HO CHI MINH CITY — Last week after a trip to California, I returned to Vietnam with a COVID vaccine certificate, negative PCR test and smartphone tracing app in hand. The green-uniformed immigration officer at the airport asked for none of it. Inside his plexiglass cage, the 20-something officer gestured for me to pull down my mask for a second. I spent less than a minute and zero words at passport control and then was back outside on the balmy, car horn-filled streets of Ho Chi Minh City.
Today, we – Prime Minister Anthony Albanese of Australia, Prime Minister Narendra Modi of India, Prime Minister Fumio Kishida of Japan, and President Joe Biden of the United States – convene in Tokyo to renew our steadfast commitment to a free and open Indo-Pacific that is inclusive and resilient.
Just over one year ago, Leaders met for the first time. Today in Tokyo, we convene for our fourth meeting, and our second in person, to demonstrate, at a time of profound global challenge, that the Quad is a force for good, committed to bringing tangible benefits to the region. In our first year of cooperation, we established the Quad’s dedication to a positive and practical agenda; in our second year, we are committed to deliver on this promise, making the region more resilient for the 21st century.
Credit: Courtesy of Chelsea Ryoko Wong, Jessica Silverman, San Francisco, and Jeffrey Deitch, New York
Tired of being ‘fetishized and invisible,’ Asian artists are changing the narrative
Written byAnn Binlot, CNN
In much of Western art, Asian women have often appeared as one-dimensional characters — sometimes seen as meek and docile, and at other times hypersexualized and exoticized. But such portrayals fail to show individuals coming from a myriad of cultural backgrounds, their identities rooted in distinctly different countries and histories.
“Wonder Women,” a new exhibition at the Jeffrey Deitch gallery in New York, seeks to counter stereotypical representations made by outsiders, presenting works by Asian American and diasporic women and non-binary artists “portraying themselves or their family members as heroes in their own ways,” explained show curator Kathy Huang.
“I had always grappled with ideas of being both fetishized and invisible in pop culture and visual culture,” said Huang, adding that she drew inspiration from the 1981 poem “Wonder Woman” by Genny Lim.
“In the poem, the narrator is observing the different lives of Asian women,” she explained. “That’s something that I had wondered myself … because I have my individual experience as a Chinese American woman, but there were so many other experiences that I don’t know about.”