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Artist Jennifer Chan is masterful at remixing images and video clips from pop culture, overlaying text with a ’90s special-effects aesthetic and often setting the carefully coordinated pieces to catchy pop songs. And so, when I first watched her video “P.A.U.L.” (2013), I thought she had re-cut clips from anime episodes to turn them into a gay love story, as a critique of dominant cultural narratives.
But the truth is even more fascinating: she actually pulled her clips from two episodes of Yaoi, or “boys love,” anime, which she describes as “a genre of gay anime that’s predominantly female-authored and female-oriented in interests.” She does so with incredible timing and rhythm, reworking the episodes into an explosive, high-stakes, four-minute love story — complete with flan, sexual innuendo, pictures of bears, a techno version of “My Heart Will Go On,” and so many feelings.
“P.A.U.L.” is an unabashed accumulation of clichés, walking a fine line between earnest and knowing. It lets you both see yourself and get totally lost in a genre that’s also riddled with contradictions: a branch of pop culture but a subcategory, about “boys love” but largely written by women. It’s these dissonances and distances that Chan is so good at exposing, so entertainingly.
New works by one of Bangladesh’s most prominent photojournalists, writers, and activists are on view at the Chicago art space through November 27.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
An exhibition at the San Francisco Opera House pairs the work of incarcerated artists with Beethoven’s story of unjust imprisonment.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
Ursula Biemann, Nicolas Bourriaud, and others said they will no longer participate in the event.
There is an official ban against the public mourning of Tiananmen Square victims in Hong Kong and mainland China.