选择:世界本体论与当代艺术、人类学的对话
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摘要
人类学长期关注他者和他异性;其他本体论以不同方式进入当代艺术,因而许多艺术家得以直接接触到不同于西方的各种他异性和知识。翻译为各种本体论他异性之间的交流提供了可能,但这二者都是不完整的,这为进一步翻译提供了空间。全球范围内各种当代艺术与人类学的交流,需要超越自我与他者的二元对立。非均衡解释学也许有助于我们理解和解决当代艺术与人类学之间交流对话中的细微差异、重复和误解。
Anthropology has long occupied itself with the Other and alterity. Other ontologies have entered contemporary arts in various ways so thatmany artists have come into contact with all types of alterity and episteme different from those of the West. Translation provides the possibility of communication among alterities of various ontologies. Yet the incompleteness of both translation and alterities opens up the possibility for further translation. For the sake of global exchanges between contemporary arts and anthropology,we need to go beyond the binary opposition of the Self and the Other. Uneven hermeneutics might help us understand and account for the nuances,repetitions and mistranslations in the dialogic exchanges between contemporary arts and anthropology.
Anthropology has long occupied itself with the Other and alterity. Other ontologies have entered contemporary arts in various ways so thatmany artists have come into contact with all types of alterity and episteme different from those of the West. Translation provides the possibility of communication among alterities of various ontologies. Yet the incompleteness of both translation and alterities opens up the possibility for further translation. For the sake of global exchanges between contemporary arts and anthropology,we need to go beyond the binary opposition of the Self and the Other. Uneven hermeneutics might help us understand and account for the nuances,repetitions and mistranslations in the dialogic exchanges between contemporary arts and anthropology.
引文
(1)Philippe Descola,Beyond Nature and Culture,Chicago:University of Chicago Press,2013,pp.122~333.
(2)Eduardo Viveiros de Castro,From the Enemy's Point of View:Humanity and Divinity in an Amazonian Society,Chicago:University of Chicago Press,1992;Cannibal Metaphysics,Minneapolis:University of Minnesota Press,2014.
(3)Bruno Latour,FaceàGaa,Huit conférnces sur le nouveau regime climatique,Paris:La Découverte,2015.
(4)关于对新方法和旧方法的善意评论,详见Rane Willerslev,“Taking Animism Seriously,but Perhaps Not Too Seriously?”Religion and Society,vol.4,no.1,2013,pp.41~57.
(5)Anselm Franke(ed.),Animism Volume 1.Anselm Franke,Berlin/Ney York:Stemberg Press,2010.
(1)Ticia Escobar,“The Other Lights”,in Rodrigo Petrella,A Luz da Floresta&o Arco da Destrui92o,Santo André,S·o Paulo:Ipsis Gráfica e Editora,2014,unnumbered.
(2)茱莉亚·罗梅蒂和维克多·科斯塔莱斯的展览作品《透视》,源于巴西人类学家爱德华多·威维罗奥·德卡斯特罗所称的,对“美洲印第安人透视法”的社会学和哲学探索。作为一种自然主义世界观,这种透视法认为,动物、植物、神灵和人类只是从不同的视角来认识和理解同一种现实。作品的最终主体,包含黑白照片、投影对比、像电子杂志那样的影印手册、火山岩和水泥瓦片等。
(3)Eduardo Viveiros de Castro,“Cosmological Deixis and Amerindian Perspectivism”,Journal of the Royal Anthropological Institute,vol.4,no.3,1998,pp.469~488.
(4)Katya Garcia-Antón,“Julia Rometti&Victor Costales”,Frieze,157,September 2013,Quoted from gallery website.http://jousse-entreprise.com/en/contemporary-art/artist/rometti-costales/(accessed 20 Arpril 2016.
(1)Julia Rometti&Victor Costales,caption note,courtesy of the artists.
