诸众之貌 “Till We Have Faces!”
主办：亚际书院
协办：上海当代艺术博物馆，中国美术学院当代艺术与社会思想研究所
赞助：梦周文教基金会
地点：上海当代艺术博物馆户外帐篷（上海市花园港路200号）
Organized by Inter-Asia School
Co-organized by Power Station of Art, Institute of Contemporary Art and Social Thought (China Academy of Art)
Sponsored by Moonchu Foundation
Venue: Outdoor Tent, Power Station of Art (200 Huayuangang Road, Shanghai)
2014上海双年展论坛召集人：黄孙权
Huang Sun Quan, Shanghai Biennale Forum Convener
“亚际双年展论坛”总策划：张颂仁 高士明 陈光兴
Inter-Asia Biennale Forum Initiators:
Chang Tsong-Zung, Gao Shiming, Chen Kuan-Hsing
诸众之貌：诸众亚洲资料库计划（multitude.asia）
“Till We Have Faces!” (multitude.asia) Project
无以计数的词汇被创造出来描绘社会的集合，人民、大众、人群、群众、诸众、阶级等等。越是从上而下的权利部署就喜欢调动这些词汇，知识份子与民粹主义者几乎是同样热情的表达对这些词汇的爱好。它们出现在各种传播媒介上，网络技术的发展使得它们愈来愈精彩的指涉与它们的恰恰相反的事务，精英、少数、小众、资产阶级集团的偏好。如今，我们企图重新构造这些词汇的内容，目的不在于绘制词汇的正确意涵，相反地，我们要歧义它们直到不同面貌出现为止。用植物的比喻来说，我们在找寻社会动力结构的种子，而非花朵。我们想看到一个群体如何在与其他群体交往中，展开知识与实践的自我学习，动员力的自主与连结，这向来也是亚际书院所关系的人民与思想的主轴之一。
Innumerable words have been used to describe social groups, we have familiar terms such as the people, the public, the crowds, the masses, the multitude, the class, all of which are terms favored by those who prefer to deploy power in a top-down hierarchy. Moreover, intellectuals and populists fall for the very same terminology with similar enthusiasm. With the development of network technologies, the significations of these words have been brilliantly transformed to refer to totally opposite states of affair, such as preferences of the elites, the selected few and bourgeoisie groups. We now propose to restructure the contents of these words, not with the purpose of correcting the misnomers, but with the aim of creating ambiguous meanings until they take on new faces. Metaphorically speaking, what we are searching for are the seeds of social dynamic structure, rather than the flowers emerging from the dynamics.
We wish to show that knowledge and practice can be self-taught through association with other groups of people, then mobilization and networking will also become autonomous. This faith in the people and their thought has always been the core belief of Inter-Asia School.
本项目将从亚洲范围开始，以网站资料库建立群体交往的档案，每一档案有完整的影像记录与深度论述，及其影像精华版，以此开始，诸众亚洲方现。
Starting from Asia, we will start to build archives of group interactions on the website. Every archive will contain complete video records and in-depth discussions. We will also prepare a condensed version of each archive, which will serve as the catalogue for dispersing. Until the Program rolls, then faces will emerge.
帐篷内外的文化生产：“诸众之貌”2014亚际双年展论坛（上海）计划
Cultural Production Inside and Outside the Tent: “Till We Have Faces!” (multitude.asia) Project 2014 Inter-Asia Biennale Forum (Shanghai)
诸众是存在于社会性（societal）空间，而不仅是社会关系下模糊的分类，社会性空间需要粘着剂以使诸众产生连结（articulation）并得其自身/群体得以辨认。文化生产因此关键至要，文化生产总是起着重要作用，使得诸众间有了深刻同感，集体社会动员力量，以及对抗性的区分。文化不仅生产于追寻各种文化主体过程中的矛盾冲突、认同与情感中，也产生于生活中的通俗文化以及国族文化象征意涵里。“诸众之貌”将在亚际双年展论坛集体的行动过程中，提出之前访调/拍摄成果的提问：在亚洲内，我们如何思考自身的文化生产？或试问，音乐、媒体、剧场是什么？起了什么作用？可以是什么？我们将以集体行动的方式提出问题，邀请香港的独立媒体成员、台湾的黑手那卡西成员，以及日本的樱井大造先生，分别就他们独特的实践提出分享与讨论。
The multitude exists within societal space: it is not only a vague category of social relations. Societal space requires a kind of adhesive force to help the multitude to develop the possibility of articulation and to gain both a sense of identity of the self and of the community. Cultural production thus plays a crucial role in allowing the multitude to develop a deeper sense of empathic community/commonality and as a force for soical mobilisation that is distinct from confrontational action. Culture is a product not only of the contradictinos, conflicts, identifications and emotions that arise in the pursuit of different cultural entities, it is also a product of the culture of everyday life and of the implications of symbols of national identity.
