Pussy Bow Publication

为蝴蝶结制作的电子杂志以艺术家的文字和厦门中国女性的文章集为特色。这可以被视为女性之声的重新获得,她们的声音曾遭到前一位参展艺术家的破坏性压抑。

This publication was made for the exhibition Pussy Bow (2018) at the Chinese European Art Center in Xiamen, China. It features the artist’s text alongside a collection of writing from Chinese women in Xiamen, each sharing a passage on their experiences and thoughts on feminist issues. This can be seen as a regaining of the women’s voices that were destructively silenced by the previous exhibiting artist.

这,在某种程度上,也是我对于#MeToo运动迟到的献言。当我第一次在网络上看到这个标签时,我不得不重新思考自己的过去,以及努力去理解自己的哪些经历和经验是可以被视为被性骚扰以及性侵犯的。此前,我一直没有公开发表对#MeToo运动的看法,因为觉得自己还未做好准备。但现在我终于有勇气站出来。从女孩、少女到女人,我在成长过程中也曾受到来自男性的眼神、言语和肢体的骚扰,特别是年长的男性。男性,你知道这些经历对于受害者而言是多么羞耻和令人痛苦吗?你知道为了活下去,我们多么努力地试图忘掉这些经历吗?这就是我对#MeToo运动的看法,它充分暴露了男性滥用权力造成的伤害。它是一则女性宣言:我们已经受够了,这不能够被接受,现在是时候严肃地谈谈这件事了。

  – 艾米莉 哈特利-斯库德

This, in part, is my overdue contribution to the #MeToo movement. When I first saw the hashtag online, I had to reassess my past in an attempt to understand whether some of my bad experiences would actually be considered sexual harassment and assault. I wasn’t ready to publicly post ‘#MeToo’, but I’ve finally gained the strength to have a voice. I am deeply grateful to those who have shared their stories and paved the way for others to speak. I write from my personal understanding of being a child, a teenage girl, and a woman who has experienced unwanted attention in the form of looks, words and touching from men; predominantly much older men. Men – do you have any idea how shameful and distressing these experiences are for the survivors? Do you have any idea of how hard we try to shut these experiences out of our mind just in order to live? This, among other things, is what #MeToo is about for me. It exposed just how insidious men’s abuse of power is. And it said to everyone: we’ve had enough, it’s not OK, and let’s fucking talk about it.

– Emily Hartley-Skudder 

我逐渐成长起来的自我认知里,我发现我在小时候并没有受到好的性别教育,我想这其实是中国过去的普遍现象,在我们这一代人的小时候,这都是被学校和父母所忽视和感到羞耻的事,我们一边受到传统性别思想的影响,一边又接触到更大的世界更完善、正确的思想。我很幸运,我发现了自己的缺失,我自主地选择学习更多的知识、先进的观念,弥补童年的不足。可是这样的我其实是受到撕扯的,虽然我总是不承认。而我也常常看到我的朋友是怎样的挣扎着。有时我会感到一种女性天生的由生理带来的弱势,有时这也会让我们在精神上更脆弱。无论是在现实还是艺术或文学里,我总是能感觉到里面女性的痛,生理性的心理性的。因为它们让我想起过去所有令我讨厌和恐惧的男性。当我们承受不了时可以关上书,关掉一个网页,离开美术馆,但是我们不能假装问题不存在,痛苦不存在,我们也不能因为是“幸存者”就沉默。真可笑啊,我在这谈这么多,我妈妈也不知道。

– 匿名

In my growing self-awareness, I found that I did not receive good sex education as a child, which I think is actually a common phenomenon in China in the past. As a child of my generation, this was something that was ignored and shamed by schoolteachers and parents. We were influenced by traditional gender thinking, while also being exposed to the larger world and a series of better and more correct thinking. I am lucky; I realized my own lack of understanding. I chose to learn more knowledge and advanced concepts, to make up for the lack in my childhood. But through this I was actually torn, although I always denied it. And I often see how my friends struggle. Sometimes I feel a physical weakness that women are born with, and sometimes it makes us more mentally vulnerable. Whether in reality or in art or literature, I can always feel the female’s pain from it, physiologically and psychologically, because they remind me of all the men I hated and feared in the past. 

