Performance on the Blockchain
Zhang Huan and EchoX
Freda Fiala
在 2002, Chinese artist Zhang Huan crossed through New York’s streets wearing
a bodysuit made of raw meat that shaped him with bulging contours and ex-
panded his presence to into a humanoid, Hulk-like figure. 到了这个时候, it had
been four years since Zhang left China. He had previously studied at the Central
Academy of Fine Arts in Beijing, where he graduated in 1993. With personal iden-
tity and existential survival being his most pressing topics at the time, Zhang was
able to exercise a radical, self-exploitative practice as a performance artist. 在 2021,
as part of a collaboration with the Taipei-based tech platform EchoX, Zhang cre-
ated Celestial Burial of an Artist, a digital project that revisited Zhang’s meat-suit
intervention My New York, his earlier work that now holds a firm position in the
canon of performance art at the turn of the century. The two decades since Zhang’s
original performance intervention have seen a trend towards score-based, 多-
scale practices, depending less on artists’ physical presence, and departing from
extreme physical actions. Zhang’s artistic trajectory relates to the conceptualization
of the performative, 也, even though his practice has since focused on the creation
of object-based works.
The artist’s return to China, in his words, marked a “point of no return,” separating
his past productions from his future work. Zhang stopped performing his reper-
toire of past interventions because of a conscious desire “not to repeat himself,”
as he considered his practice to have reached “the maximum results” with perfor-
mance art by then. Reflecting this sentiment, Zhang’s 2021 return to My New York
stayed away from the notion of reenactment. Celestial Burial of an Artist was con-
ceptualized for online audiences to participate one-on-one in a performative in-
teraction with Zhang’s avatar in a virtual game room. In reference to My New York,
the artist’s avatar was rendered to be dressed in a golden meat suit. During period
of several weeks in November 2021, audience members (or users) could engage
with him in a game-room setting as a vulture-headed avatar, picking parts from
the artist’s figure, with their mouse clicks simulating a hungry bird’s beak. 这
24 ■ PAJ 135 (2023), PP. 24–34.
24 ■ https://doi.org/10.1162/pajj_a_00679
© 2023 Freda Fiala
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
interaction was rewarded symbolically, with a small amount of the cryptocurrency
Ethereum (ETH). A few weeks later, participants were then able to transform the
amount of ETH, generated through their interaction, into an NFT (non-fungible
代币). EchoX then minted a collection that is hosted on the NFT-platform
OpenSea, displaying a total of five hundred and ten avatar-NFTs in metaverse meat
suits, in a total of six different colors.
NFTs are used mainly by media artists and seem to have very little to do with
performance—or do they? This question arises since the boom period of NFTs
has sparked conversations around collecting intangible art forms and their social
and monetary value. Entering into public awareness from 2017 and experiencing a
peak during the pandemic in 2020 和 2021, artists and art institutions have since
shown great dedication to exploring the technology’s potential.1 Genre-defining
figures of performance art such as Marina Abramovi
and Robert Wilson have
entered the “global” NFT market to tokenize documents of their iconic, past perfor-
mance works and sell them as NFTs, thereby solidifying the links between the live
form and artists’ reliance on (sellable) 文件.
ć
The conceptual grounds of NFTs are pegged out by an envisioned singularity, 哪个,
at first, seemingly (and only seemingly) recalls how the concept of the unique,
non-exchangeable artist body is commonly addressed in performance studies.
从理论角度, these approaches demand upholding the notion of
performance art regarding the live event. This yearning for presence has been de-
scribed by Amelia Jones as “the dilemma how performance cultures work. 恰恰
because it claims both to be ’art’ and to be ’live’ [……], live and/or performance art
presses together modes of being, meaning and value that have historically been
considered incompatible.”2 To carve out the territories of Zhang’s project, it is first
necessary to delve a bit further into crypto language. In short, an NFT is a non-
interchangeable unit of data that is stored on a digital ledger called the blockchain.