(2)Katya Garcia-Antón,“Julia Rometti&Victor Costales”,Frieze,157,September 2013,Quoted from gallery website http://jousse-entreprise.com/en/contemporary-art/artist/rometti-costales/(accessed 20 Arpril 2016).
(3)Eduardo Viveiros de Castro,From the Enemy's Point of View:Humanity and Divinity in an Amazonian Society,Chicago:University of Chicago Press,1992;Cannibal Metaphysics,Minneapolis:University of Minnesota Press,2014.
(4)茱莉亚·罗梅蒂和维克多·科斯塔莱斯个人通信,2016年4月25日。
(5)Douglas R.Holmes and George Marcus,“Para-Ethnography”,in The SAGE Encyclopedia of Qualitative Research Methods,ed.Lisa M.Given Thousand Oaks:Sage,2008,pp.596~597.
(6)Julia Rometti&Victor Costales,caption note,courtesy of the artists.
(7)Nikolai Ssorin-Chaikow,“Ethnographic Conceptualism:An Introduction”,Laboratorium,V,vol.5,no.2,2013,pp.5~8.“民族志概念论”指的是,人类学作为一种观念艺术的方法,反过来也指使用观念艺术作为一种人类学研究工具。民族志概念论是作为观念艺术的民族志。
(1)在哲学中,否定现象学作为被动体验(如痛苦)的极端形式与Maurice Blanchot相关联。参见Maurice Blanchot,The Writing of the Disaster,Nebraska University Press,1995;also Gerald L.Bruns,Maurice Blanchot:The Refusal of Philosophy,Baltimore,MD:Johns Hopkins University Press,1997.
(2)http://www.medienkunstnetz.de/works/transsib-prospeckt/,April 30,2016.最初装置作品展示中附有对作品创作原理的全部说明。
(3)在此感谢Rafael Schacter让我想到这一论点。
(4)Martin Holbraad,“The Power of Powder:Multiplicity and Motion in the Divinatory Cosmology of Cuban Ifá(or Mana Agaub”,in Amiria Henare,Marin Holbraad,and Sari Wastell(eds.),Thinking Through Things:Theorising Artefacts Ethnographically,London:Routledge,2007.
(5)本文中多次出现“翻译”一词,除个别地方指的是我们通常理解的文本翻译之外,多数指的是文化翻译,将文化作为文本、并进行改写和阐释、或是部族艺术品在异于原生语境(如在博物馆中)下的转化或展示。
(6)文学学者克里斯托弗·普兰德加斯特(Christopher Prendergast)的措辞。参见Christopher Prendergast,“Pirouette on a Sixpence”(review of Dictionary of Untranslatables:a Philosophcal Lexicon),London Review of Books,vol.37,no.17,September 10,2015,pp.35~37。
(1)Fuyubi Nakamura,Morgan Perkins,and Olivier Krischer,“Introduction:Images of Asia Across Borders”,in Fuyubi Nakamura,Morgan Perkins and Olivier Krischer(eds.),Asia Through Art and Anthropology:Cultural Translation Across Borders,London:Bloombury,2013,p.11.
(2)Fuyubi Nakamura,Morgan Perkins and Olivier Krischer,“Introduction:Images of Asia Across Borders”,in Fuyubi Nakamura,Morgan Perkins and Olivier Krischer(eds.),Asia Through Art and Anthropology:Cultural Translation Across Borders,London:Bloombury,2013,p.11.
(3)Martin Heidegger,“A Dialogue on Language”,On the Way to Language,New York:Harper and Row,1971,p.15.
(4)指阿纳德·施耐德主编的《另类艺术与人类学》。下同。
(5)Fernando Coronil,“Toward a Critique of Globalcentrism,Speculations on Capitalism's Nature”,Public Culture,vol.12,no.2,2000,pp.351~374.
(6)Johannes Fabian,Time and the Other:How Anthropology Makes its Object,New York:Columbia University Press,1983.
