Institute of psychology in Shenyang, a major city of China, recently reveals 6 most frequently used utterances in verbal abuse of children among local parents: “Garbage”, “You know nothing but eating”, “Pig head”, “Shame on you”, “Why don’t you die”, “No one else is lamer than you”.
"Myanmar has been engulfed in protest since February 1, when Burmese army general Min Aung Hlaing seized control of the government in a military coup, refusing to accept to the landslide election victory of the National League for Democracy and its leader, Aung San Suu Kyi.
Rectification of names
"If language is not correct, then what is said is not what is meant;
if what is said is not what is meant, then what must be done remains undone;
if this remains undone, morals and art will deteriorate;
if justice goes astray, the people will stand about in helpless confusion.
Hence there must be no arbitrariness in what is said.
This matters above everything."
Confucius
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.
Protests erupted in cities and on campuses across China this weekend as frustrated and outraged citizens took to the streets in a stunning wave of demonstrations against the government’s “zero covid” policy and the leaders enforcing it.
One of the oldest forms of human expression is art, so it’s no surprise that art is constantly used to critique another of humanity’s oldest practices, violence and war. In the world of art activism, the power of creativity and innovation has been used to create commentary about war since the beginning of time. Art that speaks out against the atrocities of violent conflict embodies empathy, care, and a plethora of other human emotions.
A large chair installation work featuring the Chinese name of detained artist and activist Ai Weiwei was set up in Taipei Saturday --the 22nd anniversary of the Tiananmen SquareMassacre -- to call for Ai's release.
Bei Ling, an artist from China who has been barred from enteringhis home country since 2000, used 1,001 empty chairs to piece together the three characters of Ai's name in Liberty Square at 6: 04p.m.
The video DON’T COVER UP, STEP UP is a public service announcement raising the issue of gender-based violence. In the video, a vlogger teaches her fans how to cover up bruises with makeup after she has been beaten by her husband. There is a twist in the story as the husband enters the scene at the end of the video.
Nanfu Wang feels safe in New York. Surveillance, that essential preoccupation of the documentarian in America, is a chokehold from which she has been temporarily released. From her Brooklyn apartment, the Chinese filmmaker prepares for the release of her debut feature documentary, Hooligan Sparrow.
Late last month, Chinese citizens took up a creative means of protest over the nation’s strict “zero-COVID” policy. In a place with little tolerance for large public demonstrations, protesters have been holding up blank pieces of paper. Their ingenuity inspired a local artist Yolanda He Yang to stage a public art demonstration to subtly communicate their dissent.
The Breath of China is a thematic photo exhibition of thousands of air-quality images taken by 44 photographers in 34 Chinese capital cities. The exhibition was displayed on the 14th Pingyao International Photography Festival (PIPF) in Shanxi Province, from September 19th to 27th, 2014.
By Paul Ferguson, CNN
updated 9:50 PM EDT, Sun March 25, 2012
Atlanta (CNN) -- Song Byeok had every reason to be pleased with his success. A gift for drawing led to a prestigious career as a propaganda artist and full membership in North Korea's communist party.
Then the food shortages started.
Chinese artist Ai WeiWei has drawn on the stool part of that French surrealist's pioneer work for his latest exhibition, the largest ever devoted to Ai, which opens in Berlin this Thursday. The show, entitled Evidence, is at Berlin's Martin-Gropius-Bau exhibition hall, and consists of either entirely new works, or pieces never seen in Germany before. The exhibition is huge, taking up 3,000 square metres in total and running across 18 rooms.
Rokudenashiko is on a mission to free the vagina. In her native country of Japan, the vaginal slang word “manko” is considered taboo while the penis equivalent, “chinko,” is used freely. Rokudenashiko (the pseudonym of artist Megumi Igarashi) uses her manko art to destigmatize the vagina, using it as the basis for whimsical figurines, iPhone cases, dioramas, and, in her most infamous piece, a kayak.
Lu Yang attempts to bring the negative notion of Cancer cell into a “Kimo Kawa” object of love and/or pain and hopes to open a dialogue that brings awareness to the acceptance and tolerance of living with cancer cells.
Just the other day, we were hearing about Samsung getting in legal trouble over patent violations with Apple. A federal court decision ruled that Samsung owes Apple more than $1 billion in restitution.
Dropping a Han Dynasty Urn (1995) by Ai Weiwei is a highly provocative work of art. This series of three black and white photographs portray the artist holding a 2,000-year-old Han dynasty urn that, frame by frame, he drops, it falls, and shatters. As much a work of photography as a work of performance art, in each still an unaffected Ai looks directly at the camera aware of his destructiveness.
Her name is ISIS-chan. And she's how nerds around the world are trying to silence violent ISIS terrorist propaganda.
It starts with the vibrant worldwide community that loves Japanese anime. Some of them have created a cute animated character as a sort of ISIS mascot.
The goal? Hijack the terrorist group's message and replace it with a girl that's oh-so-adorable.
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.
In June 2011, the Beijing Local Taxation Bureau demanded a total of over 12 million yuan (US$1.85 million) from Beijing Fake Cultural Development Ltd in unpaid taxes and fines, and accorded three days to appeal the demand in writing. According to Ai's wife, Beijing Fake Cultural Development Ltd has hired two Beijing lawyers as defense attorneys.
“I performed at Tiananmen Square in 1989, 15 days before the crackdown. I sang A Piece of Red Cloth (一块红布), a tune about alienation. I covered my eyes with a red cloth to symbolize my feelings. The students were heroes. They needed me, and I needed them. After Tiananmen, however, authorities banned concerts. We performed instead at “parties,” unofficial shows in hotels and restaurants”.
In 2008, an earthquake devastated Sichuan province in China, claiming the lives of more than 69,000 people. Following accusations from parents that substandard construction caused the collapse of schools across in the region, the artist Ai Weiwei set upon a political investigation that would name every missing student and call the government to account for their deaths.