In the fall of 2016, photographer Susan Harbage Page mounted Objects from the Borderlands, an exhibit at the Greensboro, North Carolina Project Space. This show assembled some of the things she retrieved and the photographs she took along the US-Mexico border between Brownsville, Texas, and Matamoros, Mexico, to Eagle Pass and Piedras Negras starting in 2007. She displayed a selection of objects, ranging from a dusty bible to a child’s pink sneaker, on a raised horizontal surface with a yellow background, each labeled with an archival number and date; she posted maps of the borderlands on the walls; and she installed on a corner table tickertape printed with excerpts from interviews with two local women who had migrated from Mexico to North Carolina, as well as audio recordings of their voices. On opening day, one of the women interviewed came with her family, her friends, and her friend’s dogs, beaming with excitement. Visitors were asked to recount their own experiences with border crossings and given envelopes with the question: What would you bring with you? More than an exhibit, Objects from the Borderlands created openings for conversation among recent migrants to the US, local residents, and visitors. It invited viewers to feel the affective reverberations of complex histories of displacement within a shared space. By re-locating everyday evidence of the ongoing crisis of migration across the US-Mexico border to a North Carolina city with a substantial and growing Mexican population, Harbage Page created a new contact zone in which viewers could potentially access what “vital materialist” philosopher Jane Bennett calls “a strange and incomplete commonality with the out-side” and be induced “to treat other people and things more carefully, more strategically, more ecologically” (17–18). It also brought together many aspects of the artist’s sustained engagement with gender and border politics: for over twenty years, Harbage Page’s diverse body of work has focused on issues of social justice, the meaning of archives, and the effects of militarization on borders in North America, Europe, and the Middle East. She chose to work on the border for this project so that she could speak about the migrant crisis in the US, and the alliances she created through it extended

中文翻译：

---

重新安置美墨边境：苏珊·哈勃奇（Susan Harbage Page）充满活力的接触区

2016年秋天，摄影师Susan Harbage Page在北卡罗莱纳州项目空间的格林斯伯勒展出了《无主之地》。该节目汇集了一些她所取回的东西，以及她从德克萨斯州布朗斯维尔和墨西哥马塔莫罗斯之间的美墨边境拍摄的照片，从2007年开始，到伊格尔帕斯（Eagle Pass）和彼德拉斯内格拉斯（Piedras Negras）。儿童粉红色运动鞋的尘土圣经，在黄色背景凸起的水平表面上，每个标签上都标有档案编号和日期；她在墙上张贴了边疆的地图；她将她安装在一个转角桌上的纸带上，上面印有对从墨西哥移民到北卡罗来纳州的两名当地妇女的采访摘录以及他们的声音录音的摘录。在开放日，接受采访的一位妇女带着她的家人，她的朋友和她朋友的狗来了，兴奋得要命。访客被要求讲述自己在过境中的经历，并给出以下信封：您会带来什么？不仅是展览，《来自无主之地的物体》还为最近到美国的移民，当地居民和游客之间的对话创造了空间。它邀请观众感受共享空间中错综复杂的位移历史的情感回响。通过重新定位每天证据，说明正在进行的穿越美墨边境向北卡罗来纳州人口不断增长的墨西哥迁徙危机的证据，Harbage Page创建了一个新的联系区域，观众可以在其中访问“重要的唯物主义”哲学家简·本内特（Jane Bennett）所说的“与外界的奇怪而不完整的共通性”，并被诱使“更仔细，更战略性地对待他人和事物，更生态”（17-18）。它还汇集了艺术家与性别和边境政治的持续参与的许多方面：二十多年来，哈伯奇·佩奇（Harbage Page）的多元化工作集中于社会正义问题，档案的意义以及军事化对北部边界的影响美国，欧洲和中东。她选择在该项目的边界工作，以便可以谈论美国的移民危机，并且她通过该联盟建立的联盟得以扩展 二十多年来，Harbage Page的多元化工作集中在社会正义问题，档案含义以及军事化对北美，欧洲和中东边界的影响上。她选择在该项目的边界工作，以便可以谈论美国的移民危机，并且她通过该联盟建立的联盟得以扩展 二十多年来，Harbage Page的多元化工作集中在社会正义问题，档案含义以及军事化对北美，欧洲和中东边界的影响上。她选择在该项目的边界工作，以便可以谈论美国的移民危机，并且她通过该联盟建立的联盟得以扩展