This article concerns the challenge of making postcolonial and decolonial art under postcolonial capitalism. A pioneer in the Gulf's growing art scene, the Sharjah Biennial has carved a niche for itself as an incubator of postcolonial and decolonial art. This article first locates the biennial's focus within the trajectories of postcolonial, decolonial, and Black radical theory across the increasingly connected fields of art and academic production. Starting with a close reading of a performance piece by queer Black Cuban artist, Carlos Martiel, observed at the Sharjah Biennial 14, it then blends ethnographic, interview, and historical material to reconstruct the tangible histories of labor, commodity production, and art market liberalization that condition articulations of postcolonial and decolonial art in the Gulf. This political economic prism reveals how capitalist markets dislocate postcolonial and decolonial representation from the specific material conditions of its production. While offering greater visibility to racialized subjects, geographies, and epistemologies, such art thus recalibrates, extends, and embeds the specific racial and colonial hierarchies that structure the international art market and capital accumulation in the Gulf. Observing the imbrication of art and academia, the article therefore also offers a grounded critique of less materialist strands of postcolonial and decolonial theory.

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在沙迦双年展上品尝眼泪：后殖民与去殖民艺术的国际政治经济学

本文关注在后殖民资本主义下制作后殖民和非殖民化艺术的挑战。作为海湾地区日益增长的艺术界的先驱，沙迦双年展作为后殖民和非殖民主义艺术的孵化器，为自己开辟了一个利基市场。本文首先将双年展的重点定位在后殖民、去殖民化和黑人激进理论的轨迹中，贯穿于日益紧密联系的艺术和学术生产领域。从细读古巴酷儿黑人艺术家卡洛斯·马蒂尔 （Carlos Martiel） 在第 14 届沙迦双年展上观察到的行为作品开始，然后融合了民族志、采访和历史材料，以重建劳动力、商品生产和艺术市场自由化的有形历史，这些历史为海湾地区后殖民和非殖民艺术的表达提供了条件。这个政治经济学棱镜揭示了资本主义市场如何将后殖民和去殖民化的代表从其生产的特定物质条件中脱离出来。在为种族化的主题、地理和认识论提供更大的可见性的同时，此类艺术因此重新校准、扩展和嵌入了构建海湾国际艺术市场和资本积累的特定种族和殖民等级制度。因此，通过观察艺术与学术界的融合，本文也对后殖民主义和非殖民主义理论中不那么唯物主义的分支进行了扎实的批评。