王硕
北京大学艺术学院博士候选人
王硕是北京大学艺术理论的博士候选人，美国宾州大学艺术史访问学者。在完成修课与论文开题后，她一边从事研究，一边进行策展。去年，在北京论坛上，她与程莹合作发表了一篇论文，题为”作为边缘思考的历史：威廉‧肯特里奇与他关于朝向模范歌剧的笔记”。2015-16年间，她在第二十届美学国际大会上发表了”禅宗佛教与中国当代抽象艺术”的论文，并因此获得了年轻学者奖的荣誉。同时，针对1985新浪潮艺术运动这个主题，她访谈了艺术家并进行研究。在策展方面，她参与了在北京ARS空间举办的”抽象艺术及其中国参照”（2015）这个项目，以及在俄国圣彼得堡举行的”从现在解放过去：中国当代艺术”（2015）这个展览。
Wang Shou
Peking University
Shuo WANG is a doctoral candidate of Art Theory from Peking University in China, a visiting scholar of art history at university of Pennsylvania. Since completing her coursework and defending her dissertation proposal, she has divided her time between research and exhibition activities. Last Year, she cooperated with Ying CHENG to present a paper titled “History as Peripheral Thinking: William Kentridge and His Notes Towards a Model Opera”at Beijing Forum. In the academic year 2015-16, she presented a paper titled “Zen Buddhism and Chinese Contemporary Abstract Art” at the Twentieth International Congress of Aesthetics, where she received the Young Scholar Awards Honorable Mention. She also conducted research and interviewed artists regarding the context of contemporary Chinese art in the 85' New Wave Art Movement. In terms of exhibitions, she was a curatorial assistant for “Abstract Art and Its Chinese References,” in ARS Space, Beijing, China, in May 2015, and “Liberating the Past from the Present: Contemporary Art in China,” at the Loft Project ETAGI, St. Petersburg, Russia, in September 2015.
发表题目
“回收”作为转喻：南非当代艺术中的中国外销成品
在南非当代艺术实践中，垃圾回收是常见的主题，可见的垃圾包括有塑料编的袋子，便宜的轻型玩具以及彩色的塑料盒。很多的这些垃圾原来是从中国进口的商品，他们构成了南非当代艺术中的一个异国景观，展现了中国是世界工厂的现象，将便宜有用的日常用品倾销到世界各地，并在南非的市场中占有一席之地。在这个脉络中，“回收”垃圾作为一个暗喻的集合，以及回收原来的意涵，不仅仅意味着将物质原料转化为用，同时也指出了如何消化进口商品以及外国商品介入南非日常生活的问题。
这篇文章聚焦在由回收的中国外销成品所做成的艺术品上，并讨论“回收”这个暗喻，以发现社会场景与个人经验如何在中非贸易中发生作用，从而将我们思想的侧重点从一般的刻板印象调整至物质的转喻上。为了要表述对于资本主义所有权与改造的质疑与反省，具有想像力投射作用的艺术品开始浮现，并且无可避免地重构了文化论述。通过这样一个基于另类性的比较，这篇文章将探讨物质的转喻。这些南非艺术家的创意实践可以被视为一场对话，从每个文化的资源中汲取多样性，并且以一种将认同描绘为某种全球化的方式，反映当代的动态独特性。
Speech
“’Recycling’ as Transfiguration: Chinese Export Products in South African Contemporary Art”
Recycling of rubbish is most often seen in South African contemporary art practice, with varied rubbish materials, such as plastic woven bags, cheap light toys and colorful plastic casings. Lots of commonplaces are imported from China, they constitute an exotic spectacle in South African contemporary art, which manifest the phenomenon that China as the world’s biggest exporter, selling cheap but functional daily products, plays a great part in African local markets. In this context, “recycling” of rubbish as a metaphorical collective, along with the original recycling intention, not simply means turning material resources into good account and making the best use of everything, but it also presents the problem with digestion of imported goods consumption and interference of foreign commodities to their daily life.
This essay concentrates on the artworks generated by recycling Chinese export products and discusses the metaphor of “recycling”, to discover how the social scene and individual experiences function through China-Africa trade, adjusting thoughts emphasis from commonplace stereotypes to material transfiguration and beyond. In order to express suspicion and introspection on the ownership and transformations of capitalism, artworks with imaginary projections have emerged and are reframing the cultural discourse inevitably. Through a comparison based on alterity, the essay is going to explore the material transfiguration. These creative attempts made by South African artists could be seen as a dialogue, making diversity from an irreducible resource within each culture and reflect upon the contemporary dynamic peculiarity in a way that portrays identity in certain globalization.