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Κομμωτήρια Nicolas Expressions, Σαλόνια Ομορφιάς.
Τα κομμωτήρια μας αποτελούν ένα σημείο συνάντησης για την ομορφιά και τη περιποίηση των μαλλιών σας με τη σφραγίδα των εξειδικευμένων κομμωτών μας.
Υπηρεσίες: Κούρεμα (γυναικείο, ανδρικό, παιδικό), Χτένισμα, Βαφή, Αντάυγειες, Flash, Refle, Ranzaz, Manicour, Extension μαλλιών, Φορμάρισμα λούσιμο και θεραπεία μαλλιών, μαζάζ μαλλιών.
Smiles on the boys faces as they have spotted me and its the natural reaction that I love. This to me what street photography is all about.
I believe that these new methods will bring diversified expression to the classroom. No longer will writing seem to be a nerdy English teacher form of torture, but something that students see valuable to them. One teacher who experimented in this field, having students create power points in an illuminated text fashion for their own poetry. A student from her class wrote in a reflection of the project,
"It makes it more real. Like, you could read [the poem] and it'd be 'Okay, this person's feeling this, and like that.' But in powerpoint, when you see the pictures and the movement...[i]t actually shows you what's going on, and it makes you feel, even if you don't realize it..It's kind of like school...so many things collide together to learn one thing. And I guess that's what the music and the colors and the stuff do" (Bailey 224).
What this student has begun to see is how much text is full of dimension. New literacies showed her how text can come alive and create new meaning when used in various mediums. The relationship between the text and vehicle was successful in making it "more real." This is what we as English teachers should always strive to build with our students: writing that is real.
In An Expression of the Inexpressible
Aug 09
Organized and curated by Jonathan McGlothin and Samuel E. Vázquez with managing direction by Vida Sacic
Diaspora Climate
Exhibition: February 12 to March 5, 2026
Reception: Thursday, February 12 from 5-7PM
Curated by Yan Zhou, 2025–26 Curator-in-Residence
artLAB Gallery
Sara Angelucci
Teresa Chan
Ma Yongfeng
Rehab Nazzal
Public Programs and Events:
Ink Marbling Workshop
Led by Teresa Chan
VA 206 / JLVAC, February 12, 12-2PM
Murmuration
Live Sound Performance
Teresa Chan and Jan Lai
February 12, 5:45–6:15 PM
artLAB Gallery
Screening and Discussion: Rehab Nazal's documentary film Vibrations from Gaza
Participants: Rehab Nazal, Kirsty Robertson, Sheri Nault, Ma Yongfeng and Yan Zhou
February 23 from 1:15-3PM
In-person: VAC 249
Online: Zoom
Curatorial Statement
Diaspora Climate brings together diverse climates, cultures, languages, histories, memories, feelings, perspectives, and connections through personal experiences and artistic expressions, linking an affinity with both natural environments and cultural dispositions. Human beings are as sensitive to displacement and transplantation as plants and animals. Diaspora Climate signals the ethical and emotional bonds diasporic people hold with the climatic pressures affecting them both “here” and “there”, including struggles, suffering, and the shared fate of the world and planet Earth.
The exhibition features work by four artists: Sara Angelucci (Toronto), Teresa Chan (Toronto), Ma Yongfeng (Berlin), and Rehab Nazzal (occupied West Bank, Palestine). Their works respond to relationships with particular places, cultures, histories, climates, and environments, while also addressing ongoing afflictions of social and environmental violence, driven by brutal global capitalism, colonialism, and arbitrary state apparatuses. These forces bring wars, relentless exploitation, and the dispossession of living space and life for both nature and people, intensifying the Climate Crisis. The voices and gestures that artists share through their works are ripples of Global Diaspora Solidarity.
The Japanese word fudo (Chinese and Japanese Kanji: ??) is translated as “climate,” yet its meaning extends beyond meteorological conditions. It signifies the inseparable and mutually formative relationship among seasons, climate, nature, and modes of human life and sensibility in a particular place, culture, and its history. A related Chinese saying, ????????, expresses a similar idea: that the soil and waters of a given land nurture the distinctive dispositions of its people. In this sense, fudo (????) is comparable to the ancient Greek concept of chorographia, which refers to the description or mapping of a specific region or country, emphasizing local features, history, natural history, and culture, in contrast to geography, which sought to describe the world as a whole. Chorographia suggests that the topography, natural environment, and social and political structures of a particular area are interconnected.[1] fudo (????) is still embodied in East Asian perceptions of the world and in their aesthetic–climatic sensibilities, whereas in the modern Western world, a scientific divide tends to separate and dominate human relationships with nature.