“Till We Have Faces!” (multitude.asia) Project will constitute a process of collective action at the Inter-Asia Biennale Forum, and will pose a series of questions that have been gleaned from the results of interviews and videos, such as: Within Asia, how do we think about our own cultural production？What exactly is music, media, and theatre? What functions do they serve? And what could they potentially be？We will apply a model of collective action to raise and explore these questions, inviting the participation of members of Hong Kong’s In-Media group, Taiwan’s Black Hand Nakasi Band，and Mr Daizo Sakurai from Japan, to share and discuss their unique practices.
台湾的黑手那卡西乐队是台湾最重要的一支“工人乐队”，从工人的集会场合“助唱”，到与工人们一起做音乐，最后与台湾社会不同底层团体合作，音乐实践他们来说不仅只是帮助社会运动，而就是社会运动的一环。
Black Hand Nakasi Band
Black Hand Nakasi Band is Taiwan’s most important ‘workers band’, not only performing at workers’ rallies but also producing music together with workers and collaborating with groups from Taiwan’s disenfranchised classes. For Black Hand Nakasi, their music practice is not only an act of support for social movements, but an integral part of the movements themselves.
香港的独立媒体，则是成立于2004年十月。历经05年香港举办的WTO部长级会议， 06、07年的天星皇后码头保护运动，09年的菜园村、占领中环、2011年开始的反对东北开发计画，2012年的码头工人罢工事件，独立媒体成为香港社会动员的基地，意见平台，但也逐渐走向由从反对主流媒体的运动者媒体转向专业的网路媒体发展。
Hong Kong In-Media
Since their founding in October 2004, Hong Kong In-Media group has participated in major activist movements in Hong Kong, including the protests during the World Trade Organizations Conference in Hong Kong (2005); the movement to preserve the Star Ferry and Queen’s Piers (2006-2007); the Choi Yuen Tsuen and Occupy Central movements (2009); the opposition to the Northeast New Territories Development Plan (2011); and the Hong Kong dockworkers strike (2012). In-Media has become a base for social mobilization in Hong Kong , and a platform for opinion. More recently, they have begun to move away from their role as media activists in oppostion to mainstream media, and towards the developemnt of a more professional electronic media platform.
樱井大造先生的帐篷剧，是日本六零年代学生运动后的珍贵遗产，通过每一次自己动手搭建帐篷进行演出的行动，构建共同体的反省场。从不拿政府与商业补助，凭着樱井大造独特的工作方式，在日本、台北、北京之间形成一个戏剧工作与表演的自主体系，深刻影响了下一代知识青年。
Daizo Sakurai’s Tent Theatre
Daizo Sakurai’s Tent Theatre is one of the most important legacies of Japan’s student movements of the 1960s. The main focus of the troupe’s activities was on creating political noise and resistance, and theatre was simply a borrowed form for their actions. Daizo’s unique working methdology, receiving neither government subsidies nor commercial support, has been applied by groups from Japan, Taiwan and Beijing and has effectively formed an independent theatre work and performance system.
