Closure
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Closure
C magazine review/feature/etc. /writing sample
Yuling Chen
2026 June 10th
The exhibition color of an object at open studio is a closure about relationships. It criticizes Israel Palestine wars, conflicts and political events through drawings and prints. The exhibition reviews China through a cultural lenses divulging in heartbreaks and painful pasts. It attempts to place China in a market of no return for what it’s worth. Getting closure for these breakups between people, countries and states is at the core of the exhibit. China has made this extremely difficult. China’s recent trajectory in Taiwan strait proves to be futile. The exhibition points out how outlandish China has become on the international water due to increased scrutiny of its domestic affairs. China has made making works about closure and oneself an affair people could contribute to. The reconnection with North Korea through Xi Jin ping’s visit showed a brutal trait of China as an agitator instead of mediator. Etc.
Reflecting on the themes presented in this exhibition, I recognize how art serves as a powerful medium to address complex geopolitical issues and personal emotional closure. The artworks that critique the Israel-Palestine conflict through evocative drawings and prints reveal how deeply entrenched political struggles can resonate on an emotional level. This reminds me of how cultural expressions often help people process collective trauma and foster dialogue. In particular, the exhibition’s focus on China’s political stance and its difficulties in achieving closure—especially concerning Taiwan and North Korea—highlights the increasing global scrutiny of China’s domestic and international policies. As someone who follows international affairs closely, I find it insightful how artists interpret the tensions surrounding China’s relationships with neighboring states, shedding light on the broader implications of political strategies and historical narratives. The concept of 'closure' in this context extends beyond individual relationships toward fractured diplomatic ties and national identities. For viewers, this exhibition provides a platform not only to witness artistic expressions but also to engage critically with the idea of reconciliation—or the lack thereof—between conflicting parties. I have often felt that closure in political conflicts remains elusive, and art exhibitions like this offer a nuanced space to examine these layers deeply. Moreover, the participatory aspect mentioned, where the audience can contribute to works about closure and self-reflection, invites a communal experience in confronting difficult histories and emotional wounds. This aligns with my experience attending interactive exhibitions where audience involvement enhances the meaning and relevance of the artwork. Overall, engaging with such exhibitions encourages a thoughtful reconsideration of how art functions as both a mirror and a mediator in political discourse and healing. It further inspires reflection on how cultural production can influence public understanding and potentially foster empathy amidst ongoing conflicts.
