{"id":159301,"date":"2025-08-18T10:45:11","date_gmt":"2025-08-18T08:45:11","guid":{"rendered":"https:\/\/www.apartamentomagazine.com\/?p=159301"},"modified":"2025-08-27T09:38:51","modified_gmt":"2025-08-27T07:38:51","slug":"anna-sulan-masing","status":"publish","type":"post","link":"https:\/\/www.apartamentomagazine.com\/stories\/anna-sulan-masing\/","title":{"rendered":"A conversation with Anna Sulan Masing"},"content":{"rendered":" \t\t<div class=\"woocommerce\">\n\t\t\t<div class=\"woocommerce-info wc-memberships-restriction-message wc-memberships-message wc-memberships-content-restricted-message\">\n\t\t\t\tTo access this post, you must purchase <span class=\"wc-memberships-products-grant-access\"><a href=\"https:\/\/www.apartamentomagazine.com\/product\/apartamento-membership\/\">Apartamento Membership<\/a><\/span>.\t\t    <\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"\n<div class=\"woocommerce\">\n<div class=\"woocommerce-info wc-memberships-restriction-message wc-memberships-message wc-memberships-content-restricted-message\">\n\t\t\t\tTo access this post, you must purchase <span class=\"wc-memberships-products-grant-access\"><a href=\"https:\/\/www.apartamentomagazine.com\/product\/apartamento-membership\/\">Apartamento Membership<\/a><\/span>.\t\t    <\/div>\n<\/p><\/div>\n","protected":false},"author":7,"featured_media":162256,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-159301","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview","text_author-zoe-suen","photo_author-silvana-trevale","membership-content","access-restricted"],"acf":{"link_archive":false,"archive_story":null,"archive_bg":"#F5F4EE","archive_title_color":"#000000","cover_bg":"#F5F4EE","cover_title_color":"#ffffff","body_bg":"#f5f4ee","body_text_color":"#000000","body_captions_color":"#666666","related_bg":"#ffffff","related_text_color":"#000000","stories_bg":"#EDECEC","alternative_image":"","hover_image":"","credits":"","title_format":"center","font_size":"medium","image_format":"cover","hero_image_mobile":"","video":"","video_excerpt":"","video_format":"regular","content":[{"acf_fc_layout":"two_blocks","block_sizes":"half_40_60","content_type_left":"credits","image_size_left":"regular","image_left":null,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":"","credit_link_left":"","content_type_right":"text","image_size_right":"regular","image_right":"","video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":"<strong><em>Read Anna Sulan Masing\u2019s essay on the origins of laksa and the evolution of Peranakan cuisine in <a href=\"https:\/\/www.apartamentomagazine.com\/product\/penang-recipes-wanderings-around-an-island-in-malaysia\/\">Penang: Recipes &amp; Wanderings Around an Island in Malaysia<\/a>.<\/em><\/strong>\r\n\r\n<strong>London: Anna Sulan Masing\u2019s house in northeast London is like a repository filled with fragments of past and future works, whether written, spoken, or performed for a live audience. In fact, it\u2019s hard to find a corner that isn\u2019t covered with books, textiles, or ceramic treasures that either distil her own history, hint at a story she\u2019s waiting to tell, or both. Being welcomed into a home like this is a treat; I give the living room a cursory once-over as she boils the kettle for tea, and the questions come easily.\r\nAs a writer, poet, and academic, Masing\u2019s oeuvre largely revolves around food and beverage, her preferred avenues into complicated and often difficult cultural and colonial histories. Her latest milestone, the book Chinese and Any Other Asian, encapsulates this through an unflinching exploration of what it means to be East and Southeast Asian in Britain today.\r\nLike her work, which is essentially storytelling through almost every conceivable medium, Masing herself is multifaceted. Born in Australia to a New Zealander mother of Scottish heritage and a father from the indigenous Iban tribe of Borneo\u2019s Sarawak Island, she grew up in Sarawak, Malaysia, and Auckland before settling down in the UK. This upbringing primed her for her job, which sees her writing for publications and the stage, hosting podcasts, and launching public research projects and magazines. Masing used terms like \u2018decolonising\u2019 and \u2018cultural appropriation\u2019 long before they entered the mainstream lexicon through Twitter threads. She not only understands the intricacies of identity and our inclination, for better or for worse, to define ourselves and others through words, objects, victuals; she knows how best to unravel a bowl of steaming laksa, or unpack a single peppercorn, to reveal the crossroads and conflicts that lie within, which have shaped the ways we eat and the way we are. <\/strong>"},{"acf_fc_layout":"image","image_size":"regular","gallery":[162258]},{"acf_fc_layout":"interview","interview":[{"question":"You work across so many mediums and on so many different projects. How do you introduce yourself when you\u2019re meeting people, say, at a party?","answer":"Usually I say I\u2019m a writer because I think people can understand that. And then I say I\u2019ve written a few podcasts and I\u2019ve done journalism stuff, curation.