VIRTUALLY ASIAN & WHITE ROBOT TEARS (CRY ME AN OCEAN)
Astria Suparak
What does it mean when white filmmakers envision futures inflected by Asian culture, but devoid of actual Asian people?
In Virtually Asian, Astria Suparak critically examines Hollywood’s deployment of Asian figures in major science fiction films. Often relegated to the backdrop as mere holographic or video advertisements, Suparak argues that these figures serve as illusory markers of diversity in predominantly white casts. In contrast, White Robot Tears (Cry Me An Ocean) features a collage of Caucasian actors in roles as emotionally complex robots, AIs and cyborgs. Scrutinise the subtle biases and stereotypes woven into the fabric of science fiction narratives when you view the two works side by side. They question who is granted the privilege of humanity and emotional depth in these techno-futuristic landscapes.
What might a more inclusive future look like?
Astria Suparak is an artist and curator of Thai descent, based in California. Her cross-disciplinary practice addresses complex issues like racism, feminism and colonialism through the lens of popular culture. Her work has been shown in MoMA in New York, the Institute of Contemporary Art in Los Angeles and the Walker Art Center in Minneapolis, and her curatorial projects have been presented at the Liverpool Biennial, Museo Rufino Tamayo in Mexico City, and Eyebeam in New York.
The wallpaper features 14 Western films (left to right): Blade Runner (1982), Automata (2014), Alita (2019), A.I. (2001), Ex Machina (2014), Alien Resurrection (1997), I, Robot (2004), Foundation (2021), Bicentennial Man (1999), Blade Runner (1982), D.A.R.Y.L. (1985), Blade Runner 2049 (2018), Zone 414 (2021), Star Trek: Generations (1994)