Since the beginning of cartography, man has taken it for granted that the world is centered upon oneself. The Arctic is a standing point that has yet to be centered. Wu and Thorsdottir have defined a ‘Temperature War’, as iced ocean surface on which civilization, politics, economy and existing seem to be waiting. The melting speed of the sea ice depends on the temperature collectively caused by man’s activity and nature environmental evolution at large. Thereby redefining the dichotomy of friend and foe.

從遠古的地圖開始，人們都理所當然地把自己放置在世界的中心。北極是一個尚没被中心的立點。吳和托斯朵蒂爾把“溫戰”作為一個新的界定：文明，政治、經濟、生存，都在這片還是冰層的洋面上等待著，海冰融化的速度依賴於人類的活動及在更大程度上的自然環境演變所共同導致的溫度，從而重新定義了截然二分的敵我關系。


Wu and Thorsdottir have added ‘Arctic (Fox) Arc’ to an artistic thread that has run for two decades from ‘Perfect Brackets’, ‘Kuo Xuan’ to the ‘Little Fat Flesh’. This arc is one that concerns ‘others’ ‘outside ourselves’. One side of it stands the evolving form of the ‘Little Fat Flesh’, while the other side starts from the world of concept and geometry, transiting to the real and temperatured social space.

吳和托斯朵蒂爾又加上的這道「北極（狐）弧線」，是在「小肥姘」、「Kuo Xuan」、「完美的括號」這一條可以前溯二十年的藝術線索之上。一條關於「他人」、 「我們外部」的弧線。弧線的一頭，連接著演進中的圖樣「小肥姘」，另一頭則開始由概念和幾何的世界出發，貫穿至真實而溫度的社會空間。

……one should not forget their other works, ‘Secondhand Water’, ‘Yellow Fly’, ‘Tourist Information’, and ‘Borg’, which share a common ‘concern’ about the reality, the external environment, ‘ the other’ as well as ‘elsewhere’.

……我們不應忘記他們的另一組背景脈絡：“二手水”、“黃色飛行”、“觀光者信息”和“Borg”，它們共同的特點是一種“關心”，對於現實、外部環境、他人以及“別的地方”的關心