\r\nIt\u2019s funny because, years ago when I was first looking to buy a flat and I took my mom to a few places, the estate agents asked what I do. When I replied, \u2018I\u2019m a writer\u2019, my mum turned to me and was like, \u2018Are you?!\u2019 The agent was so confused. I told him, \u2018Just put writer\u2014it\u2019s fine, it\u2019s true\u2019."},{"question":"Something that I love to ask people who write for a living is, do you enjoy the writing or do you enjoy having written?","answer":"I love the research. I don\u2019t mind the writing because it\u2019s a bit of a problem-solving exercise, but I do get so stressed about it. I put it off. But when you\u2019re in the mode, and it\u2019s flowing, there\u2019s nothing like that feeling.\r\nI\u2019m also a big fan of editing. I generally tend to overwrite, with the idea of cutting 50 percent and then adding on about 10."},{"question":"Oh, wow. I find it really hard to cut.","answer":"I get quite brutal. But I never throw things away. I put them on another page and save them, and then I\u2019ll come back and sometimes add them back in or shift things around."}]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":161849,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":161850,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"interview","interview":[{"question":"Did you know what you wanted to do for work from a young age?","answer":"I always wanted to be in theatre, but later I realised that was actually about wanting to tell stories. I wanted to be in a position to platform stories. Everything I did, even in school, was about, how do we organise events around storytelling? I think I\u2019ve stayed true to that\u2014I\u2019ve just gone through it in lots of ways."},{"question":"You acted for a while. Did you want to devote yourself to that, or were you always extremely open to working across all these different mediums?","answer":"I wanted to be an actor from when I was young; I loved it and found it really expressive and creative. But when I got to my final year of university, I felt really uncomfortable on stage. I think it was related to that period in time, as women\u2019s bodies were so scrutinised and I didn\u2019t think I fit into the norm\u2014which, looking back, is wild because I was so tiny and little and absolutely \u2018perfect\u2019. But I didn\u2019t feel comfortable in my body, and people looking at me was often either othering or sexualised. I found that difficult, and also got a bit bored of performing because as an actor you have to wait around for someone else to decide you look right. I was like, I\u2019m not that person.\r\nI decided to direct and tell stories that way. I started a theatre company, and that was really fun, as I got to work with new writers and young actors. Eventually I went back to do my PhD because I wanted to take that further: How do I make theatre that really explores all these big questions? And how do I investigate what can be the next way of telling stories? At that point, I wasn\u2019t enamoured with the theatre world and wanted to introduce more voices. Performance culture and performance art from the Global South was predominantly told through white voices, and I knew there had to be another way. That\u2019s why I went back."},{"question":"It\u2019s fascinating that this thread of storytelling runs through your life in such a pronounced way. When did food join the equation?","answer":"When I was doing my PhD, I realised all these stories and rituals and histories\u2014so much of it was about farming and food. Having grown up around food and working in hospitality, I realised that food was such a central part of all these stories, and a way of telling difficult stories in particular.\r\nI was also doing more journalism. Where theatre can be quite elitist, journalism can reach more people. I went into theatre to democratise it and make theatre this big thing that everyone could experience, but I found myself stuck in the structures. I\u2019m not saying media is any better, but there are more spaces where you can actually be heard and seen."