The "Factory Girls" series focuses on two films: Crossroads (1937) and Huang Baomei (1958). These films feature female protagonists who represent the complex roles of female textile workers in Shanghai across different historical periods. Crossroads portrays the societal challenges of unemployment prior to China's liberation, while Huang Baomei reflects the era of a planned economy in New China, specifically within Shanghai's cotton-spinning industry. These narratives provide unique and profound contexts for storytelling, linking the personal destinies of the textile workers to broader urban transformations in Shanghai.

Speakers：

Ho Rui An (b. 1990 Singapore) works and lives in Singapore. He works at the intersections of contemporary art, cinema, performance and theory. Across the mediums of lecture, essay and film, his research examines systems of governance in a global age. He has held solo exhibitions at Kunsthalle Wien (2021); Centre A, Vancouver (2018). He has presented projects at UCCA Dune Art Museum, Qinhuangdao (2022); Eindhoven Van Abbemuseum (2018); NTU Centre for Contemporary Art, Singapore (2017); Para Site, Hong Kong (2015). He has also participated in art biennials in Shanghai (2023), Bangkok (2020), Taichung (2019), Gwangju (2018), Jakarta (2017), Sharjah (2017), and Kochi-Muziris (2014).

Zian Chen is currently Contributing Editor for Ocula Magazine’s Chinese platform. His collaborative research and curatorial projects with artists have been presented at institutions such as the Power Station of Art, Shanghai; Ming Contemporary Art Museum, Shanghai; Times Museum, Guangzhou; Nida Art Colony, Lithuania, and the Bleed Biennial in Melbourne, among others. He has contributed to exhibition catalogues for artists such as Mark Dion, Arseny Zhilyaev, Elmgreen & Dragset, WangTuo, and institutions including the Liverpool Biennial and Asia Art Biennial, among others.

Ag is a writer, director, and curator who frequently navigates the realms of film, literature, and geographic theater. She resides in Shanghai.

“女工”专场将围绕《十字街头》（1937）与《黄宝妹》（1958）两部作品展开。丝线从第三场《盘丝洞》的远古奇境穿连到了二十世纪的上海纺织工业。《十字街头》中女主角和《黄宝妹》的女主角分别代表了不同历史时期上海纱厂女工的复杂形象，前者体现了解放前的社会失业潮，后者则呈现了新中国计划经济大潮下的上海棉纺系统，两者都为故事提供了深刻的创作背景，而纺织女工的个体命运也与上海都市的大变迁相互牵动。本场活动是五月“奇女列传”系列放映及映后谈活动的最后一场，该活动也与艺术家何锐安与编辑兼策展人陈玺安针对中国纺织工业史的长期研究交织在一起。该项目专注于过去一百年的中国纺织业产业及其自长江三角洲地区工业资本主义出现以来的多次延伸为中心。他们追踪本劳动网络、技术网络、资本网络几条线索，对长三角流域的纺织历史如何流入南方的珠三角地带，并进而交织在一起的过程展开考察。“女工”专场的对谈将从早期上海电影中不同的纺织女工形象出发，结合“仿织时间”的研究线索，探讨背后的社会、经济及历史变迁。

对谈人：

何锐安（1990年出生于新加坡）目前工作和生活于新加坡。其创作专注在当代艺术、电影、表演和理论的交叉领域上。他的研究以演讲、论文与电影媒介为手段，考察全球化时代的治理体系。为他举办个展的机构包括维也纳艺术博物馆（2021）；Centre A，温哥华（2018）。他的项目曾呈现于UCCA沙丘馆，秦皇岛（2022）；埃因霍温市立范阿贝博物馆（2018）；新加坡南洋理工大学当代艺术中心（2017）；香港Para Site艺术空间（2015）。他也在近年曾参加了上海（2023）、曼谷（2020）、台中（2019）、光州（2018）、沙迦（2017）、雅加达（2017）和科钦穆吉里（2014）等地的艺术双年展。

陈玺安现担任《Ocula》杂志的中文平台编辑。他与艺术家的合作项目以及策展项目曾在若干机构呈现，包括：上海当代艺术博物馆、上海明当代美术馆、广州时代美术馆、立陶宛尼达艺术村以及墨尔本Bleed双年展等。他为不同展览画册撰稿，包括多位艺术家如：MarkDion、ArsenyZhilyaev、Elmgreen&Dragset、王拓等人以及利物浦双年展、亚洲艺术双年展等机构。

Ag，写作者、导演，策划人，常出没于影像、文学与地理剧场之间，现生活于上海。