(7)Phaptawan Suswannakudt,“Catching the Moment,One Step at a Time”,in Raminder Kaur and Parul Dave-Mukherji(eds.),Arts and Aesthetics in a Globalizing World,London:Bloomsbury,2014,pp.98~99.
(1)Peter Osborne,Anywhere or Not at All:Philosophy of Contemporary Art,London:Verso,2013,p.17.
(2)Terry Smith,What is Contemporary Art?,Chicago:University of Chicago Press,2009,pp.3~4.
(3)Aihwa Ong,“What Marco Polo Forgot:Contemporary Chinese Art Reconsfigures the Global”,Current Anthropology,vol.53,no.4,2012,pp.471~494(including comment section),pp.483,472.
(4)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.186.
(5)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.187.
(6)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.188.
(7)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.188.
(8)Tullio Maranh·o,“Introduction”,in Tullio Maranh·o and Bernhard Streck(eds.),Translation and Ethnography:The Anthropological Challenge of Interculural Understanding,Tucson,AZ:University of Arizona Press,2003,pp.xi,xv.
(1)Tullio Maranh·o,“Introduction”,in Tullio Maranh·o and Bernhard Streck(eds.),Translation and Ethnography:The Anthropological Challenge of Interculural Understanding,Tucson,AZ:University of Arizona Press,2003,p.xvi.
(2)Olufemi Taiwo,“‘The love of freedom brought us here':An Introduction to Modern African Political Philosophy”,South Atlantic Quarterly,vol.109,no.2,Spring 2010,pp.391~410.
(3)Arnd Schneider,“Contested Grounds:Reflecting on Claborations with Artists in Corrientes,Argentina”,Critical Arts,vol.27,no.5,2013,pp.511~530;Arnd Schneider,“Towards a New Hermeneutics of Art and Anthropology Collaborations”,in Samuli Schielke and Daniela Swarowsky(eds.),Still in Search Of Europe?Art and Resarch In Collaboration,Heijningen,Netherlands:Jap Sam Books,2013,repr.InE thnoscripts,vol.17,no.1,2015,pp.23~30.
(1)Lawrence Venuti,“Translation and the Formation of Cultural Identities”,Current Issues in Language and Society,vol.1,no.3,1994,pp.201~217.
(2)Joshua Price,“Translating Social Science:Good Versus Bad Utopianism”,Target,vol.20,no.2,2008,pp.348~364.
(3)这里指的是哲学家GuyD ebord等倡导的艺术、文学和哲学等领域的环境决定论。
(4)Amelia Rosselli,“The Angel Exit”,in Luigi Ballerini,Beppe Cavatorta,Elena Coda and Paul Vangelisti(eds.),The Promised Land:Italian Poetry After 1975,Los Angeles:Sun&Moon Press,1999,p.417.
(1)Amelia Rosselli,“The Angels Exit”,in Luigi Ballerini,Beppe Cavatorta,Elena Coda and Paul Vnagelisti(eds.),The Promised Land:Italian Poetry After 1975,Los Angeles:Sun&Moon Press,1999,p.177.
(2)Gilles Deleuze and Félix Guttari,A Thousand Plateaus:Capitalism and Schizophrenia,London:Continuum,1999,pp.6~7.
(3)可参见Aleksandar Bo2kovi(ed.),Other People's Anthropologies:Ethnographic Practice on the Margins,New York:Berghahn,2008.
(4)可参见Stuart Kirsch,Reverse Anthropolgy:Indigenous Analysis of Social and Environmental Relations in New Guiea,Stanford University Press,2006;Eduardo Viveirs de Castro and Mario Goldman,“Introduction to Post-Social Anthropology,Networks,Multiplicities and Symmetrizations”,HAU:Journal of Ethnographic Theory,vol.2,no.1,2012,pp.421~433.
(5)Scott T.Cummings,“Guillermo Gómez-Pe1a:True Confessions of a Techno-Aztec Performance Artists”,American Theatre,vol.50,no.1,November 1994,p.51.
