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Decompositional Forms: Asiatic Disfigurement, Sensorial Excess, and Queer Inhumanisms in Candice Lin’s Natural History

Decompositional Forms: Asiatic Disfigurement, Sensorial Excess, and Queer Inhumanisms in Candice... AbstractThis article analyzes Candice Lin’s 2020 solo exhibition, Natural History: A Half-Eaten Portrait, an Unrecognizable Landscape, a Still Still Life, a show that reflects the artist’s ongoing enquiry into non-Western botanical knowledge and attempts to develop nontoxic death rituals by building more-than-human intimacies. Merging the biological processes associated with decomposition and the discursive formations of race and gender, the work also interrogates the knowledge systems constructed by museums. I examine Lin’s works through the lens of queer inhumanisms to illustrate how this exhibition challenges modern curatorial practices and historical representations of the Asiatic in natural histories. I refer to this aesthetics of disfigurement as “decompositional forms.” Ultimately, I forward that this method of representation renders Asian American racial form into multisensorial registers (which literally penetrate art consumers) to recognize racial histories beyond identity and alongside the omni-presence of the more-than-human. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Diasporic Visual Cultures and the Americas Brill

Decompositional Forms: Asiatic Disfigurement, Sensorial Excess, and Queer Inhumanisms in Candice Lin’s Natural History

Asian Diasporic Visual Cultures and the Americas , Volume 8 (1-2): 26 – May 22, 2023

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
2352-3077
eISSN
2352-3085
DOI
10.1163/23523085-08010005
Publisher site
See Article on Publisher Site

Abstract

AbstractThis article analyzes Candice Lin’s 2020 solo exhibition, Natural History: A Half-Eaten Portrait, an Unrecognizable Landscape, a Still Still Life, a show that reflects the artist’s ongoing enquiry into non-Western botanical knowledge and attempts to develop nontoxic death rituals by building more-than-human intimacies. Merging the biological processes associated with decomposition and the discursive formations of race and gender, the work also interrogates the knowledge systems constructed by museums. I examine Lin’s works through the lens of queer inhumanisms to illustrate how this exhibition challenges modern curatorial practices and historical representations of the Asiatic in natural histories. I refer to this aesthetics of disfigurement as “decompositional forms.” Ultimately, I forward that this method of representation renders Asian American racial form into multisensorial registers (which literally penetrate art consumers) to recognize racial histories beyond identity and alongside the omni-presence of the more-than-human.

Journal

Asian Diasporic Visual Cultures and the AmericasBrill

Published: May 22, 2023

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