Author: dheyalasimrin

During my visit to the MOMA in Midtown Manhattan, I was able to appreciate contemporary expression of art, ingenuity, and innovation. I spent some time exploring The Phillip Johnson Galleries, where I came across Emerging Ecologies: Architecture and the Rise of Environmentalism.

This exhibit was curated in exploration of the ways in which the American architects of the 1960s and 1970s reacted to the environmental challenges of the time, marked by growing worries about escalating pollution and unsustainable resource consumption. Considering buildings contribute to nearly half of the world’s carbon emissions, this curation delves into the extensive activism for the preservation of the natural world through architecture during this period. By charting the imaginative, unconventional, and bold initiatives proposed by architects as environmental concerns gained momentum, the exhibit narrates a distinct architectural history. This narrative spotlights designers who, as environmentalism gained prominence, chose to place the natural world at the core of their professional endeavors.

I found it especially interesting that this exhibit placed weight on the future instead of the past. The curators were able to share their pursuit of “green over gray” by depicting an innovative future that could bring health back to our earth, instead of condemning humanity for what we have already done. While many environmentalists use guilt to inject pathos into their activism, the art displayed in Emerging Ecologies solely proposes a better future, where the environment is placed at the forefront of our forward movements. I find this to be an inspiring form of education for viewers, as the poetic practice of reintegrating humankind with it’s surrounding ecology evokes curiosity of tomorrow’s potential. For this reason, I believe this exhibit is very much worth visiting. It introduces an entirely novel and daring perspective that challenges our traditional views on architecture and innovation. Though very different, the curators are able to picture a world in which humans and nature are able to simultaneously thrive—where one doesn’t have to destroy the other to grow.

I found two pieces in the exhibit that I felt portrayed this notion very well. Gaetano Pesce’s design (left), titled “Church of Solitude Project,” pictures a church built in an excavated lot amid a heavily developed metropolis. Interestingly, Pesce created this piece in response to his experience of New York City, where he felt a lack of serenity and soul. Thus, to design a tranquil space, which he found necessary for self-reflection, he concealed the church beneath an empty lot amidst the towering structures of the city. This quiet sanctuary included compact individual cells, offering an additional escape from the corporate and institutional atmosphere of the urban environment. For Pesce, the excavated landscape represented an underappreciated area capable of meeting the future needs of individuals—one that reconnected a human soul to the placid nature we began with. Pesce used watercolor and graphite pencil to sketch this hypothetical, which I think pays respect to earth and her natural recourses, as the art itself is meant to promote a life closer to ourselves and the natural world. He also captured the city only lightly in the background, creating a feeling of disconnect to the busy world while the focus remains on the isolated church. This contrast in shades and darkness shows how much stronger an earthly foundation could be than the one that stands above it. The photo is also void of bright colors, which highlights the importance of dirt and ground in this structure, as the idea is not about looking appealing or exciting. It is meant to evoke calm, natural feelings in a structure that rejects society’s constant desire to impress and improve at the expense of the earth.

Malcom Wells’ piece (right) titled “Earth-sheltered suburb” also utilized watercolor on paper to share his similar sentiments. The inefficiency of the construction sector was a central focus of his perspective; he exclusively engaged in projects that returned land to nature by incorporating berming (the addition of earth around or on top of a structure) and constructing underground. He also lived what he preached, as he successfully developed nature homes and offices throughout his career, earning recognition as one of the most iconic architects. These designs promote energy efficiency and a reduction in pollution and waste. The idea is to return control of the land to the earth and allow for us to thrive in harmony. Like the rest of the exhibit, Wells’ work demonstrated a departure from traditional architectural norms, challenging conventional ideas about the structural world and bringing to light a potential future. His heavy use of bright green returns the world to it’s initial lively and vivid nature, one that makes our current living state feel rather dull and unnatural. He depicts a society that is still able to function without the extravagant exteriors we’ve built at the expense of nature—one that consists of brown dirt and green grass just as it began.

A walk through this exhibit is able to enlighten a viewer about the potential of environmental movements and a different future. Through art, the curators are able to inspire and share untraditional ideas in an almost scientifically fictional way that pictures a more natural and respected earth.