(1)Raminder Kaur and Parul-Dave Mukherji,“Introduction”,in Raminder Kaur and Parul Dave-Mukherji(eds.),Arts and Aesthetics in a Globalizing World,London:Bloomsbury,2014,p.5.Michel Foucault,Order of Things,London:Routledge,2002[1971],p.5.
(2)Mark Watson,“Centring the Indigenous':Postcommodity's Transindigenous Relational Art”,Third Text,vol.29,no.3,2015,pp.141~154.
(3)Mark Watson,“Centring the Indigenous':Postcommodity's Transindigenous Relational Art”,Third Text,vol.29,no.3,2015,pp.141,142,144.
(4)Arnd Schneider and Christopher Wright,“Ways of Working”,in Arnd Schneider and Christopher Wright(eds.),Anthropology and Practice,London:Bloomsbury,2013,p.7.
(5)Paul O’Neil,The Culture of Curating and the Curating of Cultures,Cambridge,MA:MIT Press,2012,esp.Ch.2.
(1)Tarek Elhaik,The Incurable-Image:Curating Post-Mexican Film and Media Arts,Edinburgh:Edinburgh University Press,2016,pp.4,12,23.
(2)Tarek Elhaik,The Incurable-Image:Curating Post-Mexican Film and Media Arts,Edinburgh:Edinburgh University Press,2016,pp.10,64.艾尔海克的论证比此处更加复杂,尽管听起来有些悲观,但这不是他的本意。他很清楚策展的最终解放潜能和乐观力量,并受到Deluze的激励(用艾尔海克的话说)“令人喜悦地积极寻求重新组合和实现那些细微看不到的、为主流和冷漠的符号体系所压制的潜力。Tarek Elhaik,The Incurable-Image:Curation and Repetition on a Tri-Continental Scene,p.172.
(3)参见Marielle Shaw,“Looking for 10,000 Kwentos:Field Museum Seeks Help in Uncovering Filipino History”,Arts and Entertainment,Chicagoist,March 16,2014.http://chicagoist.com/2014/03/16/looing_for_1000_words_field_museu.php(accessed May 14,2016).
(4)Kiven Strohm,“When Anthropology Meets Contemporary Art:Notes for a Politics of Collaboration”,Collaborative Anthropologies,no.5,2012,pp.98~124.
(1)Anna Grimshaw and Amanda Ravetz,“The Ethnographic Turn-and After:A Critical Approach Towards the Realignement of Art and Anthropology”,Social Anthropolgy,vol.23,no.4,2015,pp.418~434.
(2)Roger Sansi,Art,Anthropology,adn the Gift,London:Bloomsbury,2015.
(2)Eduardo Viveiros de Castro,From the Enemy's Point of View:Humanity and Divinity in an Amazonian Society,Chicago:University of Chicago Press,1992;Cannibal Metaphysics,Minneapolis:University of Minnesota Press,2014.
(3)Bruno Latour,FaceàGaa,Huit conférnces sur le nouveau regime climatique,Paris:La Découverte,2015.
(4)关于对新方法和旧方法的善意评论,详见Rane Willerslev,“Taking Animism Seriously,but Perhaps Not Too Seriously?”Religion and Society,vol.4,no.1,2013,pp.41~57.
(5)Anselm Franke(ed.),Animism Volume 1.Anselm Franke,Berlin/Ney York:Stemberg Press,2010.
(1)Ticia Escobar,“The Other Lights”,in Rodrigo Petrella,A Luz da Floresta&o Arco da Destrui92o,Santo André,S·o Paulo:Ipsis Gráfica e Editora,2014,unnumbered.
