{"id":747597,"date":"2025-06-16T15:34:01","date_gmt":"2025-06-16T15:34:01","guid":{"rendered":"https:\/\/www.abnewswire.com\/pressreleases\/?p=747597"},"modified":"2025-06-16T15:34:01","modified_gmt":"2025-06-16T15:34:01","slug":"language-of-visibility-asian-art-community-redefining-ways-of-seeing","status":"publish","type":"post","link":"https:\/\/www.abnewswire.com\/pressreleases\/language-of-visibility-asian-art-community-redefining-ways-of-seeing_747597.html","title":{"rendered":"Language of Visibility: Asian Art Community Redefining Ways of Seeing"},"content":{"rendered":"
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Poster credit: Li Tang community<\/div>\n<\/div>\n<\/div>\n

On May 10, 2025, the Li Tang Community and THE BLANC collaboratively launched Language of Visibility<\/em>, a series of exhibitions and events celebrating the growth and achievements of the Asian art diaspora over the past five years. At the center of Language of Visibility<\/em> is the group exhibition Collective Marks and Strokes of Imagination<\/em>, which brings together thirty-one artists and collectives. The exhibition presents a rich body of work spanning video, painting, installation, performance, and multimedia experimentation. Collective Marks and Strokes of Imagination<\/em> reflects on the five-year journey of the Li Tang Community since its founding in early 2020 and marks another critical milestone following its third-anniversary retrospective, Echoes of Home<\/em>, held on Roosevelt Island, New York. This exhibition highlights the ongoing investigations of artists from diverse backgrounds as they continue to push the boundaries of creativity and aesthetic expression, navigating the complex intersections of globalization and identity.<\/p>\n

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Language of Visibility<\/em> is not only a dialogue proposed by the Li Tang Community and THE BLANC to the Asian art diaspora but also a critical inquiry into the “language of seeing.” British critic John Berger argues in his monograph Ways of Seeing<\/em> (1972) that seeing is not a neutral act of perception but a constructed process—one shaped by ideology, systems of power, and cultural context. What we “see” is often no more than a projection of the knowledge and beliefs we have internalized within a social system. In an age overwhelmed by images, it has become increasingly critical for artists to develop new languages of seeing grounded in their cultural backgrounds and lived experiences. In addition, “seeing and being seen” has remained a central concern for the Asian art diaspora within the globalized contemporary art system. The Language of Visibility<\/em> examines how images and artworks are perceived and, more importantly, interrogates who holds the power to see and to be seen. How should the Asian art diaspora be presented, interpreted, and understood? Visibility here becomes a form of active visibility, differentiated visibility, and existential visibility—a way of interpreting and seeing that emerges from within complex multicultural structures.<\/p>\n

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Amy Park’s work, We All Have a Thirst for Connection<\/em>, draws from multiple disciplines, including fashion design, material studies, and sculptural language. Through techniques such as weaving, interlacing, layering, and stitching, she integrates traditional textile craftsmanship into contemporary canvas. Park’s practice often explores the emotional bonds and relationships between human beings. The use of soft materials and repetitive movement also carries specific cultural significance—through the interplay of line and texture, she gazes back to the traditions of female labor and material use in East Asian art history, ultimately transforming them into a new visual language that embodies emotional flow, layered identity, and cultural memory.<\/p>\n

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Ami Park, We All Have a Thirst for Connection<\/em>, Cotton rope, yarn, and fabric on canvas, 36 x 36 x 1.7 in, 2021<\/p>\n

Cheng Gong’s series Culinary Canvases<\/em> places fresh meat and seafood, sourced from everyday life in New York’s Chinatown, into the composition of Western oil painting. In his work, Stir-fried Pork with Pepper<\/em>, daily ingredients from home cooking—pork knuckles, pork belly, chili peppers, ginger, and garlic—are presented in a floating and surreal state. Set against a backdrop reminiscent of Dutch still life, crimson fabrics and a symmetrical, grounded tabletop generate a tension and visual restraint, incorporating these ingredients with a sense of ritual and gravity. Food is not only an inseparable part of cultural identity but also a material vessel for memory, migration, and belonging. Through reconstructions of “table scenes,” Gong evokes the sensory world of the immigrant gourmand while prompting viewers to reflect: What is the taste of home?<\/p>\n

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Cheng Gong, Culinary Canvases-01. Stir-fried Pork with Pepper<\/em>, Medium format digital camera, 38.55 x 34 x 2 in,2023<\/p>\n

