{"id":55807,"date":"2024-03-06T13:18:36","date_gmt":"2024-03-06T21:18:36","guid":{"rendered":"https:\/\/dvan.org\/?p=55807"},"modified":"2024-03-06T15:38:34","modified_gmt":"2024-03-06T23:38:34","slug":"make-_________-great-again","status":"publish","type":"post","link":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/","title":{"rendered":"Make _________ Great Again"},"content":{"rendered":"
\"\"
Installation view of Archipelago: Paradise Revisit exhibition, 2023.<\/figcaption><\/figure>\n

Whilst closing in on my research trip to China this December, I made an impromptu visit to Kinmen, my supposed ancestral homeland, where the patriline took off to greener pastures to Singapore. Kinmen just east of Xiamen, is known for its complex and controversial relationship due to the dispute over the political status of Taiwan. Entangled in this Cross-Strait relations between China and Taiwan, I found myself attempting to retrace the footsteps of a certain Seah whose mark has faded beyond recognition and whose mere existence lies in oral accounts passed from generation to generation. Despite several generations of genetic admixture, my brother and I are constantly reminded of the importance of remembering one\u2019s roots in a distant and almost imaginary past.<\/p>\n

During my day\u2019s visit to Kinmen, I learnt a few things about the ancestors of the Kinmenese following their move to the island after the Song dynasty. As detailed on the board at the Kinmen Military Headquarters of the Qing Dynasty located in the Jincheng Township of Kinmen, a large majority of island settlers were displaced from various parts of ancient China due to war and political turmoil and decidedly rebuilt their lives there. Amongst these were descendants of fishermen and farmers, pioneers of reclamation, travellers, descendants of soldiers and guards, persons in exile, and those recruited into matrilocal marriages. And so, it seems, Kinmen used to be a place of refuge for renegades across China’s turbulent history and later saw Kinmenese fleeing from the barren land to even better pastures in Southeast Asia.<\/p>\n

Coinciding this trip to Kinmen with my research visit to Three Shadows Photography Art Centre where the Jimei x Arles International Photo Festival opened in the same week, I stumbled upon Archipelago: Paradise Revisit<\/em><\/a> curated by the founding director of Singapore\u2019s photography arts organisation DECK<\/a>, Gwen Lee. I soon found myself confronting the plausible and differing paradises of the people before us and the generations after, and importantly, where I stand in the revisiting of an ancestral homeland that people have gotten in and out from for the pursuit of one\u2019s livelihood and probable happiness.<\/p>\n

In the brief introduction of the exhibition, Gwen details the running thread throughout the selected works as addressing boundaries and borders, what\u2019s considered in and out of a state, the inner and outer, and the private and public spheres of the social, economic, and political. It further explores the journey to one\u2019s pursuit of paradise across time and space shaped by invisible forces of personal anecdotes, migrant sojourns, and the colonial past, which are marked by geographical traits.<\/p>\n

\"\"
Eiffel Chong, For Such Is The Wickedness Of the World That It Shalt Be Destroyed By A Great Flood, 2015.<\/figcaption><\/figure>\n

The walkabout started with a sea of heads in the photographic series of Eiffel Chong\u2019s For Such is the Wickedness of the World That It Shalt Be Destroyed by a Great Flood <\/em>(2015), which reflects on the paradoxical and vulnerable relationship between humans and nature. Through the use of ominous subversion of a seaside holiday, Chong suggests the engulfing blue sea, though there for everyone to enjoy, does not discriminate who it devours in an instant.<\/p>\n

Taking reference from the bible in the book of Genesis 6:19, where God revealed to Noah that He would wipe out all land-dwelling life on earth with a great flood because of the pervasive wickedness of mankind, as reflected through the title choice, Chong encourages introspection on the concept of free will in theology where the idea of God\u2019s omniscience and God permitted free will are seen as incompatible. Here in Chong\u2019s work, these humans who, through their own free will, have sought the wild sea as their site of leisure, face the implications of predestination subjecting them to their probable untimely demise, as God had decidedly shown to be capable of in biblical history.<\/p>\n

Chong further questions the incompatible relationship between humans and nature, where the cyclic intertwinement is inequal because nature is calamity in disguise at God\u2019s beck and call and humans cannot absolve themselves from their wicked ways until they have redeemed themselves.<\/p>\n