(2)茱莉亚·罗梅蒂和维克多·科斯塔莱斯的展览作品《透视》,源于巴西人类学家爱德华多·威维罗奥·德卡斯特罗所称的,对“美洲印第安人透视法”的社会学和哲学探索。作为一种自然主义世界观,这种透视法认为,动物、植物、神灵和人类只是从不同的视角来认识和理解同一种现实。作品的最终主体,包含黑白照片、投影对比、像电子杂志那样的影印手册、火山岩和水泥瓦片等。
(3)Eduardo Viveiros de Castro,“Cosmological Deixis and Amerindian Perspectivism”,Journal of the Royal Anthropological Institute,vol.4,no.3,1998,pp.469~488.
(4)Katya Garcia-Antón,“Julia Rometti&Victor Costales”,Frieze,157,September 2013,Quoted from gallery website.http://jousse-entreprise.com/en/contemporary-art/artist/rometti-costales/(accessed 20 Arpril 2016.
(1)Julia Rometti&Victor Costales,caption note,courtesy of the artists.
(2)Katya Garcia-Antón,“Julia Rometti&Victor Costales”,Frieze,157,September 2013,Quoted from gallery website http://jousse-entreprise.com/en/contemporary-art/artist/rometti-costales/(accessed 20 Arpril 2016).
(3)Eduardo Viveiros de Castro,From the Enemy's Point of View:Humanity and Divinity in an Amazonian Society,Chicago:University of Chicago Press,1992;Cannibal Metaphysics,Minneapolis:University of Minnesota Press,2014.
(4)茱莉亚·罗梅蒂和维克多·科斯塔莱斯个人通信,2016年4月25日。
(5)Douglas R.Holmes and George Marcus,“Para-Ethnography”,in The SAGE Encyclopedia of Qualitative Research Methods,ed.Lisa M.Given Thousand Oaks:Sage,2008,pp.596~597.
(6)Julia Rometti&Victor Costales,caption note,courtesy of the artists.
(7)Nikolai Ssorin-Chaikow,“Ethnographic Conceptualism:An Introduction”,Laboratorium,V,vol.5,no.2,2013,pp.5~8.“民族志概念论”指的是,人类学作为一种观念艺术的方法,反过来也指使用观念艺术作为一种人类学研究工具。民族志概念论是作为观念艺术的民族志。
(1)在哲学中,否定现象学作为被动体验(如痛苦)的极端形式与Maurice Blanchot相关联。参见Maurice Blanchot,The Writing of the Disaster,Nebraska University Press,1995;also Gerald L.Bruns,Maurice Blanchot:The Refusal of Philosophy,Baltimore,MD:Johns Hopkins University Press,1997.
(2)http://www.medienkunstnetz.de/works/transsib-prospeckt/,April 30,2016.最初装置作品展示中附有对作品创作原理的全部说明。
(3)在此感谢Rafael Schacter让我想到这一论点。
(4)Martin Holbraad,“The Power of Powder:Multiplicity and Motion in the Divinatory Cosmology of Cuban Ifá(or Mana Agaub”,in Amiria Henare,Marin Holbraad,and Sari Wastell(eds.),Thinking Through Things:Theorising Artefacts Ethnographically,London:Routledge,2007.
(5)本文中多次出现“翻译”一词,除个别地方指的是我们通常理解的文本翻译之外,多数指的是文化翻译,将文化作为文本、并进行改写和阐释、或是部族艺术品在异于原生语境(如在博物馆中)下的转化或展示。
(6)文学学者克里斯托弗·普兰德加斯特(Christopher Prendergast)的措辞。参见Christopher Prendergast,“Pirouette on a Sixpence”(review of Dictionary of Untranslatables:a Philosophcal Lexicon),London Review of Books,vol.37,no.17,September 10,2015,pp.35~37。
(1)Fuyubi Nakamura,Morgan Perkins,and Olivier Krischer,“Introduction:Images of Asia Across Borders”,in Fuyubi Nakamura,Morgan Perkins and Olivier Krischer(eds.),Asia Through Art and Anthropology:Cultural Translation Across Borders,London:Bloombury,2013,p.11.