When the modern Japanese philosopher Tetsuro Watsuji (1889–1960) brought the traditional East Asian concept of fudo (??) into dialogue with Western scientific notions of “climate” and “environment,” he understood climate not merely as a natural phenomenon. Rather, he argued that human existence, history, and climate are inseparable. In a climatic register, humans apprehend themselves and shape both individual and collective sensibilities. Therefore, social, cultural, and political transformation depends upon the transformation of climatic culture; as it changes, the customs and habits of a people change accordingly (????). Furthermore, Watsuji suggests that diaspora, those who have left and become distanced from their homeland, and the “other,” who does not fully belong to a given climatic culture, may grasp a climate and fudo (??) in a uniquely profound and nuanced way, one that is often more reflective and thought-provoking.[2]
Diaspora holds an acute and incisive political position from which to question and reinterpret the relationship between climate and culture. It activates each individual as a micro-center, responsible for addressing issues of climate change and for pursuing climate and social justice.
Diaspora refuses to be fixed to a single position. Carried on in migration and drifting, diaspora lives simultaneously inside and outside of “home” and “homelessness,” being here (displaced and adopted) and there (exiled and distanced). As writer Yoko Tawada, who writes in both Japanese and German, argues, diaspora refuses to be integrated into a dominant language and culture and denied parts of themselves, such as accent and one’s history and cultural memory. Meanwhile, diaspora also flies from the cocoon of the mother tongue and journeys into adventurous encounters with other tongues, creating new communities rather than being bound to predetermined communities or fixed identities (2025).[3]
We cannot talk about climate change or social and environmental justice without confronting the ongoing genocide and ecocide in Palestine, the environmental disaster following the Russian invasion of Ukraine, and the erasure of Indigenous communities and forests in the Amazon and elsewhere—all exemplify the devastating consequences of global environmental and social injustices.[4] In particular, I believe, we cannot talk about anything, any change, and any future, if we avoid looking at and talking about Palestine: what has been happening to its people and land under an increasingly brutal Apartheid system of genocide, ecocide, siege and elimination of eco-human life and culture, imposed by a fully techno-weaponized modern state.
Once a terrible world is born through the deprivation, exploitation, and killing of one group of people by another—as in Nazism, colonialism, Apartheid, or dictatorship—its psyche, ideology, and whole mechanism continue to evolve and contaminate the world. It therefore becomes the obligation of everyone, and particularly of critical and creative minds, to resist it and to fight for justice and the rights of every being, human and non-human, with unwavering attention and sustained effort.
We should rethink our dear and precious life and world from the position of “bare life,” which designates the victims of the violence of sovereign power who are deprived of their rights to live as full human beings in every sense.[5] The deprived, abused, and threatened cherish the precious life more deeply; they preserve and shine the light of dignity of life more radiantly; and they hold tight to the faith in justice more adamantly. They are more human, and more humanly, than the abusers and those who support, tolerate, or comply with them. They fight for life with all their means; they fight for life with life itself. They fight for humanity. The “qualified life,” secured by killing others and by imposing segregation and deprivation, is not true life. Instead, it is soulless slavery that abandons humanity and being human together with other human and nonhuman beings.
Yan Zhou
January 2026
Notes
[1] The ancient Greek term chorographia (or chorography) derives from khoros, meaning place or region, and graphia, meaning writing or drawing. The term appears in the work Geography by the ancient Greek geographer Strabo and later reemerged during the Renaissance, notably in Athanasius Kircher’s Mundus subterraneus. Interest in this form of study continued into the late eighteenth century, before the emergence of modern scientific disciplines. Strabo. Geography. Loeb Classical Library. Accessed via Internet Archive.
archive.org/details/Strabo08Geography17AndIndex Kircher, Athanasius. 1662. Mundus subterraneus. Amstelodami: Apud Joannem Janssonium à Waesberge & filios.
Buonanno, Rossella. 2014. The Stars of Galileo Galilei and the Universal Knowledge of Athanasius Kircher. Cham: Springer International Publishing.
