现场 | 西方策展人急切的想在中国大陆展示具有批判性的艺术
2017年12月24日晚，《西方策展人急切的想在中国大陆展示具有批判性的艺术》展览在搜我空间（静安）开幕。此次展览由Kenneth Dow（德国）与李思怡（Siyi Li 中国）联合策展，共展出了来自中国、法国、英国、葡萄牙、乌克兰的10位艺术家（裴宇、王阳、张喆、李思怡、Lucas Almeida、Solia Vorobyova、Pauline Lecerf、Simon Moore、Leopold Prudon、Filipa Pontes）的作品。
On the evening of December 24, 2017, The exhibition 《Western curator compelled to show critical art in Mainland China》 was opening in SOWERART SPACE(Jingan). The exhibition, which co-curated by Kenneth Dow (Germany) and Siyi Li (China), shows the artworks of 10 artists from China, France, Britain, Portugal and Ukraine.
https://v.qq.com/txp/iframe/player.html?vid=v0524akvxoq&width=500&height=375&auto=0
《西方策展人急切的想在中国大陆展示具有批判性的艺术》，展览开幕现场记录视频，搜我艺术，5'49''
《Western curator compelled to show critical art in Mainland China》, The vedio of the exhibition opening,SOWERART, 5'49''
关于展览
About the exhibition
展览名称：西方策展人急切的想在中国大陆展示具有批判性的艺术
Name:Western curator compelled to show critical art in Mainland China
开幕/Open：2017.12.24 19:00-21:00
展期/Exhibition Period:2017.12.24-25
主办/Organizer：SOWERART 搜我艺术
策展人/Curated by:Kenneth Dow、Siyi Li
协办/Co-Organizer：离岸学院École Offshore
艺术家/Artists：李思怡(中国China）、裴宇 (中国China）、张喆(中国China）、王阳(中国China）、Lucas Almeida (Portugal葡萄牙）、Pauline Lecerf（France法国） 、Simon Moore （UK英国）、Filipa Pontes（Portugal葡萄牙）、Leopold Prudon (France法国）
地址：上海市静安区陕西北路278号金鹰国际7楼方糖小镇702，搜我空间（静安）
Address:SOWERART SPACE(Jingan), Golden Eagle International 702, 7F Fountown,No.278 Shanxi North Road , Jing'an District, Shanghai
支持/Support：方糖小镇 FOUN TOWN、得译工作室
为了让更多人能够参观此次展览，我们将展览期限延长至2017年12月31日。其中，26-29日展览开放时间为：6pm-9pm;30-31日展览开放时间为：3pm-6pm.观展请提前联系电话13842627791（李）预约。
For more people to visit the exhibition, we will extend the exhibition until December 31, 2017. Among them, the opening hours of the exhibition on 26th to 29th are: 6pm-9pm;And the opening hours of the exhibition on 30th to 31th are 3pm-6pm.Please contact the telephone number 13842627791 (Li) in advance.
引言：《地铁里的糖》
Introduction : The metro candy
“我在上海住了三年多。我每天(在中国) 能看见很多事情，我觉得很有意思。有一天，我去上班，我坐了地铁。在地铁上，有很多人，很挤。然后我看到一个人，在旁边。是一个男人，四十岁左右。他想吃糖，所以他拿糖，从盒子里。然后糖掉了，在地板上。地铁的地板很脏，非常脏。但是他看了一眼这个糖，拿了(从地上捡了起来)然后看了看这个糖，把糖放到了盒子里。我看到他觉得非常奇怪。然后，他摇了这个(装糖的)盒子，再拿了一个糖吃。我觉得，这个情况，对(我)一个外国人来说非常奇怪。然后我想了一想，我觉得，这个情况是特别中国的一个情况。因为，我觉得(中国人有一些)可能性的想法。这个糖再放到盒子里的意思是，有可能下次我吃糖会吃到这个糖，但是我不知道。还有可能是，每个糖都有可能是这个糖，我也不知道。这样的事情都很有意思。”
I’ve lived in Shanghai for three years. Everything that happens in daily life in China seems very intriguing and interesting to me. One day on the way to work on the subway, there were many people. I accidentally noticed a Chinese man who wanted to eat a candy. He was trying to take one, but unfortunately it dropped on the floor. The floor of the subway was very dirty. He looked at the candy, then decided to put it back into the jar. Then he shook the jar and took (another) candy in his mouth. I was surprised by his behavior. Then I thought, it's actually a really Chinese reaction to me. This is a question about probability. The fact that he put the candy back into the jar means: “It is possible that I will eat this candy next time. Or, each candy could be the one that was dropped, but I won’t know.” I found it very funny.
