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ARI LARISSA HEINRICH
CHINESE
BIOPOLITICAL AESTHETICS AND THE MEDICALLY COMMODIFIED BODY
SURPLUS
???2??I? ntr??odud?1I
A Series Edited by Jack Halberstam and Lisa Lowe
Chinese Surplus
?ē?1? c?d ic?dIIc 1?do?d211 Duke University Press Durham and London
© 3341 Duke University Press
All rights reserved
Printed in the United States of Amer
i c a on acid- f ree paper
Designed by Heather Hensley
Typeset in Warnock Pro by Westchester Publishing Services
Library of Congress Cataloging-
in-
Public
ation Data
Names: Heinrich, Ari Larissa, author.
Title: Chinese surplus : biopo
liti c al aesthetics and the medically commodied body / Ari Larissa Heinrich.
Description: Durham : Duke University Press,
. | Series: Perversemodernities | Includes bibliographical references and index. | Descriptionbased on print version rec or d and data provided by publisher; resourcenot viewed.
Identiers:
(print) | (ebook) (ebook) (hardcover : alk. paper) (pbk. : alk. paper)
Subjects:
: Human b ody (Philosophy) China. | Human body
China. |Ae sthetics
Political asp ects
China. |
Aesthetics, Modernst
c entury.| Medicine in art. | H uman gure in art. | Biopolitics C hina.
Classication:
. (ebook) | . (print) | /. dc rec ord a vailable athttps :// lccn . loc . gov /
Cover art: Zhang Dali,
Chinese O?spring
, 3334. Courtesy of the artist.
0t? 5cor6
CONTENTS
ix Biopo liti c al Aesthetics and the
Chinese Body as Surplus
Chinese Whispers: Frankenstein,
the Sleeping Lion, and the
Emergence of a Biopo
liti c al
Aesthetics
Souvenirs of the Organ
Trade: e Diasporic Body
in Con t emporary Chinese Lit er a ture and Ar t
Organ Economics: Transplant,
Class, and Witness from
Made in Hong Kong to
ēe Eye
Still Life: Recovering (Chinese)
Ethnicity in the
Body Worlds
and Beyond
All Rights Preserved: Intellectual
Property and the Plastinated
Cadaver Exhibits
ACKNOWL EDGMENTS
I gratefully acknowledge the Australian Research Council for its support under t he F uture Fellowship scheme (grant number ) toward the completion of this book. Brief passages in chapter appeared in earlier form in Souvenirs of the Organ Trade," in
Embodied Modernities: Corpore
ality and Repre sen ta tion in Chinese Cultures, edited by Fran Martin and Ari Larissa Heinrich (Honolulu: University of Hawai'i Press, innW). 5e Taiwan National Science Council provided support for me to spend time as a visit ing researcher at Chung-
Hsing National University in Taichung, Taiwan, in
; I thank especially Kuei- f en Chiu for her hospitality, as well as Yi- C hieh Lin for her generosity with information about discourses of the fake." For their intellectual support and encouragement, I am grateful to Carlos Rojas and participants in the Viral Knowledge" conference at Duke Univer sity; to Hsiao- yen Peng for allowing me to contribute to the Summer School on Academic En g lish and Literary eory or g a ni zed in the summer of through Academia Sinica"s Institute for Lit er a t ure and Philosophy; to Winnie Won Yin Wong and participants in the interdisciplinary conference
Shenzhen
�China, Utopias�Dystopias," or g a ni zed by the Department of History, eory and Criticism of Architecture and Art at ; to Eric
Hayot, in the Department of Comparative Lit
er a t ure, and participants in the China Af ter Comparison" workshop at Pennsylvania State University in ; and to Robert Peckham and the participants of the Viral Imaginaries: Infectious Disease and Society in Con t emporary China" con ference at the University of Hong Kong. For inviting me to give keynote lec- tures in and and for the stimulating exchanges that ensued, I am g rateful to Christos Lynteris at the Centre for Research in the Arts, Social
Sciences and Humanities (
) at the University of Cambridge, as well as the organizers of the Haas Ju nior S cholars Conference at Berkeley, Jesse Chapman and Jeannette Ng. Gilbert Caluya and Jane Chi Hyun Park"s panel on Orientalism"s Techn: e Cultural Politics of Technology and the Ori ent" for the Minor Culture" conference of the Cultural Studies Association of A ustralia in Melbourne in provided a particularly rich environment to discuss material from chapter of this volume, and I thank them for in cluding me; postpanel conversations with Jane, Camilla Fojas, David Roh, and Mar garet Mayhew wer e especially enriching. For their support in all aspects, I thank friends and colleagues at the
University of California, San Diego (
including the outstanding group of students in my gradu a te seminar on Biopo liti c al Aesthetics," whose brilliant interrogations expanded my thinking (and reading list). And I am especially grateful for the excellent conversations in all forms (some extending over many years) with Toby Beauchamp, Corey Byrnes, Joseph Chang, EstherM. K. Cheung, Howard Chiang, Melinda Cooper, Michael Davidson, Page DuBois, David Eng, Meeiyuan Fann, Rosalie Zdzienicka Fanshel, Camille Forbes, Michele Ford, Amy Garlin, Kelly Gates, Cathy Gere, DavidS. G. Goodman, Clara Iwasaki, Shangli Jen, Andrew Jones, Chin Jou, Allan Law, Eugenia Lean,
Mabel Lee, Helen Hok-