NFTs are recorded through blockchains: decentralized, distributed digital ledgers
that build from records, called blocks.
Blockchains function to track transaction records across many computers, 创造-
ing a system in which no block in a chain can be altered retrospectively without
altering subsequent blocks at the same time. In a chain, a token simply describes a
sequence of related characters that may be associated with digital files such as those
containing images, 视频, 声音的, or text. 理论上, this immutability—the ability
of the ledger to remain unaltered—leads to a permanent and indelible history of
交易, which has been praised as a specific quality of blockchain systems.
The ways in which blockchains store information in encrypted form across peer-to-
peer computer networks thus, from a technological perspective, make them useful
as keepers of important records and proof of ownership. In a blockchain context,
the specific asset characteristic of NFTs is their non-fungibility. They are deployed to
FiAlA / Performance on the Blockchain ■ 25
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
track a given file as a specific asset. Designed to represent a unique claim of “thing-
内斯,” they introduce an artificial scarcity into the vast landscapes of digital data.
Drawing parallels to performance art in an analog setting, owning an NFT can
be compared to owning a unique photographic print of a performance signed
by the artist, while multiple other individuals may simultaneously own identical
unsigned prints. The value of an analog work of art, 毕竟, relies on social consen-
sus as much as physical reality, and the current consensus around art NFTs largely
forms the same way. Countering early adopter prophecies of democratization and
权力下放, the “social factor” in fact plays an equally important role in how
artists can position themselves within the platform-settings of the crypto market.
As China has officially banned non-state crypto currencies and trade in September
2021, Zhang’s project benefitted from the infrastructure and resources of a Taiwan-
based tech company in order to reach an international audience and market, 使用
the Ethereum chain and the platform OpenSea.
The setting of Celestial Burial of an Artist resembles that of online games, defined
by the use of avatars, a clear set of rules, and resulting in a quantifiable outcome.3
For their collaboration with Zhang Huan, EchoX built a simple-to-navigate digital
“live-site” with limited but clear directives regarding how the artist and his audienc-
es were supposed to interact. The performance/game was organized in three rounds
that took place over a ten-day period. In order to be part of its social-technical
casino, participants entered the gaming room one by one, as a vulture-head ava-
tar, to mine pieces from the artist’s avatar. Blending in with its meta-environment,
Celestial Burial avatar of Zhang referenced the character of a Celestial, inspired by
fictional figures of the same name that appear in an iconic series of American comic
books published by Marvel Comics. Visually, it can be best described as a voxelized
version of a bulky statue made of gold ingots. In connection with the artist’s spir-
itual beliefs, the concept of Celestial Burial drew from the praxis of sky burial, 在
which a human corpse is exposed in mountainous areas to be eaten by scavenging
动物, especially carrion birds.
In Tibetan tradition, it is believed that this procedure serves the wish of the deceased
to go to heaven. It is considered a bad omen if only a small number of birds come
down to eat from the corpse, or even leave the body untouched. For a good re-
birth, complete destruction of the remains is the practice’s goal. According to Ellen
Pearlman, Zhang has called himself out as a Ju Shi, or “householder” Buddhist
about eight years ago, “taking on the name ci ren or Sky Human. He has also studied
Chán Buddhism, the Chinese precursor to Zen, with Master Sheng Yen in Queens,
New York.”4 A bird had already featured in the setting of My New York. As Zhang
moved through the busy metropolis, he released a single white dove to channel
Christian symbolism of the peace-bringing dove as well as ancient Chinese fang-
sheng, animal-release rituals that are practiced until this day. While a bird served as
26 ■ PAJ 135
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
a rather tangible metaphor in My New York and featured in Zhang’s performance
Seeds of Hamburg, which he created back in 2002, Celestial Burial appropriated its
symbolic presence as a tool to ignite an exchange between the artist’s avatar and its
online audiences.