(2)Fuyubi Nakamura,Morgan Perkins and Olivier Krischer,“Introduction:Images of Asia Across Borders”,in Fuyubi Nakamura,Morgan Perkins and Olivier Krischer(eds.),Asia Through Art and Anthropology:Cultural Translation Across Borders,London:Bloombury,2013,p.11.
(3)Martin Heidegger,“A Dialogue on Language”,On the Way to Language,New York:Harper and Row,1971,p.15.
(4)指阿纳德·施耐德主编的《另类艺术与人类学》。下同。
(5)Fernando Coronil,“Toward a Critique of Globalcentrism,Speculations on Capitalism's Nature”,Public Culture,vol.12,no.2,2000,pp.351~374.
(6)Johannes Fabian,Time and the Other:How Anthropology Makes its Object,New York:Columbia University Press,1983.
(7)Phaptawan Suswannakudt,“Catching the Moment,One Step at a Time”,in Raminder Kaur and Parul Dave-Mukherji(eds.),Arts and Aesthetics in a Globalizing World,London:Bloomsbury,2014,pp.98~99.
(1)Peter Osborne,Anywhere or Not at All:Philosophy of Contemporary Art,London:Verso,2013,p.17.
(2)Terry Smith,What is Contemporary Art?,Chicago:University of Chicago Press,2009,pp.3~4.
(3)Aihwa Ong,“What Marco Polo Forgot:Contemporary Chinese Art Reconsfigures the Global”,Current Anthropology,vol.53,no.4,2012,pp.471~494(including comment section),pp.483,472.
(4)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.186.
(5)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.187.
(6)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.188.
(7)Terry Smith,“Contemporary Art:World Currents in Transion Beyond Globalization”,in Hans Belting,Andrea Buddensieg and Peter Weibei(eds.),The Global Contemporary and the Rise of New Art Worlds,Cambridge,MA:MITPress,2013,p.188.
(8)Tullio Maranh·o,“Introduction”,in Tullio Maranh·o and Bernhard Streck(eds.),Translation and Ethnography:The Anthropological Challenge of Interculural Understanding,Tucson,AZ:University of Arizona Press,2003,pp.xi,xv.
(1)Tullio Maranh·o,“Introduction”,in Tullio Maranh·o and Bernhard Streck(eds.),Translation and Ethnography:The Anthropological Challenge of Interculural Understanding,Tucson,AZ:University of Arizona Press,2003,p.xvi.
(2)Olufemi Taiwo,“‘The love of freedom brought us here':An Introduction to Modern African Political Philosophy”,South Atlantic Quarterly,vol.109,no.2,Spring 2010,pp.391~410.
(3)Arnd Schneider,“Contested Grounds:Reflecting on Claborations with Artists in Corrientes,Argentina”,Critical Arts,vol.27,no.5,2013,pp.511~530;Arnd Schneider,“Towards a New Hermeneutics of Art and Anthropology Collaborations”,in Samuli Schielke and Daniela Swarowsky(eds.),Still in Search Of Europe?Art and Resarch In Collaboration,Heijningen,Netherlands:Jap Sam Books,2013,repr.InE thnoscripts,vol.17,no.1,2015,pp.23~30.
(1)Lawrence Venuti,“Translation and the Formation of Cultural Identities”,Current Issues in Language and Society,vol.1,no.3,1994,pp.201~217.
(2)Joshua Price,“Translating Social Science:Good Versus Bad Utopianism”,Target,vol.20,no.2,2008,pp.348~364.
(3)这里指的是哲学家GuyD ebord等倡导的艺术、文学和哲学等领域的环境决定论。
(4)Amelia Rosselli,“The Angel Exit”,in Luigi Ballerini,Beppe Cavatorta,Elena Coda and Paul Vangelisti(eds.),The Promised Land:Italian Poetry After 1975,Los Angeles:Sun&Moon Press,1999,p.417.