展览内容/About the exhibition
《地铁里的糖》是2016年一个已经生活在上海三年多的法国朋友向我们分享的一个故事。这个在法国朋友眼中“不同寻常”的故事，抛出一个很有趣的“外国人看中国”的思维模式，也间接的让我们意识到这些在上海／中国的“外籍人员”存在的重要性。虽然接下来我们要讨论的与这个故事并不完全相关，但它确是一个引子，将我们引向了“外籍人员”这个群体。在我们平日的交流中，大家时而会提起自己日常观察到的一系列轶事。这其中不乏会有人讲到一些“外籍人员”对中国／中国人毫无尊重的态度以及令人尴尬的行为。事实上，这些“外籍人员”的行为越是让人不解，也越是让我们意识到这其中可待挖掘的，他们对自身优越感的来源。
无论是关于这些在中国的外籍人员，还是这些外籍人员在中国大陆的生活中过度享受“白人至上”的权利，抑或是，虽然我们已经身处新世纪，大家对“殖民”问题的争执性或多或少都有所了解，但是自始至终， “白人优先政策”仍旧是我们自上世纪以来一直未曾真切触及的话题。 然而，再反过来想，所谓的“优先权”又是谁赋予这些“新移民”呢？ 说到底，也是我们自己摊开手来妥协的结果。这个不仅存在于中国，亚洲，也是在全球范围内具有大部分负面影响的问题，值得我们有更深的思考。
上海，是众所周知的国际化大都市。但国际化并不意味着我们过度的去迎合他人从而失去其自身的中国身份特征，相反，我们的民族气质在“国际化”中很好的保存下来。同理，这些在上海的“外籍人员”， 他们的身份呢？他们是否随着环境的改变也具有一定变化？我们常说，”一个人的身份特征会因身处异乡而体现的更加坚定明了。“ 也就是说，身在他国这一事实间接性的刺激了我们的保守性, 即使是一个深深的左派人士也可能会不大情愿去接受外国文化中的现代化。
打破保守可能是一个痛苦、卑微的经历，但同时也对我们在陌生集体中的生存起着至关重要的作用。 然而，并不是每个人都愿意努力尝试去适应一个陌生的新环境。这种需要去适应的转换过程，其实无时无刻都是通过我们的肤色、方言、有限的旅行、贫富差距以及其他外来因素决定的一种对新事物的探索，在分离中的共存。
另一方面，就像我们所说的，一个巴掌拍不响，我们并没有对这一切所发生的有所阻止。无视这种所谓“优先权”的存在性其实也是当地群众也间接的选择去鼓舞这些无知愚昧的、俨装成受害者的，被动的，甚至靠近美学图像的殖民主题行为“合理”的存在性。
此次展览，并不是一味的去批判这些“外籍人员”想着怎样通过“白人至上”的原则为自己在中国大陆的生活争取到最大利益。而是，通过来自不同国家的艺术家，一同讨论我们怎样可以在保留自己的身份的情况下去寻同共存。
The perspective of a privileged immigrant. Even after reading on the issue of colonialism, it feels absurd, that the only things left truly untouched over the last century, are the ones, that negatively affect the majority on a global scale.
Shanghai is an international city. International by no means signifies a post-national construct. On the contrary, ethno-nationalism is preserved and perpetuated by principles we are yet to fully understand. Clichés of ones own identity are hardened in face of the foreign. Going abroad spurs conservative sentiment to the extent that even far left thinking people loath the loss of a foreign culture to modernity.