Sao Tanaka’s Imitation of Nature #02<\/em> integrates the philosophical and conceptual elements of traditional ink painting with the visual language of modern art. Drawing on the brushwork of classical landscape painting, she constructs rhythms in which emptiness and fullness, distance and proximity coexist. Within the temporal and philosophical dimensions embedded in ink art, Tanaka intentionally “breaks” into the elegant scene with a rainbow-colored waterfall, allowing the sensory intensity and freedom of modernism to disrupt the peace of traditional landscapes. This deliberate “displacement” and “visual paradox” inserts historical motifs into a contemporary context marked by restlessness and uncertainty. The final presentation speaks of a disruption derived from the encounter of Eastern and Western painting techniques, past and present—a visual gesture that signals a forward step, grounded in the return gaze.<\/p>\n

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Sao Tanaka, Imitation of Nature #02<\/em>, Material Sumi ink, gold, paint acrylic oil paint on mulberry paper, 30 x 21 in, 2025<\/p>\n

Alongside the leading exhibition Collective Marks and Strokes of Imagination<\/em>, three independent curatorial projects were added to offer diverse perspectives on Language of Visibility<\/em>. Phil Cai’s Open Kitchen – Fusion<\/em> expands the definition of “installation” into a more philosophical and dynamic form of experimentation, blending text-based practices with critical reflections on the dislocated status of Asian contemporary art within the global art landscape and system. Chiarina Chen’s from the settled edge<\/em> transforms the traditional white cube gallery wall into a time-specific, multimedia, memory-infused canvas that presents the displacement experienced by immigrants. Seoyoung Kim’s Tracing… … …<\/em> showcases artists’ investigations into materiality as a means of representing social structures, histories of labor, and the characteristics of cultural symbols, reflecting the tensions and nostalgia between collective narratives and individual memory.<\/p>\n

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In addition, the Li Tang Community and THE BLANC have jointly organized five artist salons and a series of performance art events. According to Webson Ji, the Li Tang Community director and the curator of Collective Marks and Strokes of Imagination<\/em>, “Li Tang Community is not interested in forming an elite club or hierarchical structure. It is more like an open playground—a space for dialogue, collaboration, and joyful exchange for all Asian diaspora creatives. It is a place to gather because we care—for art, for each other, and for the stories we carry.”<\/p>\n

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Li Tang Community 5th Anniversary Exhibition<\/strong><\/strong><\/p>\n

Exhibition Title:<\/strong> Collective Marks and Strokes of Imagination<\/em><\/p>\n

Location:<\/strong> THE BLANC, 15 E 40 St, New York<\/p>\n

Time:<\/strong> May 10 – May 30, 2025<\/p>\n

Curator:<\/strong> Webson Ji<\/p>\n

Artists: <\/strong>Abhishek Tuiwala, Ami Park, Anh \u0110ào Hà, Ari Fu Hong, Catherine Chun Hua Dong, Cheng Gong, Chengtao Yi, Danyang Anna Song, Ellie Kayu Ng, Han Qin, Hannah Bang, Jiannan Wu, Jingyi Wang, Kimin Kim, Larry Li, Nix Liu Xin, Paul Mok, Sao Tanaka, Se Young Yim, Sin-ying Ho, Sizhu Li, Sophie Ruoyu Zhang, Suki Violet Su, Timon I, Xianglong Li, Xin Song, Xinan Helen Ran, Yang Mai, Yue Zhou, Zhen Guo, zzyw<\/p>\n

Community Friends: <\/strong>Accent Sisters, A Space Gallery, Fou Gallery, RainRain Gallery, Site, Tutu Gallery, VillageOneArt, 7s Art<\/p>\n

