
Chinese Surplus : Biopolitical Aesthetics and the Medically Commodified Body
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Chinese Surplus : Biopolitical Aesthetics and the Medically Commodified Body
About this book
What happens when the body becomes art in the age of biotechnological reproduction? In Chinese Surplus Ari Larissa Heinrich examines transnational Chinese aesthetic production to demonstrate how representations of the medically commodified body can illuminate the effects of biopolitical violence and postcolonialism in contemporary life. From the earliest appearance of Frankenstein in China to the more recent phenomenon of "cadaver art, " he shows how vivid images of a blood transfusion as performance art or a plastinated corpse without its skin—however upsetting to witness—constitute the new "realism" of our times. Adapting Foucauldian biopolitics to better account for race, Heinrich provides a means to theorize the relationship between the development of new medical technologies and the representation of the human body as a site of annexation, extraction, art, and meaning-making.
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Table of contents
- Cover
- Contents
- Acknowledgments
- Introduction. Biopolitical Aesthetics and the Chinese Body as Surplus
- Chapter 1. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics
- Chapter 2. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art
- Chapter 3. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye
- Chapter 4. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond
- Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits
- Notes
- Bibliography
- Index