Sugar baby
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Sugar baby
C magazine review/ feature /etc.
Yuling Chen
2026 may 19th
The land sugar sea, etc., little and often, blind spot … exhibition at art museum at the university of Toronto has made people view sugar differently. Since 2015 the Israel Palestine conflicts, wars, Venezuela, and political events in the world occurs constantly grabbing hold of attentions of the major corporations, funders and governmental bodies and leaders. The fact in the meantime singing karaoke has become a mainstream hobby or past time from China in North America has created a landscape of motivated groups and people to make works criticizes wars and conflicts. I have interviewed some people such as mother bin Chen, a Chinese person from China about the state of immigration in recent time:
Me (Yuling Chen)
When are you going back to China?
Bin Chen
Not going back. Gonna stay here. Waiting for PR (permanent residency).
Me
How are you gonna live here (Canada, North America)? Are you going to get a job?
Bin Chen
I’m looking to get a degree in Chinese medicine.
Me
How are you going to afford it?
Bin Chen
Government. Government money.
The exhibition speaks these types of truths about immigrants, people and groups in an intrinsically isolated way. The images of pomegranates and sea suggests a rolling thunder like mentality about immigrants and immigration. They wants to be like China everywhere they go or live. They want to roll with punches. Nationality has become itself nation states. In 2020 three people are stabbed in nice, France over religious issues in a Catholic Church. The exhibition talks about exact psychology of these attacks, filled with xenophobic noises intending to educate people about how these violence and violent incidents happened. It is about how China and its brutal instincts to quash the dissents, protests, and any voices that is speaking truth against powers. It is a performance of romance between different entities in the world. It talks about costa Rita, Philippine and China as countries enrolled most in some sort of social programs. The images of women, and their elastic bodies often refers to China and any archival attempts at its histories of violence and suffering. It is using a term sugar baby to have didactic meaning to the normalized social parasocial, oxymoron relationships in countries such as China. Etc.
The 'Sugar Baby' exhibition offers a profound reflection on immigration and social complexities from multiple perspectives. Visiting the exhibit, I was struck by how art can encapsulate political, cultural, and personal struggles simultaneously. The recurring imagery of pomegranates and the sea metaphorically conveys the persistent and often turbulent journey of immigrants — a desire to maintain cultural identity while adapting to new surroundings. I personally relate to this concept of cultural duality, having witnessed how immigrant communities strive to balance their native traditions with embracing new social contexts. The exhibition also highlights the sociopolitical unrest in various regions, including Israel, Palestine, Venezuela, and the tensions in Hong Kong, illustrating how global conflicts impact communities worldwide and influence cultural expression. A particularly moving aspect is the interviews with individuals like Bin Chen, who embody the immigrant pursuit of stability and opportunity—in this case, seeking education in Chinese medicine supported by government assistance. This narrative emphasizes the resilience and hopes that immigrants hold amidst challenges, which resonates deeply with anyone who has experienced or observed diaspora life. Moreover, the exhibition’s critical exploration of social parasocial and oxymoron relationships, as symbolized by the term 'sugar baby,' offers a unique lens on power dynamics and social roles within China and internationally. By addressing xenophobia and violence, such as the 2020 stabbing incident in Nice, France, the art pushes audiences to consider the psychological roots of conflict and the need for greater empathy and understanding across cultures. In my view, this exhibition is an important cultural dialogue. It challenges us to reconsider our assumptions about nationality, identity, and social bonds. Participating in similar cultural events has enriched my own perspective on the interconnectedness of people and nations, and I believe art like this can foster crucial conversations about belonging, resistance, and hope in today’s fractured world.