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[162257,161851,161852,161853]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":161863,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":161930,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"interview","interview":[{"question":"Is cooking a part of your everyday?","answer":"I love to eat, and I like cooking when I\u2019ve got some time, but cooking doesn\u2019t de-stress me. Part of me is a little bit rebellious, like, I\u2019m a feminist, I don\u2019t need to cook. And I don\u2019t want\u2014as a woman of colour and immigrant\u2014for cooking to be my thing where everyone else says, \u2018That\u2019s how you have culture\u2019. I have culture in other ways! So it\u2019s been a really strong point to not be the cooking person.\r\nBut ultimately, I do love to cook. Rather, I love people coming over. For my book launch, we had a big day of cooking with me and my friends, and it was so fun. We made all these different dips, and I put a chicken in the oven. That\u2019s what I love about cooking and feeding people\u2014when everyone is a part of it, like Christmas. That\u2019s the bit I love."},{"question":"I love what you said about being a woman of colour and not having cooking be your narrative. As someone who\u2019s written stories about food, so many editors want you to project a narrative onto Asian women in particular that\u2019s tied to some grandmother or maternal ancestor, and for a lot of people that\u2019s not real.","answer":"It\u2019s so weird. Food was such a central part of my upbringing; my mum and my sister are amazing cooks, and food was how I kept hold of my heritage, but it wasn\u2019t fetishised.\r\nThen there\u2019s the other thing with people of colour where, for working class communities in particular, food can be quite a dangerous and uncomfortable topic. You might not have grown up with the foods that give you comfort, or there was a scarcity. So this nostalgic dream of food can be a really dangerous space to go into. There can be a lot of pain in that, and I don\u2019t think that gets thought about a lot."},{"question":"I\u2019m curious if you remember a moment in your life when you became aware of your family background being unique and so multi-dimensional, being Iban on your father\u2019s side and of predominantly Scottish heritage on your mother\u2019s side while living in New Zealand.","answer":"I don\u2019t know if it was a realisation, but there was a time in Malaysia before we moved to New Zealand when I said to my mom that I didn\u2019t want to be white\u2014I wanted to be full Iban. I don\u2019t know why I said that, but something must have clicked, which made me think I didn\u2019t want to be half. I wanted to be fully one thing. I was obviously really aware that I was a little bit \u2018other\u2019. And then I remember going to New Zealand and having someone tease me and being really confused. It was so ingrained in us that we were Iban; that was core to my identity. It was almost like, my name is Anna, and I am Iban."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[161854]},{"acf_fc_layout":"interview","interview":[{"question":"Did you grow up around a lot of other Iban kids?","answer":"No. In Malaysia, we had our family, but in New Zealand, there was no one. When I was younger, I hardly remember anyone else who was South or Southeast Asian, though there were a few people from Hong Kong in high school."},{"question":"It\u2019s interesting because I went to an international school and remember thinking explicitly that I wanted to be white\u2014a lot of the popular kids were. It\u2019s so strange that we wanted these things without fully grasping why.","answer":"Like, not even understanding what whiteness is. With a friend of mine, we have a thing where every now and then we realise we\u2019re not white. You grow up thinking we\u2019re all normal, everyone is the way they are, and suddenly you see these points of difference. I\u2019d walk down the street with some white friends and then catch myself in a shop window and think, I\u2019m different. Not that I want to centre whiteness, but you become very aware that you\u2019re not that norm."},{"question":"So much of your work has revolved around decolonising cultural spaces. And you\u2019ve spoken or written about how food and drink can be a way to talk about difficult things. Is there a food or beverage that you think really encapsulates that ability?","answer":"Obviously, spices. I\u2019ve written a lot about pepper, so that\u2019s my favourite topic. But I really want to do more writing on whiskey from a historical and a colonial perspective, particularly with Beyonc\u00e9 making her own whiskey, when in the US it was made by enslaved people and had its own class system around it. You also have the trade system that was developed around getting barrels from one place to another. That\u2019s mad.