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• ↓ MENU
• ↓ A Book of Actions: Islands, Coastlines, and the Sea
• ↓ Endless Return under the Monsoon
• ↓ Taming Adventures: The Haier Brothers as Global Imagery
• ↓ From Divine Maiden to Heavenly Empress: The Historical Formation of Mazu Belief and the Maritime Imaginary
• ↓ Where the Tongue Catches on Stress: Sounds in Diaspora, Narrative at Its Limits
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"In recent years, the field of contemporary Chinese art has seen a growing number of practice-based projects initiated by curators, artists, and institutions. Whether working alone during brief island or port residencies, or traveling collectively along expansive coastlines, these practitioners engage with long-standing maritime rituals—such as boat-sending ceremonies—and observe newly developed marine infrastructure."

"The residues of these histories still drift within the everyday lives of Southeast Asian Chinese, rendering “localization” anything but a clear or uncontested option."

"Around the turn of the millennium, we accepted and embraced The Haier Brothers—whether actively or passively—not only because of its pervasive airtime, but because it had become a “prescribed image.”"

"Confucian moral instruction and the sea-goddess belief centered on Meizhou Island—systems that had once existed in relative independence and represented the divide between official and popular spheres, center and periphery, land and sea—gradually converged in the modern period, woven into a unified ideological formation."

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A Book of Actions: Islands, Coastlines, and the Sea

Endless Return under the Monsoon

Taming Adventures: The Haier Brothers as Global Imagery

From Divine Maiden to Heavenly Empress: The Historical Formation of Mazu Belief and the Maritime Imaginary

Where the Tongue Catches on Stress: Sounds in Diaspora, Narrative at Its Limits