Abstract
This article explores the agency (often self-effacing) of zinc as the critical material and currency of British imperialism. For Primo Levi zinc embodies a rite of passage between metals and his own sense of autobiography. Known as the Philosopher’s Snow, zinc can be conceived as soft or, as Roland Barthes would say, the embodiment of The Neutral. My discussion is concerned with the genealogies of zinc in Zawar (Rajasthan) and Guizhou Province, China. I am concerned with the politics and aesthetics of zinc in Chinese and British painting and how it became a ground for structuring the monument and how its afterlives are very much that of the filmic and phosphorescence.
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