This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos's work, I propose a shift in the discourse on global contemporary art, from postcolonial figures of the oriental, the subaltern and the hybrid to strategies of representation such as transformation, ambiguity and queering – a shift intended to foster alliances amongst members of BIPOC communities, against the divisive politics of settler colonialism in Palestine, Canada and elsewhere. To this end, the artworks are set in two interrelated contexts: one art historical and one more strictly political. Boulos's work is read in relation to that of contemporary artists dealing with postcolonial conflict zones, and Modern and contemporary Palestinian artists both in Palestine and its diaspora. Relevant political contexts for her work include Palestinian LGBTQ activism after the Second Intifada and the 2014 Israeli War on Gaza called Operation Protective Edge.

中文翻译：

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艺术史对黎巴嫩大脚野人有何评价？阿曼达·布洛斯艺术中的去殖民主义斗争的主体

本文重点介绍巴勒斯坦裔加拿大画家阿曼达·布洛斯的几幅作品，这些作品传达了散居海外的巴勒斯坦人和加拿大原住民的共同愿望，即超越定居者殖民主义的规范身份。通过对布洛斯作品的社会历史、形式主义和图像学的协调解读，我提出了全球当代艺术话语的转变，从东方、底层和混合体的后殖民人物转向诸如转型、模糊和酷儿等表现策略– 这一转变旨在促进 BIPOC 社区成员之间的联盟，反对巴勒斯坦、加拿大和其他地方定居者殖民主义的分裂政治。为此，这些艺术品被置于两个相互关联的背景中：一种是艺术历史背景，另一种是更严格的政治背景。布洛斯的作品是与处理后殖民冲突地区的当代艺术家的作品以及巴勒斯坦及其侨民的现代和当代巴勒斯坦艺术家的作品一起阅读的。她作品的相关政治背景包括第二次起义后的巴勒斯坦 LGBTQ 激进主义和 2014 年以色列对加沙战争（称为“保护边缘行动”）。