在侨福芳草地，我们力图以原创性的视角聚焦文化脉络，在大胆拥抱新锐思潮的同时倡导多元化生活方式，呈现当代生活雅趣，开启当代艺文生活新风尚。由此，我们开辟了《芳草说》，一个基于侨福芳草地品牌内核的随笔专栏。每一期，我们将邀请一位在自身领域具有一定影响力的知名人士，就时下热点话题或近期见闻分享有价值的思考与感悟，在艺文绿洲的平台上展现独特的人文魅力。

In Parkview Green FangCaoDi, we sought to shed light on cultural context from an original perspective, boldly embrace new trends of thought, advocate diversified lifestyles, demonstrate the elegant taste of contemporary life, and open new horizons for artistic and cultural life in a contemporary epoch. Consequently, we initiated The View, a featured column based on the brand DNA of Parkview Green FangCaoDi. Each issue will feature an article composed by a key opinion leader in the fields of art and culture, architecture, business, etc. They are here to share insights into their profession and the industry, observations on recent news, and valuable reflections of matters in life. This column delivers the connotation of art and culture through different perspectives.

新年伊始，我们邀请了来自法国的著名当代艺术策展人、教育家、同时也是得译工作室的创始人保罗·德沃图（Paul Devautour）先生，与您探讨艺术、城市与生活之间的互溶性。

In this issue, Mr. Paul Devautour, a prestigious French contemporary art curator, educator, and co-founder of DeYi Studio, is invited to share his insights into the views regarding the compatibility among art, city, and life.

“创造力”与“全球化”看似是一个相对比较笼统的题目，但至少它是清晰的并有针对性的剔除了那些会引起干扰的无关的概念。对于激发创造力来说，我们不能仅仅只满足一种和谐安逸的状态，因为在表面上，我们看似遵循着一种有规律的联想，而在较深的层次，它们相互叠加渗透，以至于在抽象过程中发生了对这种意识构成各元素的分解。这种自我意识的分离在促进社会生活的同时也产生了一些问题，想要解决这些问题则需要一种互操作性策略——我们考虑物体、图像、肢体动作与声音作为感知批判的一种，非排他性的，并为其开放一种更敏锐的视角。

“Creativity” and “Globalization” seem to be relatively abstract, but at least they are independent of some confusing irrelevant concepts in clear-cut and pertinent manners. As creativity stimulation as is concerned, we should not be confined to a state of harmony and ease. At a superficial level, we seem to carry on a type of well-organized connections in the mind. However, on a profounder front, these connections overlap and penetrate each other so that decomposition of the constituent elements of this self-awareness occurs in the process of abstraction. This separation of self-awareness not only facilitates social life, but also leads to some problems. To resolve these problems, an interoperability strategy is a must - we regard objects, images, body movements and sounds as a kind of perceptual criticism in an exclusive manner, and offer a more acute perspective to analyze them.

87 《缝隙》 Gap

为什么是中国？在此应该强调我其实对它一无所知。我认为在面对一种陌生文化时完全不需要一个安全的距离，语言更不会作为一种障碍，因为沉默有的时候反而是激发与这个世界和他人感知联系的最佳方式。正是这“无知”不断地激发着我的兴趣，我的创造力，对我而言这更像是一种面对未知与抵抗平庸的自我疗愈。对于我来说，问题并不在中国：它的文化、历史、政治体制、经济发展、国际野心、一带一路等，而是更直接的指向于今天的年轻创造者（艺术家）在全球化以及经济认知中所处的位置。这关乎于一场巨型生活实验。对于我们（西方人）来说，北京、上海，犹如一艘飞速行驶的经济巨轮承载着文化的野心。在这里，历史如同多个平行时空被交织在一起。这里是世界性的实验室，也是创造者的圣地，亚文化、地下文化、大众文化、当下任何最新锐的思想被感知释放并在这片土壤中孕育。这同时也让我意识到，对于中国，使我感兴趣的不是汉学，更不是作为“中间商”在东西方之间对艺术进行交易，因为西方艺术家对于传统东方艺术的模仿与卖弄早已如同一个被看穿的异国戏法。

Why is China selected as exhibition site? It should be emphasized that I don't know anything about China in fact. I don't think that a safe distance is necessary when being exposed to an unfamiliar culture, not to mention language obstacle, if any. Instead, silence is sometimes the best way to fuel the perception and connection with the world and others. It is such “ignorance” that constantly arouses my interest. For me, creativity is more like a self-healing panacea for facing up to the unknown and fighting against the mediocrity. For me, China is not the point, such as its culture, history, political system, economic development, international ambitions and The Belt and Road. Instead, the stance of the contemporary young creators (artists) in globalization and economic recognition makes a difference, which is associated with a large-scale life experiment. For us (Westerners), Beijing and Shanghai are like fast-moving huge economic vessels brimming with cultural ambitions. Here history is intertwined like multiple parallel spacetimes. China is a world-class laboratory and sacred place for creators, where subculture, underground culture, popular culture and all cutting-edge ideas of the moment are perceived, unleashed and nurtured in this place. In this regard, I am also aware that what interests me in China is neither Sinology, nor the identity of “middleman” to buy and sell artworks in the East and the West, as Western artists’ imitation and ostentation for traditional Eastern art have been already seen through as exotic tricks.