\"\"
Charles Lim Yi Yong, SEASTATE 1: Inside Outside, 2004-2005.<\/figcaption><\/figure>\n

Circumscribed within the paradox of free will, where all are subject to predestination, I navigated towards Charles Lim\u2019s SEASTATE <\/em>(2015), which examines the invisible sea boundaries and occurrences surrounding Singapore. Photographing the maritime buoyage system that defines national and international boundaries in territorial waters, Lim observes the human agenda on resources and land along with a narrated interview with the \u201cSand Man,\u201d who worked as a sand surveyor in Singapore during the 1990s and transported sand for land reclamation. The \u201cSand Man\u201d further illuminates Singapore’s intricate relationship with the sea while exposing the inherent ambiguities and paradoxes in its efforts to assert ownership. In what seems like the limitless sand and bottomless seas lies the corporatisation of territorial waters.<\/p>\n

Yet beyond just seeing the sea as a barricade, Lim encourages audiences to seek respite and refuge in the warm tropical waters. Instead of fearing its power and living divided from nature, accept it for what it is and seek solace in its existence.<\/p>\n

<\/p>\n

\"\"
Video still of MM Yu\u2019s Fantasy Island, 2021.<\/figcaption><\/figure>\n

This acceptance of the unknown shows how it is intricately connected with humans\u2019 inherent fallibility, particularly in MM Yu\u2019s Fantasy Island<\/em> (2021), where she expands on the risks and missteps born out of our folly. In revealing the absurdity of the Dolomite Beach<\/a> project initiated by the Philippines government to address environmental issues and improve the bay’s overall condition, stakeholders have questioned<\/a> the prioritization of aesthetic enhancements over addressing more pressing environmental issues in Manila Bay, such as pollution and water quality.<\/p>\n

Initiated before the global outbreak of the COVID-19 pandemic, the project\u2019s objectives were centred around environmental rehabilitation, aesthetics, and the creation of a visually appealing area along the shoreline. Filipinos were seen flocking to the shoreline during their September 2020 opening amidst the pandemic with controversy and criticism around the use of public funds<\/a> and the use of crushed dolomite<\/a>. Yu\u2019s inquiry underscores the absurdity of prioritizing aesthetic endeavours while societal needs take a backseat. With dire long-term ecological consequences in view, we can witness how ecological impact knows no national boundaries.<\/p>\n

\"\"
Installation view of Ang Song Nian\u2019s Hanging Heavy On My Eyes (2016), 2023.<\/figcaption><\/figure>\n

In what feels like an example of the principle of causation, as Yu\u2019s works suggested, Ang Song Nian\u2019s Hanging Heavy on My Eyes <\/em>(2016) dwells on the blurred and hazy vision of air pollution caused by the increased frequency of forest fires in Indonesia. Ang explores his discomfort and unease of reduced visibility caused by humans\u2019 continuous attempts to manipulate landscapes to achieve short-term goals. Sometimes, our sense of agency may be an illusion as cognitive biases, unconscious motivations, and external pressures constantly mould the boundaries within which our decisions unfold. Ang invites contemplation on the nature of choice, the constraints imposed by our circumstances, and the elusive boundary between autonomy and the myriad forces that shape our paths.<\/p>\n

\"\"
Video still of Elizabeth-Gabrielle-Lee\u2019s Tethered, torrential, 2023.<\/figcaption><\/figure>\n

Bearing the burden of development, the impact on people and the environment is often intricate and unseen. Treading along the same lines, in a moving image titled Tethered, torrential <\/em>(2023), Elizabeth Gabrielle Lee intertwines the ecological effects with the inconspicuous link between colonial history and the present. Lee juxtaposes archival records from Kew’s Library and Archives in London with her family’s oral histories on Christmas Island, where her great-grandfather was seconded a colonial magistrate.<\/p>\n

A territory in the Indian Ocean belonging to Australia, Christmas Island is known for its unique ecosystem and historical significance, particularly in the context of phosphate mining.\u00a0 Phosphate mining, largely conducted by the British Phosphate Commission, had significant environmental and social impacts on the island.<\/p>\n