Overstepping this can be a painful and humbling experience, vital to a functioning community. Not everyone is willing to make this. The alternative is staying with present status quo, a separated coexistence, travelling restrictions, and wealth gaps determined by color, lingo, and the exotic dark other.
The other hand clapping is the receiving society, allowing this bubble to exist and sustaining it. Not taking this into account puts the locals who choose not to call out ignorant behavior into a victimized, passive position, aesthetically very close to the image of the colonial subject.
关于艺术家和展览作品
About the artists and there artworks
裴宇 (中国) 《l(a或一片》2012
2012年制作的视频《l(a或一片》，引自E. E. Cummings的著名诗句：
l(a
le
af
fa
ll
s)
one
l
iness
对传统教育体制的怀疑和对自身完善自救的渴望融合出的行为表演，戏剧化的装扮制造出精神世界对渴望挣脱已经固化的思维模式的无助和痛苦感，如同肉身自由与机械枷锁的冲突，已被驯化的思维定式对于新形态的自由憧憬但难于实现的视觉表达。
Yu pei aka Shalafy
1983年出生于吉林长春，现生活且工作于法国凡尔赛。
2013毕业于法国勒阿佛尔美院，硕士文凭。
作品媒介为油画，版画，视频和装置。
Yu Pei (China) 《l(a或一片》2012
A deformed, fat figure sits at a school desk tearing out pages from a large book, screaming in terror and desperation unable to escape what keeps him in place. Then to the sound of orchestra music jumps up doing what seem to be gymnastic excercises. The sound being played is Guangbo ticao, the Morning exercise for Chinese primary and middle school students between the second and the third lesson of the day.
The video performance illustrates a day in school, another day in the artists struggle within the Chinese educational system. A fight, as Yu puts it, of flesh against machine, better understood when looking at the title of the video. It is taken from the poem of the same name of E.E. Cummings. Read out loud, a distorted l(a leaf falls)oneliness is heard. The sensie of loneliness felt in the brief observance of a falling leaf, reflects in the figures rants, and later in the falling torn-out sheets as the screen is flipped and the figure has disappared.
Yu Pei aka Shalafy
Born at 1983 in Changchun, China. Lives and works in Versailles, Paris, France.
Graduated in fine art at ESADHaR in 2013, Le Havre.
Works in painting, printmaking, video and installation.
王阳 (中国) 《 中国留学生 》2015-2017
1986年出生于上海，法国第戎国立美院硕士毕业，从事当代摄影，现工作于上海。
这六张肖像选取于“中国留学生肖像” 摄影系列，整幅摄影系列由十张肖像摄影组成。通过这一系列，艺术家尝试着用一种客观的视角来重新定义那些远离家乡去欧洲学习的中国留学生这一群体，试图理解在异国他乡的特殊背景下他们这一身份所展现出的复杂性，特殊性和多元性。
在整个肖像系列中，每一幅肖像的背景的都偏中性，没有任何多余的装饰，除去外界环境因素的干扰，从而去表现这一群体和自身环境的脱离。所有系列中的人物虽然没有特殊的表情，但我们却可以感受到他们的神态游离于沉静的东方形式和有表现力的西方形式之间。两者若即若离。通过中西方两种对立的表现形式，一些传统肖像学的法则被偷偷摸摸的重新展现出来。艺术家以艺术史中的肖像绘画为参考，同时消除肖像的古典表现形式和肖像的当代表现形式之间的迥异，从而呈现这些正处在这两种不同的时间性内的中国留学生。而这两种时间性的产生和正在受到西方文化巨大影响下中国密不可分。
Yang Wang (China) 《 Chinese students in France 》2015-2017
WANG Yang was born in Shanghaï. He Obtained his Master degree in National Institute of art and design in Dijon (France) specialized in Photography. Now he lives and works between Shanghaï and Dijon
This set of portraits is part of a series of eight photographs. They are portraits of Chinese students from Dijon taken in studio in front of a neutral background to represent them outside of their current social contexts.The photographs show the artists peers who came to study in france, sharing the artists experiences. Choice of models and style of photography, the students are photographed standing, using two projectors and a flash with a neutral ID photo like expression, limits their representation to their identity as chinese studying abroad, thus repeats the perception of their french peers
Through portraits, Yang tries to capture codes of representation of the history of art, narrowing the gap between forms of classical and modern representation, simultaneously inscribing the faces of young Chinese in these two temporalities. Also, to reveal the infuence of Western culture on the young Chinese generations.