\r\nThen you\u2019ve got gin, which I think is always fascinating. It\u2019s all about the spices used, and of course you\u2019d look at the spice trade and the theory of gin and tonics being created to counteract malaria; how at one point, the amount of money that the East India Company was spending on quinine essentially would have paid for the British troops for a year."}]},{"acf_fc_layout":"image","image_size":"full","gallery":[162262]},{"acf_fc_layout":"image","image_size":"regular","gallery":[161857]},{"acf_fc_layout":"interview","interview":[{"question":"I love seeing food from that angle. It\u2019s the same reason I really enjoyed your essay on laksa for <em>Penang: Recipes &amp; Wanderings Around an Island in Malaysia<\/em>.","answer":"There was so much I couldn\u2019t put in. Laksa would be an amazing one to go really deep into. The stuff about the Chinese merchants having two lives, coming to Malaysia and building a family with local women while having a family back in China. Then there\u2019s a whole conversation, which needs to be verified, about the enslavement of indigenous women to these men\u2014there\u2019s some evidence of it. There\u2019s a lot of grey areas, and it\u2019s to do with trade.\r\nThat context created Nonya cuisine, which laksa is a part of, and laksa is definitely a dish of power and consolidation and evolution. But it\u2019s also about female power; a lot of women ended up being restricted to the home, and they created this dish for, because of, in spite of that. They owned what it meant to be this cultural community."},{"question":"Do you think London\u2019s food scene has changed much when it comes to discourse around colonialism and identity since you started writing?","answer":"So much. I had a little argument with an editor who\u2019s also my friend because I said there\u2019d been a rising interest in discussing colonialism. She was like, \u2018People have been interested in colonialism for years\u2019, and I replied, \u2018No, they haven\u2019t\u2019. I knew that from when I was allowed to write about it in my work. Now people ask me to write about it.\r\nThey\u2019re specifically asking me to write that piece because they want it to be spoken about, which I don\u2019t think would have happened post-pandemic, pre-pandemic. I think there was a shift there. I wouldn\u2019t have been commissioned for mainstream places. And people are much more open to speaking about gender identity and what it means to exist in spaces that feel safe."},{"question":"Do you ever catch yourself self-censoring?","answer":"I do think at times I have self-edited, self-censored, which is annoying when I think about it.\r\nRecently I was interviewed for something about MSG, and the first thing they said was, \u2018Oh, we can\u2019t be political\u2019. I\u2019m actually really upset about that. It\u2019s impossible for food not to be political, especially MSG. Eventually I was like, \u2018Look, you can\u2019t talk about MSG unless you talk about racism. It\u2019s intertwined. Are you saying you don\u2019t want to talk about racism?\u2019 Sometimes in the moment, it doesn\u2019t quite hit you, then afterwards, you\u2019re like, that was very weird."},{"question":"Have there been moments where you felt like something got through, where there was a palpable sense of making progress?","answer":"I do feel there was a time on Twitter where people were listening and opening up. Everyone was writing threads, and people were genuinely engaging. There were panel discussions where I was talking about cultural appropriation, and it was a topic that people began discussing more. Stuff I\u2019d written about academically would come into public spaces. If you\u2019re going to put it down to a piece of work that I felt quite proud of, there was a piece for gal-dem about Gordon Ramsay\u2019s Lucky Cat restaurant."}]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":162264,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":161858,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"interview","interview":[{"question":"It\u2019s still wild to me that the restaurant exists, and they seem to open more vaguely \u2018Asia-themed\u2019 Mayfair spots every year.","answer":"Unfortunately, that moment of opening up was right before the pandemic, and it seemed to stop dead. No one wanted to get any deeper\u2014we reached a point where things got progressive enough and people felt they\u2019d done the work. I now feel quite pessimistic about it."