When we cannot stand the pain, we can choose to close the book, turn off the web page, leave the gallery, but we can’t pretend the problem doesn’t exist, the pain doesn’t exist, and we can’t just be silent because we’re survivors. That’s ridiculous. I’m talking about so much here, and my mother doesn’t know.

– Anonymous 

2015年8月10日晚,网友发布寻人微博称某大学学生Z失联,失联前Z曾前往同学L所在剧组拍戏。L已被警方带走,“与Z有关系,事情很严重”警方称。

2015年8月11日上午,网友不断发布寻找Z信息。有微博消息称,警察在大学附近饭店找到L。饭店向记者证实了此事,称L被派出所警察带走,但不愿透露过多信息。

对此,网友评论:受害者不应独自出门与同学见面,穿着打扮不应太过引人注意。请问,你认为Z和L的性别分别是什么?
(改编自真实事件:8·10中传女生遇害案)

– 孙熙

On the evening of August 10, 2015, a netizen (internet user) posted a notice for missing persons on his/her Weibo account, the notice illustrates that he/she had lost contact with a university student, Z. Before that, Z had gone to work as part of a film crew with their classmate L. 

On the morning of August 11, 2015, netizens continuously posted on Weibo in an attempt to find information about what happened to Z. According to an information source on Weibo, police found L at a hotel near a university, and they took him away. A policeman stated, “it (this case) has a relevance with Z and it’s serious.” An employee of the hotel confirmed this news, saying L was taken by police to the local police station, but the employee refused to give any more information.

Regarding this, some people online comment that the victim Z should not have gone out alone to meet classmates, and the way he/she dressed should not have been too conspicuous.

Could you distinguish the gender of Z and L?
(Adapted from a real event: the murder of a university student on August 10, 2015)

Sun Xi

虽然作为一个很胖的女性来说,我很少把自己当作传统意义上的女性看待。因为我不那么柔弱,也没有太多需要别人帮助的地方。应该说,现在的大部分年轻女性正向着这个方向发展。她们努力地独立完成所有工作,并解决生活上的问题。很多时候,我们都在为自己变得更好而努力,而不再是为了取悦男人。这个世界对于有能力的女性的包容度也越来越强,更多的工作开始接纳女性职业者,提拔有能力的女性并对她们表示敬佩。虽然不是生活中的所有方面都这样,但是我认为这是一个很好的开始。这也表明着,社会已经开始接受各种各样的女性了,她们可以很酷,也可以很柔弱或可爱。不像是一个男性如果打扮的非常可爱,他就会被大多数人认为是非常疯狂的。就像我,很胖,但是比起以前会被嘲笑,现在更多的是被当作普通女性看待。这个社会可以接纳任何模样任何打扮的我,是我觉得作为女性最好的一点了。 

Although as a very fat woman, I seldom regard myself as a woman in the traditional sense. This is because I’m not so weak, and I don’t need a lot of help from others. It should be said that most young women today are moving in this direction. They strive to do all the work independently and to solve problems in their life. Most of the time, we’re trying to be better for ourselves, not just to please men. The world is also becoming more tolerant of ambitious women, with more jobs being given to female professionals. Qualified women are being promoted and showed respect. Not all aspects of life are like this, but I think it’s a good start. This phenomenon shows that society has come to accept a variety of women, those who are cool, delicate or adorable. Unlike a man who dresses very cutely – he may be considered by a lot of people to be crazy. Like me, I’m fat, but I am seen more as an ordinary woman than I used to be. This society can now accept any appearance of me, any way I dress, which is the best thing that I can think of as a woman.

– Hana

事实上性暴力对于女性的伤害不是暂时性的随着伤痕痊愈而消弭的东西,相反可能伴随这种黑暗的、不公的伤害一生。不论是否在恋爱或者婚姻中,抑或是普通甚至陌生关系中,实施性暴力的男性在我看来就是没有理智和自控的野兽。

小时候的我曾目睹父亲在醉酒后对母亲拳脚相加,我想那时候的家庭对母亲来说确实就是个要逃离的牢笼,没有人可以帮助她,而最终离开那个男人的她也重新获得了新生,毫无疑问这非常艰难。尽管那个男人带来的阴影难以消失,但我相信着,当阴影的源头消失,阳光总会一点一点温暖她。

In fact, the harm of sexual violence to women is not something that can be temporarily eliminated with the recovery of the wound, but instead may be accompanied by the dark and unfair injury for a lifetime. Men who engage in sexual violence are, in my opinion, beasts without rational thoughts and an ability of self-control, whether in love or marriage, or in normal or even unfamiliar relationships. 