张喆（中国） 《不被同化》2017
语言是我们交流的主要工具，上海作为一个多元文化的汇聚的地方却没有让语言交融。交流是一种特权，存在于一个陌生环境而不被同化也是特权的。这里你被邀请去定义和陈述你的特权，而我将进行翻译，形成一个对话性的模拟，一个展示对不被同化的认知。
从今年夏天开始就暂居上海，通过见证和接触，我在我所处的环境中发现了很多问题。作为一个年轻的19岁艺术家，我觉得我有能力去提供一个常常被忽视的解析，同时我认为是一种义务去传达我的看法，并作为一个中间人在这样一个交流中对此进行响应。
Zerek Zhang（China） 《without assimilated》2017
Language is our main tool of communication, yet in shanghai we see an intersection of culture without an intersection of language. Communication is a privilege, to exist within a foreign environment without assimilation is privileged. You are invited to identify and state your own privilege here, and partake in a translation, a simulation of communicative, a demonstration of understanding without asimulation.
Currently based transitionally in shanghai where I have existed since the summer. Through witness and exposure I have seen many issues within my environment. As a young Chinese artist, aged 19, I feel I am able to offer a perspective often dismissed, and with the platform of communication I feel a duty to express my observations and responses in a medium of interactivity.
李思怡 (中国) 《三言两语》2016
《三言两语》是由是十一个独立故事组成的广播装置，这些故事围绕着在上海从事艺术行业或是在文化领域工作的外国人中展开。广播里播放的，其实很像是我们在午间休息时听到邻桌闲杂的对话。每位讲故事的人都必须尽量用中文给我讲述一个发生在上海／中国的故事。故事可以是关于他们的日常生活，一次糟糕的经历，或是一件轶事等等。
对我来说，最有趣的地方，是通过这些发生在“东方与西方”的双文化的夹缝中故事，我可以听到这些细碎、平常但不同音色的声音，发掘这些异乡人对中国的了解，对全球化语境的诠释。
李思怡 （1989，中国），毕业于法国南锡国立美院，现工作生活于上海。热爱听故事和讲故事。
Siyi Li (China) 《A word or two》2016
"A word or two" is a radio installation of 11 stories told by different foreign people who study or work in Shanghai.
After 5 years living in France, I finally came back to China - Shanghai, a city that overwhelms me in terms of it’s internationality and its strong identity of being intercultural and conservative at the same time. I wonder how foreigners would Iive in this «in-betweeness», how would they survive from this rough and delicate situation. I want to understand how they function within this context, just as I probably would have appreciated a locals view on my surviving back to the years in France. That is why I invited 11 people who work in art or in the cultural field to tell me a story based on their own experience, by using the language they speak in their daily life in China.
It is interesting to get to know what actually happens in this context of accellerated globalisation and bigotry by listening to different voices, by observing these chitchats, the occasional conversations made during lunch time.
Siyi Li (1989, China) has graduated from Nancy national art school, France, now lives and works in Shanghai, loves telling and listening to stories.