The island was purchased from the British colony of Singapore in 1958 and transferred to Australia for \u00a32.8 million as compensation for lost phosphate revenue\u2014an ironic move since both belonged to the colony then. Lee underscores how the colonial legacy of Christmas Island, marked by intensive phosphate mining and social disruptions, had detrimental effects on its future, with the island continually facing environmental degradation, social challenges, economic dependence, and a legacy of insufficient infrastructure development. In light of this, one is inclined to wonder what it would be like if Christmas Island is reimagined in a utopian world where they own and are proud to call themselves a phosphate capital\u2014would the ecological burden be marketed more positively?<\/p>\n

\"\"
Wawi Navarroza, The Dust Won\u2019t Settle (The Ballad of the Marble Men) as part of MEDUSA (The Tropical Island and Tropical Marble), 2017.<\/figcaption><\/figure>\n

Through her work MEDUSA (The Tropical Island and Tropical Marble) <\/em>(2017) Wawi Navarroza challenges normative narratives around the Greek mythological character Medusa reimagined in Romblon, the capital city of the Philippines’ marble deposits and industry. As marble is historically linked to Greek sculptures and an appreciated art form of the elites and the bourgeoisie, Navarroza contemplates on the complexities of cultural narratives, the exploitation of natural resources, and the reclamation of identity. She questions the perspectives of viewing her works, the preconceptions around marble, and the memory of stone (from mountain to sculpture to dust) using Medusa. As dust, we will return like Navarooza\u2019s MEDUSA<\/em>.<\/p>\n

<\/p>\n

\"\"
Installation view of Poklong Anading\u2019s Ocular (2009), 2023.<\/figcaption><\/figure>\n
\"\"
MM Yu, Absent, 2014.<\/figcaption><\/figure>\n

Poklong Anading\u2019s 4-channel video Ocular <\/em>(2009) reveals the coping of a loved one through a different light within a projection chamber. Retracing his late mother\u2019s steps in Hong Kong when she was working as a domestic helper, he subverts the gaze of grieving whilst looking at it through the lens of a people-watcher, emptied of personal pain and nostalgia. This loss and natural disruptions also reverberated through Yu\u2019s\u00a0Absent\u00a0<\/em>(2014), where the aftermath of Typhoon Haiyan in Tacloban City became a canvas for documenting the impact of forces beyond individual control.\u00a0The moving images, accompanied by the haunting strains of \u201cTong Tong Tong Pakitong-Kitong,\u201d immerse viewers in the resilient spirit of school children who, against all odds, continue their lessons in the makeshift tents beside the disaster zone. Yu’s lens captures the paradoxical coexistence of fragility and strength, where the human spirit perseveres despite the disaster.<\/p>\n

\"\"
Lim Sokchanlina, National Road No. 5, 2015.<\/figcaption><\/figure>\n

In the absence of ancient temples and human figures, Lim Sokchanlina’s photographic series offers an arresting portrayal of Cambodia through the lens of National Road No. 5<\/em> (2015). Straying from conventional representations, the series delves into the current socio-geographical and political landscape, laying bare the impact of Japan’s funding on the expansion of the highway. Each frame captures houses with frontages sliced open or haphazardly boarded up, serving as a poignant commentary on the intricate socio-political ties between Cambodia and Japan. Beyond this, the series becomes a self-portrait of Cambodia, articulating a generation’s observations on the evolving national landscape, distinct from the prevailing narrative of the Khmer Rouge era. Sokchanlina not only documents the rapid (re)construction of Phnom Penh but also serves as a testament to a profound moment in Cambodian history, reframing the visual narrative beyond the shadows of trauma.<\/p>\n

\"\"
Installation view of Miti Ruangkritya\u2019s Room No. 2 (2020), 2023.<\/figcaption><\/figure>\n
\"\"
Miti Ruangkritya, Sunset on Unnamed Lanes, 2020.<\/figcaption><\/figure>\n

Within the shadows of trauma lie the difficult circumstances that restrict one\u2019s social movability, and this is poignantly portrayed in Miti Ruangkritya’s Room No. 2 <\/em>(2020) and Sunset on Unnamed Lanes <\/em>(2020), projects focusing on Khlong Toe, Bangkok. Ruangkritya’s documentation of marginalized inhabitants’ domestic spaces and the glimpses of sunset between tin roofs prompts reflection on urbanization, economic disparity, and the lived experiences of the society\u2019s underbelly.<\/p>\n

