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 indicating a term sugar baby to have didactic meaning to the normalized social parasocial, oxymoron relationships in countries such as China. China’s growth has made other countries like US, Japan or Canada envious. Etc.
Having engaged with art exhibitions that address complex social issues, I find the exploration of the term 'sugar baby' here particularly compelling, especially as it bridges personal stories and geopolitical realities. The exhibition’s focus on immigrant experiences—like Bin Chen’s journey towards permanent residency and pursuit of Chinese medicine studies funded by the government—adds an intimate layer to broader themes of displacement and identity. The piece’s mention of the persistent political conflicts since 2015, including Israel-Palestine tensions, Venezuela’s instability, and various wars, provides a critical backdrop that influences immigrant and diaspora narratives globally. Social hobbies like karaoke becoming popular in North America among Chinese communities create unexpected cultural intersections influencing artistic expression. I recall visiting similar exhibitions that use visual metaphors like pomegranates and seas to symbolize resilience and the continuous push against adversity immigrants face. The reference to violent incidents in France and xenophobic attacks highlights urgent contemporary issues, emphasizing the exhibition’s role in educating audiences on how societal fears and violence are interconnected. Moreover, the art performance revealing China’s internal struggles with dissent and protest offers deep political commentary. The portrayal of women’s elastic bodies symbolizing historical suffering and resilience adds a poetic yet stark reminder of ongoing hardships. The didactic interpretation of 'sugar baby' to critique societal parasocial and oxymoronic relationships invites reflection on power dynamics within and between nations. With China's rapid growth evoking envy from the US, Japan, and Canada, the work skilfully connects personal, social, and political narratives. For anyone interested in how art can capture and provoke thought on immigration, identity, and global power, this exhibition review offers valuable insights and encourages further exploration of these themes in contemporary culture.
