{"title":"Remapping Asian and Asian Diasporic Art: Identity, Intervention, and Care","authors":"Chang-Kwo Tan, L. Kina, Tina Chen","doi":"10.1353/vrg.2022.0021","DOIUrl":"https://doi.org/10.1353/vrg.2022.0021","url":null,"abstract":"","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122211534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Heidi Amin-Hong, Keva X. Bui, Sam Ikehara, Davorn Sisavath
{"title":"Field Trip: Materialities of Empire in a More-than-Human World","authors":"Heidi Amin-Hong, Keva X. Bui, Sam Ikehara, Davorn Sisavath","doi":"10.1353/vrg.2022.0028","DOIUrl":"https://doi.org/10.1353/vrg.2022.0028","url":null,"abstract":"","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117174014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A&Q: Curation as Decolonial Practice","authors":"L. Kina, Alexandra Chang, L. B. Davis, T. Tagle","doi":"10.1353/vrg.2022.0024","DOIUrl":"https://doi.org/10.1353/vrg.2022.0024","url":null,"abstract":"","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129238077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay revisits several of the key artworks central to the events surrounding the Aichi Triennale, with a special focus on the feminist artist, scholar, and activist Shimada Yoshiko. I argue that Shimada’s performance work, Becoming a Statue of a Japanese ‘Comfort Woman,’ is not simply about memorializing the past, but instead seeks to reveal how militarized sexual violence and social violence are ripple effects that share the same origin: a form of bourgeois liberalism that upholds patriarchy, attempts to maintain an image of societal unity, and disavows responsibility for the past.
{"title":"Situating Being a Statue of a Japanese “Comfort Woman”: Shimada Yoshiko, Bourgeois Liberalism, and the Afterlives of Japanese Imperialism","authors":"Namiko Kunimoto","doi":"10.1353/vrg.2022.0036","DOIUrl":"https://doi.org/10.1353/vrg.2022.0036","url":null,"abstract":"Abstract:This essay revisits several of the key artworks central to the events surrounding the Aichi Triennale, with a special focus on the feminist artist, scholar, and activist Shimada Yoshiko. I argue that Shimada’s performance work, Becoming a Statue of a Japanese ‘Comfort Woman,’ is not simply about memorializing the past, but instead seeks to reveal how militarized sexual violence and social violence are ripple effects that share the same origin: a form of bourgeois liberalism that upholds patriarchy, attempts to maintain an image of societal unity, and disavows responsibility for the past.","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"102 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126082700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:As the first community-based arts center in Boston’s Chinatown, Pao Arts Center invites further discussion about the intricate relationship between art, gentrification, and the building of minority communities. Based on the data collected in a year-long research project, this article examines Pao Arts Center’s performance in its inaugural year, 2017-2018. Using performance studies methods and Henri Lefebvre’s theory of the production of space, I argue Pao Arts Center takes on a layered performance of critical ambiguity. The center’s spatial relationship to Boston’s inner city embodies a specific urban history that has produced and shaped the Chinatown community while its artistic practice performs a pan-Asian identity based on an open interpretation of Chineseness.
{"title":"Critical Ambiguity: The Performance of Pao Arts Center in Boston’s Chinatown,2017– 2018","authors":"Yizhou Huang","doi":"10.1353/vrg.2022.0035","DOIUrl":"https://doi.org/10.1353/vrg.2022.0035","url":null,"abstract":"Abstract:As the first community-based arts center in Boston’s Chinatown, Pao Arts Center invites further discussion about the intricate relationship between art, gentrification, and the building of minority communities. Based on the data collected in a year-long research project, this article examines Pao Arts Center’s performance in its inaugural year, 2017-2018. Using performance studies methods and Henri Lefebvre’s theory of the production of space, I argue Pao Arts Center takes on a layered performance of critical ambiguity. The center’s spatial relationship to Boston’s inner city embodies a specific urban history that has produced and shaped the Chinatown community while its artistic practice performs a pan-Asian identity based on an open interpretation of Chineseness.","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"215 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130852857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Portfolio: Planetary Art in the Sinophonecene: An Introduction","authors":"Hai Ren, Zheng Bo, Mali Wu","doi":"10.1353/vrg.2022.0023","DOIUrl":"https://doi.org/10.1353/vrg.2022.0023","url":null,"abstract":"","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128736820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Considering contradiction and continuity as a framework to examine the aesthetic and political subjectivities in Ruth Asawa’s work, this essay explores how the visual grammar of contradiction and continuity became a generative force for the artist to negotiate the politics of Asian American citizenship, and navigate various roles and responsibilities as an Asian American woman artist. Through a critical engagement with works by contemporary Asian American and feminist theorists such as Lisa Lowe and Anne Anlin Cheng, it raises issues of the ornamental, domesticity, citizenship, and otherness as a backdrop of Asawa’s Asian American subjectivity, and argues that Asawa’s work needs to be understood simultaneously within and against the rhetoric of binaries of inside and outside, that both articulates and establishes the boundaries of citizenship.