86 《小心台阶》 Watch Your Steps

在今天全球化的语境下，对于我来说，如何认知一种普世价值才有可能触及实象。所以创造性与全球化的最终目的并不是认识中国，并锻造一个超级文化圣杯，而是寻找并创造一种普遍的、与多元文化相兼容的途径。而艺术作为其载体，呈现形式起了非常重要的作用，为了搭建一个理想的文化雏形，我开启了第一次尝试——“兼容的盒子”计划：

In the wave of globalization at present, in my opinion, it is necessary to think about how to recognize a universal value prior to be exposed to the reality. Therefore, the ultimate goal of creativity and globalization lies in seeking after and originating a universal and multicultural approach rather than learn about China and make it a metaculture “holy grail”. As art is a key to achieving this goal, its manifestation mode plays a very important role. In order to establish an ideal cultural prototype, I started to make the first attempt - Bazaar Compatible Program:

118 《七天七个颜色》Seven Colors for Seven Days

我和我的团队在上海虹桥区新华小商品市场内租了一个小商铺。在六年时间内，这个小空间每15天变身一次，共容纳展现了152位中外艺术家的奇思妙想。我们的想法是：将艺术家的行为和邻居的活动混合在一起，不要去区分什么是艺术家的作品，什么是杂货铺货物；不要去思考比较，哪个更重要，当然也就没有什么是次要的。我们说这个项目是有 “兼容性” 的，因为它的第一观众就是这条街上做着各种生计的邻居。每个人都有自己对艺术家作品的看法、意见，喜欢、不喜欢。也有专门来看作品的所谓 “专业人士”。专业人士有专业人士的看法，非专业人士有非专业人士的看法。没有哪种表达更重要。

My team and I rented a small stall in Xinhua Commodity Market in Hongqiao CBD, Shanghai. In the past six years, this tiny space has been facelifted every 15 days, thereby accommodating and displaying the fantastic ideas of 152 Chinese and foreign artists. We intend to blend the behaviors of the artists with the activities of the neighbors rather than distinguish between artworks and commodities in grocery store, think about or compare which is more important. Of course, nothing is less important in this sense. This project features “compatibility” because its uppermost visitors are the neighbors from all walks of life on this street. Everyone has their own views, opinions, likes and dislikes for the exhibits on show here. Some “professionals” especially pay a visit to this place. The views differ among professionals and non-professionals, but no expression is more important.

11 《盛开》 Bloom

我们不想引导某种最佳的艺术观看之道。我们的目的也不是要把高高在上的艺术带入平常人的生活——因为在我们看来，艺术本来就是和生活并置的、混为一谈的。对面杂货铺的万老板是我们小盒子的管理员，每天负责把卷帘门拉起放下，按照他自己的理解，主动给路过的人介绍艺术家的创作意义本身对他来而言既是一种新的生活，而每次艺术家创作所需要的工具也都能在他的杂货铺里找到。

We never want to recommend the best roadmap to appreciating the art. What we strive to do is not to penetrate the refined top-grade art into the daily life of ordinary people. The reason is that in our opinion, art is originally juxtaposed and synonymous with the daily life. Boss of the grocery store opposite to our exhibition site, who is surnamed Wan, is also the manager of “Bazaar Compatible Program”. He is responsible for pulling up and putting down the roller door every day. According to his own understanding, he proactively expounds on the creative meaning of the artist to the passersby, which is a new lifestyle for him. Tools, needed for artistic creation every time, can also be found in his grocery store.

112 《四的四次方》4⁴

2017年，“兼容的盒子”随着新华小商品市场全部关闭与拆迁而自然结束。

In 2017, Bazaar Compatible Program Project reasonably ended due to the closure and demolition of Xinhua Commodity Market.

“兼容的盒子”项目告一段落，但保罗·德沃图在中国的艺术实践与思考尚未完成。关注侨福芳草地微信订阅号，继续探索这场未完待续的艺术实验。

The Bazaar Compatible Program has come to an end, but the artistic practice of Paul Devautour's philosophy in China has yet to conclude. Subscribe to Parkview Green FangCaoDi Official Wechat, and continue to explore this unfinished art experiment.