When I was a child, I watched my father beat my mother when he was drunk. I think at that time, the family was really a prison for my mother to escape. No one could help her, and she was reborn when she finally left the man. No doubt it was very difficult. Although the shadow that the man brings is difficult to disappear, I believe that when the source of the shadow disappears, the sunshine will warm her little by little. 

– W

与此前这位艺术家合作的舞者,韵可如此写道:
《棋子》这个作品,我与P****一直称它为”现场行为表演”。但在它成型之后,它呈现所处的空间、包含的多种元素,以及我对元素的整理、拼接和架框,还有它最终的呈现方式,都使我更愿意把它往“剧场”的方向拉拢,它也更像是近似于剧场的现场行为表演。从8月底开始,我们用了大概12次排练的时间来完成整个作品。在进行排练以及交流的过程中,我觉得有两点是需要让大家知道的,第一是有关我们对表演需要有“真实性”的尝试与讨论,第二是我们最终结束点的选取。

首先有关于表演的“真实性”。我和P****的排练并不是一直都顺利进行的,特别是在需要两个人配合的片段,我们很多时候都会因为在“感觉”上出现的偏差而停止那一片段的排练。所以在排练及片段尝试的过程中我们会尽可能多的融入设定的情景以及自己的角色,来将整个行为自然化。基于表演时的“真实性”,我在与Pedro排练进行得非常顺利的时候,能偶尔感受到“我”在作品中作为女性所处于的“劣势地位”*,从而导致我在排练的某些情境下感到不舒服或者害怕。但这种不舒服或者害怕的情绪从某种角度上来说就是真实的体现,而且我认为对整个表演来说,这种真实无疑是好的。

(*有关“劣势地位”的解释:对于我来说,整个作品很大一个篇章是在重塑女性被性侵的过程,现场的表演可能因为故事的还原,以及两个演员形象的巨大差异,而将“女性在社会中处于劣势”的问题扩大化。然而我觉得这个问题的确是在整个作品中需要被表现出来的。) 

续下页…

Words from Yunke, the dancer who worked with the previous artist:
P**** and I would rather consider “Chess Qizi” as a live performance. After we decided every detail, its space and multiple elements, along with my way of organizing, collaging, structuring and presenting, it made me think of theater. So I think it could be regarded as ‘live performance theater’.

From the end of August, we rehearsed 12 times. There are two things I want to declaim: the first is about the authenticity of this performance, which we discussed and experimented during the rehearsals. The second is what we settled on for the ending of this performance. In regards to the authenticity of this performance, P**** and I got stuck many times during the rehearsals, as we could not find the right feeling in our cooperation. We tried very hard to involve ourselves in the stories and characters to make our performances integrated. Sometimes I would sense the scared and uncomfortable feeling of the character when I was devoted. These feelings come from the inferior status of the female in this performance. I think it’s helpful for me to have these feelings, as they add to the authenticity of my acting.

(*Explanation of the “inferior” status: a large chapter of this performance is a re-enactment of a girl’s sexual harassment story. The sharp contrast of the two figures may amplify the inferior social status of the female. It’s a discussible issue I think we need to address it in this performance.)

Continued…

其次是有关结束点选取的问题。关于表演的结束形式我们其实有另外一个版本,但在讨论过后,我们都认为它过于简单和直接,从而选择了这次表演所呈现的结束方式。但是我没想到的是,这次的呈现方式(从故事重现推动到结尾双方的接触)依旧会让部分的观众觉得反感或不接受。在我看来,最后男人对女学生做出的承诺、私自搭在女学生肩上的手还有想要环抱住女学生的双臂是作为男性的自负还有欲望的体现。而我们选择在即将被环抱的那一刻结束了整个表演,从某种角度来说也是给女性的选择留出了余地。我们想通过结束的造型抛出“女性的选择”问题。而我们在排练的过程中也进行了“女性对于男性提出的“条件”接受与否”的讨论,以及女学生面对诱人的承诺,会不会游离在“接受”与“不接受”之间。这种游离对我来说比直接的拒绝是更为复杂也更加耐人寻味的,它可能关乎于爱、可能关乎于利益、也可能关乎于一方对另一方的控制及利用,而它最后带来的结果,也可能将女性的“劣势”转化成一种“优势”。