Written by Lauren Yee, the darkly comedic play “Ching Chong Chinaman” explores the dynamics of a family as they encounter challenges in both self and cultural identity. The story follows each of the four family members after the arrival of Jinqian, a man from China tasked with doing Desdemona and Upton’s homework to allow them to achieve their own goals—getting into Princeton and winning a World of Warcraft championship. Grace Wong, the mother of the two and wife to Ed Wong, is initially characterized as an overlooked and ditzy mother preoccupied with her desire to become pregnant. However, over the course of the play, she embarks on a journey of self-discovery with Jinqian through their shared love for dance—a universal language.

Grace’s time is painted as futile, as she never seems to do anything proactive. However, her and her husband seem to take pride in the “picture-perfect” nature of their household as Ed assures her, “Someone’s got a nice family, hmm?” (27). This concluded their discussion about Grace herself, who is scarcely a topic of interest, after they considered “what else [is she] good at?” (27). Instead of finding her a hobby like they intended, Ed insisted that she found comfort in her role as a mother. He then gives her the opportunity to pick his tie as he tells her, “you get to decide,” which leaves her at a loss when she responds, “oh, I’ve never done that before,” (27). Grace always had her story prewritten, with her fate as a housewife always defining her future and limiting her dreams. She was never given the opportunity to think for herself, nor consider what she truly wanted. This is a common cultural stereotype that has held women back from making “selfish” plans that don’t fit into the ideal picture-perfect family. However, this scene begins her journey to defy her expectations.

Later, in conversation with Jinqian, Grace gains his trust by affirming “who would I tell? No one ever listens to me anyway,” (52) revealing the way she views herself in the family dynamic. This is evident throughout the play as she lacks a strong backbone to ever defend herself. However, I believe this served as a catalyst for her journey of self-discovery, as she was able to use her invisibility in her favor. Jinqian accepted this fact and shared his dreams with her, to which she cluelessly replied, “but aren’t you dancing here already? What else do you want?” (52). In this, Yee is able to reflect Grace’s almost brainwashed mindset in which she believes that growth is unnecessary, since she has been convinced that she has everything she could ever want, “A house. A husband. Children. No one asks me for anything, I don’t have to do anything. I just sit around all day, bored. It’s wonderful!” (52). However, Yee’s satirical writing makes it clear that Mrs. Wong might have longed for a different life, one where she could have pursued a career and personal ambitions rather than settling into the role of a housewife. This conversation humanizes Mrs. Wong and shows the audience her unfulfilled dreams and aspirations. It challenges the expectation that Asian mothers are solely devoted to their families and have no personal desires beyond their roles as caretakers.

One of the pivotal moments in her character development is when Grace decides to leave her family temporarily and pursue her dreams. Initially, she had told Jinqian to go to Hollywood without her, to which he insisted, “”with you. I need you, Grace,” (74). However, considering her long-desired and finally successful pregnancy, she disappointingly tells him, “yes, but other people need me now, too. Sorry,” (74). This scene highlights her everlasting longing to be needed, since she desired the pregnancy so badly in order to have a purpose. This was made clear back in scene 7 when she claimed that she “like[s] babies when they cry,” (26). Thus, she felt as if she fulfilled her prophecy after finally becoming pregnant.

However, her decision to then leave is a significant departure from traditional expectations and demonstrates her agency and desire for personal fulfillment. It surprises the audience by challenging the stereotype of Asian mothers as solely self-sacrificing figures. She finally confronts her husband when she claims, “No, Ed… That’s not enough,” (75). However, he confidently dismisses her comment when he states that, “she’ll be back,” (75). Moreover, Desdemona then demanded her mother, telling her, “you never have anything to do,” (76) as she finishes packing her bag. She leaves her daughter saying, “You’ll be fine, dear. You always have been,” (76). This emphasizes the way that Grace must have felt useless in their lives, even though her entire life’s purpose was to be there for them. In this, she leaves her unappreciative household to pursue a genuine passion. Yee is able to use this character development to show the inner battles within mothers and the challenges they are branded with due to cultural responsibilities.

