Abstract:

Joseph Beuys is certainly one of the most famous artists of the twentieth century, and assessments of the political character of his work have diverged sharply. In part, this is because of the biographical facts of Beuys’s own career—he was a Luftwaffe pilot in World War II for Nazi Germany and was shot down in action, yet later helped found the European Green Party—and in part it is because of how Beuys carefully managed and cultivated his own public persona. While engaging readings of Beuys’s work that see him working through the Holocaust and its legacy, this essay argues for a broader and deeper political significance for Beuys’s work, with particular attention to his “action” I Like America and America Likes Me: a biopolitical significance that links the human being to nonhuman life through the matrix of infirmity, vulnerability, and precarity, fundamentally undermining any presumptive correlation between the “natural” or “normal” body and the project of political citizenship.

摘要：

约瑟夫·博伊斯（Joseph Beuys）无疑是20世纪最著名的艺术家之一，并且对其作品的政治特征的评价也大相径庭。在某种程度上，这是由于Beuys自己的职业经历所致-他曾在纳粹德国第二次世界大战中担任德国空军飞行员，被击落，但后来被帮助成立了欧洲绿党-部分原​​因是因为贝伊斯如何谨慎地管理和培养自己的公众人物。在阅读博伊斯作品以阅读他在大屠杀及其遗产中的作品时，这篇文章主张对博伊斯的作品具有更广泛和更深远的政治意义，尤其要注意他的“行动”，我喜欢美国，美国喜欢我：具有生物政治意义的意义，它通过firm弱，脆弱和pre可危的矩阵将人类与非人类的生活联系起来，从根本上破坏了“自然”或“正常”身体与政治公民身份项目之间的任何假定联系。