In the performance, for thirty seconds, audiences could “pick” on the artist’s avatar
to remove golden cubes from his figure. After this period, the game automatically
ended, and participants were shown the amount of ETH that had been generated
through the interaction. Presented in such framework, Celestial Burial of an Artist
referenced the fact that games are experienced through the instance of playing.
所以, each “play-through” constituted a key moment for a participant (作为一个
player) to interact with Zhang Huan’s avatar. 而且, the invitation to interact
provided itself as the only opportunity to even enter the game’s experiential setting.
An audience’s meeting with the delegated artist’s avatar, 然而, did not mark
their status as co-authors whose presence would impact the situation and its poten-
tial ways of developing. 反而, a fully preprogrammed setting served to commod-
ify an algorithmically shaped form of “interactivity.” The audiences’ (or players’)
interactions with the work relied on preprogrammed terms. Playing a game is dif-
ferent from performing in a live (or even digital) setting—according to this logic, 它
was not the artist, but his abstracted golden avatar that audiences/players would be
meeting and interacting with.
EchoX introduced Celestial Burial of an Artist in slightly different terms, proclaiming
那
in the game, the artist waits for players to enter the burial ground for in-
teraction. Each player can cut off [从] the artist’s body at will within
a limited time. Players then can choose whether to mint the remainder
[遗迹] of Zhang’s avatar into an NFT collectible.5
This announcement suggested Zhang could actually “be present,” ready to encoun-
ter an online audience within the project’s temporal logic. Promoting an exclusive
one-on-one experience with the artist within a limited time, Celestial Burial pro-
moted itself through its claimed experiential ephemerality as well as envisioning a
unique and special moment of encounter, two elements considered to be constitu-
tive for performative happenings.6
“Liveness” is a highly contested term in performance studies, often discussed
regarding the ephemeral qualities of performance and the impossibility of its repe-
tition. It is called upon to express the situated moment of encounter as a contin-
绅士, uncertain terrain ruled by chance and affect. Matthew Reason and Anja Mølle
Lindelof convincingly argue that “the emphasis here is on a continual fabrication
of the newness of the event and the fact that what is happening might go wrong: 这
dancer might fall, the equipment might fail and the actor might miss a line. 经常
FiAlA / Performance on the Blockchain ■ 27
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
Zhang Huan, My New York (2002), 表现, Whitney
Museum, 纽约, 纽约. 照片: © Zhang Huan Studio.
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
Zhang Huan, Celestial Burial of an Artist #1, 2012–2021. Non-fungible token. © Zhang Huan Studio. Courtesy
Pace Gallery.
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
Beef Man. 楷模: Andy Wu and Owen Wu. 照片: Elise Tsai.
© Zhang Huan Studio. Courtesy the artist.
28 ■ PAJ 135
FiAlA / Performance on the Blockchain ■ 29
this is hypothetical, a stress on the potential for difference rather than analysis of
the impact of actual differences.”7 In fact, experimentation with visceral experience,
bodily endurance, and pain had been core themes in Zhang’s early artistic practice
which he explored through performance. Works including My America (Hard to
Acclimatize), Pilgrimage—Wind and Water in New York, and My New York, probe the
capacities and limits of corporeal (co-)在场, social norms and behavioral pat-
燕鸥, provoking judgment in the (民众) social sphere.
Focusing on this aspect of liveness, as a contingent but shared experience between
artist and audiences, Thomas Berghuis, in his influential book on performance
art in China, has called for the conditions of place in performance to be recognized
as one of the core artistic expressions in contemporary art. Writing against the
political and discursive marginalization of performance art in the Chinese political
语境, Berghuis recalls the need to “judge performance on the basis of human
perception” and the “embodied sensibility of each individual participant in the
performance.”8 Liveness, 然后, is within the relation a performance establishes
between practitioner and audience. Understood in such relational manner, 反而
of an ontological liveness, performance proposes conditions of experiencing live.
