The revision of historical narrativesrooted in feminist and civil rights movements and inflected by subsequent discourses on identity, hybridity, and intersectionalityis a vital, if perhaps over-rehearsed, artistic strategy. For Wu Tsang’s immersive installation “The Luscious Land of God Is Sinking,” the story reimagined was that of Qiu Jin, a turn-of-the-century Chinese feminist and revolutionary martyr, and that of her friend and biographer, the calligrapher Wu Zhiying. There is no overt historical record of a romantic relationship between the two, but this exhibition, based around historical excavations of the duo, made explicit gestures to that effect in the presentation of a sculptural and photographic archive collected and created by the artist. Encased in museological vitrines built into a dark, monumental fifty-foot hallway was a constellation of objects ranging
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