“一个艺术家在一片土地经过一段生活和创作,最终留下的,其实还是他个人的坚持和他艺术的表现力……终究还是要回到艺术家自己,而非一个国家、一个民族在这个世界的表现。”蔡国强在给本期专题的一封来信中写道。排除了离散的艺术家与故乡之间复杂的关系以外,难道最初不正是他(她)们在历史和地理分隔的文化之间编织链接吗?历史上艺术家迁移的例子不胜枚举,从弗兰德的鲁本斯和法国的普桑赴意大利,荷兰的蒙德里安和西班牙的毕加索在法国,法国的杜尚和德国的贝克曼在美国,二三十年代的中国艺术家旅居海外……除了艺术之都强大的吸引力以外,还有 “An artist in a piece of land after a period of life and creation, and ultimately left behind, in fact, his personal perseverance and his artistic expression ... ... after all, or to return to the artist himself, not a country, a nation in this world ”Cai Guoqiang wrote in a letter to this special issue. Is it not initially true that he or she links between historically and geographically separated cultures, excluding the complex relationships between discrete artists and their hometown? There are numerous examples of artists that have historically migrated from Flemish Rubens of France and Poussin of France went to Italy; Dutchman Mondrian and Spanish Picasso were in France; Duchamp in France and Beckman in Germany lived in the United States; Chinese artists of the 1920s and 1930 resided overseas. There are powerful attractions, as well as