– 韵可

For the ending of this performance, we had two versions. One passed as too literal and straightforward, so we didn’t use it. But what I didn’t anticipate was the way the presentation (from the re-enactment of the stories to the physical contact at the end) still made some viewers feel disgusted or rejected. In my opinion, whether the teacher offered favors to the young female student to help her study abroad and put his hands on her shoulders, or whether he tried to assault her; both versions exemplify the arrogance and sexual desire of the teacher as a male. The reason we chose to end the performance at the very moment the female is clutched by the man, was because we thought it left room for women’s choices in some way. We discussed a lot during the rehearsals whether the female is accepting of the man’s “offer” or not, and whether female students sometimes drift between “accept” and “reject” in the face of tempting promises. This dissociation is more complex and intriguing to me than a direct refusal. It may be about love, interest, control and the use of one person over the other. Perhaps, the female could take advantage of these choices to turn her inferior status and “disadvantage” into “advantage”.

– Wan Yunke

当我看到前一位在CEAC做展览的艺术家作品的时候,作为一个女性,我其实会有一点,但不是很强烈的不舒服。我看到他在用男性的视角在看待性,并阐述一个性暴力的问题。我没有从他的作品中体会到怎样去解决这个问题。从他的作品以及其他女性对他作品的态度中我关注到男女对性别和性的看法如此不同。我会觉得有太大的隔阂以致男女双方各执一词,无法进行沟通,也无法提出有建设性的解决方法。但我相信会有一批人,可能作为艺术先锋,可以去跳脱出自己性别的限制,去让男男女女都不偏执在自己的圈子里。我期待着有一天社会能达到真正的两性和谐平等,我也期待着Emily的展,我觉得她用她坚持的女性主义,能为大家带来很大的启发。

– 王若愚

When I saw the work of the previous artist exhibiting at CEAC, as a woman, I had a small feeling of discomfort, but not too much. I saw him looking at sex from a male perspective and describing the issue of sexual violence. I don’t know how to solve this problem from his work. From his work and other women’s attitudes toward his work, I’m concerned about how men and women view gender and sexuality differently. I feel that there is such a big gap between men and women that they are not able to communicate and come up with constructive solutions. I believe that there will be a group of people, perhaps as art pioneers, who can overcome their own gender constraints and help both men and women become less paranoid in their own circles. I look forward to the day when society will achieve true equality of the sexes, and I look forward to Emily’s exhibition as well. I think she will inspire us with her persistence of feminism.

– Ruo yu Wang

前几天看了一出我认为以艺术之名泄私欲的情景剧。艺术家把自己最私密的细节和对年轻中国女性的欲望和冲动毫无保留地公之于众,并将此与红楼梦的尤三姐篇、#MeToo的社会事件、房思琪的秘密花园的作者的故事搭建联系,但显得牵强而刻意。于我看来他为他的创作穿上了一层义正言辞为叫醒女性为自己弱势地位平权的意识的外衣,但又很难辩驳那个真诚的袒露和狡猾的辩解之间的模糊的界限。 

配合他完成这出表演的女舞者,也只是根据他的故事框架进行配合,并不能完全明白他为什么要表演这个故事的意图。她在与其工作过程中,确实感到非常害怕,但她认为这种害怕的情绪对她的表演呈现是好的。如果我认为她作为一个女性的身体被消费,却也不妥,她只是表演了被消费的那个女性角色。

在场的观众,有人不舒服,有人愤怒,有人无感,甚至有人享受。然而,不管心里有多尴尬和不适,我们的在场和观看在某种程度上都构成了消费行为。 

续下页…

A few days ago, I watched a scene play that I thought released the artist’s personal desire in the name of art. The artist exposed his intimate details and the desires and impulses of young Chinese women without reservation, and attempted to connect them with the You Sajie story of the Dream of Red the Chamber, the social movement of #MeToo, and Fang Siqi’s Secret Garden, which seemed far-fetched. In my opinion, he put on a cloak of righteous words for his creation in the guise of awakening women up to their weak position and unequal rights. But it is hard to refute the blurred boundary between the sincere exposure and the canny excuse.

