#week 139

[mewpet]

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[roguecanoe]

Week 139 THEM

[spncreatorsdaily]

We’re excited to announce @zmediaoutlet as our featured creator of the week!

As we promote original content from these amazing artists, we will try to feature as many creations as we can on this blog. Please kindly remember to follow our tracked tag #spncreatorsdaily for announcements and the blog to keep up with fantastic original content.

Please join us in supporting our talented creators! 

[jhutchmyanchor]

Week 139

Banner was made by the talented @everlarkingjoshifer

This is week 139, folks!

I am looking for authors or new stories to read. If you know an author or story that I’m not reading, please let me know!

Readers-please make sure you show these authors some love! If you’d like to check out my previous posts, follow #rachel’s fanfic lists or search the tag on my blog. Happy reading!

Mountain Drabbles - heilb aka @butrfac14

A Bump On The Head - @mtk4fun

On Borrowed Time - panskiss123

Endgame - redheadedflame

Dispatches from District 12 - xerxia aka @xerxia31

The Naughty List - xerxia aka @xerxia31

Fever - merciki aka @thegirlfromoverthepond

HALF-SOMETHING - BellaGracie

[sinetheta]

Shadow (影). dir. Zhang Yimou (张艺谋). 2019.

A new wuxia film from acclaimed director Zhang Yimou, Shadow tells the story of Jingzhou, raised from childhood to become Commander Ziyu’s body double — his “shadow.” The movie’s characters are loosely based off of historical figures from the late Eastern Han dynasty, such as Zhou Yu, Sun Quan, and Guan Yu.

Zhang Yimou, part of China’s Fifth Generation, is known for films such as Raise the Red Lantern (1991), Hero (2002), and House of Flying Daggers (2014). For his work on Shadow, Zhang was awarded the Golden Horse Award for Best Director on November 17th, 2018 — the movie also won the first place awards for Best Visual Effects, Best Art Direction, and Best Makeup & Costume Design.

Shadow was released on September 30th, 2018 in China, and was re-released on May 3rd, 2019 overseas.

Follow sinθ magazine for more daily posts about Sino arts and culture.

[sinetheta]

Weiboscope. Fu King-wa (傅景華). Photography. 2019. Pictures by Nora Tam.

Hundreds of Weibo posts hang on the wall inside the University of Hong Kong’s Elliot Hall as part of an exhibition designed by Dr. Fu King-wa, an associate professor at the University of Hong Kong, in order to mark the 30th anniversary of the 1989 Tiananmen Square Protests. Each of the posts, ranging from seemingly innocuous to blatantly political, were taken down from the blogging platform, likely as a result of government censorship — which has only grown stricter in recent months. The exhibition is part of the greater Weiboscope project, which aims to “make censored Sina Weibo posts of a selected group of Chinese microbloggers publicly accessible,” by automatically tracking and archiving the censored posts of popular Weibo bloggers.

Follow sinθ magazine for more daily posts about Sino arts and culture.

[sinetheta]

Intersection - Two Cities. Thomas Lin (練錦順) and George Ho (左治). Photography. 2019.

Intersection - Two Cities is an ongoing collaboration by two childhood friends, Hong Kong-based photographer Thomas Lin and Canada-based installation artist George Ho. The project was built on a transpacific friendship of thirty years, and was inspired by Yichang Liu’s novel, Intersection. Both artists used the same roll of film and shot pictures in their residing locations of Hong Kong and Vancouver, intentionally holding the camera in opposite directions. The result is a series of tête-bêche images of merged urban landscapes in Hong Kong and Vancouver, outlining the poetics of time, fate, memory and history. 

Photo courtesy of Centre A

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[sinetheta]

Hospital Series. Zeng Fanzhi (曾梵志). Oil on canvas. 1991. 

Chinese contemporary artist Zeng Fanzhi was born in 1964 in Wuhan, Hubei, and attended the Hubei Academy of Fine Arts (湖北美术学院). His artwork is largely inspired by German expressionism, and some of his pieces have political undertones, which may be in part because he grew up during the Cultural Revolution. The Hospital Series was one of Zeng’s earlier works, inspired in part by a local clinic near where he lived. In this series he depicts the helplessness of the patients, the almost maniacal aloofness of the doctors and nurses, and the overwhelmingly crowded yet detached waiting area. The pale colours tones and the blood-coloured flesh create a chilling, pessimistic atmosphere. The exaggerated hands and eyes also become a theme that Zeng continues in his other works. 

Follow sinθ magazine for more daily posts about Sino arts and culture.