Reviewed by:

• Precarious Forms: Performing Utopia in the Neoliberal Americas by Candice Amich
• César Barros A.

What forms of resistance can artistic practices, poetry, and performance art, in particular, stage within a space swallowed by neoliberal governance—a global system that creates exploitative and precarious forms of work and sociability and that hinders collective organization and political transformation? This is one of the main questions that Candice Amich attempts to tackle in Precarious Forms: Performing Utopia in the Neoliberal Americas.

The book sets out to analyze an important body of work from consecrated artists across the Americas, ranging from Canadian-based poet Dionne Brand to multifaceted Chilean artist Cecilia Vicuña. Amich uses 'utopia' as the main conceptual tool to understand how these artists, the majority of whom are women, confront neoliberal precarious contexts. Their strategies, Amich contends, do not stage other possible worlds directly (in the more affirmative sense we tend to give classic forms of utopia) but rather, through an Adornian turn, affirm the negation of the "neoliberal sensorium," thus staging the blatant contradictions and tensions in the ways of life determined by neoliberalism. These works respond to precarity by creating forms that, through the affirmation of a negation, point to the possibility of transforming the base structure of neoliberal realities across the continent. This utopian wager can take the form of "utopian longing" (Nancy Morejón and Brand), "precarious forms of bonding" (Ana Mendieta and Coco Fusco), or "state ritual violence," as Amich proposes in the case of Regina José Galindo's performances.

With this book, Amich has created a fruitful space for dialogue among practices from different artists during different periods of the neoliberal historical sequence. The book will appeal to those interested in performance art and poetry and in the relation between artistic practices and pressing issues such as migration, exile, precarious forms of labor, and post-revolutionary and post-dictatorship struggles for justice and visibilization. Her close readings are illuminating and some of them offer novel ways of entering or re-entering classic works. Among these is the reading of Fusco and [End Page 151] Domínguez's Dolores from 10 to 22, in which Amich dives into the tensions within the neoliberal gaze. The crossing of this work with performative strategies of the Zapatistas is revealing, as is the insertion of Debordian ideas to develop these arguments, if at times the author over-emphasizes the "staging" strategies of the Mexican revolutionary movement over other important facets. One also wonders if Amich's utopian wager can be so seamlessly applied to indigenous world-making practices. One of the most illuminating parts of the book is her reflection on testimonio as a way of entering Galindo's work.

Precarious Forms creates productive dialogues among artistic practices that imagine paths of resistance during these unjust, carceral, and deadly times. Some chapters would benefit from a clearer characterization of the realities they confront. For instance, the critique of masculinist revolutionary narratives that Brand, Morejón and Daisy Zamora react to in their works, a critique central in Amich's reading, could have been developed in more detail. The same could be said of the very interesting point of the neoliberal individualization of subjectivities—how does this come to be and to what ends are these processes of subjectification deployed? The breadth and scope of the book is nonetheless impressive and Precarious Forms is a novel contribution to a corpus of critical works that center utopia in the struggle against neoliberalism.

审核人：

• car可危的形式：坎迪斯·阿米奇（Candice Amich）在新自由主义美洲表演乌托邦
• 塞萨尔·巴罗斯（CésarBarros A.

在新自由主义统治所吞噬的空间中，艺术实践，诗歌和表演艺术尤其可以表现出什么形式的抵抗？新自由主义统治是一种创造剥削性和不稳定形式的工作和社会关系，并阻碍集体组织和政治变革的全球体系？这是坎迪斯·阿米奇（Candice Amich）试图以不稳定的形式解决的主要问题之一：在新自由主义美洲表演乌托邦。

该书着重分析了美洲各地奉献艺术家的重要作品，从​​加拿大诗人狄昂·布兰德（Dionne Brand）到多方面的智利艺术家塞西莉亚·维库尼亚（CeciliaVicuña），不一而足。阿米奇使用“乌托邦”作为主要的概念工具来了解这些艺术家（其中大多数是女性）如何面对新自由主义的pre可危环境。阿米奇认为，他们的策略并非直接上演其他可能的世界（从更肯定的意义上讲，我们倾向于给出经典的乌托邦形式），而是通过阿多尼斯式的转折来肯定“神经感觉器”的否定，从而将其公然化为乌有。新自由主义所决定的生活方式中的矛盾和紧张。这些作品通过创建形式来回应pre不安，这些形式通过对否定的确认，指出了改变整个非洲大陆新自由主义现实基础结构的可能性。这种乌托邦式的赌注可以采取“乌托邦式的向往”（南希·莫尔洪（NancyMorejón）和布兰德（Brand）），“不稳定的联系形式”（安娜·门迪埃塔（Ana Mendieta）和可可·富斯科（Coco Fusco）），或者如阿米奇（Amich）在里贾纳·何塞·加林多（ReginaJoséGalindo）的案子中所提出的那样。表演。

通过这本书，阿米奇为新自由主义历史序列的不同时期的不同艺术家的实践之间的对话创造了一个富有成果的空间。该书将吸引那些对表演艺术和诗歌以及艺术实践与紧迫问题之间的关系感兴趣的人们，这些问题包括移民，流亡，不稳定的劳动形式，革命后和独裁统治后的争取正义和稳定化的斗争。她的近距离阅读很有启发性，其中一些提供了新颖的方式来输入或重新输入经典作品。其中包括对Fusco和[End Page 151] Domínguez的《Dolores》（从10到22）的阅读，阿米奇（Amich）在其中探讨了新自由主义凝视中的紧张气氛。如果作者有时过分强调墨西哥革命运动在其他重要方面的“分阶段”策略，那么这项工作与Zapatistas的表演策略的交叉以及Debordian想法的发展就表明了这一点。人们还想知道，阿米奇的乌托邦式下注是否可以如此无缝地应用于土著世界的制造实践。这本书最有启发性的部分之一是她对证言的反思，以此作为进入加林多作品的一种方式。

Form可危的形式在艺术实践之间创造了富有成效的对话，这些对话想象着在这些不公正，痛苦和致命的时期中抵抗的路径。某些章节将受益于它们所面临的现实的更清晰的表征。例如，本来可以更详细地发展对布兰德，莫雷洪和黛西·萨莫拉在作品中作出反应的男性主义革命性叙事的批判。对于主观的新自由主义个体化的一个非常有趣的观点，可以说同样的话：这是怎么发生的？这些主观化过程的目的是什么？本书的广度和范围仍然令人印象深刻且不稳定 这是对批判作品集的新颖贡献，这些作品以乌托邦为中心反对新自由主义。