},{"question":"The pendulum swings.","answer":"Exactly. But there was that moment when people wanted to talk about it. I don\u2019t want to be too negative because in many ways we\u2019re in a better place."},{"question":"How would you describe the current moment we\u2019re in, whether it\u2019s cultural appropriation or talking openly about the food industry? I\u2019m sure you saw the article about Jason Atherton saying there\u2019s no sexism in kitchens.","answer":"Wild. It\u2019s quintessential. Jason would be like, \u2018Oh, we\u2019re fine now\u2019. I\u2019m not saying that the industry isn\u2019t better, but it\u2019s this thing of, because we\u2019re better now, we don\u2019t have to think about it at all. In a way, it\u2019s worse because you understand the issues but you\u2019re not actively trying to change them. His wife is a woman of colour\u2014how is he not actively anti-racist and actively feminist?\r\n\r\nI know a lot of people who want to come off social media because of the constant news, particularly coming out of America. For me to bring Chinese and Any Other Asian out right now feels on one hand really important, but on the other hand, it\u2019s a battle. This book wasn\u2019t meant to be a fight; it\u2019s meant to be a book about resilience and joy whilst pointing out the horrors and atrocities. Instead, it feels like I\u2019m coming out with this book when people are going to say, \u2018We don\u2019t want to talk about that\u2019. My takeaway from the book is we have to be messy. We can\u2019t just tick boxes. It\u2019s quite silly and quite funny sometimes, because I think you have to be a little funny to deal with all this darkness."}]},{"acf_fc_layout":"image","image_size":"full","gallery":[161860]},{"acf_fc_layout":"interview","interview":[{"question":"For sure. I\u2019d like to go back to what we touched on earlier, about white men in food. They take up space in so many industries, but in the food world, that dynamic feels so pronounced and personal.","answer":"There\u2019s something there, because food is consumed. It\u2019s not just that white men are taking up space, but they\u2019re consuming you. It\u2019s a very visceral feeling, and that\u2019s why it\u2019s so hard to put into words when you see something happening, or you see an example of appropriation. It\u2019s not just someone saying, \u2018I\u2019m an expert in this and I\u2019m gonna cook it and own it\u2019. They\u2019re saying, \u2018I\u2019m gonna cook and own it and then I\u2019m going to eat it\u2019. When food can be your biggest link to identity, you are eating me, and that\u2019s so hard to explain to someone who doesn\u2019t have that, whose belonging and sense of home is reiterated in so many ways in their everyday life. It\u2019s consumption in two ways, because it then becomes something that\u2019s sold and branded. But to explain to them, \u2018You are consuming me\u2019, makes no sense to them.\r\nWhen your culture or your identity is also the only lens through which a lot of people will see you and where you\u2019re from\u2014that\u2019s why people put so much weight on it. How else am I supposed to anchor myself or make myself relatable? I wrote in Penang about Malaysians being reduced to five dishes, like roti canai, nasi lemak. It\u2019s like, this is all you are. It\u2019s difficult because it\u2019s so cut and dry."},{"question":"Whether it\u2019s reading books or articles, you must, I assume, have to read a lot of difficult stuff. How do you cope and take the weight off, when that\u2019s your job?","answer":"Writing this book was really difficult, but it\u2019s not the first time that I found myself in a situation where I couldn\u2019t process the information. I did get a therapist last year; basically, I needed to have someone I could speak to about identity, who understands freelancers and creatives. That was good because it gave me some space to be OK about having these emotions, but it can still be difficult. In my book, I write about crying in the British Library because you\u2019re reading this stuff, and you don\u2019t know what to do with it.\r\nI\u2019m very lucky that I have really good friends that are open to having these discussions in a non-judgmental space, other women of colour and people from marginalised communities. I also think having a dog is great. Going out to take a walk is the best thing, and here, we\u2019re near the marshes. It\u2019s clich\u00e9, but it\u2019s helpful."