This account documents the author’s challenges getting her father-in-law’s body released from the hospital after dying from COVID and being accepted by a funeral home during the current COVID surge.
Written by a Beijing-based blogger and translated by filmmaker Yan Cui.
On December 10, 2022, award-winning Chinese science fiction writer Han Song began documenting his struggle with COVID-19 on his Weibo account. Han Song’s “Covid Diary,” which was accompanied by various pictures he took with his cellphone, went viral online.
A group of UCLA students undertook a performance art practice in response to and in support of the ongoing White Paper Revolution in China.
In late November, mass public protests erupted in numerous Chinese cities, voicing anger and frustration against the country’s zero-Covid policy and political censorship following a building fire in Urumchi. Ordinary citizens and university students created many protest slogans, poems, essays, songs, and artworks. This piece presents some of these poems.
Shanghai, a city of 25 million people, was under lockdown for two months in early 2022 under China’s stringent zero-Covid policy. The following poem, inspired by a widely circulated online video titled Sounds of April, was written to remember this historical event.
Grace En-Yi Ting weaves together Japanese literature, Hong Kong, and Asian American identity in an intellectual and personal narrative of “sideways becoming” through queer/feminist theory.
In this speculative piece, bio artist Kuang-Yi Ku works with scientists to design a new series of cultivated, enhanced ginseng to be grown in the future on the moon, for the near present.
Chu May Paing presents an audio-visual narrative, through a series of old family photographs, and broaches the concept of “earned kinship”—that is, something that has nothing to do with blood nor with relatedness but something that has to be earned.
Bishnupriya Ghosh examines the “frontline intelligence” of healthcare workers who recorded or reported their qualitative perceptions during the early days of the COVID-19 pandemic.
Jennifer Dubrow investigates the role of poetry in contemporary protest in India at a turning point in the country’s political history.
Yongyu Chen provides a new lens on the well-known Thai ghost Nak in his video essay, “Mae Nak: The Close-Up and the Invisible.” Chen draws on Pimpaka Towira’s 1997 film, Mae Nak, to suggest new understandings of cinema, ontology, desire, and nation.
While episteme’s inaugural subject addresses explicit environmental crisis afflicting contemporary Asia, the eikon exhibit, “Oceans, Waters, and Acquifers,” digs into fundamental historical linkages among the natural world, bio-knowledge, and representation. “Oceans’” shifting visuality draws us into deep histories of the human body and geontological concepts into fluid relation, animating alternate epistemologies of life and world that present as many questions about the state of “the environment” as does realpolitik.