Through such unruliness, both parties within an encounter may allow themselves
“to be caught out, to be affected, to be relocated and transported.”9
In digital times, we see liveness expand into the virtual realm, where it may unfold to
different degrees, as a co-performance of human and non-human entities. Yet strip-
ping away the flawed human factor, Celestial Burial of an Artist states a particular case
for an online performance. It stands apart from performances “transported” to the
online realm through a live-stream that interactively addresses participants (用户)
in a virtual network. Unlike tech-based performances that would include possi-
bilities for mutual interaction as a condition for its unfolding, the collaboration
between Zhang and EchoX was not made as it was experienced and could not
be experienced as it was made. 因此, in their attempt to reproduce the
experiential factor, the project’s creative team came up with a particular kind of
stopgap. In addition to the game-based online setting, performative offline inter-
ventions were organized across global metropolises. Demonstrating a well-staged
synchronization of art, tech and popular culture, a chain of IRL (“in real life”)
performance interventions took place in Shanghai, Qingdao, 英石. Petersburg, 新的
约克, and London. With the purpose of drawing attention to the project, volun-
teers strolled around in these cities wearing costumes printed with meat motifs.
In truth, they performed dress-up parades through the streets that were thin in
substance, more consonant with the folkloristic interventions of Renaissance fairs
or Christmas markets than a philosophical expression of cryptofuturism. 他们的
活动, shared all across social media, was geared towards the promotion of the
crypto-performative, purposed to draw attention to Zhang’s artistic engagement with
blockchain technology.
30 ■ PAJ 135
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
A performance work enters Web3, as the “new,” decentralized and token-based
internet is called, in a monetarized form, as crypto performance. The “crypto” prefix
thereby manifests a technological vision that leans towards the prophetic. In a
1997 book titled The Sovereign Individual, authors William Rees-Mogg and James
Dale Davidson predicted that the currency used in the information age would rely
on “mathematical algorithms that have no physical existence.”10 Early claims such
as theirs have shaped an imaginary promise to eliminate the traditional hierarchies
of the economic system, and they also have been exploited in the context of the
art market for the purpose of stimulating a gold rush inspired new era of sales.
Zhang’s concept also bears reference to the aesthetics of online games that must,
like science fiction, be regarded as the breeding ground for contemporary metaverse
attempts and crypto-fantasies.
To take part, participants first needed to register on the EchoX website. They were
asked to provide basic contact information and to link their MetaMask wallet—a pop-
ular software cryptocurrency wallet that interacts with the Ethereum blockchain—
to a newly created EchoX membership account. Optionally, they could register for
a priority pass which required the sharing of a whole lot of data and the sub-
mission of “proof of following” screenshots, to document that they followed the
Discord and Twitter accounts of both Zhang Huan and EchoX. The first five hun-
dred participants who completed this form were granted “whitelist entry.” This reg-
istration procedure had, 可以说, been designed to evoke a sense of competition,
as if participants would try to squeeze into an overcrowded room in a gallery, but in
the context of platform capitalism. While the sharing of one’s DeFi (decentralized
金融) wallet in a crypto context does usually not require sharing one’s personal
identity or data, this principle was disproved by this playful enforcement of social
media networking. The formalism of such procedure framed the online event in
terms that suggest an exclusive and restricted experience, revealing links to ritual-
ism and its symbolic dimension of social gatherings.
The virtual artist-audience engagement aimed at the creation of blockchain-based
assets: sculptural fragmentary renderings of Zhang’s avatar minted into NFTs. 这
accords with how, as further development from Web 2.0 技术, Web3 set-
tings generally rely on the idea that users generate not only an information-based
or interactive content, but also its economic and social structures. From December
15, 2021, players could mint their results of the game/performance as tokens in
order to provide a verifiable and reliable claim of ownership over that asset. 在
technical terms, this process required (forced) each player to own a crypto wallet
on MetaMask. Minting the NFT cost 0.025 ETH and an additional gas fee in order
to compensate the computational effort required to execute an operation on the
网络. Participation was, 所以, asserted not through experience and the fac-
tor of a corresponding liveness, but attributed through an economic transaction.
