frameworks for the relationship between race, visuality, and representation.”
In engaging with questions of national belonging, artists reject a multiculturalist frame that simply aims for inclusion. Rather, as Santhi Kavuri-Bauer shows, they foreground “questions of power that attend to lifeliving
to her right as she holds an ink brush above a scroll. Another woman behind her, elegantly styled in a pink and purple kimono, leans over to grip the arms of a small boy learning to walk. While the painting could initially be mistaken for a historic depiction of family life in Asia, a closer look
search of a new life. More than 46,000 individuals have died since 2000, and more than 40 million internally displaced people ( idp ) have been detained and interned in camps all over the world, some for committing only the offence of crossing—or trying to cross—a border without papers.
political conditions in the Philippines. In the November 2005 issue, a page was used to display the English translation of lyrics to a Tagalog folk song, “ Awit Sa Bayani ” [Song of a Hero]. Nationalistic in tone, the lyrics were written for an activist who had lost his or her life. Using this song at that
that laziness would ensure our return to Earth as a twig. I grew up with a notion of respect for all forms of life as a result. The only commandment I can recall from Sunday School is to not hurt other living beings: God is in them as they are in us. There were, of course, contradictions and selective
hegemonic centres but also hegemonic voices or practices still afoot in marginal locations. Hence, inquietude seems a key analogy for what has motivated and driven this roundtable.
Inquietudes brings forth the notion of being in movement, of shuffling or shuttling between points of quietude, touching on
archaeology, historic preservation, and contemporary theory of everyday life—have created methodologies for producing knowledge about common places and architecture that are not iconic.
For example, Arijit Sen and Jennifer Johung have developed landscapes as a concept to interrogate the material
which they meant a transformative politics from below, containing an “evolution” in changed human relationships to each other, to non-human life, and to habitat away from petrocracy toward sustainable social relations.
They specified that any revolutionary possibility “begins with a series of
relatives stating they had made their fortunes in the gold rushes of California and British Columbia. Labour recruiters in China, who played a central role in establishing networks that spanned the globe, convinced men that they could make a better living for themselves and for their families because “money
news when their two invited geishas from Kyoto rode San Francisco cable cars during what Rita Felciano called a “publicity stunt” to promote the exhibition. 28 Motivated in part by the “entertainmentality” of museums, the spectacle of geisha mania found its way into exhibition programming. 29