在我因為藝遊計劃的補助，到巴西、秘魯、墨西哥拜訪出版作為藝術及政治實踐的人們時，到過的城市都很難被以「安全」形容，貧富差距不是以分析過後的數據呈現，而是街景正在直接告訴人們這件事。雖然美墨邊境的索諾拉（Sonora）因為殺女等社會案件，被視為最危險的地方之一，但老實說，走在埃莫西約（Hermosillo）街頭跟走在聖保羅街頭相比，聖保羅街頭看到的景象反而讓身為獨行旅客的我更加緊張。後來我就找到一個方法，可以讓我安全地拿出相機拍照，而不用扮演在地人，那就是參加城市導覽——在此前我從沒想到，原來觀光客行程同時有保護身家安全的功能。
When I received The Overseas Arts Travel project grant, I headed to Brazil, Peru, and Mexico to visit people who have dedicated in publishing and took it as an art and political practice. The cities I have been to cannot be described as “safe” places, the gap between the rich and poor is not just shown in the analytical data, but also directly shown in the streets. Although Sonora, located on the border between the U.S. and Mexico, was considered as the most dangerous place because of the women murders, to be honest, comparing walking at the streets of Hermosillo and São Paulo, the latter made me more anxious while I was traveling alone there. Later on, I found a way to use my camera to take shots safely instead of pretending to be a local, that was to participate in the city tour-before I had never thought that a tourism activity can be protective as well.
導覽員帶著我們這群觀光客在城市遊蕩，看看一些上個世紀的舊建築物，停下來吃吃Pão de Queijo和Açai，行經的每個街口都可以看到有人席地而臥，雖然在台灣也可以看到類似的景象，但卻不像聖保羅這樣，是在馬路安全島都會躺人的程度。除了躺在路上的人們之外，另一個讓人無法忽視的街景就是大樓上的塗鴉。
這些標籤塗鴉（或塗畫式簽名，tagging）出現在難以想像如何能畫上去的位置，後來查資料才知道，這種塗鴉稱為Pixação，通常以單色、沒有圖像、擁有銳利線條的純文字樣貌出現，其競爭的基礎點除了在於造型及數量之外，也在於「可見度」，也就是畫的位置，甚至可以聽到不少pixadores（畫Pixação的人）因此重傷或死亡。這種風格可以回溯到1980年代，當時的巴西除了正在民主化的陣痛期，年輕人們也深受重金屬音樂影響，此種字型風格就是受到重金屬唱片封面設計的影響。當色彩美麗、造型完整的塗鴉作品可能被商業化來賺取觀光財，在pixadores的實踐中，表達對城市、社會、國家的憤怒仍然是重要的精神。或許這就是為什麼聖保羅會讓我覺得緊張，因為無論是Pixação或是街友，都正在以製造影像的方式，不斷以直球告訴在地人及外來者：這個城市有不公平的事情在發生。
張紋瑄的藝術實踐透過重讀、重寫及虛構出另類方案，來質問機構化歷史的敘事結構，並同時暴露出潛藏在歷史敘事中，不同權力之間的角力關係，於2018年開啟「書寫公廠」長期計畫。
The artistic practice of Chang Wen-Hsuan questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives. To expose the power tensions embedded in historical narratives is a way of managing the relationships and dynamics between individual stories and the writing of history. concerning writing /publishing as an artistic and political practice. She started Writing FACTory, a long-term writing project beginning in 2018.