<\/p>\n

\"\"
Wilfred Lim, WHO, 2013<\/figcaption><\/figure>\n

On the note of human\u2019s desire for the truth to connect the dots from the past to the present, Wilfred Lim\u2019s WHO <\/em>(2013) presents a personal account of his visit to his ancestral home in Xiamen. Originally a descendent of Hu, Lim revealed that his great-grandmother remarried a man by the surname of Lim after her move from China to Malaysia, and her children later adopted his surname.<\/p>\n

Lim\u2019s grandfather reconnected with his sister and cousins 60 years later in China and continues to visit them to this day. In 2012, Lim travelled with his grandfather to Fujian, China, and documented the different sceneries and scenarios between Malaysia\/Singapore and China. Lim also titled the project WHO <\/em>as a wordplay to represent \u201cHu\u201d as a way to echo his anxiety about not being able to distinguish his roots.<\/p>\n

\"\"
Video still of nor\u2019s Wedding 2020, 2022.<\/figcaption><\/figure>\n

And for some, authenticity reigns above all life\u2019s uncertainty. nor\u2019s Wedding 2020 <\/em>(2022) and Navarroza\u2019s Self Portraits and The Tropical Gothic <\/em>(2019) extend their image-making to reflect on their identity at home in Singapore for the former and the Philippines for the latter.<\/p>\n

Wedding 2020 <\/em>is a romantic re-enactment of nor\u2019s sunrise beach wedding held on the east coast of Singapore. Known to situate their identity and community within speculative timelines through gender performance, ethnographic portraits, and transnational histories, nor weaves dreams and the authentic self as a way to fulfil their prophecy against society\u2019s odds.<\/p>\n

\"\"
Wawi Navarroza, Self Portraits and the Tropical Gothic, 2019.<\/figcaption><\/figure>\n

In\u00a0Self Portraits and The Tropical Gothic\u00a0<\/em>(2019), Navarroza explores her confusing amalgamation as a Filipino, female, and Asian caught in a syncretic mix of East and West. She renders herself the creator and subject caught in the Philippines\u2019 pastiche as the \u201cTropical Gothic.\u201d She sees her self-portraits as \u201ca wild pleasure to confront the heavy and tender complexities of Self and Surrounding.\u201d<\/p>\n

\"\"
Miti Ruangkritya, A Convenient Sunset \/ A Convenient Holdup, 2019.<\/figcaption><\/figure>\n
\"\"
Lim Sokchanlina, Urban Street Night Club, 2013.<\/figcaption><\/figure>\n

Closing the exhibition are Ruangkritya\u2019s A Convenient Sunset \/ A Convenient Holdup<\/em> (2019) and Sokchanlina\u2019s Urban Street Night Club <\/em>(2013), where the juxtaposition of the tranquil and properly composed photographs of convenient stores and the use of fencing as a form of concealment (to maintain what Lim refers to as a \u201cbackwards-looking collective consciousness that blinds us from the present mechanisms of control\u201d) achieve what Gwen would call \u201can ephemeral paradise on this earth.\u201d<\/p>\n

In my pursuit to seek the answers to whose paradise my ancestors are in search of and how the above works have played a part in my rumination on where and what paradise might entail, whether through scripture, territorial waters, inapt ecological decisions, pollution, colonial legacies, dust, trauma, circumstances, and alternate personal and family narratives, I learnt that paradise is what we make of it, some are made for the present, some are made for the future generations. I don\u2019t think we can ever reconcile the paradox of a paradise, but we can learn to dwell in the uncertainties and know that there are things that are out of our control. We take chances at every decision and take responsibility for our actions, which alone is enough.<\/p>\n

Archipelago: Paradise Revisit<\/em> shows at Three Shadows Photography Art Centre (Xiamen) through March 30, 2024.<\/a><\/p>\n