[2] Watsuji, Tetsuro. 1961. A Climate: A Philosophical Study. Translated by Geoffrey Bownas. Tokyo: Printing Bureau, Japanese Government. Accessed via Internet Archive. archive.org/details/climatephilosoph0000wats_g9l6
Watsuji, Tetsuro. 2022. Intro / Climate & Culture. Introduced by Nathan Hohipuha. YouTube video, December 17, 2022. www.youtube.com/watch?v=AIxBjWtu-fU&t=13s
[3] Tawada, Yoko. 2025. Exophony: Voyages Outside the Mother Tongue. Translated by Lisa Hofmann-Kuroda. New York: New Directions Publishing Corporation.
[4] Dinc, Pinar, and Necmettin Türk. 2025. “Roots of Destruction: Exploring the Genocide-Ecocide Nexus through the Destruction of Olive Trees in Occupied Palestine and Rojava.” The International Journal of Human Rights, August, 1–25. doi.org/10.1080/13642987.2025.2541756. IMEU (Institute for Middle East Understanding). 2022. “Fact Sheet: Israel’s Environmental Apartheid in Palestine.” November 3, 2022. imeu.org/resources/resources/fact-sheet-israels-environme....
Joseph, Lesley. 2025. “This Is What Ecocide Looks Like: Reflections on Israel’s War on the Environment in Gaza.” Journal of Palestine Studies 54 (2): 82–87. doi.org/10.1080/0377919X.2025.2520728
Forensic Architecture. n.d. “Environmental Violence.” Accessed January 10, 2026. forensic-architecture.org/category/environmental-violence
[5] Agamben, Giorgio. 1998. Homo Sacer: Sovereign Power and Bare Life. Stanford, Calif: Stanford University Press.
artLAB Gallery Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2026; Department of Visual Arts; Western University
Κομμωτήρια Nicolas Expressions, Σαλόνια Ομορφιάς.
Τα κομμωτήρια μας αποτελούν ένα σημείο συνάντησης για την ομορφιά και τη περιποίηση των μαλλιών σας με τη σφραγίδα των εξειδικευμένων κομμωτών μας.
Υπηρεσίες: Κούρεμα (γυναικείο, ανδρικό, παιδικό), Χτένισμα, Βαφή, Αντάυγειες, Flash, Refle, Ranzaz, Manicour, Extension μαλλιών, Φορμάρισμα λούσιμο και θεραπεία μαλλιών, μαζάζ μαλλιών.
Expressions – I called this shot “expressions” because of the different expressions on the kids faces. These kids who live in a very small village in a remote part of Mozambique has clearly never seen a camera before. You can imagine the excitement and emotions when i showed them what they look like on the camera’s viewfinder! . Acting and excitement came natural to most of them, except for the little boy who was to young to understand and appeared to be very afraid. Camera used – Nikon D300S Shutter Speed;1/50sec – F-Stop; F/8 – ISI-2000 – Focal length; 62mm – Metering Mode; Pattern – No Flash and no tripod – Photo taken on the 2/12/3010 @ 19:13 – Bruna from Africa
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A enox expressions é uma açao da Enox, com curadoria da IdeaFixa. Sao 40 imagens de artistas brasileiros espalhados por 21 cidades , durante 6 meses, nos melhores bares, restaurantes e academias do país.
Mais sobre o projeto aqui.
Encontrou um? Tire uma foto e mande pra gente no janara@ideafixa.com
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Expression - Heads by Sophie Cave
The head sculptures in Kelvingrove were designed by Sophie Cave of Event Communications Ltd. There are 95 heads, with four different expressions.
Kelvingrove Art Gallery and Museum, Glasgow, Scotland, UK
Κομμωτήρια Nicolas Expressions, Σαλόνια Ομορφιάς.
Τα κομμωτήρια μας αποτελούν ένα σημείο συνάντησης για την ομορφιά και τη περιποίηση των μαλλιών σας με τη σφραγίδα των εξειδικευμένων κομμωτών μας.
Υπηρεσίες: Κούρεμα (γυναικείο, ανδρικό, παιδικό), Χτένισμα, Βαφή, Αντάυγειες, Flash, Refle, Ranzaz, Manicour, Extension μαλλιών, Φορμάρισμα λούσιμο και θεραπεία μαλλιών, μαζάζ μαλλιών.
What can art do for you and why is it one of many of life's pleasures? A lot of art is expression and communication. Sometimes, to put it simple, a picture can say what words can't. This is why art can be very therapeutic to somebody with a mental illness because if they can't (physically or emotionally) handle expressing themselves or voicing an opinion etc out loud, art is always there to turn to when communication is rocky. Creating a piece of art my not be able to take negative emotions away, but it does enable the artists to express these emotions in a positive way.