ASIAN FUTURES, WITHOUT ASIANS

“ASIAN FUTURES, WITHOUT ASIANS”

Astria Suparak
2020–Ongoing

Presentation: The Wattis Institute, San Francisco, Winter 2021* (original March 2020 date postponed due to COVID–19)
wattis.org/view?id=886

Publication: WHY ARE THEY SO AFRAID OF THE LOTUS? (CCA Wattis Institute for Contemporary Arts and Sternberg Press, Winter 2021*). Edited by Jeanne Gerrity and Kim Nguyen.

*Exact dates to be announced. For updates, follow on social media or check back here.

“If the war is the continuation of politics by other means, then media images are the continuation of war by other means. Immersed in the machinery, part of the special effect, no critical distance.”
– Surname Viet Given Name Nam (1989) by Trinh T. Minh-ha

A samurai sword on the wall of an evil mastermind’s office. A home decorated with Buddha statues. A blonde woman in a cheongsam. A speculative cityscape punctuated with prominent signage in Arabic. What does it mean when so many white filmmakers envision futures inflected by Asian culture, but devoid of actual Asian people?

In this illustrated presentation and essay, Astria Suparak discusses the implications of not only borrowing heavily from Asian culture, but decontextualizing and misrepresenting it, while excluding Asian contributors. Her lecture is interspersed with visual examples from popular American science fiction movies and TV shows, from the 1970s through today.

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This presentation is part of a year-long season dedicated to the questions posed by the work of filmmaker, writer, theorist, composer and professor Trinh T. Minh-ha, and how they address art, culture, and society today. Series guests including Isaac Julien, Ranu Mukherjee, Adam & Zack Khalil, Hồng-Ân Trương, Astria Suparak, Genevieve Quick, Lynnée Denise, Việt Lê, Kameelah Janan Rasheed, Ute Meta Bauer, Justine Chambers, and Cafe Ohlone.

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PRESS

KQED

“Once it’s pointed out, it’s hard to unsee: Asian futures without Asian people. In 2019, Oakland curator and artist Astria Suparak started cataloguing the trope (a form of techno-orientalism) in science fiction films made by white directors. […]

The talk ‘Asian Futures, Without Asians’ is Suparak’s critical distance. Examining the imagery in movies like Luc Besson’s The Fifth Element, with examples that stretch from the 1970s to present-day sci-fi, she asks the audience a crucial question: What does it mean to absorb visions of the future that decontextualize Asian culture from its very people?”
– Sarah Hotchkiss, “Sci-Fi is Full of ‘Asian Futures, Without Asians’,” THE DO LIST, March 2020

 THE ART REPORT, “This Month’s Feature: Asian Futures, Without Asians,” March 2020

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PREVIEWS

Suparak_GITS-giant-geisha-ad

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View a six-minute excerpt of “Asian futures, without Asians” presented as part of the Hyper(in)visibility panel, online, July 2020. (Begins at 44:34)

The Urban Legend of Rat Eating,” a small excerpt of “Asian futures, without Asians,” is included in the following exhibitions organized by Ethnocultural Art Histories Research, Concordia University:

  • Art in the Pandemic, Royal Society of Canada (forthcoming)
  • (pre)existing conditions, curated by Tamara Harkness and Sarah Piché, with Alice Ming Wai Jim, Special Projects, ISEA (International Symposium on Electronic Art) 2020, online, October 13 – 19, 2020
  • Hear Us Now!, curated by Diane Wong, Tamara Harkness, Chaeyeon Park, and Sarah Piché, Concordia University, online, June 29 – Sept. 2020

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