S ze Leung, Ping- h ui Liao, Chien- ting L in, Shaohua Liu, Raymond Lu, Fran Martin, Liansu Meng, Amie Elizabeth Parry, Teemu Ruskola, Shuang Shen, Susan Stryker, Kazuhiro Teruya, Joseph Toltz, Pai Wang, Yin Wang, Yeesheen Yang, and Yingjin Zhang. Poyao Huang"s thought ful and thorough assistance with the preparation of this manuscript was e xactly what was needed, at exactly the right time. Anna Joy Springer, Cath erine Davies, and Teri Silvio were all comrades in arms, accompanying me fearlessly and full of good humor to vari ou s exhibits of plastinated cadav ers from Taipei to San Diego to Sydney. anks also to the artist Zhang D ali for his generosity in sharing his work. I am grateful, too, for the com ments of the anonymous reviewers of this manuscript, as well as for the supp ort of Ken Wissoker, Elizabeth Ault, and Sara Leone at Duke Univer k2?ot7i?r8n?ouI sity Press in shepherding this book to completion; and to Lisa Lowe and Jack Halberstam for including this volume in their Perverse Modernities" series. e book evolved over many years, ambling along tentatively in vari ou s directions before nally nding it s through- line during an ex tended conversation with Lydia Liu over Blackwattle Bay in ; I am t hankful, as ever, for Lydia"s mentorship, friendship, and patience as I nd my way through the forest of ideas that she navigates so gracefully. Fi nally , I"d like to thank my ever- e xpanding f amily: Bev, Phil, Marcus, Tim, and Eloise Dowd. Eloise"s generosity of spirit, intellectual and emotional companionship, and sharp wit have illuminated this book in all phases. While the image of a dead specimen potentially yields a grisly reminder of the material exercise of power upon which the birth of the nation is historically contingent, it actually works to render the material vio lenc e of the nation merely meta p horical for our times. - Nicole Shuk in, Animal Capital A per for mance artist sets o a scandal when he bites into the forearm of a fetus. e middle- c lass protagonist of a horror lm sees ghosts through the transplanted cornea of an impoverished donor. A cirrhotic liver, pre served in polymer, lies glistening on a table in a shopping mall, not far from a food court and an expensive jewelry store. We live in an age of unpre c e den ted medical commercialization of the body, a time of routine exposure to the agnostic aesthetics of spare kidneys and facial transplants, cosmetic
corrections" and designer blood
a time when t he value" of the medical body has become explicitly literal.
Yet when repre
s en t a tions of t his medically commodied body appear in art or public culture, we often dismiss them as sensationalistic: eit her we read them as shameless bids for celebrity or we assume they function autopoietically to critique their own conditions of production. Instead of asking what such works can tell us about the syntax of race, medicine, and
INTRODUCTION
Biopo liti cal A esthetics and the
Chinese Body as Surplus
2
corporeality in the grammar of history, we read them tautologically, as the self- f ullling product of biotech"s dark prophecy. In visceral terms, of course, it is not hard to understand the desire to dismiss or even to censor such violent images. Repre s en t a tions of t he dismantled, dismembered, or uncanny body are designed to disturb. It is in the nature of the material.
But a closer investigation of repre
s en t a tions of the medically commodi ed body in lit er a ture and visual culture can illuminate (and productively complicate) our understanding of the ongoing eects of biopo liti c al vio lenc e in con t emporary life. While the medically commodied body itself may be highly confronting, its status as both a transactable and an aes theticized corporeal object is precisely what enables it to speak directly t o the legacy of postcolonialism for embodied hierarchies of race, ethnic ity, gender, culture, class, and ability. If we read these challenging gures only for their shock value or their function as artifacts of biotechnological changeif, in essence, we refuse the responsibility of witness t hen we risk perpetuating the many historically embedded vio lenc es that inform what Nicole Shukin has described as life in biopo liti c al times," our par tic u l ar moment of geopo liti c al contraction and biotechnological expan sion. By contrast, turning a more mea sured attention to the gure of the medically commodied body in lit er a t ure, art, and popu l ar culture oers us insight into what Alexander Weheliye has called the alternative modes of life" that can coexist with the vio lenc e, subjection, exploitation, and ra cialization that dene the modern human."
A naked body shrink- wrapped
like a cut of meat, a stolen plastic kidney, a tale of fraternal dissection: t hese gures are uniquely positioned to bridge the divides of past and pres en t, and of colonial and con t emporary, as well as to expose the ?ctions of their own production (including ?ctions of what counts as " h uman," as universal," or even as h uman rights").
Moreover, they are inherently
transnational: just as the emergence of biopo liti c al regimes coincides with the rise of neoliberal (il)logics, the emergence of the gure of the medically commodied body coincides with the increasingly global character of ma terial exchange and its associated mythologies around bodies, technology, and inf ormation. us when we engage more deeply with the meaning of a given example of the medically commodied body in conquotesdbs_dbs5.pdfusesText_9
The Butterfly Lion Exploring the book through drama by