\n

\"\"Rachel Seah<\/strong> is a doctoral student at the Centre of Chinese Visual Arts in Birmingham School of Art researching on contemporary private photography in East Asia through the gendered lens. Her research is located at the intersection of contemporary art and visual activism with an interest in contemporary photography and media, feminism, care ethics and alternative histories. As a writer and researcher, she strives to advocate for women’s development and emotional well-being through contemporary art research and practice. Previously, she received her MA in Museum Studies and Curatorial Practices at Nanyang Technological University Singapore (2021) and her BA in Fashion Media and Industries at Goldsmiths\u2019 College, University of London (2014).<\/p>\n","protected":false},"excerpt":{"rendered":"

The running thread throughout the selected works as addressing boundaries and borders, what\u2019s considered in and out of a state, the inner and outer, and the private and public spheres of the social, economic, and political. <\/p>\n","protected":false},"author":35,"featured_media":55808,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"categories":[98],"tags":[2207,2202],"yoast_head":"\nMake _________ Great Again - DVAN<\/title>\n<meta name=\"description\" content=\"A review of Archipelago: Paradise Revisit, photography show at DECK.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\" \/>\n<link rel=\"next\" href=\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Make _________ Great Again - DVAN\" \/>\n<meta property=\"og:description\" content=\"A review of Archipelago: Paradise Revisit, photography show at DECK.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\" \/>\n<meta property=\"og:site_name\" content=\"DVAN\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/DiasporicVietnameseArtistsNetwork\/\" \/>\n<meta property=\"article:published_time\" content=\"2024-03-06T21:18:36+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-03-06T23:38:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1808\" \/>\n\t<meta property=\"og:image:height\" content=\"1204\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"guest\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@dia_CRITICS\" \/>\n<meta name=\"twitter:site\" content=\"@dia_CRITICS\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"guest\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\"},\"author\":{\"name\":\"guest\",\"@id\":\"https:\/\/dvan.org\/#\/schema\/person\/8fe953e505afc6616ddd049343855be1\"},\"headline\":\"Make _________ Great Again\",\"datePublished\":\"2024-03-06T21:18:36+00:00\",\"dateModified\":\"2024-03-06T23:38:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\"},\"wordCount\":2705,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/dvan.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png\",\"keywords\":[\"Rachel Seah\",\"SEA Now 2024\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\",\"url\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\",\"name\":\"Make _________ Great Again - DVAN\",\"isPartOf\":{\"@id\":\"https:\/\/dvan.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png\",\"datePublished\":\"2024-03-06T21:18:36+00:00\",\"dateModified\":\"2024-03-06T23:38:34+00:00\",\"description\":\"A review of Archipelago: Paradise Revisit, photography show at DECK.\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage\",\"url\":\"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png\",\"contentUrl\":\"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png\",\"width\":1808,\"height\":1204,\"caption\":\"Installation view of Archipelago: Paradise Revisit exhibition, 2023.\"},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/dvan.org\/#website\",\"url\":\"https:\/\/dvan.org\/\",\"name\":\"DVAN\",\"description\":\"Diasporic Vietnamese Artists Network (DVAN) empowers Vietnamese American literature and art\",\"publisher\":{\"@id\":\"https:\/\/dvan.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/dvan.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/dvan.org\/#organization\",\"name\":\"Diasporic Vietnamese Artists Network\",\"alternateName\":\"DVAN\",\"url\":\"https:\/\/dvan.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/dvan.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/dvan.org\/wp-content\/uploads\/2020\/12\/dvan-logo-multi-color@1x.png\",\"contentUrl\":\"https:\/\/dvan.org\/wp-content\/uploads\/2020\/12\/dvan-logo-multi-color@1x.png\",\"width\":200,\"height\":93,\"caption\":\"Diasporic Vietnamese Artists Network\"},\"image\":{\"@id\":\"https:\/\/dvan.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/DiasporicVietnameseArtistsNetwork\/\",\"https:\/\/x.com\/dia_CRITICS\",\"https:\/\/www.instagram.com\/weare_dvan\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/dvan.org\/#\/schema\/person\/8fe953e505afc6616ddd049343855be1\",\"name\":\"guest\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/dvan.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/e61fe02de51f695aa132a0807376e2de?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/e61fe02de51f695aa132a0807376e2de?s=96&d=mm&r=g\",\"caption\":\"guest\"},\"description\":\"diaCRITICS will occasionally feature guest writers contributing originals, or will reprint topical articles.