},{"question":"Would you say there\u2019s one book that has shaped your work the most?","answer":"I would say Trinh T. Minh-ha\u2019s Woman, Native, Other and Gloria Anzald\u00faa\u2019s Borderlands \/ La Frontera. I read both of them when I was doing my PhD. Both are poets, and so the way they look at structure when they\u2019re writing\u2014they throw out any rules, and I think that\u2019s really beautiful. I go back to them all the time."},{"question":"Do you inhabit different mental spaces when you work, say, on your podcasts or your poetry or performances?","answer":"Oh, interesting. It is continuous, but it does feel different. I think I write with the audience in mind; I always think about writing as if I\u2019m talking to someone. I\u2019ll read my work back out loud. I\u2019m constantly thinking, if I was in front of someone, trying to tell them this story, how would I say it? That\u2019s why I love podcasts and audio. But it\u2019s different rhythms; when I\u2019m writing poetry, it often feels much more physical and sensory."}]},{"acf_fc_layout":"two_blocks","block_sizes":"half_50_50","content_type_left":"image","image_size_left":"regular","image_left":161861,"video_left_url":"","video_caption_left":"","video_left_type":false,"text_left":"","credit_image":null,"credit_link_left":null,"content_type_right":"image","image_size_right":"regular","image_right":162260,"video_right_url":"","video_caption_right":"","video_right_type":false,"text_right":""},{"acf_fc_layout":"interview","interview":[{"question":"Is there anything you do to get into writing mode?","answer":"I make a little pot of tea. I\u2019ll show you my room, actually. I used to have my desk here and would look out on the garden, with all the cats and birds and squirrels. I don\u2019t have my desk here anymore, but this is a bit of a shrine. This is the last rice harvest that my dad did, and I have my crystals. Having these things around me is really important when I\u2019m writing. And then here are all my books."},{"question":"Are you a sentimental person, when it comes to how you decorate your home?","answer":"I\u2019m really sentimental, and I\u2019m really into objects. I think they are super important. My mum\u2019s quite like this as well, and it was interesting to go back to New Zealand and see my mum at Christmas and realise that every corner in the house is really beautifully laid out. She\u2019s got lots of objects, but it never looks cluttered because she\u2019s curated it so you can enjoy them. I think I have a similar approach.\r\nI\u2019m doing more research on Iban history, and objects are really important. They would often pick up their houses every five years and move to farm different spaces, but they always brought their objects. My research was saying how important objects were for creating a sense of home and belonging for Ibans. It\u2019s ingrained in me from both sides."},{"question":"Is there something you\u2019re planning in the long-term that you can share?","answer":"I\u2019ve started writing a piece of fiction, which I\u2019d like to be a novel. That\u2019s why I\u2019m reading The Golden Road, because there are historical facts I want to make sure I have. I\u2019ve done so much research on pepper and Iban history, but there\u2019s so much missing because we don\u2019t have the records. There are some bits; I\u2019ve heard stories of peoples\u2019 lives, and I know fiction can tell those parts without having to make sure it\u2019s all cited. I don\u2019t think indigenous people and Southeast Asian women are represented particularly well, and I want to tell their stories.\r\nWe touched on this, but I also want to write more about the history and impact of drinks. We talk about food as a cultural thing, but we very rarely talk about understanding drinks. In fact, they\u2019re probably one of the earliest things that we ritualised. We forget that they\u2019re cultural linchpins."}]},{"acf_fc_layout":"image","image_size":"regular","gallery":[162261]}],"related_text":"","issue":"","button_text":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Interview with A conversation with Anna Sulan Masing<\/title>\n<meta name=\"description\" content=\"Anna Sulan Masing\u2019s house in northeast London is like a repository filled with fragments of past and future works, whether written, spoken, or performed for a live audience...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.apartamentomagazine.com\/stories\/anna-sulan-masing\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with A conversation with Anna Sulan 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