Lucas Almeida (葡萄牙)
Solia Vorobyova (乌克兰)
《人性光辉》2017
合作项目：Solia Vorobyova纸上打印摄影作品+Lucas Almeida绘制的图画与文字
这个作品要从一个真实的故事开始讲起，向你我他分享一个发生在“南京东路一夜”的真实经历。
艺术家Solia Vorobyova 在自己拍摄的照片中轻描出一道平行的光线，这条线可能与有某个未知的地方有一种联系，也可能是在搜寻与照片以外并存的可能性。就像在人际关系中一样，我们都在寻求爱和关注，我们都觉得好像无形中缺少了一些什么。在这个投影的过程中，我们开始寻找，寻找梦想，寻找这个拼图的缺失部分。
1981年生于里斯本，Lucas Almeida 很早便开始对绘画感兴趣。他早年在美院上学时尝试通过各种方式来寻找绘画语言。2006年，艺术家曾获得青年创意奖。自2000年起，他每年会创作一本叫做《习惯成就怪物》的创意杂志。Lucas曾拍过16毫米实验性电影，在音乐会期间实时即兴创作墙画和油布画。 2009年，艺术家曾在纽约RobertBlackburn版画工作室实习，目前，他在葡萄牙拥有自己的丝网印刷工作室，从事个人项目，书籍制作和其他编辑项目，并协助他人印刷作品。
Lucas Almeida (Portugal)
Solia Vorobyova (Ukraine)
《Human glitter》2017
Photography printed on paper by Solia Vorobyova, drawings and text by Lucas Almeida
This work started with a text based on a true story, "once upon a night in East Nanjing road"
Vorobyova. Her photos draw a parallel lline of the same light. The works superimposed show a romantisiced gaze at the distant other, as well as a will to show the bigger picture. Putting together two different pieces, and merge them it to one, like in human relations, we all seek love and attention, we all feel that there is something missing. Projection happens in that search for the dream, for the whole, for the missing piece of the puzzle.
Lucas Almeida
Born in 1981 in Lisbon, Portugal and early acquired a taste for drawing. He took a course in fine arts where he had the opportunity to explore several areas of expression. In 2006 won an award from the young creators contest in this category of comics. Since the year 2000 he does the annual publication of the fanzine 'The Habit makes the Monster'. Covering multiple disciplines from exhibitions, projections of experimental 16mm film, drawing in real time during concerts, to mural and canvas painting. In 2009 he did an internship in New York in RobertBlackburn Printmaking Workshop and currently is working in his own screen printing workshop, doing personal projects, publshes books and other editorial projects, along with helping others to print their work.
这是一个关于在上海发生的真实事件的故事，这是一个有意图分享观点的词语的组合，一个人让我看到了一些我能看到的东西，如果我没有这种经历的话。就像在白人富人身上所做的投影，以及一般人在社会中所扮演的角色，处理普遍的性行为，和关于人类的连接。
It's a story about a true event that happen on Shanghai, a composition of words with the intention to share a point of view, an experience that someone made me see things that I would be able to see, if I didn't had that experience. Like the projection that is made on the white man being rich, and the role of a man in society in general, dealing with generalized estereotypes. And about human connection.
Solia Vorobyova，1991出生于乌克兰克里米亚。于2009年搬到乌克兰首都基辅，2014年毕业于基辅综合大学。2014至2017年间就读于莫斯科的罗申科艺术学院。她以摄影作为创作的主要媒介，借以去探讨其中模拟和数字及其他物质间的实验性。
Solia Vorobyova, Born in 1991, in Crimea, Ukraine and moved to Kiev in 2009. Graduated from Kyiv Polytechnic University in 2014. Studied at The Moscow Rodchenko Art School 2014 - 2017. Her main medium is photography, exploring both analog and digital along other experimentations.