这些珍贵经验的分享设计，在亚际双年展论坛中乃首先透过集体劳动，邀请与会者与志愿者一同参与搭建樱井大造团队设计的帐篷，在过程中，让交流与劳动一体。再经由台湾、香港、日本、北京团体经验分享与讨论，与最后自主稽古的参与完成。
The preliminary sharing of these valuable experiences will take place as an action of collective labour during the Inter Asia Taipei Biennale Forum. We will invite both forum members and volunteers to participate in the construction and collective use of a tent designed by Daizo Sakurai’s theatre troupe, as a process of mutual exhange and community labour. This will be followed by sharing and discussion of the experiences of groups from Taiwan, Hong Kong, Japan and Beijing, and we will conclude with a series of voluntary training sessions.
补充资料 Other References
关于樱井大造和帐篷剧
About Daizo Sakurai and the Tent Theatre
樱井大造从事帐篷剧迄今已有四十年，但并不以剧场工作为职业，而是始终坚守着“业余主义”，这使他及其帐篷剧在日本也成为异数。
在日本，帐篷被应用到戏剧中始自1960年代后期。在消费社会的快速发展中，各种艺术表现领域都出现了打破成规的热切欲望，一时间现代主义艺术之花盛开。但这些花朵的根，依然是呈“根茎”状伸展的消费社会，以致在不到十年内相继被文化资本所收编。1970年代初，樱井大造和伙伴们携帐篷踏上旅途，被称作“帐篷剧第二代”。他们批判第一代帐篷剧集团的职业化倾向，在与消费社会无缘的底层进行戏剧活动，坚守贫困、苦行的生活方式。
从1970年代的“曲马馆”，到1980年代的“风之旅团”，再到1990年代的“野战之月”，虽然历史和社会不断发生转变，樱井大造始终将帐篷剧作为“反省的形式”，在帐篷中构建“共同体的反省场”。在成熟的资本主义社会中，富裕的幻想覆满街头，帐篷则成为街头上无法存活的想象力的紧急避难所。避难而来的不仅是此时活着的人，无法拥有避难之所的死者也汇聚前来。在此意义上，帐篷剧不是对于现实的虚构，而是将眼下的现实“化为虚构”。
在近代之前，人们认识到彼此的贫困，因而可以在一起演戏。但在高度发达的消费社会里，贫困被不断驱赶到视线之外的远方。进入21世纪之后，伴随着贫困的领土转移，樱井大造先后成立了台北的“海笔子”、北京的“流火”帐篷剧社，在东亚更开阔的视野下致力于构建共同反省的场。
Daizo Sakurai entered Waseda University of Japan and studied at Department of Political Economics during the Second Anti-Security Treaty Movement. In the upsurge of the student movement, Sakurai joint Theater of traveling Acrobats and became a member of the second-generation tent theatre. Theater of traveling Acrobats is representative of the second-generation tent theatres, whose members dramatically criticized the first-generation tent theatres and made theatrical performances in an ascetical gesture of “disintegrating theatres”.
Sakurai’s tent theatre, stemmed from social movements, has not been simply integrated into the mainstream of society with the falling tide of social movements; surely, it also cannot subvert capitalist system as the social movements have expected. However, what is important, having gone through romantic movements and violent revolutions, Sukurai’s tent theatre has not simply descended into an aesthetic manner in the overall pattern of capitalist production, and maintained the most fundamental subversiveness of the tent theatre. The reason of the above saying is that Sakurai has continued the most powerful challenge of tent theatre to the drama system under the capitalist production system: first, on the economic basis, tent theatres have gone beyond the modern manner of theatre production that depends on government funding, NGO supports and enterprise investments; second, they have preserved in activities at the bottom of the society, broken the boundaries of theatres and non-theatres, and integrated theatres with desires of the bottom. Both points, one relying on the other, make Sakurai’s journey and creation maintain living resistant powers.
No matter what manner he has utilized, Sakurai has been challenging the toughest economic foundation in the theatre system, i.e. being completely independent from capitalist cultural strategies. It is with this economic independence that the tent theatre can independently walk at the bottom of the society.