These moments in Mrs. Wong’s character journey contribute to the play’s exploration of individuality, unfulfilled dreams, and the complexity of family dynamics. Mrs. Wong’s character challenges stereotypes and reveals her own desires and ambitions, ultimately altering the audience’s perspective on her role in the family and the choices she makes throughout the play. It highlights the idea that individuals, regardless of their cultural background, may have their own aspirations and desires beyond their familial roles.

Refugees are individuals forced to leave their home countries due to an unbearable fear of persecution, violence, or conflict due to factors such as race, religion, or nationality. They consequently seek safety and protection in another country. However, although this is the truth of countless lives across the world, we are blind to the story and experience as many refugees remain quiet about their traumas due to a well-found fear of being further persecuted or even sent back to the country they abandoned. Yet, director Ramussen is able to capture the pain of a refugee in his film “Flee” and share the touching story with the world.

The film “Flee” follows the story of Amin Nawabi, an Afghan refugee living in Denmark. Amin shares his personal and harrowing journey as a child refugee fleeing Afghanistan during the Soviet-Afghan War. His family faced numerous hardships and dangers as they sought safety and a better life in Europe. “Flee” is a touching exploration of identity, trauma, resilience, and the universal human desire for a sense of belonging. It features very innovative storytelling and an ability to shed light on the experiences of refugees, making it both a personal and universal tale of survival and hope.

The unique aspect of “Flee” is its blending of animation with Amin’s interviews. The animation sequences help visualize Amin’s memories and emotions, adding a layer of depth to his narrative. The film not only explores the physical struggles of migration but also delves into the psychological and emotional toll it takes on individuals and families.

Without conversation, stories remain untold and history is left unmade. The conversations, particularly the interviews with Amin Nawabi, serve as the primary means of storytelling. Through these interviews, Amin shares his personal experiences, memories, and emotions related to his journey as a refugee. These emotionally charged conversations form the narrative backbone of the film, allowing the audience to connect with Amin’s life and understand his perspective. Amin’s accounts of his family’s struggles, the dangers they faced, and the sacrifices they made elicit a strong emotional response from the audience. The candid and intimate nature of these conversations makes it easier for viewers to empathize with Amin and the challenges he and his family encountered. Amin’s conversations also touch upon themes of identity and self-reflection. As he recounts his experiences as a refugee and the process of seeking asylum in Denmark, he grapples with questions of identity, belonging, and the impact of his past on his present. These conversations highlight the complex interplay between personal history and one’s sense of self.

“Flee” uses conversations to humanize the refugee experience. By sharing Amin’s personal story and allowing him to speak directly to the audience, the film challenges stereotypes and preconceptions about refugees. It emphasizes the shared humanity of individuals who have undergone similar journeys and hardships. Through conversations, the film connects Amin’s past with his present life. They reveal how the experiences of his childhood continue to shape his adult life and relationships, underscoring the long-lasting impact of trauma and displacement. Amin’s conversations in the film can be seen as a form of catharsis and healing. Opening up about his past and sharing his story can be therapeutic for him, allowing him to process his experiences and come to terms with his history. Overall, conversations in “Flee” serve as a means of storytelling, emotional engagement, self-exploration, and humanization. They allow the audience to connect with the film’s central character, Amin, and gain a deeper understanding of the refugee experience and the complex interplay of identity and trauma.

As a viewer, I was surprised by the power of Amin Nawabi’s personal narration. His ability to convey his experiences and emotions through interviews and conversations draws viewers into his world and makes them feel deeply connected to his story. Despite focusing on a specific individual’s journey, “Flee” manages to touch on universal themes of identity, belonging, family, and resilience. The film’s ability to resonate with audiences from various backgrounds is surprising and speaks to its broad appeal. Amin’s personal narration humanizes the refugee experience, going beyond statistics and headlines to provide a personal, relatable account of the challenges and triumphs faced by refugees.