Pauline Lecerf (法国) 《双面虚假三面真实》2017
嗨大家好！我是Pauline Lecerf, 我是法国人, 刚到上海两个月！现在，请让我们用几分钟来分析一下，从我到上海以来养成的对所见事物等级划分的行为。让我非常困惑的一件事是，我越来越喜欢用“真”和“假”来整理，用“已确保其真实性这个印章”来鉴证自己所见的世界。这个行为，基本是我的本能反应。同时，我也观察到有不少外国人在做同样的事情。嗨，注意了注意了！这有一朵真花还有朵假的！这里有个贴着砖纹的壁纸和一块儿真的砖！这是个真的香奈儿包还是个仿冒品？这里有人是大话精也有人在讲真话！哎哟我的小脑袋，你真是这么想的吗？真的真的吗？
这种处于两者之间的极性振动，我们应该怎样去抓住这其中处于动摇不安却又让人肯定的的张力？又或是面对独自一人却又身在人海中的的迷惘？抑而我完全懂了但我又不那么确定我真的都弄明白了的之间的困惑？再者什么是聪明的装傻以及真愚蠢之中的界限？
Pauline Lecerf (法国, 1993) 现生活和工作于上海。她常以录音机、图表绘画，图形寻找及讲故事作为创作媒介。
Pauline Lecerf (France) 《Double fake triple real》2017
Hi everyone ! My name is Pauline, I am french and just arrived in Shanghai two months ago ! Let’s please take a moment, to analyse my information hierarchization behavior since my arrival in China. One, among others, troubles me. I have the tendency to try to organize the world by sorting fake things from real ones, by trying to put an "authenticity seal of approval » on objects and places. I do it rather instinctively. I also see other occidentals do it. Careful careful ! There is fake flowers and real ones ! There is bricks and wallpapers with a brick pattern on it ! There is real Chanel bags and copies ! There is liars and people who tell the truth ! Really brain, is that so ? Is that really really so ?
What she wants is to explore the vibrant in-betweenness of two polarities. How do you grasp the tension between what is unsettling and what is reassuring, between being alone and being together, between I understand perfectly and I'm not quite sure I got it, between stupid in the best possible way, and really really stupid ?
Pauline Lecerf (France, 1993) currently lives and works in Shanghaï. She does radio work, diagram drawing, shape finding and story telling.
Simon Moore (英国) 《沃土》2017
这片偷窥的沃土，剥夺性的被观察和被压迫的沃土。存在于但又超出了二元。有种自由，在我们互动平台的自由，它萌生一幅从偷窥取乐的图像。这何不是一种情感的虚无于绽放。
作为一个暂居上海的伦敦东区酷儿，我有时发现自己存在偷窥癖。通过不断沉思人与人之间的关系，我不禁思考我的情感的存在究竟是现实还是浪漫化。 我急切表达存在于内外的约束。但是这份克制又在哪呢？我近期的作品正是对这份相互冲突的情感做了一次探索，探索情感之间的相互反应，寻找偷窥的边界。
Simon Moore 是一位毕业于伦敦的时装设计师，目前从事创意媒体的制作，包括插画，电影，声音和服装。在服装制造业，其定制剪裁精湛，曾被南威尔士大学授予“时装设计创新奖”，并且获得过一等荣誉奖和学位特别奖等。在浙江宁波被挑选并领导了设计项目，在这之后，Simon于6月搬迁至上海，并一直从事创意媒体制作工作。
Simon Moore (UK) 《Fertile》2017
The fertile grounds of voyeurism, the exploitable viewed and pressed. Preserved in binary in an existence beyond the binary. There is a freedom in our platforms of interaction that cultivates a landscape complacent with voyeuristic action. Void of emotion with its blooms of emotion.
As a queer east Londoner currently situated in shanghai I find myself constantly existing in a paradox of voyeurism. Perpetuated through interpersonal relations of which my existence is under constant contemplation, whether my emotion exists in reality or in romanticization. I am compelled to express yet internally and externally restrained. But where Is the restraint? Recent works exist as an exploration of this intersection of conflicting emotions, exploring the curation of emotional response, seeking the boundaries of voyeurism.
Simon Moore is a fashion design graduate from London, currently working across creative mediums producing graphic works, through to illustration and film, sound and costume.With a founding in garment construction and bespoke tailoring, recognised with a special award for 'fashion design innovations' awarded along with his first class honors degree from the University of south Wales. Having been head hunted to program and lead a design program in Ningbo Zheijiang, Simon relocated to shanghai June 2017 and has since been producing works across multiple media.
