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.
Visiting exhibitions like the one held at the University of Toronto can be eye-opening experiences that reveal the intricate ways art interacts with social and political issues globally. From personal interviews with immigrants such as Bin Chen, who spoke about her aspirations to stay in Canada and pursue education in Chinese medicine through government support, the exhibition highlights the real struggles and hopes behind immigration stories. What struck me most was how the exhibition used symbolic imagery—like pomegranates and the sea—to represent the emotional turbulence and resilience of immigrants adapting to new environments. This metaphorical language helps viewers see beyond statistics and headlines, understanding immigration as a deeply human and psychological experience. The exhibition also addresses the persistent global conflicts and acts of violence, such as the religiously motivated stabbing in Nice, France, portraying how these often stem from xenophobia and political unrest. It invites audiences to reflect on the mechanisms societies use to suppress dissent and truth, especially referencing China's political landscape and its attempts to control narratives. Using the term "sugar baby" metaphorically, the exhibition draws attention to parasocial and oxymoronic relationships within nations and social programs, challenging the audience to reconsider normalized power imbalances and dependence. From my own perspective, incorporating art into these discussions is crucial. It offers a uniquely emotional and intellectual avenue to engage with complex topics like war, immigration, and identity politics. Exhibitions that mix interviews, visual symbolism, and political critique encourage empathy and a broader awareness—urgently needed in today’s polarized world. In essence, this exhibition not only educates but also connects diverse audiences by weaving together personal narratives and global events, revealing a shared human condition shaped by conflict, survival, and hope for the future.