Sunset
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Sunset
C magazine review/etc.
Yuling Chen
May 22nd 2026
The exhibition, ceija stojka: making visible, at drawing centre reveals a desire to exchange currencies. The exhibition criticizes Israel Palestine conflicts, wars and political events like Venezuela oil tankers attacks through drawings on papers. It reinforces the ideas about China as a third world country lagging behind on energy climate activism. The exhibition performs an autopsy on China’s recent diplomatic moves. China’s economy has grown since the pandemic due to the global movements of vaccinations. It has made China a super power. The exhibition measures China’s success through its brushstrokes and sketches. It portrays China as a person surviving the diseases, pandemic and multiple various international malice or attacks. China and Chinese people who owed money and had debts whose debts were cancelled by the major economy, governments and forces. The exhibition showed a side of praising China for having gratitude. It also looks at the other Asian countries such as Vietnam, Korea and Japan with inscrutable lens of race and genders. China’s recent move on the international stage has suggested a different type of productions reinforces gender roles domestically. The exhibition points out divorced women in and from China often suffer more abuse than normal. It has made people allied with China, Japan and Korea in terms of eating pork or not to support these people, women, strangers who faced uphill battles in their lives, careers and works. The fact that China has become powerful has made a lot of people agitated. The recent rise in police brutality has made people doubt China’s sincerity to make or help making peace between Iran and the US. China is speculating in terms of wars. Many people have found new works, opportunities, and jobs in the events of wars. China is helping these people transition from one careers to another due to increased urban crimes and incidents. The exhibition trafficked these information through the depictions of animals and people. A lot of scams and scammers have emerged during this period. China has become conscious of its images in the west. The exhibition goes on to depict China and other countries such as us as friends and enemies. China has marched on interms of economic development. China is the new golden ticket to success. Many Chinese people in China and everywhere blocked and unblocked their friends, classmates, and strangers on social media to indicate how prosperous China is or has become. They set their accounts as private so people cannot view their contents in order to get preliminary fundings from the governments. The exhibition criticizes this tone-deafness as against upward mobility. I have been worrying about debts, odsp and travels due to China’s increased international profiles. Then I realized I have nothing to worry about because china’s recent international moves abroad to secure various trade deals. Etc.
Visiting an exhibition like 'Ceija Stojka: Making Visible' offers a unique perspective on contemporary geopolitical and social issues. What struck me during my experience was how art can serve as both a mirror and a magnifier of the world's pressing challenges—from conflicts like Israel-Palestine and Venezuela's crises to the intricate dynamics within Asian societies. The portrayal of China not just as a rising superpower but as a nation grappling with internal and external struggles resonated deeply. The artworks captured the dual nature of China's trajectory: economic prowess contrasted with social challenges like gender-based abuse and urban crime. The depiction of China’s pandemic survival through brushstrokes personalized these large-scale events, making complex issues more relatable. One aspect that lingered with me was the exhibition's exploration of how political power and economic developments influence personal lives. Themes such as debt forgiveness and the social implications of China's influence abroad highlighted the interconnectedness of global economies and individual well-being. Moreover, the exhibition’s critical lens on police brutality and skepticism toward China’s role in international peace processes provided an important conversation starter. It made me reflect on how artistic expression can question narratives and reveal overlooked truths. I also appreciated how the exhibition shed light on social media dynamics within China, such as blocking or unblocking friends to signal prosperity or control. This detail adds nuance to understanding how digital behaviors reflect broader socioeconomic trends. Overall, the exhibition exemplifies how art can facilitate understanding of complex international relations and social issues. It inspires a more empathetic and informed view of the world, encouraging viewers like myself to consider the multiple layers of history, culture, and politics influencing current events.