Leopold Prudon (法国) 《上海》2016
在2016年4月的一次上海之行中，我发表了这本20页的书。这本书应用了漫画的格式来很直接的去绘制我在上海所见的景色，但是并无故事情节, 只是简单的将视角从一个空间移动到另一个空间。这本书中的所有创作，可能是我作为外来者的，带着在脑袋里已经建立对上海有着主观性图像的视角，同时也可能是非常中立的，脱离感官和道德观念带给我们的条条框框，仅仅试图复制眼睛第一时间接触到图形和图像。
我叫Léopold Prudon，24岁。我生于一个双亲都将自己毕生精力致力于图书上的家庭，我的爸爸是作家，妈妈是图书制造者及校对者。很快，我也不例外，通过漫画创作，我也加入了图书大家庭。高中以文科毕业之后，我就读了巴黎的Estienne插画学校，2015年毕业随后在“红孩子”出版社发表了一本叫做《另一边》的漫画作品。同年，我随即踏上斯特拉斯堡美院的插画学习之路。
在这期间，我和八位同学一起创立了“Mökki”合集，共四本号刊以及一本特刊，正是借此契机，我发表了之前关于漫步上海的创作，此次，又将这个作品拿到搜我空间参与展览。
在斯特拉斯堡美院就读期间，我还写了关于探讨原生艺术与漫画之间关系的论文；制作了两本短片结构的，研究漫画与插画师之间关系的实验性短篇。我试图通过使用这种兼容并蓄的方式来进行我的漫画创作。
Léopold Prudon (France) 《Shanghai》2016
My name is Léopold Prudon, I am 24 years old. My parents devoted their lives to books, my father as a writer and my mother in the sectors of book-publishing. I decided soon that this path would also be mine, but via the medium graphic novel. After a baccalaureate with a literary major, I did a Master in illustration at Estienne School, Paris, during which i wrote and drew a graphic novel, published in 2015 under the title «De l’Autre Côté» at Les Enfants Rouges editions. Meanwhile, I joined les Arts Décoratifs de Strasbourg, still in illustration. Here, I was one of the 9 founders of an self publishing collective called Mök- ki. During my time in Strasbourg, I also wrote a study on the links beetween Outsider Art and Comic Books, published 2 short experimental books about graphic novel specific visual language and worked for press and children illustrations. Now I am looking for ways to radicalise my work without loosing this diversity of practice.
I have made this 20 pages book during my first trip to Shanghai, in april 2016. It is composed of images drawn directly in the street, trying to articulate various spaces following graphic novels narrative principles, but without any story or words. Just a gaze moving from a space to the other, implying subjectivity of an individual point of view, expressing singular canvas and denied mental shapes.
Filipa Pontes (葡萄牙) 《艺术家字典：上海》2016
《艺术家字典：上海》是我自2010年开始的，对于世界各地不同文化背景调研所创作的一套“视觉字典”项目之一。
这个在上海完成的字典项目意图在于探讨怎样通过不同方式去适应以及（重新）理解我们不为熟知的陌生现实。
在某种程度上，因为对东方文化认识的匮乏，我需要通过反复揣摩，来适应我在另一文化下日常生活的改变。（重新）理解，意味着，我需要将自己身上的葡萄牙文化背景与我在上海当地观察到体验到的这些新文化元素相之融合，从而去理解这个“当下”与语境里的现实。
我在上海居住期间的创作，简而言之是用平面语言叙述了这个“适应”、“（重新）理解”的体验过程。每张绘画里都带着对上海地方的特色中，其社交，文化，政治方面的一种批评、表达和分心，但重点其实是探讨这一语境下的人际关系和怎样在具有冲突的陌生环境下得以生存。我的艺术家字典创作是对当代世界情境下人类行为与特征的思考，此项目迄今已在里约热内卢和巴西萨尔瓦多（巴西），毕尔巴鄂（西班牙），马普托（莫桑比克），阿尔特和卡尔达斯达莱尼亚（葡萄牙）展开了研究。
Filipa Pontes（ 1978，贝雅，葡萄牙）在葡萄牙（ESAD，Caldas da Rainha）拥有平面设计硕士学位，同时毕业于西班牙创意插画学院（EINA，Barcelona）。自2004年以来，她以当代绘画为基础进行装置和表演创作，相继在葡萄牙，巴西，西班牙，莫桑比克和中国参加了不同的的艺术项目和展览。在巴塞罗那和马普托居住期间，她开展了与当地艺术机构合作的插画绘画课程、艺术文化教育项目。目前艺术家居住在葡萄牙的卡尔达斯达莱尼亚，是里斯本大学美术学院的美术/绘画博士生。
Filipa Pontes (Portugal) 《Artist dictionary》2016
Started in 2010, ArtistDictionaries is a ongoing project that uses drawing as language, autoethnography as a conceptual and graphic research process, displayed as a set of artist’s books.