The female dancer who cooperated with him to complete the performance coordinated with him according to his story frame, and could not fully understand why he intended to perform the story. She was really scared during her work, but she thought that this kind of fear was good for her performance. If I think that she is being consumed as a woman’s body, it is not appropriate, but the artist may say she just performed the female character being consumed. Of the audience present, some were uncomfortable, some were angry, some felt nothing, and even some enjoyed it. However, no matter how embarrassed and uncomfortable we were in our hearts, our presence and viewing of the performance to some extent constitutes consumer behaviour.

Continued…

两个例子: 

 a.       一个所谓行为艺术家将一条流浪狗拴在尼加拉瓜一家美术馆内,活活将狗饿死,以观察人们的反应。展览中配有音乐以突出狗的苦难,甚至把饼干洒在狗够不到的地方。约200万网民联名谴责,签名抗议。 

b.        三年前厦门一个展览上某艺术家的行为作品是在一只鸟周围放鞭炮,使鸟受到了惊吓。另一艺术家感到愤怒和强烈谴责,将行为过程的图片放在微博谴责其不当行为,征集了千人转发。但是最终不了了之。 

        思考的越多,我越似乎感到也无力谴责其卑劣的创作手段。艺术是无辜的吗?艺术没有所谓的对错吗?艺术是没有道德底线的吗?艺术是挑战道德底线的吗?刺激的欲望的才是好卖的吗? 

– 林婧

Two examples:

a. A so-called performance artist tied a stray dog in an art gallery in Nicaragua to starve the dog to death to observe people’s reactions. The exhibition was equipped with music to highlight the dog’s suffering, and even sprinkles of dog food in places where the dog couldn’t reach it. Around two million netizens jointly condemned this and signed a petition in protest.

b. Three years ago, an artist’s performance in an exhibition in Xiamen was to set off firecrackers around a bird, causing the bird to be scared. Another artist felt angry and strongly condemned this, placing pictures of the behavior on Weibo to condemn the artist’s misconduct, and collected thousands of people to forward it on. But the cause ended up being lost.

Is art innocent? Is there no right or wrong in art? Is art without a moral bottom line? Does art challenge the bottom line? Does eroticism in art help it sell well? The more I think, the more I seem to feel powerless and sad that I don’t know how to condemn his despicable means of creation.

– Lin Jing

建议不针对艺术家的具体作品。而针对消费女性这一主题来创作。如果要谴责,舞者自己本身是否意识到自己实际上被操控被消费的问题。如果要使用法律手段,中国对性骚扰这一块的条例是很模糊甚至缺失的。当然法律可以解决问题,但是艺术是解决不了任何问题的。只能说艺术提供了让人思考更多的其他可能性。 

如果要做,当然是希望呈现出更有力的作品。建议往如何让女性更自由的方向去发展,而不是针对那个艺术家个人去反击他,相信不论如何反击,他是不会不舒服的。因为反击正是他要的反应。并且如果他是扭曲的人性,我们用正常的人性去面对他是无效的。 

– 艺术家和朋友的意见(匿名)

It is recommended not to target the artist or their specific work, but create better art about women’s issues. If we want to condemn this artist, we must then question whether the dancer herself is aware that she is actually manipulated and consumed. If we try to use legal means to address this, China’s regulations on sexual harassment are very vague or even missing. Of course, the law can solve some problems, but art can not solve any problem. It can only be said that art offers other possibilities for people to think more.

If we are to condemn, of course, it is better to present a more powerful work. It is recommended to develop this in a way that makes women more free, instead of targeting the artist himself to counter him. I believe that no matter how you fight back, he will not be uncomfortable. because the counterattack is exactly what he wants. And if he has distorted humanity, it is ineffective for us to face him with normal humanity. But yes, I still believe the world needs somebody to stand out to fight for what is right.

– Compiled comments by Lin Jing from artists and friends (anonymous)

對於一個年長且已婚的男性藝術家而言,他的欲望指向的是“中国女孩”或是他的艺术?当一个又一个“中国女孩”成为***的一件又一件作品及作品背后的浪漫故事时,她们的美丽和灵魂成了艺术的献祭。在作品完成后,她们成了过去时,她们背负着不为人知的秘密消失,只留下供人瞻仰的艺术作品。而当人们看着这些作品时,却在惊叹艺术家对艺术的执着和狂热,而绘画背后的眼泪无人擦拭。

