This project took place on the borders of the Czech Republic, inviting local friends to play a game between the borders. Discuss the existential changes of the boundary from the metaphysical to the upper after the war.

Connecting the difference of body movement experience from island countries, from island to continent, from continent to continent, facing the endless land of the continent, have a first visit to the border through the Google Map on the screen. Through the Open-Call, Hsu visit friends who live, work, and study near the border, investigating the views of borders located in nature, cities and villages, talk with locals about the history of the border. After that, Hsu invite friends to play a game between border.

During the project, Hsu visited two borders around the top of mountain Sněžka in northern Czech Republic, the forest on the left of the Harrachov mountain ski resort, seven towns or mountains in the north of Liberec region; the small town of Pleš in the west, the city of Ostrava in the east in Czech Republic but also the city of Cieszyn in Poland, and finally the Iron Ore Town (Železná Ruda) in the south.

Hsu pay special attention to the boundary division of natural fields. Except for the division by streams, boundaries with the geology of snowfields, forests, grasslands, etc. is often not clearly marked. For me, as a foreigner, these fields are homogeneous and free, but heterogeneous and limited to the locals.

On the same snowfield, human have being divide through culture, politics, and economy with boundaries. After World War II, the idea of boundaries changed from physical to metaphysical. Young people born after the 1990s are in the Schengen open situation, and their metaphysical boundary awareness has weakened from generation to generation, which precisely response to the current ambiguity of the boundary.

The performance is located on the center line of the boundary, playing games with friends. Games includes table tennis, badminton, volleyball, sticky balls, etc., imagine the boundary as a net, a benchmark for distinguishing you and me. As the ball and toy go back and forth between both sides of the border, imagine the approximate position of the net. As the body moves, the “imaginary net” keeps floating, just like the consciousness of the young generation about the border.

Echoing the aforementioned Google Map's room in function, through the screen, it constantly traverses the various scales of the digital map. As the line thickness changes and the real scene is staggered, it repeatedly implies the ambiguity of the boundary.

Hsu began to collect different scales of Czech paper maps. After shooting on site, extracted the boundary lines from the paper maps, copied them by hand and engraved them on a metal steel plate, and then transferred them with prints. Using layers of handwork. Through the process of paper map, hand-painted copy, steel plate engraving, and ink transfer, retelling the ambiguity of the boundary.

In the exhibition , the space used soil, dog barking, billiards, iron nets, and videos of walking to collage the path of the "Borders" performance project. The video showing a walk to the border of Germany and Czech Republic. The floor of the exhibition space is covered with soil and fallen leaves, in response to the path of stepping in the forest in the video. At the same time, let the audience to feel the texture of the stepping on soil with their bodies.The ping pong table in the center of the exhibition space foretells the game played in the "Borders" performances project, responding to the discussion of the boundary division of the homogeneous land.

Performance videos were played with suspended laptops, echoing the blurred space of the boundary in an unstable and swaying state. The linear arrangement of the notebooks reproduced the boundary of the center line. The audience can cross and watch the boundary by crossing the computer. The five boundary lines of the performances were placed on the wall on the right, which are the steel plates and the printed files.