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C magazine review/feature/etc. /writing sample
Yuling Chen
2026 June 7th
The Yoko ono music of the mind exhibition at the broad says a lot with very little. It criticizes Israel Palestine wars, conflicts and political events through on screen performances and scores. It is a story telling people about how backward and conservative people in China, Japan and Korea are. The textual textures of the instructions and scores trace the lineage of the artist to the early Japan in the World War II. It speaks of China in a discriminating way. The exhibition makes China look rather nice in terms of its trade partnership through a focus on bodies. China’s contentious relations with UK over Hong Kong, trades and unity is especially highlighted in the exhibition. It cash in on the tension between China, us and UK making a splash in the water of post capitalistic digital frenzy. People are jealous. This is the truth. Can China withstand the scrutiny of the masses? The cut pieces has always stand out from the crowd. The video recording of the performance points out the identity of China often gets mired in the concerns with sensitivity. People avoid talking about China due to politically sensitive materials produced on the web. They are worried about offending Chinese people and China. China has become a point of discussion amongst people. Yoko ono’s approach to art making has been made prominent by the exhibition’s plenty of white space. It reveals the fact that China has not come back from its World War II scarcity mindset when it comes to foreign people. The broken glasses remind people of china’s delicate diplomatic relations with others. It is a claim on China’s recent development and identity. Etc.
Having visited and reflected on exhibitions with similar political and cultural themes, I found that performance art like Yoko Ono's 'Music of the Mind' offers a unique lens through which to understand complex international relations and historical contexts. The exhibition’s minimalist style, characterized by ample white space and subtle performance scores, allows viewers to engage with the layered messages on a personal and emotional level. In particular, the way the exhibition highlights China’s diplomatic tensions—especially with the UK over Hong Kong and trade issues—resonates with ongoing global discourse. Many people are hesitant to openly discuss China due to political sensitivities, but art provides a medium to explore these topics thoughtfully. The use of broken glass imagery poignantly symbolizes fragile diplomatic ties and the lasting impact of past conflicts like World War II on national identities. From a personal perspective, the exhibition encourages deeper reflection on how societal conservatism in East Asia affects current geopolitical landscapes. It also reveals the tension between economic partnerships and underlying political disputes. Attending this exhibition made me consider how art can not only criticize but also offer a space for dialogue amid these complexities. Moreover, the performative aspects of the show, including on-screen presentations and scores, underline how different cultures interpret historical trauma and national identity differently. The artist’s lineage linked to early 20th-century Japan adds historical depth that enriches the viewers' understanding. For anyone interested in contemporary art’s role in addressing social and political issues, this exhibition serves as a compelling example. It demonstrates how minimalist expression can provoke powerful conversations about trade, diplomacy, history, and cultural sensitivity in an increasingly interconnected world.
