Yishu Journal's March 2026 Issue Explores Asian Art Intersections and Transnational Dialogues

The March 2026 edition of Yishu journal, designated as issue 105, has been released. This publication represents the third annual thematic installment from the editors. The issue examines historical and contemporary connections between Asian creators and artists from other global regions throughout the past century. These relationships traverse various social and political contexts while acknowledging influences that have moved both into and out of Asia. The editorial approach, consistent with prior issues, situates Chinese art within a wider international framework. The opening section features contributions from Jinyoung Anna Jin, Marisol Villela Balderrama, Zheng Shengtian, and Renato González-Mello, developed from a 2025 symposium titled 'Art, War, and Revolution: Lee Qoede and the Global Currents of Muralism in Asia.' These writings analyze the impact of Mexican muralism on creative figures, thinkers, and activists in China, Korea, Japan, and India, revealing a previously underrecognized aspect of 20th-century Asian art history. Cai Tao's subsequent investigation focuses on an early political mural created in Wuhan during 1938, suggesting possible conceptual links to Diego Rivera. Phyllis Hanyang Zhong's essay discusses the influence of Chinese artist Teng Baiye on Mark Tobey's work and its role in mid-20th century American Abstract art. Stephanie Bailey's analysis of class and racial divisions in the exhibition 'The Great Camouflage' bridges historical social-political artworks with contemporary reinterpretations. Julie Chun evaluates how institutions outside China have affected Shanghai's contemporary cultural landscape. Martina Köppel-Yang documents an evolution in the practice of Chinese artists who relocated to Paris during the 1980s and 1990s, contrasting their fusion of traditional Chinese ideas with global perspectives against a newer generation that bypasses such traditions to envision themselves in a broader world context. Luna Huang Roumin expands on diasporic experiences where cultures intersect and the definition of a 'Chinese' artist transforms. The issue concludes with Viela Hu's perspective on Matthew Wong as part of a younger, transnational artistic community that operates without borders. Collectively, the essays demonstrate how cross-border artistic exchange across ideologies and generations continuously redefines art production, interpretation, and placement within an expanded historical narrative. The editors are Diana Freundl, Keith Wallace, and Zheng Shengtian.