关于香港独立媒体
About Hong Kong Independent media
独立媒体（independent media）在香港由来已久，自六、七十年代开始已有人筹办。因为种种环境因素，本港的独立媒体相较不少地区如台湾、韩国等，仍未算蓬勃。然而，近年随着互联网技术发展，个人及小团体也有资源加入这股新媒体的大潮，开拓出一个强调多元、直接参与的媒体时代。
「独立媒体（香港）」是香港第一个以推动独立媒体运动为宗旨的组织，自2004年「香港独立媒体网」（inmediahk.net）创立以来，使得他们更有幸成为香港其中一个具有影响力的民间媒体。
Independent media has a long history in Hong Kong; local intellectuals and activists have been publishing independent magazines since the 1960s. However, due to various sociopolitical reasons, the independent media sector has not flourished as much as places like Taiwan and Korea. In recent years, as a result of the advancement of the Internet and communications technology, individuals and small organisations with limited resources have begun utilising new electronic media, bringing about a new media era characterised by diversity and direct participation.
Hong Kong In-Media is the foremost organisation in Hong Kong which aims to propel an independent media movement. Since inmediahk.net was established in 2004, we have grown into one of the most influential citizen media in Hong Kong.
关于黑手那卡西-工人乐队
About Black Hand Nakasi – Workers’ Band
黑手那卡西─工人乐队是一支由工人及工会组织者所成立的工人乐队，在ICLE(Informational Center of Labor Education，台湾劳工教育资讯发展中心)及工委会（工人立法行动委员会）的协助下，成立于1996年。黑手那卡西作为以音乐介入社会运动的乐团，歌曲所承载或再现的社会运动意涵是黑手独特于主流╱非主流乐团所在。
取得工人阶级、弱势者的文化权力
黑手那卡西体认，底层劳动人民因着教育机会及生活环境限制的缘故，往往被剥夺了掌握音乐、艺术等文化工具的权力。而社会上诸如流行音乐、艺术文化等种种文化表达形式，大都为服务中上阶层而产制，而亟需拥有发声工具的劳动阶层，反而仅能由卡拉OK、流行音乐的片断中，找到表达情感的只字片语。为夺回工人阶级与底层弱势者发声权利，黑手那卡西以进行工人群众的音乐、文化教育工作为目标，协助工人与弱势者用自己的语言，唱出自己的心声。因此，黑手那卡西不仅是「为运动而服务」的乐队，更努力在音乐与运动的实践中，尝试集体创作的可能，与群众一起形塑真正属于工人阶级、弱势者、艰苦人的文化。
文化协作、集体创作：工人／弱势者的主体发声
黑手过去十几年来累积的文化协同创作方法，是黑手音乐与社会实践结合所展现的文化抵抗。协同指涉相互投入为共同目标努力的「对等关系」，并非「拥有专业权威者」与「缺乏条件者」的「上下关系」。文化协作，是具体社会运动与组织的文化斗争，展现在歌曲、音乐生产关系和发生过程上，就是「集体创作」，包括抗争现场主流歌曲的挪用与改编、经过集体讨论的创作歌曲、以及团员对于彼此音乐风格的斗争与对话。文化协作亦是音乐操作能力的教学对话过程，如工人吉他工作坊、练习团，目的便为使工人、弱势者得以掌握基本的弹唱发声能力。
黑手的文化协作之所以特别被提出，是因为黑手协同工人、弱势者的「主体发声」，有特殊且重要的价值。黑手的文化生产并非专业者使用精练的社会分析、文献、诗词、演讲、音乐等方式所表达的高雅文化，而是一些稍具文化资本的大学生，与蕴含丰富文化内涵却缺乏文化资本的工人们，协同创作与展演出的文化。从关厂抗争现场、到集体创作、再到工伤音乐工作坊，从工人吉他班，到练习团，在黑手那卡西的创作和演出中，清楚看到工人、弱势者的主体，在文化协作的关系中更有机会出现、发声。
Black Hand Nakasi is a workers’ band set up by workers and union organizers in 1996 with assistance of ICLE (Informational Center of Labor Education) and CALL (Committee for Actions on Labor Legislation). As a band involving in social movements in the form of music, Black Hand Nakasi is distinct from mainstream or non-mainstream bands in the sense of social movement meanings conveyed and recurred in their songs.
