibition site as a fundamentally shared space in which the viewer would be invited to perceive the researchmaterial not as ‘displayed findings’ but as an ongoing process; as reference points which each visitor could attribute to their own system. My experience over the past fifteen years has focused on curating exhibitions, conferences and meetings and writing essays that have focused on the Difficult Heritage. This area of my research is in fact only a recent specialisation within a broader and deeper interest in the issues that contemporary art raises on identity, understood in the sense of ‘collective’ identity, beyond the definitions of ‘nationality’ understood as a territorial and geographical specification. My experience as a researcher in the context of public art, and as a curator of participatory art interventions, led to a perfect synergy with the aims of TML and with its willingness to speak to a wider audience, and not just an academic one, a diasporic italianità. The vision at the heart of the exhibition is one inspired by an idea first presented by the Swiss curator Harald Szeeman at Bern’s Kunsthalle in 1969: Live in Your Head: When Attitudes Become Form. The subtitle of this exhibition, ‘Work – Concepts – Processes – Situations – Information’ is how Beyond Borders defined the idea of ‘exhibition’ itself. Szeeman wrote that:

中文翻译：

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“工作，概念，过程，情况，信息”

“跨国化现代语言” [TML]提出了研究现代语言和文化的基本方法论问题。它把语言的阅读看作是流散系统，它不与一个单一的地理“起源”联系在一起，而是活着的有机体，它们在全球空间中不断地进行着突变和“翻译”。TML专注于Italianità，以此作为这种流动性状况的典范案例，并且与项目的自我反思研究理念相一致，展览被视为主要研究成果之一。因此，从一开始，《无疆界》就基于展览场地的概念化，将其作为一个基本共享的空间，邀请观众将研究材料视为不是“展示的发现”，而是一个持续的过程；作为参考点，每个访问者都可以将其归因于自己的系统。在过去的15年中，我的经验集中在策划展览，会议和会议上，并撰写了关于困难遗产的论文。实际上，我的研究领域只是最近的一个专业，它对当代艺术提出的关于身份的问题具有更广泛和更深入的关注，从“集体”身份的意义上理解，超越了被理解为领土和领土的“国籍”定义地理规范。我作为公共艺术方面的研究者以及参与性艺术干预的策展人的经验促成了与TML的目标以及愿意与更广泛的受众交流的意愿的完美协同，而不仅仅是与学术界，散居意大利人。展览核心的愿景是受瑞士策展人Harald Szeeman于1969年在伯尔尼艺术馆（Kunsthalle）首次提出的一个想法的启发：活在您的头上：当态度形成时。展览的副标题为“工作–概念–过程–情况–信息”，这是《无国界》如何定义“展览”本身的概念。塞曼写道：