Using auto-ethnography as process, the project in Shanghai investigates ways to approach, adapt and (re)understand an unknown reality. Unknown not only from the point of view of the Eastern culture itself, but also, discovery in the sense of self-knowledge about how I will transform my everyday life. (Re)understanding the way that I observe and experience Shanghai, in the sense of a "experience" of the place that comprise elements of new reality, but also include memories and references of past experiences, plus my own Portuguese cultural heritage. The drawings are graphical reflections on this experience. The work results from a creative, critical and expressive interpretation of local specificities (Shanghai), in its social, cultural and political dimension, focused on the human relations and survival strategies.
Filipa Pontes (Beja 1978, Portugal) Holds a MFA in Graphic Design in Portugal (ESAD, Caldas da Rainha) and graduation in Creative Illustration in Spain (EINA, Barcelona). Since 2004 she participates in art projects and exhibitions in Portugal, Brazil, Spain, Mozambique and China, with works of installation and performance based on the contemporary drawing. She lived in Barcelona and Maputo where she developed training programs in drawing and illustration, cultural production and art project direction in institutions related to education, culture and art. She currently lives in Caldas da Rainha (Portugal), and is a PhD student in Fine Arts/Drawing at Faculty of Fine Arts, University of Lisbon.
关于《离岸学院》（Paul Devautour 指导的项目）
About《École Offshore》（The project guide by Paul Devautour）
成立于2012年，离岸学院为毕业于欧洲美院的学生们提供了一个在上海为期一年的独立研究项目。参与此项目的成员们不仅可以在不同的语境下创作，同时也希望摘除有色眼镜来观察周边，从而去更好的了解中国社会意识形态是怎样的构成，而不是一直沉浸在带有个人偏见的批判与遐想中生活。
École Offshore Established 2012, the école offshore offers graduates of European art schools a one year independent study program in Shanghai. Participants are given the facilities to produce their art, but are also encouraged to take a step back, to observe how social order is conceived here, without falling back into long internalized patterns of chauvinism and prejudice.
关于搜我空间
About SOWERART SPACE
搜我空间（简称SAS）是由搜我艺术发起并运营的当代艺术空间，旨在探索更多艺术实践与推广的可能性，连接、并为艺术家和策展人提供更多的支持。
SOWERART SPACE (SAS) is a contemporary art space,which is initiated and operated by SOWERART, And aimed to explore more possibilities of artistic practice and promotion, connect, and provide more supports to artists and curators.
关于搜我艺术 / About SOWERART
SOWERART搜我艺术创新性地通过共享经济、社会化协同及O2O模式，致力于打造当代艺术共享服务平台（www.sowerart.com），让艺术成为电力一样的基础需求与服务，推广当代艺术，聚焦青年艺术家成长，鼓励多元艺术生态实验与并存，促进艺术介入与影响大众生活，推动大众关注、参与、收藏当代艺术，见证当代社会。
SOWERART aims to create a contemporary art sharing service platform through sharing economy, social collaboration and O2O model. Promote art to be the public’s basic needs and service as electricity, promote contemporary art and artists, encourage multiple art ecosystem, more art integrate into public life, promote a society that the public will concern, join and collect contemporary art.