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当生态批评和酷儿理论这两个看似格格不入的学派汇合,会发生什么?酷儿的流动性和相互依存,与生态学去人类中心的立场,以及对生命与非生命间固化边界的颠覆性拷问,在澳大利亚表演艺术家贾斯丁·舒尔德的实践中实现了天衣无缝的糅合——这尤其在他基于个体酷儿经历和古今神话文本而构造的“奇异生物”系列中彰显。初次遭遇舒尔德的灵异生物,仿佛撞见了德里达所述的“正来临者”:奇怪的陌生人。它们各自以怪诞的身体和晦涩的肢体动作考验着观者的想象边界:舒尔德早期创造的“哈巴布”(2008)就像一头浮出深海的神秘生物,因人类长期投入海中的非降解性塑胶变身成了一头
What happens when the seemingly alien schools of ecocriticism and queer theory converge? Queer’s mobility and interdependence, its position in the center of humankind with ecology, and the subversion of the solidified borders between life and non-life Sexual interrogation has been seamlessly integrated into the practice of Australian acting artist Justin Schuld - this is especially evident in his “Strange Creatures” series based on individual queer experiences and ancient and modern mythological texts. For the first time encountering Schulde’s supernatural creatures, as if caught in the Derrida said “Adventist ”: a strange stranger. Each of them tests the viewer’s imaginary boundaries with grotesque bodies and obscure limb movements: Shubh’s early creation, Habib (2008), is like a mysterious creature rising to the surface of the sea, Non-degradable plastic turned into one