ABSTRACT

This article explores chef Virgilio Martínez’s culinary exploration of Peruvian biodiversity and his claims of ‘discovering,’ selecting, classifying, and transforming local, ‘unknown,’ Indigenous ingredients and knowledge into high-end global cuisine. Taking Martínez seriously as an artist and cultural agent, I suggest that his work can be understood as a form of what I call the settler-colonial sublime, art that conceals and obscures the erasure and appropriation of specific Indigenous peoples and practices. As with all hegemonic projects, there is room for counter-narratives, and I consider the possibility for the emergence of other-than-colonial relations. Nevertheless, reading Martínez’s culinary artistry alongside the provocative performance art of Elizabeth Lino in Cerro de Pasco helps reveal how the skill and artistry of Peruvian chefs like Martínez work in tandem with a ‘gastropolitical complex’ of political, cultural, and economic forces to obscure ongoing entanglements with coloniality.

摘要

本文探讨了主厨 Virgilio Martínez 对秘鲁生物多样性的烹饪探索，以及他对“发现”、选择、分类和将当地“未知”本土食材和知识转化为高端全球美食的主张。将马丁内斯视为一名艺术家和文化代理人，我认为他的作品可以被理解为一种我称之为定居者-殖民崇高的形式，一种隐藏和掩盖特定土著人民和实践的擦除和挪用的艺术。与所有霸权项目一样，存在反叙事的空间，我考虑了出现非殖民关系的可能性。尽管如此，