Abstract

Recent exhibitions and publications evidence an increased focus in the artworld on non-human animals. I take this trend as an opportunity to assess the intersection of contemporary art and critical animal studies and posthumanism. I first offer an account of this phenomenon, and put forward an argument for the role art can take in negotiating human–animal boundaries through an analogy between art/non-art and human/animal. I then interpret three artworks included in the exhibition ‘Heavenly Beings: Neither Human nor Animal’ at the Museum of Contemporary Art Metelkova in Ljubljana, Slovenia in 2018: Franc Purg’s Where is the Line? (1998), Maja Smrekar’s K-9_topology: Hybrid Family (2016) and Anton Vidokle’s Immortality and Resurrection for All! (2017). Focusing on slaughter, interspecies kinship, and life after death, respectively, these artworks are provocative within the meeting of art and animal studies, but have not received sufficient analysis.

摘要

最近的展览和出版物证明艺术界越来越关注非人类动物。我将这一趋势作为评估当代艺术与重要动物研究和后人文主义交汇处的机会。首先，我对这种现象进行了说明，并提出了一个论点，即艺术可以通过艺术/非艺术与人类/动物之间的类比来在人与动物的边界谈判中发挥作用。然后，我在2018年斯洛文尼亚卢布尔雅那的梅特尔科娃当代艺术博物馆的``天国：人类与动物都没有''展览中解释三幅作品：弗朗克·普格（Franc Purg）的《路线在哪里？（1998），Maja Smrekar的K-9_topology：Hybrid Family（2016）和Anton Vidokle的《不朽与全民复活》！（2017）。这些艺术品分别集中于屠杀，种间血统和死亡后的生活，在艺术和动物研究会议上颇具启发性，但尚未得到足够的分析。