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Antithesis Journal

  • About
  • Committee
  • Get Involved
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  • Archive
    • Vol. 28 Binary
    • Vol. 27 Revive
    • Vol. 26 Liminal
    • Vol. 25 Equilibrium
    • Vol. 24 Wake
    • Vol. 23 Live
    • Vol. 22 Hoax
    • Vol. 21 Futures
    • Vol. 20 Fear
    • Vol. 19 Exhibitionism
    • Vol. 18 Piracy
    • Vol. 17 Deja Vu

Reconciling identities: a review of Jennifer Tran’s ‘Ink 墨’

August 24, 2019 Antithesis Journal
Photograph by David Lam, used with permission.

Photograph by David Lam, used with permission.

Casey Duong reviews Jennifer Tran’s Ink 墨, a performance that involved the artist using movement and calligraphy to navigate and display the tensions within her self-identity.

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In Review Tags Jennifer Tran, Ink 墨, The Burrow, Melbourne performance art, Melbourne emerging writers, calligraphy, identity
We raised over $200 for the Indigenous Literacy Foundation yesterday thanks to your wonderful support! Anyone else excited for some beautiful spring weather? ——————— 🖼 Fatata te Miti (By the Sea), by Paul Gauguin Devotion meets design: the monastery of La Tourette was Le Corbusier’s final and most important building, designed to house a community of silent monks. This Modernist concrete structure serves as a place of worship, residence and learning. (Photo from Hotels We Love) Dieter Roth. Bunny-dropping-bunny (Karnickelköttelkarnickel), 1968. Courtesy of MoMA. A rather unorthodox ‘chocolate’ bunny made from straw and rabbit droppings - maybe not one to gift this Easter. Patti Smith, ‘Devotion’ Tai in thought by Connor Amor-Bendall. Read more at https://bit.ly/2TU6gt1 The Family Source was a spiritual commune established by Father Yod (born Jim Baker), the owner of one of America’s very first health food restaurants. Its 150 members, including Baker’s fourteen wives, lived together in a Hollywood Hills mansion, where they were influenced by the teachings of guru Yogi Bhajan and the astrological age of Aquarius. (Photo from Isis Aquarian Archives) Henri Matisse. View of Notre Dame, Paris, quai Saint-Michel, spring 1914. Courtesy of MoMA.