他为自己的欲望包装了一个对象——“中国女孩”,但他并未意识到,这“力比多”对其对象并没有欲望,它只是渴盼欲望本身。正如他在《棋子》中对女学生欲拒还迎的态度的设定,对《洛丽塔》的引用,是欲望与欲望的碰撞。他们在彼此中看到的不是对方,而是自己。他们成了彼此遭遇自身欲望的“镜子”。但在性骚扰或侵犯事件中,欲望只是其中一方面,更多的是隐忍、伤害、折磨、痛苦、贬损等等。这些是***无法捕捉的,他对女性和性暴力的理解始终是模糊的。这场表演始终是他欲望的投射,而非对被害者的关照与会心理解。

续下页… 

For this aged, married, male artist – was it his desire for “China girls” or was it desire for art? When these “China girls” are turned into paintings and romantic stories, they sacrifice their beauty and souls to art. When the paintings are finished, the “China girls” disappear with unspeakable stories. We can only know them by the paintings. But when standing in front of these paintings, the audiences only give compliments to artist for his creation, instead of mourning for the tears of the women behind the artwork.

P**** uses “China girl” as an excuse for his desire, but he did not realize that this “libido” does not desire an object – the other – but it longs for desire itself. Just as the ambiguous attitude of the student he choreographed in his performance and the reference to “Lolita” are the collision of desires; what they see in each other is not the beloved, but their own desire. They become the “mirror” to reflect each other’s desire. However, in the cases of sexual harassment or violation, desire is only one aspect. The complexity contains tolerance, torture, pain, tears, denigration, and so on. These are things that P**** can’t capture, and his understanding of women and sexual violence is always vague. This performance is always a projection of his desire, not care and understanding of the victims.

Continued…

***的艺术永远无法超越自传的表达,他的否定性借由艺术和哲学之名逃脱道德和伦理批判。而艺术创作所裹挟的“灰色地带,正是我们作为观众授予艺术家的权利和平台。但我们在观看这场表演过程中经历的不适,并非因为艺术家用真实的故事“触发”或挑战了我们对性暴力的了解、认识和记忆。新闻中充斥着#MeToo运动中被表达和传播的同一个悲剧主题的不同版本,甚至深入细节。我们无法接受的是,成为见证其欲望的“镜子”,被他的欲望充斥、裹挟。观众在这里被剥夺了自己的面孔。 “他者在这里被取消,连带被取消的,还有他者的感觉,以及自我存在的感觉。”

而对女性及女性主义来说,“在反强奸文化中,强奸还将继续被刻画,它的表现形式将找到全新的、令人满意的方式。强奸就是强奸,它也是一个诚实的隐喻。强奸应当是一个比喻,一个属于曾经被混蛋们践踏过的人的艺术史主题。(约翰娜·菲特曼)”

–  张芳

P****’s art can never transcend the expression of autobiography, and his negativity escapes moral and ethical criticism in the name of art and philosophy. This “gray area” of art is the right and platform that audiences grant to artists. But the uncomfortable feeling we experienced during the performance is not because the artist used true stories that “trigger” or challenge our knowledge, understanding and memory of sexual violence. The news is full of different versions of the same tragic theme that are expressed and spread in the #MeToo movement, and even in in-depth details. What we cannot accept is to become the “mirror” to witness his desire. The audiences were deprived of their existence and feelings.

Whereas, for women and feminism; “rape, broadly speaking, must still figure in anti-rape culture, so let it be represented in gratifying new ways. Let rape be rape as well as, at last, an honest metaphor. Rape should be a trope, an art-historical subject belonging to the people fallen men have traditionally fucked over.”  (Johanna Fateman)

–  Zhang Fang

直接针对上一个在CEAC做展览的艺术家以及其他有着类似态度的人们:
作为一名来自新西兰的白人、女性及艺术家,我想分享一些我的个人化的以及情绪化的一些回应。虽然我不能代表中国女性或者说完全理解我们之间文化差异的细微层次性, 但是,我相信女性经验的许多方面是有着穿越文化界限的普遍性的。

你的行为让我很震惊、愤怒,也引起了其他人的反感和厌恶。

***, 你不应该利用这个国家在批评和性别文化上的悬殊,暗中迎合自身欲望的同时,还装模作样的议论中国对骚扰事件的处理方式。

你不应该称自己为女权主义者,当大家都能看得出你在撒谎。

***,作为一个年长的白人男性,你不应该利用女性的悲惨遭遇来满足自己艺术创作的需求,无论是在中国还是在其他地方。你不应该以#metoo运动来标榜自己的创作,以此蹭热点,为自己的艺术赚取关注和争议。你不应该将情感和性方面的骚扰进行包装,浪漫地称其为“爱的黑暗面”。***,你意识到问题的严重性了吗!