To obtain the cultural power of the working class and the disadvantaged, Black Hand Nakasi holds that working people at the bottom of the society are often deprived of powers to master music, arts and other cultural tools due to the limitations on their educational opportunities and living environments. Various cultural expressions in society, such as popular music, art and culture, are mostly generated for the upper middle class. The working class, who are in urgent need of sound-making tools, can only find a few isolated words or phrases to express emotions through fragments of Karaoke or pop music. To regain the voicing right of the working class and the disadvantaged at the bottom of the society, Black Hand Nakasi targets the music and cultural education of the working masses, helps workers and the disadvantaged to sing their hearts out in their own languages. That is to say, Black Hand Nakasi is not only a band “serving social movements”, it also tries the possibility of collective creation in practical music production and movements, and, with the masses, attempts to shape the culture that really belongs to the working class, the disadvantaged and people with tough lives.
Cultural collaborations and collective creations: main voices of workers and the disadvantaged
The creative method of cultural collaborations that Black Hand Nakasi has accumulated over the past dozen years is a cultural resistance demonstrated in the combination of Black Hand music and social practices. The collaboration refers not to the “superior-subordinate relationship” between “the ones with professional authority” and “the ones who lack conditions” but to a “peer-peer relationship” of mutual endeavors for a common goal. Cultural collaborations are cultural struggles of concrete social movements and organizations, and are “collective creations” when they are demonstrated in the process of music generation and song production, which include struggles against the appropriation and re-writing of live mainstream songs, song compositions after group discussions as well as struggles and dialogues on music styles of band members. Moreover, cultural collaborations are also teaching and dialogue processes of music operational capability, e.g. workers’ guitar workshops and practice groups, the aim of which is enabling workers and the disadvantaged to master basic playing and singing skills.
The reason why Black Hand’s cultural collaborations are particularly noted is that main voices of Black Hand together with workers and the disadvantaged have special and crucial meanings. The cultural production of Black Hand is different from that of high culture, and is not expressed by professionals who employ precise social analysis and research, or articulate through refined forms of poetry, speeches and music. Instead, it is a culture of collaborative creations and performances made by college students with limited cultural capital and workers who are rich in cultural connotations but lacking in cultural capitals. From sites of closed plants and worker protest, to work injury music workshops, from workers’ guitar classes, to practice groups, then to creations and performances of Black Hand Nakasi, we have clearly seen that the subjectivity of workers and the disadvantaged; we see they are gaining more opportunities to appear and make their voices in the collaborative cultural relationship.
黃孫權
台灣大學建築與城鄉所博士，研究與實踐領域涵蓋了建築與空間理論、文化與媒體、社會運動、跨領域藝術，現爲高師大跨藝所助理教授，曾於香港嶺南大學（2004-2005）和中國美院（2013）客座，兼任北藝大藝跨所與南藝大建築藝術所教授。一九九四年創立《破報》，一九九七年號召組織台灣第一場反仕紳化的都市運動「反對市府推土機」，實際參與了台灣與香港多項社會與媒體改造運動，與國際連結行動。近年開始從事策展與藝術創作，經營高雄「搗蛋藝術基地」爲南台灣重要的實驗社區藝術基地，作品曾參加「深圳香港城市／建築雙城雙年展」（ 2007、2013），策劃「寶藏巖GAPP」（2003-2004）、高美館的「創作論壇──侯淑姿個展──望向彼方亞洲新娘之歌」（2010）、高雄市勞工博物館的「跨國候鳥在台灣」移工展（2011）等。著有《綠色推土機》，譯有《自己幹文化──英國九○年代的派對與革命》，編有多本著作。其爲橫跨建築、媒體、社會運動與藝術的藝行者（artivist）。
Huang Sun Quan
Huang Sun Quan is Assistant Professor in the Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University and the Graduate Institute of Trans-disciplinary Arts, Taipei National University of the Arts. He was a visiting professor at Lingnan University, Hong Kong (2004–05) and China Academy of Art, Hangzhou (2013). His research and practices cover the theory of architecture and space, culture/ media, social movements and interdisciplinary arts. He is founder and editor-in-chief of Pots Weekly which is the only alternative media platform founded in Taiwan since 1994. In 1997 he organised Anti-City Bulldozer, the first urban social movement against the gentrification that has wiped out the largest squatter areas of downtown Taipei. In recent years, he has increasingly engaged in curatorship and artistic creation, participating in the Shenzhen & Hong Kong Bi-City Biennale of Urbanism/Architecture (2007, 2013); and curating ‘Treasure Hill GAPP (Global Artivist Participation Plan)’ (2003–04), ‘Lulu Shur-Tzy Hou Solo Exhibition: Look Toward the Other Side—Song of Asian Foreign Brides in Taiwan’ at the Kaohsiung Museum of Arts (2010), ‘Migrant Workers in Kaohsiung Labour Museum’ (2011–12) and other exhibitions. He is the author of Green Bulldozer, the translator of DIY Culture and a editor of a number of publications. He is above all an artivist across architecture, media, social movements and art.
