Sebastián Mahaluf stands out as an artist deeply engaged in weaving the complex threads of human connection, community, and the interplay of personal and collective experiences. His notable work, "CONTRADICTION AND TENSION," showcases his approach to art as a participatory experience that bridges individual perceptions with communal narratives.
Gao Yaojie (Chinese: 高耀潔, Gao Yaojie; 19 December 1927 – 10 December 2023) was a Chinese gynecologist, academic, and AIDS activist based in Zhengzhou, Henan, China. Gao was honoured for her work by the United Nations and Western organizations whilst spending time under house arrest.
She seeks to utilize her feminist art to spread awareness on mental health issues. Sravy is a nomad in her own right, and throughout her experiences in Asia she has noticed that there are stimas surrounding women's autonomy and how they handle mental health struggles.
A viral video of a student dance performance in southern China’s Guangxi Zhuang Autonomous Region has won praise for speaking out against so-called ghost marriages, which many today see as an archaic and even dangerous tradition.
Young women in South Korea are fighting for a new future. The #MeToo movement which has highlighted sexual harassment and abuse around the world has taken a surprising hold in this socially conservative country.
Whose Utopia? is a color film which is 19 minutes 58 seconds long. It was originally commissioned by the Siemens Arts Program back in 2005. The projector-style video is based on the work and social lives of assembly line workers at OSRAM’s light bulb factory in the Pearl River Delta in China. This area has received huge numbers of immigrants from inland provinces seeking work and better lives in the wake of Beijing’s booming economy.
In early January, constructions workers in Wuhan, China staged a Gangnam Style protest in front of their employer's building. Using the Gangnam Style dance, the men sought to bring media attention to their mounting unpaid wages.
Liao Guohe’s solo exhibition ----“Satisfaction Guaranteed”, the first-time all-round summary of his paintings in last 10 years, is held from November 14, 2014 to March 14, 2015 at Sifang Art Museum in Nanjing, China.
As South Koreans took to the streets this month demanding the ousting of their president, some found an unexpected outlet to express their fury: jokes and satire.
They hoisted banners and flags with whimsical messages about cats, sea otters and food. They waved signs joking that President Yoon Suk Yeol’s declaration of martial law had forced them to leave the comfort of their beds. Pictures of the flags spread widely on social media.
The Hong Kong political crisis is now playing out in the virtual world.
Popular online video game "Grand Theft Auto V" has become a battleground between protesters in the semi-autonomous Chinese city and their rival players in mainland China.
Shouting is one of Xu Zhen’s early works questioning the limits of individual expression. First exhibited at the 51st Venice Biennale in 2005, the video shows Xu hiding in crowds and performing a series of loud screams in Shanghai.
By Steven Jiang, CNN
https://www.cnn.com/2018/03/14/asia/china-viral-eye-roll-intl/index.html
(CNN)It was the eye roll that resonated with millions -- and broke the internet in China.
It may have been a while since you’ve set foot in an internet cafe, but a pop-up one on the Lower East Side offering free tea on top of free wifi is well worth a visit for a lesson in online freedoms.
Megumi Igarashi—who goes by the name Rokudenashiko, or "good-for-nothing" in Japanese—is known as a "vagina artist" in her native Japan. Among the pieces she's created are a vagina chandelier, a remote-controlled vagina car, and a 3-D-printed kayak modeled after her vulva, which she actually rowed in 2014 "as a metaphorical image of life springing from it," she told Glamour through a translator.
Singaporean artist Lee Wen’s series Journey of a Yellow Man (1992–2012), one of his most famous and long-standing performances, was not simply a personal affront, it was a political affront. At the intersection of Asian art history, critical race theory, and migration and diasporic studies, one is never far (enough away) from the chromatic framing of race and ethnicity: yellow race, yellow peril, yellow face, the forever foreigner.
More than 30 South Korean college students shaved their heads in front of the Japanese embassy in Seoul on Tuesday to protest Japan's decision to release water from its crippled Fukushima nuclear plant into the sea.
Police periodically dispersed crowds, who chanted and held placards but did not stop the event from taking place, though there is an anti-pandemic ban on gatherings larger than 10 people.
Ladies’ Room, lasting fewer than six and a half minutes, offers a behind-the-scenes look at a women’s washroom in a nightclub located in a Beijing hotel. A male patron of Cui Xiuwen’s studio first took her there, and she acknowledges being drawn to the ladies’ room precisely because her host did not have access to it.
In 2009, the dissident artist created a work to honour the thousands of children who died in the Sichuan earthquake. He recalls how the project, Remembering, angered China’s rulers – and changed his career for ever
This is an edited extract from The Start podcast
In November 2013, a group of 17 female students at Beijing Foreign Studies University sparked national debate when they staged a bold social media campaign in support of an upcoming performance of The Vagina Monologues, a feminist play by Eve Ensler.
"Thai artists and art students are on the frontline of their country’s swelling pro-democracy movement, calling for reforms of Thailand’s military-backed government, and breaking both taboo and national law to criticise the nation’s monarchy.
"Sun Mu is not the artist’s actual name. It’s a nom de plume that uses a combination of two Korean words that translate to ‘The Absence of Borders’. It not only represents what he feels is the transcendence of art but also the literal military demarcation line that keeps the Korean people separated.
On a recent eight-hour shift at a McDonald’s in Hong Kong, Luke Ching, 52, wiped tables, cleared trays of half-eaten fries, emptied cups of soda and milk tea and lugged bulging trash bags to the dumpster.
For him, the main goal of the part-time work was not making ends meet. It was research for his main pursuit: using art to advocate for better treatment of people in menial jobs in a city with one of the widest income gaps in the world.
Hong Kong’s Lunar New Year fairs draw thousands of visitors who stroll past stalls of potted narcissus, snack on fish balls and snap up the latest plush toys. In recent years, the largest of the fairs, at Victoria Park, has also become a prime site for political expression.
The immediate prototypes of Zhang Xiaogang’s Big Family series are formal group photographic portraits from the 1950’s and 60’s, including those of Zhang’s own family, a source of the painter’s “endless reveries.” From these old black-and-white pictures Zhang Xiaogang derived the series’ paradigmatic features: a subdued, nearly monochromatic palette; a thickly layered but flat surface, without overt evidence of brushwork; a general compositional restric