A HISTORY REBALANCED
A SPECULATIVE EXHIBITION
The Re-Education of the West is a speculative design exhibition that imagines a world in which Eastern civilizations colonized the Western world. Through fabricated artifacts, altered historical documents, and immersive design, the exhibition reframes dominant cultural narratives and challenges Western exceptionalism. Created as my capstone project, this work explores visual storytelling, historical inversion, and anti-colonial design practice.
The project addresses the challenge of Eurocentrism in global cultural narratives by imagining a world where Eastern civilizations dominated the West. It questions how art and culture might differ if Eastern philosophies and aesthetics were the global standard. The issue is supported by the historical reality of colonialism's lasting impact on cultural hierarchies and the underrepresentation of Eastern contributions in global discourse. The exhibition aims to provoke reflection on cultural power dynamics and their influence on identity and creativity.
Given the research-heavy nature of the project, I began by exploring the broader problem space: a hypothetical reversal of colonial power, imagining a world where all of colonized Asia had instead colonized the West. My initial research touched on themes of reverse colonization and cultural exchange, including a deep dive into Japonisme.
As the scope began to balloon, I questioned whether to focus solely on marketing the concept or to design the exhibition itself. I started with speculative branding but ultimately shifted toward building the exhibition in full, allowing me to explore spatial narrative, artifact design, and visual language more deeply. Key research areas included:
A major breakthrough came with Saidiya Hartman’s concept of critical fabulation, a method that combines historical research, critical theory, and fictional narrative to address archival silences. This shaped how I approached the storytelling aspect of the project.
One turning point was encountering The Last Supper by Francis Newton Souza, which grounded the exhibition in a South Asian context. I debated whether to reinterpret existing works or create my own and I ultimately chose to do both.
After my research breakthroughs, I shifted focus toward asset-building. I prototyped marketing materials but ultimately found they didn’t support the emotional and institutional tone I was aiming for. The exhibition format, by contrast, offered clarity of voice and impact. My research about curatorial practices helped me understand how to design the layout and place each piece intentionally.
Attempts to use VR software for spatial design fell short, so I built the entire layout from scratch in Figma, prioritizing the emotional experience of power reversal and institutional authority over promotional storytelling.
My goal was to disturb viewers just enough to confront how easily systems of power are accepted, regardless of who holds them. The exhibition doesn’t just invite reflection; it demands discomfort. I intentionally employed colonialist methods of dehumanization to justify the supposed need for "domestication." While the artifacts may appear absurd, they closely mimic the detached placards and looted displays often found in Western museums, highlighting the violence embedded in institutional presentation.
The Re-Education of the West is a speculative design exhibition that imagines a world in which Eastern civilizations colonized the Western world. Through fabricated artifacts, altered historical documents, and immersive design, the exhibition reframes dominant cultural narratives and challenges Western exceptionalism. Created as my capstone project, this work explores visual storytelling, historical inversion, and anti-colonial design practice.
HYPOTHESES
- If we reimagine iconic Western art through Eastern artistic principles (e.g., minimalism, symbolism, and spiritual harmony), then viewers will gain a deeper appreciation for Eastern aesthetics because it challenges their preconceived notions of artistic value.
- If we reimagine a world where Eastern cultural frameworks dominate, then audiences will question the universality of Western norms because it highlights how cultural power shapes societal systems and values.
- If we present an alternate history through speculative artifacts and narratives, then viewers will engage more deeply with the concept of cultural dominance because it challenges their assumptions about historical inevitability.
- If we design an exhibition that centers Eastern aesthetics and philosophies, then audiences will gain a greater appreciation for non-Western perspectives because they provide a counterpoint to Eurocentric cultural narratives.
RESEARCH
- How do we make the viewer interpret and understand the gravity of how Eurocentrism affects Western art and culture without resorting to telling instead of showing?
- How do we bridge that gap in understanding as we present these theoretical artifacts so that the viewer challenges their internal Eurocentrism?
- Would an overt (controversial/in your face) or covert/subtle approach be more effective, especially if I would have to consider this exhibition may be accessible to a wider audience than anticipated?
As the scope began to balloon, I questioned whether to focus solely on marketing the concept or to design the exhibition itself. I started with speculative branding but ultimately shifted toward building the exhibition in full, allowing me to explore spatial narrative, artifact design, and visual language more deeply.
- Curation and colonial aesthetics
- Institutional tone and authority
- Artifact creation as narrative
A major breakthrough came with Saidiya Hartman’s concept of critical fabulation, a method that combines historical research, critical theory, and fictional narrative to address archival silences. This shaped how I approached the storytelling aspect of the project.
One turning point was encountering The Last Supper by Francis Newton Souza, which grounded the exhibition in a South Asian context. I debated whether to reinterpret existing works or create my own and I ultimately chose to do both.
DESIGNING PROCESS
After my research breakthroughs, I shifted focus toward asset-building. I prototyped marketing materials but ultimately found they didn’t support the emotional and institutional tone I was aiming for. The exhibition format, by contrast, offered clarity of voice and impact. My research about curatorial practices helped me understand how to design the layout and place each piece intentionally.
Attempts to use VR software for spatial design fell short, so I built the entire layout from scratch in Figma, prioritizing the emotional experience of power reversal and institutional authority over promotional storytelling.
My goal was to disturb viewers just enough to confront how easily systems of power are accepted, regardless of who holds them. The exhibition doesn’t just invite reflection; it demands discomfort. I intentionally employed colonialist methods of dehumanization to justify the supposed need for "domestication." While the artifacts may appear absurd, they closely mimic the detached placards and looted displays often found in Western museums, highlighting the violence embedded in institutional presentation.