(1)Amelia Rosselli,“The Angels Exit”,in Luigi Ballerini,Beppe Cavatorta,Elena Coda and Paul Vnagelisti(eds.),The Promised Land:Italian Poetry After 1975,Los Angeles:Sun&Moon Press,1999,p.177.
(2)Gilles Deleuze and Félix Guttari,A Thousand Plateaus:Capitalism and Schizophrenia,London:Continuum,1999,pp.6~7.
(3)可参见Aleksandar Bo2kovi(ed.),Other People's Anthropologies:Ethnographic Practice on the Margins,New York:Berghahn,2008.
(4)可参见Stuart Kirsch,Reverse Anthropolgy:Indigenous Analysis of Social and Environmental Relations in New Guiea,Stanford University Press,2006;Eduardo Viveirs de Castro and Mario Goldman,“Introduction to Post-Social Anthropology,Networks,Multiplicities and Symmetrizations”,HAU:Journal of Ethnographic Theory,vol.2,no.1,2012,pp.421~433.
(5)Scott T.Cummings,“Guillermo Gómez-Pe1a:True Confessions of a Techno-Aztec Performance Artists”,American Theatre,vol.50,no.1,November 1994,p.51.
(1)Raminder Kaur and Parul-Dave Mukherji,“Introduction”,in Raminder Kaur and Parul Dave-Mukherji(eds.),Arts and Aesthetics in a Globalizing World,London:Bloomsbury,2014,p.5.Michel Foucault,Order of Things,London:Routledge,2002[1971],p.5.
(2)Mark Watson,“Centring the Indigenous':Postcommodity's Transindigenous Relational Art”,Third Text,vol.29,no.3,2015,pp.141~154.
(3)Mark Watson,“Centring the Indigenous':Postcommodity's Transindigenous Relational Art”,Third Text,vol.29,no.3,2015,pp.141,142,144.
(4)Arnd Schneider and Christopher Wright,“Ways of Working”,in Arnd Schneider and Christopher Wright(eds.),Anthropology and Practice,London:Bloomsbury,2013,p.7.
(5)Paul O’Neil,The Culture of Curating and the Curating of Cultures,Cambridge,MA:MIT Press,2012,esp.Ch.2.
(1)Tarek Elhaik,The Incurable-Image:Curating Post-Mexican Film and Media Arts,Edinburgh:Edinburgh University Press,2016,pp.4,12,23.
(2)Tarek Elhaik,The Incurable-Image:Curating Post-Mexican Film and Media Arts,Edinburgh:Edinburgh University Press,2016,pp.10,64.艾尔海克的论证比此处更加复杂,尽管听起来有些悲观,但这不是他的本意。他很清楚策展的最终解放潜能和乐观力量,并受到Deluze的激励(用艾尔海克的话说)“令人喜悦地积极寻求重新组合和实现那些细微看不到的、为主流和冷漠的符号体系所压制的潜力。Tarek Elhaik,The Incurable-Image:Curation and Repetition on a Tri-Continental Scene,p.172.
(3)参见Marielle Shaw,“Looking for 10,000 Kwentos:Field Museum Seeks Help in Uncovering Filipino History”,Arts and Entertainment,Chicagoist,March 16,2014.http://chicagoist.com/2014/03/16/looing_for_1000_words_field_museu.php(accessed May 14,2016).
(4)Kiven Strohm,“When Anthropology Meets Contemporary Art:Notes for a Politics of Collaboration”,Collaborative Anthropologies,no.5,2012,pp.98~124.
(1)Anna Grimshaw and Amanda Ravetz,“The Ethnographic Turn-and After:A Critical Approach Towards the Realignement of Art and Anthropology”,Social Anthropolgy,vol.23,no.4,2015,pp.418~434.
(2)Roger Sansi,Art,Anthropology,adn the Gift,London:Bloomsbury,2015.