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ABSTRACT
This essay re-assesses the critical legacy of what is arguably one of the most disturbing, sensational and provocative works in Chinese art history — Zhu. Yu's Eating People (2000). Exploring the meta-critical utility of cannibalism itself as a ‘discursive prism’ that mediates a continual play of deterritorialization and recoding, subjugation and subversion, I situate the furore over the work and others like it within a wider constellation of critical anxieties and dialectical tensions that were quite literally ‘brought home’ by the commodification, spectacularization and consumption of Chinese art in the global arena at that historical moment.
摘要
本文重新评估了中国艺术史上最轰动，最令人不安，饱受争议的作品—— 朱昱《食人》（2000），及其带给我们的批判与思考。作品对食人进行了 元批判的使用，使其成为一个“话语棱镜”折射出正在持续发生的去疆域化 (deterritorialization)和再符码化(recoding), 镇压与颠覆；我认为应该将这件 作品及其他类似的作品所引发的轰动效应置于一个更加广泛的，充满了批 判的忧虑和辩证的张力的背景中进行考察，而这样的环境，可以毫不夸张地 说，是由于那个历史时期，中国艺术把在全球舞台上所经历的商品化，奇观 化和被消费“带回家”的结果。