Is the modern idea of Utopia built on a foundation of repeated translations and reinterpretations of largely Western concepts? How does dislocated translation create deviations between the original and translated text? What defines the borders of linguistic meaning? Can these border arrangements result in continuous conflicts that on the creative side stimulate imagination and creativity?

In this regard, what influence has the history of Macao‘s colonial oppression had on its social structures today? How does this impact on the linguistic system's reconstruction?

Huang Xiaopeng, born 1960, China. He studied for an MA at the Slade in London(1990-92). He currently lives and works in Guangzhou, China. His video and public installation works explores inevitable dislocations as a consequence of translating, copying and transforming, to test the boundaries of meaning. His exhibitions include: “Giorgio Andreotta Calo, Jalal Toufic, Huang Xiaopeng”, Whitechapel Gallery, London (UK), 20011; “The 3rd Guangzhou Triennial”, Guangdong Museum of Art, Guangzhou (China), 2008; “The Thirteen: Chinese Video Now”, P.S.1 Contemporary Art Center, MOMA, New York (U.S.), 2006; “The Second Guangzhou Triennial”, Guangdong Museum Of Art, Guangzhou (China), 2005. He has also contributed critical text “Education as an Art Project” to Printed Projects 11, Dublin, 2009 (the 53rd Venice Biennial), 2009.