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. In recent time, people with debts’ debts have been wiped out by the government and bankruptcies. People with student loans could apply for a disability benefits cancelling their debts. Canada has managed to get people on their zero footings again. The exhibition acquired such information comparing to China’s big data, database and banking saga. The charges of espionage has run rampant in terms of people helping China to obtain government information. Etc.
From my own experience navigating immigration and financial challenges, I’ve observed how deeply interconnected socio-political realities and personal lives are, much like the themes explored in this exhibition. For many immigrants in Canada, obtaining permanent residency is a long and uncertain journey. People often pursue careers in traditional or alternative medicine, seeking government support or social programs to thrive in a new country just like the interviewee Bin Chen. What stands out is the emotional and cultural duality immigrants face: a longing to maintain cultural identity while adapting to different social norms and bureaucratic systems, often amid political tensions. The exhibition’s use of imagery like pomegranates and the sea resonates with me as metaphors for resilience and continuous transformation. Financial hardship, especially dealing with student loans and debt, is another critical reality. In Canada, programs allowing debt forgiveness under severe hardship or disability can provide fresh starts, which contrasts with harsher banking or debt conditions seen elsewhere. It’s impressive how governments have employed such social financial policies to help people regain footing. Moreover, the concept of 'sugar baby' as described symbolically addresses parasocial and power-imbalanced relationships on social, cultural, and even geopolitical levels. It highlights societal contradictions and the complexities of dependency and power dynamics, especially in the context of China’s global growth and the reactions of other countries like the U.S. and Japan. The politically charged backdrop of global conflicts, from Israel-Palestine to xenophobic violence in Europe, reflects the intersectionality of real-world issues impacting individuals’ lives across continents. This exhibition challenges viewers to reflect on violence, identity, immigration, and cultural survival in interconnected global societies. Through art, interviews, and social commentary, the exhibit reveals that immigration is not merely a bureaucratic status but a lived, emotional, and political experience. It also underscores the importance of understanding global dynamics and their personal impacts, including issues like espionage scares and governmental policies. Overall, this article and exhibition encourage us to appreciate immigrants' diverse experiences while critically examining the systemic structures influencing migration, identity, debt relief, and social belonging in an increasingly complex world.