張頌仁
策展人，中國美術學院客座教授，漢雅軒畫廊藝術總監，香港亞洲藝術文獻庫董事會成員。張頌仁的策展專案包括：「後八九：中國新藝術」巡迴展（1993 - 1998）、一九九四聖保羅雙年展中國特展、一九九六聖保羅雙年展中國特展及香港館、二○○一威尼斯雙年展香港館、「文字的力量」巡迴展（1999 - 2002）、「黃盒子：當代藝術與中國空間」系列研究計劃（2004年開始）、二○○九湖北美術館「造物與空間：當代大漆藝術」、二○○八「第三屆廣州三年展：與後殖民說再見」聯合策展人、「西天中土」中印學術交流項目的發起人和總監（2010年開始）、二○一二上海雙年展聯合策展人等重要藝術活動。
Chang Tsong-Zung
Chang Tsong-Zung (Johnson Chang) is a curator, the Director of Hanart TZ Gallery, guest professor at China Art Academy, and board director of Asia Art Archive. Chang has been active in curating Chinese exhibitions since the 1980s: major exhibitions include ‘China’s New Art Post-1989’ (international tour 1993–98), Special Exhibitions for the Sao Paulo International Biennial (1994 and 1996), Hong Kong official participations at Sao Paulo Biennial (1996) and Venice Biennial (2001), ‘Power of the Word’ (Taiwan and US tour 1999–2002), the ‘Yellow Box’ series of research projects about contemporary art practice and Chinese aesthetic spaces (since 2004). Recent curatorial work includes: co-curator of ‘Guangzhou Triennial 2008: Farewell to Post-Colonialism’, ‘Spiritual Space: A Dimension in Lacquer’ (Hubei Museum of Art 2009) and the ‘West Heavens’ series of Indian-Chinese art and intellectual exchanges (presented at the Shanghai Biennale 2010, Guangzhou Triennial 2011 and Shanghai Biennale 2012). Chang was also co-curator of the 2012 Shanghai Biennale.