{"title":"Contradictions and Continuity: Constructing Asian American Political and Aesthetic Subjectivities in the Work of Ruth Asawa","authors":"Eunice Uhm","doi":"10.1353/vrg.2022.0034","DOIUrl":"https://doi.org/10.1353/vrg.2022.0034","url":null,"abstract":"Abstract:Considering contradiction and continuity as a framework to examine the aesthetic and political subjectivities in Ruth Asawa’s work, this essay explores how the visual grammar of contradiction and continuity became a generative force for the artist to negotiate the politics of Asian American citizenship, and navigate various roles and responsibilities as an Asian American woman artist. Through a critical engagement with works by contemporary Asian American and feminist theorists such as Lisa Lowe and Anne Anlin Cheng, it raises issues of the ornamental, domesticity, citizenship, and otherness as a backdrop of Asawa’s Asian American subjectivity, and argues that Asawa’s work needs to be understood simultaneously within and against the rhetoric of binaries of inside and outside, that both articulates and establishes the boundaries of citizenship.","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122039624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the extensive visual archive of lantern slides and dioramas produced by the interwar internationalist organization, the Pan-Pacific Union. Founded in Honolulu in 1917, the Pan-Pacific movement positioned Hawai‘i as the primary locus for a US cultural diplomacy. The Pan-Pacific’s visual projects provided ways of knowing and understanding the Pacific that marked the region as containable and palatable. The Pan-Pacific’s visual projects exemplify settler colonial projection. Building on Dean Itsuji Saranillio’s “settler state theatrics”--the settler state’s dramaturgical acts of authority--settler colonial projection focuses specifically on the primacy and perceived objectivity rooted in the visual. Settler colonial projection offers a theoretical framework that centers the visual within settler projects of dispossession, as well as in Indigenous forms of reclamation and resistance.
{"title":"Settler Colonial Projections: The Visual Politics of the Interwar Pan-Pacific Movement","authors":"Courtney Sato","doi":"10.1353/vrg.2022.0037","DOIUrl":"https://doi.org/10.1353/vrg.2022.0037","url":null,"abstract":"Abstract:This article examines the extensive visual archive of lantern slides and dioramas produced by the interwar internationalist organization, the Pan-Pacific Union. Founded in Honolulu in 1917, the Pan-Pacific movement positioned Hawai‘i as the primary locus for a US cultural diplomacy. The Pan-Pacific’s visual projects provided ways of knowing and understanding the Pacific that marked the region as containable and palatable. The Pan-Pacific’s visual projects exemplify settler colonial projection. Building on Dean Itsuji Saranillio’s “settler state theatrics”--the settler state’s dramaturgical acts of authority--settler colonial projection focuses specifically on the primacy and perceived objectivity rooted in the visual. Settler colonial projection offers a theoretical framework that centers the visual within settler projects of dispossession, as well as in Indigenous forms of reclamation and resistance.","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126498428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Critically reflecting upon immigrant relations with place in North American and East Asian contexts, Jin-me Yoon’s lens-based art investigates the landscape as a site of diasporic emplacement. In her video works the artist uses a number of editing techniques as well as abstract camera work to interrelate sites in Canada and Korea, making visible the unseen impacts of colonialism, militarism, war, and tourism on the production of Asian diasporic subjectivities. This article examines the formal language the artist produces across three videos: Other Hauntings (2016), Long View (2017), and Living Time (2019), arguing that they function through resonance. I conceptualize how resonance operates visually, examining its potential to counter the representative, extractive logic of lens-based media and positing its use in Asian diasporic art.
{"title":"Toward a Formal Language of Resonance: Diaspora and Place in the Video Works of Jin-me Yoon","authors":"Victoria Nolte","doi":"10.1353/vrg.2022.0033","DOIUrl":"https://doi.org/10.1353/vrg.2022.0033","url":null,"abstract":"Abstract:Critically reflecting upon immigrant relations with place in North American and East Asian contexts, Jin-me Yoon’s lens-based art investigates the landscape as a site of diasporic emplacement. In her video works the artist uses a number of editing techniques as well as abstract camera work to interrelate sites in Canada and Korea, making visible the unseen impacts of colonialism, militarism, war, and tourism on the production of Asian diasporic subjectivities. This article examines the formal language the artist produces across three videos: Other Hauntings (2016), Long View (2017), and Living Time (2019), arguing that they function through resonance. I conceptualize how resonance operates visually, examining its potential to counter the representative, extractive logic of lens-based media and positing its use in Asian diasporic art.","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131577505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Codex: Reading with Care: Photography and Anti- Asian Violence","authors":"Bakirathi Mani, Susette S. Min","doi":"10.1353/vrg.2022.0022","DOIUrl":"https://doi.org/10.1353/vrg.2022.0022","url":null,"abstract":"","PeriodicalId":263014,"journal":{"name":"Verge: Studies in Global Asias","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133825451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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