A photograph is an instant captured through technology, allowing that moment to be preserved past its time. However, this once-pure idea of preservation has experienced a great amount of change over the past few decades. While photography continues to allow viewers to observe and appreciate natural things/occurrences, photography has also grown subject to staging. Staging is definitely a great part of art, as artists use their own discretion to create their photographic pieces. However, this posing culture in social media has become an issue when it comes to the perception of these images and their effects on viewers.

In her article, On Photography, Susan Sontag wrote, “a photograph is both a pseudo-presence and a token of absence,” (2). In this, she speaks on idea that viewers are able to grasp both the presence and absence of something in their lives through a photograph. They are able to feel envy due to the photo, but also feel the comfort of its existence. In this post of an aesthetically pleasing food spread, the image is unrealistically organized and staged for the photograph. This staged photograph has the power to induce feelings in a viewer, creating both feelings of longing and comfort. However, they do create unrealistic exceptions of experiences and products because the staging creates an ideal to be perceived through someone else’s lived experience. Thus, a subsequent attempt at recreating something photographed often brings about disappointment. In addition, the physical action of taking these photographs often ruins the experience itself as the pressure of capturing the perfect frame overpowers possible enjoyment.

Moreover, Sontag further wrote, “photographs can abet desire in the most direct, utilitarian way—as when someone collects photographs of anonymous examples of the desirable as an aid to masturbation,” (2). This idea can also be seen in the use of vision boards as many people are able to use them for motivation. These images create a feeling that what is pictured already exists in one’s life, thus urging the viewer to live as if they already own it. However, the corresponding feeling of longing often acts as a catalyst for the necessary approach the viewer would have to take to achieve the pictured goal.

Images hold the power to induce countless emotions in a viewer, regardless of whether they are staged or not. They capture moments in time, freezing them for eternity so that they can be observed and analyzed forevermore. However, posing culture has come to influence the ways in which they are perceived and the effects images can have on viewers. While these effects can be both beneficial and unfavorable, photographs exist for more than just viewing-purposes and hold great influence on human experiences.

While I had once believed that cultural heritage represented the roots of a community that held them together through shared histories and memories, my sentiment has recently been subject to change. I had viewed cultural heritage as those back-dated aspects of my life that seemed to follow me through changing times. However, I find now that cultural heritage isn’t something that necessarily holds an individual back. Instead, it is a never-ending map of generations that share a starting-point but continue to move forward.

Author Elena Franchi shares this idea as she writes, “it is also the result of a selection process: a process of memory and oblivion that characterizes every human society constantly engaged in choosing—for both cultural and political reasons—what is worthy of being preserved for future generations and what is not.” She expresses that the passage of time allows us to abandon ideologies that do not belong in the present without the guilt of leaving our cultural heritage behind. This is because we continue to appreciate the memories and simply evaluate for ourselves how we express our cultural heritage.

Born to immigrants who moved to America from Bangladesh in their 20’s, my Bengali culture has been infused with the American culture that was long envied by my parents. We continue to constantly listen to Bengali music, read Bengali poetry, and watch Bengali films. However, I believe that being raised here has given me the freedom to, as Franchi mentioned, “constantly [engage] in choosing.” One way that I have felt connected to my culture is through my gold nose ring. Almost like a rite of passage for girls in my family, the nose ring had once symbolized the marriage of a woman. However, over time, it has simply become a sign of womanhood—a choice that a girl made herself. This is one of the traditions that I value the most due to its ability to persist yet change with the times.

My religion and culture were also never forced upon me, which has allowed me to find its place in my life on my own. My family celebrates Eid and participates in Ramadan, which brings us closer together every year through shared meals and celebrations. We wear the cultural clothing that we would not wear otherwise, and we take the time to return to the heritage that often gets lost throughout the year. While each family definitely approaches these traditions differently, I believe that contributes to the beauty and appeal of culture. There are no rules or judgement. These times also allow us to bond with other families in our shared spaces, such as my local mosque, where we usually wouldn’t interact so frequently or freely. These aspects of our cultural heritage bring us closer together, but also closer to ourselves as we grow to understand where it fits in our lives.