你不应该以过时的哲学言论来使你的行为合法化。用你所谓的“哲学”阐述你对“中国女孩”的想象和欲望也无法使你的行为正当化。

续下页…

Addressed directly to the previous exhibiting artist at CEAC, and others like him:
Now, as a white, female, artist from New Zealand, I am sharing my personal, emotional response. I cannot speak for Chinese women, or fully to understand the delicate layers of our cultural differences. But I believe there are universal aspects to women’s experiences, which transcend cultural differences.

I am deeply triggered and angered by your behaviour. Many others are disgusted and hurt by your behaviour as well.

P****, it is NOT OK to come to a country with very different cultural structures of criticism and gender, perpetuate and celebrate this predatory behaviour, and then criticize how that country deals with sexual assault cases. How dare you.

It is NOT OK to say you are a feminist, when you are so blatantly NOT a feminist.

As an man, it is NOT OK for you to use cases of sexual abuse against women for your own personal gain within your art practice, in China or anywhere else. It is NOT OK to cite the #MeToo movement in relation to your work, celebrating it as a “hot topic” so you can add ‘relevance’ and ‘controversy’ to your art. It is NOT OK to romanticize emotional and sexual violence by calling it “the dark side of love”. P****, YOU are the problem.

It is NOT OK to cite outdated philosophy to somehow justify your actions. Writing your own “philosophy” about how you idealise and lust after “China girls” does NOT justify your actions.

Continued…

***, 你怎敢如此大胆的将这一整个国家的女性都变成你异域幻想、迷恋和物化的对象?你以为借艺术之名就可以让你的行为不受指责吗?

佩德罗,在公然表达对“中国女孩”的欲望,并在此前的中国驻地项目中跟踪骚扰一个中国女性之后,你认为自己还有资格说要为没有资格代替中国女性发声吗?

我们不需要男性艺术家在我们面前重演性骚扰的情景。我们不需要看到一名艺术家用暗示的形式来演绎女学生被强奸的事件并明显的引以为傲。你只是再次复述#MeToo运动中那些被不断讲述的故事并为你的艺术争取曝光率,你完全没有考虑过现实中受害者的感受。虽然你也曾遭遇过创伤,然而这不能成为你揭开其他人另外一种创伤的借口。

如果你真的想帮助性骚扰的受害者,你最应该做的就是去倾听。不要再提对“中国女孩”的性幻想,把这个秘密留在心里。你可以继续以你的经历进行创作,但不要再把别人的伤痛过往当作你的创作素材。

***,你在制造伤害,你的创作烂透了。
***,#你完蛋了

– 艾米莉 哈特利-斯库德

P****, how can you so blatantly admit that you exoticize, fetishize and objectify an entire demographic of people you call “China girls” and think you can get away with it because you call it art?

As a man who has openly expressed his desires about “China girls” and who publicly said he has stalked a young woman on a previous residency in China, you are NOT qualified to speak on behalf of Chinese women.

We DO NOT need our experiences of sexual assault performed back to us as art by male artists. We DO NOT need to see the implied rape of a schoolgirl, performed by an artist who is obviously enjoying himself. You are re-enacting the issue of #MeToo right in front of us without any consideration for real-life suffering, and you are using it for your own publicity. Just because you have been through trauma in your own life, it does NOT mean you have the right to inflict another type of trauma upon others.

If you do actually want to be an ally to survivors of sexual abuse, you need to LISTEN, and you need to keep your sexual fantasies about “China girls” TO YOURSELF. You need to stick to making art about your own experiences, but NOT the experiences that you’ve orchestrated for your own gratification.

P****, you are perpetuating harm. You are also making bad art.
P****, #TIMESUP

Emily Hartley-Skudder

PUSSY BOW: 2018/11/10-24
此次展览得以开幕基于以下前提:向因上一艺术家带有性别歧视主义意识形态的作品而受到伤害的观众,中国欧洲艺术中心致以诚挚歉意。As a condition of this exhibition taking place, CEAC apologizes to those hurt by the previous artist’s promotion of sexist ideology.