换句话说, Celestial Burial of an Artist staged a virtual gathering to perform a
meditated representation of monetary tectonics.
FiAlA / Performance on the Blockchain ■ 31
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
Zhang’s revisiting of My New York in Celestial Burial of an Artist did not question
the ability of the work to be alienable from the artist, a principle which is usually
considered a fundamental prerequisite for any artwork, to be both collected and
sold. The replacement of the performer with his avatar in the name of crypto
instead demonstrates the self-identification of artistic labor with the type of capital
extracting it. 在这个设置下, the artist figure, in a self-proclaimed holistic manner,
enacted his own commodification. Collaboratively, Zhang and EchoX put efforts
to engage participation through a playful set-up and design, metaphorically and
literally asking people to join the game. Their experimental engagement with NFTs
demonstrates for the all-encompassing monetarization of the crypto art econo-
我的, as it plays through the process required for anyone who wishes to engage
with it (as an investor) and mints an NFT (as their contract). What is relevant is
that artists retain the copyright to their work, as owning the NFT does not equal
ownership of the underlying digital asset. 实际上, not a piece of Zhang’s avatar
was sold, but what the artist offered to be minted was a collectible of the partici-
pants’ experience, exploiting the factor of social participation for crypto investment
dynamics. In the game, the dimension of what would be understood as on-site
engagement would no longer depend on geographic location. 反而, the prior-
ity of the bodily (A)live shifted to a code-based virtual space in which the avatars’
interaction relies on time-based coordinates. In such a setting, promises of block-
chain-backed assetization allow for the permanent and traceable to impinge upon
the ephemeral.
In My New York, the meat costume covered only Zhang’s body, leaving his persona
to be clearly identifiable. Addressing topics of identity and belonging, the New
York performance, 一方面, connected well to the larger discourse of ques-
tioning artistic “Chineseness” that many protagonists of China’s post-socialist art
scene were busying themselves with in the 1990s and early 2000s. 更远, as Mary
Jane Jacob notes, Zhang’s approach holds aspects that make it stand apart from
earlier examples of what she calls “Buddhism-inspired contemporary Chinese art
made before the marketisation of China in the 1990s.”11 Developed alongside eco-
nomic globalization, this points to how Zhang’s artistic trajectory was made pos-
sible by his strategic employment of his home region’s mercantile skills. Celestial
Burial employs a similar approach to a China-globalist scale strategy. Through the
support of EchoX, in terms of artistic creation as well as audience reach, the project
navigated blockchain technology on an international level. In Zhang’s early per-
formance work, the use of the word “my” is significant in this respect, as it already
suggests an ownership, transforming “locations into a personal space,” as Christina
Yu has argued.12
After returning to live in China, Zhang has built his larger-than-life scale career—
的确, very effectively—by outsourcing concepts of the Western avant-gardes and
bringing them to realization under the conditions of the Chinese labor market.
32 ■ PAJ 135
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
His appearance as a faceless golden corpse avatar echoes how the public image of
the artist has shifted from first being known in China for his radical approach to
performance art to being known in the global commercial market as a tech-savvy
materialist. The historic legacy of My New York served him as an anchor for mar-
ket purposes, the participatory consolidation of which only enabled and further
expanded its capitalization. In their recent essay collection Assetization: Turning
Things into Assets in Technoscientific Capitalism, Kean Birch and Fabian Muniesa
explain that no “thing” in this world is an asset per se, but almost anything can be
turned into an asset. In light of the protean grabs of capitalism at play, they consid-
er the questions of who “owns” something and “how they end up owning it and
what that means for everyone else” as central to not only the study of assetization,
but to the future of our societies at large.13 It is no wonder that Zhang’s digital
double appears as symbolic gold-nugget avatar, pointing self-reflexively (and cyn-
ically) to the artist’s professional credentials which he acquired since the time of
My New York.