\",\"url\":\"https:\/\/dvan.org\/author\/guest\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Make _________ Great Again - DVAN","description":"A review of Archipelago: Paradise Revisit, photography show at DECK.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/","next":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/2\/","og_locale":"en_US","og_type":"article","og_title":"Make _________ Great Again - DVAN","og_description":"A review of Archipelago: Paradise Revisit, photography show at DECK.","og_url":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/","og_site_name":"DVAN","article_publisher":"https:\/\/www.facebook.com\/DiasporicVietnameseArtistsNetwork\/","article_published_time":"2024-03-06T21:18:36+00:00","article_modified_time":"2024-03-06T23:38:34+00:00","og_image":[{"width":1808,"height":1204,"url":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","type":"image\/png"}],"author":"guest","twitter_card":"summary_large_image","twitter_creator":"@dia_CRITICS","twitter_site":"@dia_CRITICS","twitter_misc":{"Written by":"guest","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#article","isPartOf":{"@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/"},"author":{"name":"guest","@id":"https:\/\/dvan.org\/#\/schema\/person\/8fe953e505afc6616ddd049343855be1"},"headline":"Make _________ Great Again","datePublished":"2024-03-06T21:18:36+00:00","dateModified":"2024-03-06T23:38:34+00:00","mainEntityOfPage":{"@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/"},"wordCount":2705,"commentCount":0,"publisher":{"@id":"https:\/\/dvan.org\/#organization"},"image":{"@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage"},"thumbnailUrl":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","keywords":["Rachel Seah","SEA Now 2024"],"articleSection":["Reviews"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/","url":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/","name":"Make _________ Great Again - DVAN","isPartOf":{"@id":"https:\/\/dvan.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage"},"image":{"@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage"},"thumbnailUrl":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","datePublished":"2024-03-06T21:18:36+00:00","dateModified":"2024-03-06T23:38:34+00:00","description":"A review of Archipelago: Paradise Revisit, photography show at DECK.","inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/dvan.org\/2024\/03\/make-_________-great-again\/#primaryimage","url":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","contentUrl":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","width":1808,"height":1204,"caption":"Installation view of Archipelago: Paradise Revisit exhibition, 2023."},{"@type":"WebSite","@id":"https:\/\/dvan.org\/#website","url":"https:\/\/dvan.org\/","name":"DVAN","description":"Diasporic Vietnamese Artists Network (DVAN) empowers Vietnamese American literature and art","publisher":{"@id":"https:\/\/dvan.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/dvan.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/dvan.org\/#organization","name":"Diasporic Vietnamese Artists Network","alternateName":"DVAN","url":"https:\/\/dvan.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/dvan.org\/#\/schema\/logo\/image\/","url":"https:\/\/dvan.org\/wp-content\/uploads\/2020\/12\/dvan-logo-multi-color@1x.png","contentUrl":"https:\/\/dvan.org\/wp-content\/uploads\/2020\/12\/dvan-logo-multi-color@1x.png","width":200,"height":93,"caption":"Diasporic Vietnamese Artists Network"},"image":{"@id":"https:\/\/dvan.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/DiasporicVietnameseArtistsNetwork\/","https:\/\/x.com\/dia_CRITICS","https:\/\/www.instagram.com\/weare_dvan\/"]},{"@type":"Person","@id":"https:\/\/dvan.org\/#\/schema\/person\/8fe953e505afc6616ddd049343855be1","name":"guest","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/dvan.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/e61fe02de51f695aa132a0807376e2de?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/e61fe02de51f695aa132a0807376e2de?s=96&d=mm&r=g","caption":"guest"},"description":"diaCRITICS will occasionally feature guest writers contributing originals, or will reprint topical articles.","url":"https:\/\/dvan.org\/author\/guest\/"}]}},"jetpack_featured_media_url":"https:\/\/dvan.org\/wp-content\/uploads\/2024\/03\/1.png","_links":{"self":[{"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/posts\/55807"}],"collection":[{"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/comments?post=55807"}],"version-history":[{"count":4,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/posts\/55807\/revisions"}],"predecessor-version":[{"id":55868,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/posts\/55807\/revisions\/55868"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/media\/55808"}],"wp:attachment":[{"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/media?parent=55807"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/categories?post=55807"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dvan.org\/wp-json\/wp\/v2\/tags?post=55807"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}