Eiko Otake

Wen Hui, a Chinese woman dressed in a red striped shirt and black pants, looks down past her nose at Japanese counterpart, Eiko Otake, while reaching a claw-shaped hand out to Otake’s face. Otake wears a baggy white dress that hides her form. One of her hands meets Wen Hui’s upper arm, while the other pulls Wen Hui’s hand to her face.
Photo: Zhou Huiyini
  • Reviews

War is (in)human

ankita

We are all tangled. Do you understand?

Tender and frail. Eiko Otake, a slender, elderly Japanese woman dressed in a crumpled white gown, brow furrowed, worriedly looks at the ground in front of her. With bent limbs, elbows prominent, she clutches a woman familiar to her close to her body. Dressed in a lightly pinstriped red blouse with steel-colored trousers, this woman, Wen Hui, leans to the ground, gazing down at the edge of her fingertips.
Photo: Jingqui Guan
  • Interviews

Old Lessons for New Wars

ankita

We have all known war, but have we learned? 

Photo: Constance Mensh
  • Reviews

In “I Invited Myself,” Eiko Otake asks us to linger

Ellen Miller

In our hurried world, Otake invites you to linger, to watch, and return to watch again.

Photo: Eiko Otake and Wen Hui
  • Reviews

When Bodies Remember – Eiko Otake and Wen Hui’s Film “No Rule is Our Rule “

Ziying Cui

As Wen Hui and Eiko note, “Our body memorizes.”

  • .

Artists Discuss: How Cultural Identities Inform the Creative Process, Part 2

Kalila Kingsford Smith

Assuming imposed identities, and then going against that, criticizing and parodying.

  • .

Artists Discuss: How Cultural Identities Inform the Creative Process, Part 1

Kalila Kingsford Smith

Issues of cutural origins and expectations, and what are artists to do now post-election.