陳光興
陳光興任職交通大學社會與文化研究所，同時負責亞太/文化研究室，曾為新加坡國立大學任資深客座研究員、韓國延世大學與北京清華大學客座教授。著有Asia as method: towards deimperialization (Duke University press, 2010)，《去帝國──亞洲作為方法》(2006)、《帝國之眼》（2003；漢城，韓文版）、《媒體/文化批判的人民民主逃逸路線》(1992)；編有Stuart Hall: Critical Dialogues in Cultural Studies (1996與David Morley合編)、Trajectories: Inter-Asia Cultural Studies (1998)、《Partha Chatterjee 講座: 發現政治社會：國家暴力、現代性與後殖民民主》(2000)、《文化研究在台灣》(2000)、《後東亞論述》(2006，與白永瑞、孫歌合編，東京，日文版)、Inter-Asia Cultural Studies Reader (2007 ，與蔡明發合編)。他是台灣社會研究季刊的成員，Inter-Asia Cultural Studies: Movements期刊的執行主編。
Chen Kuan-Hsing
Chen Kuan-Hsing is Professor in the Graduate Institute for Social Research and Cultural Studies, and also the coordinator of Center for Asia-Pacific/ Cultural Studies, National Chiao Tung University. He has held visiting professorships at universities in Korea, China, Japan, Singapore and the U.S. He has published extensively in both Chinese and English, including edited volumes in English: Stuart Hall: Critical Dialogues in Cultural Studies (1996) and Trajectories: Inter-Asia Cultural Studies (1998), Inter-Asia Cultural Studies Reader (2007); and in Chinese: Cultural Studies in Taiwan (2000) and The Partha Chatterjee Seminar–Locating Political Society: Modernity, State Violence and Postcolonial Democracies (2000). His own books include Media/Cultural Criticism: A Popular-Democratic Line of Flight (1992, in Chinese), and The Imperialist Eye (2003, in Korean), De-Imperialization—Asia as Method (2006, in Chinese). His writings have been frequently translated and published in Korea, China and Japan. Founding chair of Taiwan’s Cultural Studies Association and a core member of the Taiwan: A Radical Quarterly in Social Studies, he is a co-executive editor of the journal, Inter-Asia Cultural Studies: Movements.
高士明
中國美術學院跨媒體藝術學院院長，博士生導師。近年來，他先後創辦中國美術學院展示文化研究中心、當代藝術與社會思想研究所以及媒體城市研發中心，其研究領域涵蓋當代藝術、社會思想及策展實踐。二○○二年以來，他策劃了許多大型學術性展覽，包括「地之緣：亞洲當代藝術的遷徙與地緣政治」系列研究計劃（2002-2004）、「影像生存：第五屆上海雙年展」（2004）、「顯微學：中國當代藝術展」（2005）、「黃盒子：中國空間裡的當代藝術與建築」學術邀請展（2006）、「第六屆聖保羅建築雙年展」中國特展、「影子的煉金術：第三屆連州國際攝影年展」（2007）、「與後殖民說再見：第三屆廣州三年展」（2008）、「巡迴排演：第八屆上海雙年展」（2010）以及「西岸二○一三：建築與當代藝術雙年展」等。高士明出版的學術著作包括：《視覺的思想》（2002）、《地之緣：亞洲當代藝術與地緣政治視覺報告》（2003）、《與後殖民說再見》及相關讀本系列（2008-2012）、《巡迴排演》（2010）、《胡志明小道》（2010）、《一切致命的事物都難以言說》（2011），以及《行動的書：關於策展寫作》（2012）等。
Gao Shiming
Gao Shiming is the Director of the School of Intermedia Art at the China Academy of Art. In the past years, he has founded the Center of Visual Culture Research, Institute of Contemporary Art and Social Thought, as well as the Research and Development Center of Media City in the China Academy of Art. His focal points are visual cultural research, contemporary art studies, curatorial studies and social thought. Gao has organised many large-scale exhibitions of academic standing, including ‘The Migration of Asian Contemporary Art and Geopolitics’ (2002–04), ‘Techniques of the Visible: The 5th Shanghai Biennale’ (2004), ‘Micrology: Micro-politics in Chinese Contemporary Art’ (2005), ‘Yellow Box: Contemporary Art and Architecture in Chinese Space’ (2006), ‘Special Exhibition of China in The 6th San Paulo Architecture Biennale’, ‘Alchemy of Shadows: The 3rd Lianzhou International Photography Festival’ (2007), ‘Farewell to Post-colonialism: The 3rd Guangzhou Triennial’ (2008), ‘Rehearsal: The 8th Shanghai Biennale’ (2010) and ‘West Bund 2013: A Biennial of Architecture and Contemporary Art’. Gao has also published many academic writings, including Thoughts of the Visual (2002), The Migration of Asian Contemporary Art and Geopolitics (2003), Farewell to Post-colonialism: The 3rd Guangzhou Triennial (2008) and Relevant Readers 1, 2 and 3 (2008–12), Rehearsal: The 8th Shanghai Biennial (2010), Ho Chi Minh Trail (2010), All Lethal Things are Unspeakable (2011) and The Book of Action (2012).