NOTES
1. See Alfred Weidinger, 编辑。, Proof of Art: A Short History of NFTs from the Beginning of Dig-
ital Art to the Metaverse (柏林: Distanz Verlag, 2021).
2. Amelia Jones, “The Now and the Has Been: Paradoxes of Live Art in History,” in
Perform, Repeat, Record: Live Art in History, 编辑. Amelia Jones and Adrian Heartfield (布里斯托尔:
智力, 2012), 15.
3. Katie Salen and Eric Zimmerman, Rules of Play: Game Design Fundamentals (剑桥,
嘛: 与新闻界, 2003), 80.
4. Ellen Pearlman, “Zhang Huan’s Painterly Buddhism,” Hyperallergic, 十月 3, 2013,
https://hyperallergic.com/84883/zhang-huans-painterly-buddhism/.
5. EchoX, “Celestial Burial of an Artist,” accessed October 5, 2022, https://curation.echox
.app/nft/curationPage/zhanghuanFirstRegister.
6. See André Lepecki, “Not as Before, But Simply: 再次,” in Perform, Repeat, Record: 居住
Art in History, 编辑. Amelia Jones and Adrian Heartfield (布里斯托尔: 智力, 2012), 159.
7. Matthew Reason and Anja Mølle Lindelof, “介绍: Experiencing Liveness in
Contemporary Performance,” in Experiencing Liveness in Contemporary Performance: Interdis-
ciplinary Perspectives, 编辑. Matthew Reason and Anja Mølle Lindelof (纽约: 劳特利奇,
2016), 6.
8. Thomas Berghuis, Performance Art in China (香港: Timezone 8 Limited, 2008), 197.
9. Reason and Lindelof, “介绍,” 2.
10. William Rees-Mogg and James Dale Davidson, The Sovereign Individual (纽约:
Touchstone, 1997), 24.
11. Mary Jane Jacob, “In the Space of Art,” in Buddha Mind in Contemporary Art, 编辑. Jacque-
lynn Baas and Mary Jane Jacob (伯克利: University of California Press, 2004), 168.
FiAlA / Performance on the Blockchain ■ 33
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
12. Christina Yu, “Tangible Metaphors,” Next Level 3, no.1 (2004): 20–25, http://万维网
.zhanghuan.com/wzMF/info_74.aspx?itemid=1139.
13. Kean Birch and Fabian Muniesa, “Conclusion: The Future of Assetization Studies,“ 在
Assetization: Turning Things into Assets in Technoscientific Capitalism, 编辑. Kean Birch and Fabian
Muniesa (剑桥, 嘛: 与新闻界, 2020), 315.
FREDA FiAlA works across the contexts of performance art, digital and new
media dramaturgies, and interculturalism through research, 写作, dra-
maturgy, and curation. As a fellow of the Austrian Academy of Sciences, 她
dissertation project explores contemporary performance practices and cul-
tural networks in East Asia. Her writing has been published by ARTMargins,
The Theatre Times, and TQW Magazin. She also initiated and curates the
performance festival The Non-Fungible Body? in Linz, 奥地利, which first
took place in 2022.
我
D
哦
w
n
哦
A
d
e
d
F
r
哦
米
H
t
t
p
:
/
/
d
我
r
e
C
t
.
米
我
t
.
e
d
你
p
A
/
j
j
/
我
A
r
t
我
C
e
–
p
d
F
/
/
4
5
3
(
1
3
5
)
/
2
4
2
1
5
6
1
2
2
p
A
/
/
j
j
_
A
_
0
0
6
7
9
p
d
.
F
乙
y
G
你
e
s
t
t
哦
n
0
7
S
e
p
e
米
乙
e
r
2
0
2
3
34 ■ PAJ 135
