Jue Yang
Selected writings. For artistic practice, please go to my IG or website. Thx!
Essays and Articles
Collectivize: a verb of many verbs
Collectivize: a verb of many verbs
Collectiviseren: een samenwerkwoord (vertaald)
Collectiviseren: een samenwerkwoord (vertaald)
Stop Calling Artists Entrepreneurs
Stop Calling Artists Entrepreneurs
Noem Kunstenaars Geen Ondernemers (vertaald)
Noem Kunstenaars Geen Ondernemers (vertaald)
Who's paying the art writer?
Who's paying the art writer?
Wie Betaalt de schrijver in de kunst? (vertaald)
Wie Betaalt de schrijver in de kunst? (vertaald)
How to Hold an Image
How to Hold an Image
Jue Yang (Writer & Filmmaker)…
We do not travel alone: a reflection on film production
We do not travel alone: a reflection on film production
Interviews
"What does it mean to come from places that no longer exist?”: an interview with Etienne Kallos
"What does it mean to come from places that no longer exist?”: an interview with Etienne Kallos
As someone who exists within a state of intergenerational displacement, filmmaker Etienne Kallos delves into the cinematic forms of ‘unbelonging’. 'I’m queer, ethnically Greek, a South African from America and now in Europe. It’s not clear how it all adds up. I try to work through these fractures in my work.'
“We are just starting to see the surface of the institutional problems”: an interview with artist Laia Abril
“We are just starting to see the surface of the institutional problems”: an interview with artist Laia Abril
In her long-term visual research project, A History of Misogyny, artist Laia Abril names her chapters with straightforward titles. After Chapter One: On Abortion, she now exhibits Chapter Two: On Rape at FOAM. Jue Yang speaks to Abril about the problematic portrayals of violence and survivors in the media and the way Abril creates visual metaphors and connects difficult stories in her work — with ambitious and much needed perspectives in the era of #Metoo.
Shifting professional competences — Post-Precarity Zine: Toolbox for Beginning Artists
Shifting professional competences — Post-Precarity Zine: Toolbox for Beginning Artists
The rhetoric that artistic freedom should be separate from talks of money and professionalization still prevails in art academies and public imaginations, making the survival — not to mention well-being — of artists a neglected topic. The Post-Precarity Zine, a result of collective reckonings from the Post-Precarity Autumn Camp, co-organized by the INC, Platform Beeldende Kunst and Hotel Maria Kapel, discusses these elephants in the artists' rooms.
Reviews
How many histories can an object carry? – on ‘Material Memory’ at TENT, Rotterdam
How many histories can an object carry? – on ‘Material Memory’ at TENT, Rotterdam
Both portrayal and fable: Review of "Something to Remember"
Both portrayal and fable: Review of "Something to Remember"
Niki Lindroth von Bahr's Something to Remember portrays the anguish experienced by a highly developed society and its pessimism towards an inevitable demise.
As lasting and invisible as the wind: Review of "Mundo"
As lasting and invisible as the wind: Review of "Mundo"
With an unhurried pace and poetic imagery, Ana Edwards paints a portrait of an Aymara shepherd who lives on the high plateau at the Chile-Bolivia border.
Poetry and dreams: Three Films from This Year's IFFR Reviewed
Poetry and dreams: Three Films from This Year's IFFR Reviewed
The concentration of women protagonists is encouraging at this year’s International Film Festival Rotterdam. Jue Yang selects three films of the 50th edition of the festival that kicked off last Monday. As life unfolds in confinement and at warped speed, these films offer her solace and understanding.
Shaking up the ground that holds our beliefs — Trembling Landscapes at Eye Filmmuseum
Shaking up the ground that holds our beliefs — Trembling Landscapes at Eye Filmmuseum
On visiting Eye Filmmuseum’s Trembling Landscapes, an exhibition containing work from Eleven Artists from the Middle-East*, Jue Yang asks herself two questions. First: how do individual works defy her association with the construction of “Middle East”? Second, how does the exhibition as a whole make her re-evaluate her (known and unknown) biases?
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