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Informationen zum Autor Ari Larissa Heinrich Klappentext 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. Zusammenfassung Ari Larissa Heinrich examines transnational Chinese aesthetic production—from the earliest appearance of Frankenstein in China to the more recent phenomenon of "cadaver art"— to demonstrate how representations of the medically commodified body can illuminate the effects of biopolitical violence and postcolonialism in contemporary life. Inhaltsverzeichnis Acknowledgments ix Introduction. Biopolitical Aesthetics and the Chinese Body as Surplus 1 1. Chinese Whispers: Frankenstein, the Sleeping Lion, and the Emergence of a Biopolitical Aesthetics 25 2. Souvenirs of the Organ Trade: The Diasporic Body in Contemporary Chinese Literature and Art 49 3. Organ Economics: Transplant, Class, and Witness from Made in Hong Kong to The Eye 83 4. Still Life: Recovering (Chinese) Ethnicity in the Body Worlds and Beyond 115 Epilogue. All Rights Preserved: Intellectual Property and the Plastinated Cadaver Exhibits 139 Notes 159 Bibliography 227 Index 239
