Victor Wang

  • Tama River, Tokyo, 2020. Photo: Du Keke.

    Where we’re at: Beijing, Singapore, Tokyo, Shanghai, New Delhi

    VICTOR WANG

    BEIJING

    BLACK MAOISM was a real thing. Recently I’ve been thinking about what that means in China today.

    Radical histories of Blackness in China are rarely part of mainstream discussions on Afro-Asian solidarity on either side of the Pacific, yet those very legacies explain why Shirley Graham Du Bois is buried in Beijing’s Babaoshan Revolutionary Cemetery, China’s illustrious burial ground for its national heroes.

    I’ve recently found access to these histories through the Department of Xenogenesis, a series of pedagogical dialogues organized on Zoom by the Otolith Group. Kodwo Eshun

  • View of “Mitsutoshi Hanaga,” 2017. Photo: Takahashi Fujikawa.

    Mitsutoshi Hanaga

    This exhibition, “Mitsutoshi Hanaga: 1000,” was modest yet calculated in its presentation, giving a small glimpse into the vast archive that artist and journalist Hanaga created—and the history he helped forge as well as document, as he examined the role of performance and theater, so intertwined with activism and resistance, in postwar Japanese society. 

    The selected black-and-white images (hung in the gallery like contact prints) revealed Hanaga’s choreographic sense: He not only took photos, he also orchestrated them. In semijournalistic style, often using a Minolta CLE camera, he cultivated