THE BLANC x Li Tang Community Independent Curatorial Projects<\/strong><\/p>\n

from the unsettled edge<\/em><\/strong><\/p>\n

Curator:<\/strong> Chiarina Chen<\/p>\n

Artist:<\/strong> Cheeny Celebrado-Royer<\/p>\n

Open Kitchen – Fusion <\/em><\/strong><\/p>\n

Curator<\/strong>: Phil Zheng Cai<\/p>\n

Artists:<\/strong> Anh Nguyen, Felisa Nguyen, and Huyen Tran<\/p>\n

Tracing… … …<\/em><\/strong><\/p>\n

Curator:<\/strong> Seoyoung Kim<\/p>\n

Artists<\/strong>: Eun Lee, Janette Oh, and Basharat Ali Syed<\/p>\n

THE BLANC x Li Tang <\/strong>Panel Discussions<\/strong><\/p>\n

Panel <\/strong>#1<\/strong> – “Unpacking Visibility”<\/strong><\/p>\n

Moderator:<\/strong> Chiarina Chen<\/p>\n

Speakers:<\/strong> Ami Park, Han Qin, Sizhu Li, Zhen Guo<\/p>\n

Panel <\/strong>#2<\/strong> – “Between Seeing and Sensing”<\/strong><\/p>\n

Moderator:<\/strong> Webson Ji<\/p>\n

Speakers:<\/strong> April Z, Lynn Hai, Seoyoung Kim, Vic Fu<\/p>\n

Panel <\/strong>#3<\/strong> – “Transcultural Echoes”<\/strong><\/p>\n

Moderator:<\/strong> Vivienne<\/p>\n

Speakers:<\/strong> Suki Violet Su, Abhishek Tuiwala, Ellie Kayu Ng<\/p>\n

Panel <\/strong>#4<\/strong><\/p>\n

Moderator:<\/strong> Webson Ji<\/p>\n

Speakers:<\/strong> Phil Zheng Cai, Seoyoung Kim<\/p>\n

Panel <\/strong>#5<\/strong><\/p>\n

Moderators:<\/strong> Phil Zheng Cai, Seoyoung Kim<\/p>\n

Speakers:<\/strong> Huyen Tran, Felisa Nguyen, Basharat Ali Syed<\/p>\n

THE BLANC x Li Tang Community Events<\/strong><\/p>\n

1. Accent Sisters Performances <\/strong>Poem Reading – “Reverberation as Recognition”<\/em><\/strong><\/p>\n

Readers:<\/strong> Alice Liang, Cynthia Chen, Eva Chang, Ginny Li, Tenny Liu, Madeline Zuzevich, Ya\u011fmur Akyürek, Winifred Dongyi Wang<\/p>\n

Moderator:<\/strong> Cynthia Chen<\/p>\n

2. A Space Gallery Artist Critique<\/strong><\/p>\n

Artists:<\/strong> Ruoyu Gong, Steffie Chau, Daria Fontaine Pasquali, Chanya Vitayakul, Iris Guan<\/p>\n

Moderator:<\/strong> Rena Kexin Zhang<\/p>\n

3. Guqin Performance<\/strong><\/p>\n

Yinze (Frank) Wang<\/p>\n

4. Artist Performance<\/strong><\/p>\n

Hannah Bang<\/p>\n

5. 7s Art Tea Ceremonies <\/strong><\/p>\n

Kevin Ge, Jing Zhao, Chenguang Hu<\/p>\n

Event Planning & Director:<\/strong> Webson Ji<\/p>\n

Event Manager:<\/strong> Adrian Cameron<\/p>\n

Event Coordinator:<\/strong> Sophie Ruoyu Zhang<\/p>\n

Visual Designer:<\/strong> Adela Sun<\/p>\n

Poster: <\/strong>Li Tang Community<\/p>\n

Photography: <\/strong>THE BLANC<\/p>\n

Co-producer:<\/strong> THE BLANC<\/p>\n

Written by<\/strong> Huixian Dong<\/p>\n

*Huixian Dong, Ph.D., is a curator and art historian specializing in contemporary Asian art.<\/em><\/p>\n

Media Contact<\/span>
Company Name:<\/strong> Li Tang Community Inc<\/a>
Contact Person:<\/strong> Webson Ji
Email:<\/strong> Send Email<\/a>
Phone:<\/strong> 4047476323
Address:<\/strong>228 Park Ave S #164818
City:<\/strong> New York
State:<\/strong> NY
Country:<\/strong> United States
Website:<\/strong> https:\/\/litang.community<\/a><\/p>\n

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Poster credit: Li Tang community On May 10, 2025, the Li Tang Community and THE BLANC collaboratively launched Language of Visibility, a series of exhibitions and events celebrating the growth and achievements of the Asian art diaspora over the past … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[433,437,412,453,404],"tags":[],"class_list":["post-747597","post","type-post","status-publish","format-standard","hentry","category-Arts-Entertainment","category-Lifestyle","category-News-Current-Affairs","category-Non-Profit","category-US"],"_links":{"self":[{"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/posts\/747597","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/comments?post=747597"}],"version-history":[{"count":0,"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/posts\/747597\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/media?parent=747597"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/categories?post=747597"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.abnewswire.com\/pressreleases\/wp-json\/wp\/v2\/tags?post=747597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}