Piss(ed): The Biopolitics of the Bathroom

Mia Fischer
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引用次数: 6

Abstract

This article analyzes two recent works by transgender performance artist Cassils, PISSED and Fountain (2017), which were created in response to the Trump administration's decision to rescind federal protections allowing transgender students to use the restroom of their choice. While Cassils primarily conceptualized PISSED/Fountain as a queering of binary, essentialist understandings of gendered embodiment, I draw on performance, queer, and critical ethnic studies to illustrate that these pieces simultaneously challenge other kinds of oppositional embodiments, particularly health versus disease and citizen versus alien and/or terrorist; conceptualizations the state frequently deploys to surveil and control marginalized populations. PISSED/Fountain offer audiences a new strategy for both exposing and contesting state violence: these pieces can be read as a politically strategic disidentification with the state's classification of certain bodies and their excretions as ``deviant'' and ``toxic'' in order to purposefully ``terrorize'' the state's bio- and necropolitical aims.
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尿(编):厕所的生命政治
本文分析了跨性别行为艺术家Cassils最近的两件作品《尿》和《喷泉》(2017),这两件作品是为了回应特朗普政府决定取消允许跨性别学生自行选择卫生间的联邦保护而创作的。虽然Cassils最初将《愤怒/喷泉》概念化为二元的、本质主义的对性别体现的理解,但我利用表演、酷儿和批判性种族研究来说明,这些作品同时挑战了其他类型的对立体现,特别是健康与疾病、公民与外国人和/或恐怖分子;国家经常利用概念化来监视和控制边缘人群。《愤怒的喷泉》为观众提供了一种揭露和反对国家暴力的新策略:这些作品可以被解读为一种政治上的策略,即对国家将某些身体及其排泄物分类为“不正常的”和“有毒的”,以有目的地“恐吓”国家的生物和死亡政治目标。
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