本文旨在重新檢視當代亞洲以泛文化主義所生產的解殖論述，其可能內涵之諸多悖論，並藉由陳界仁的藝術創作與相關論述，企圖提陳更能回應當前現實處境的思考方案。本文首先分析並檢討亞洲的解殖脈絡，包含查卡拉巴提的知識解殖，南地對於文化傳統的主張，以及孫歌的區域主義，並指出這些解殖方案並未能超越文化主義的侷限以及與現實政治的矛盾。為了超克以文化為面向的解殖論域，本文以陳界仁《變文書》一作為例，指出其中的自我方法和行動策略，事實上更能反思全球體系下的權力支配與生產關係。本文將以「鄙民的政治」這一概念來定義此方法論。本文認為，「鄙民的政治」具備下列特性：（一）由傅柯對於「鄙民」的討論出發，並以其「特定性」的本體論為論述基礎；（二）其所隱含的實踐意義超越了以區域為名的現實政治結構；（三）其介入之意涵並非由全球藝術物流網絡中的代理與分配機制所給定，而是真正實踐平等意義的「生產者」；（四）其所指向的並非是文化的專屬者，而是全面生產化下的無餘裕者。本文將以上述論點出發對於《變文書》進行論述。

This article aims to re-examine the discourse of decolonization in Asia through its antinomies of pan-culturalism. It is followed by an analysis of the artist Chen Chieh-Jen’s works in order to develop an alternative approach to the current decolonial agenda. I firstly re-examine the thinkers including Dipesh Chakrabarty, Ashis Nandy, and Sun Ge, arguing that their proposals of decolonization have not overcome the limit of culturalism and the paradox with political realities. In order to think beyond the cultural realm, I draw on Chen’s The Bianwen Book to propose that its idea of self-methodology and the strategy of self-activism are more pertinent for us to reflect on today’s global world, the dominance of power and the systems of production. Chen’s approach is defined as “politics of the plebs,” which is elaborated as follows: (1) it is from Foucault’s concept of the “plebs” and its ontology of “specificity” (2) it is beyond the political realities designated by regionalism (3) it derives not from the logistics of global art, but takes the role of a “producer” based on true equality (4) it refers not to the subjects of culture, but to the commons of the deprived in the global capitalism.