Norberto "Peewee" Roldan is one of the artists selected for the Guggenheim UBS MAP Global Art Initiative. On the occasion of the Initiatives' first installment, "No Country: Contemporary Art for South and Southeast Asia" at the Guggenheim Museum, Peewee Roldan talks to Patricia Cariño about his work in relation to representing an art community in such a critical survey, the geopolitics surrounding contemporary practices and other forms of engagement of Philippine contemporary including it's relationships with Filipino communities in the United States.
Ringo Bunoan writes about the ambivalent influence of Roberto Chabet and illustrates the events that led to the monumental year-long celebration/ retrospective "Roberto Chabet: Fifty Years". This article also touches upon how the dynamic process of archiving becomes an alternative way of writing history.
Lani Maestro received the Hnatyshyn award for outstanding achievement in the visual arts for 2012. Irwin Cruz reports on what this distinction means to the artist, gives a brief overview of her recent works in Manila and gives a sneak peek on the current projects Maestro is working on in France.
Lani Maestro's poetic and text-based exhibition, "her rain", took place in Centre A, Vancouver, in 2010 and is presented once again in Plug In ICA, Manitoba this year. Erin Moure, a longtime creative companion of Maestro, captures and unravels the complex questions of positionality inherent in Maestro's works in an equally poignant essay.
The work of Jomar Statkun is largely informed by his investigation on authenticity and the artistic process. His installation/ performance in The Gowanus Studio Space that culminated last 23 January 2012 examines translation and re-appropriation in the platform of an abstract painting. This text contains the channels where the oil on canvas moved through - from the original by Statkun and an image analyzing program to a painting reproduction factory in China and the conversion of its permutations into sound.
Gina Osterloh opened Annoynmous Front at the Yerba Buena Center for the Arts this January 21. In a conversation with Gina Osterloh, YBCA Curator Julio César Morales begins by aligning the artist's practice as having photography at the center. The interview unfolds in Gina's identification of portraiture's dichotomies - repetition and mimicry, and the seer and the blind.
23-26 August 2011, Gwangju, South Korea - Twenty-three Art Spaces from eleven countries come together to engage in a dialogue about their respective and shared vision, infrastructure and projections into the future. The Network Meeting is programmed under the theme of 'Asian Arts Mobility'. Nguyen Nhu Huy, one of the participants in the 2011 AASN and Director of ZeroStation, reviews this event.
Gina Fairley shares her email correspondence with Manuel Ocampo that led up to his solo exhibition "The Painter's Equipment" (January 2011). The text includes Gina's interview on Manuel's serious engagement with the history of painting and the devices in working out the plethora of 'meanings' present in paintings. Alongside these subjects, he clarifies his position on the market and culture. His vision is further drawn out through a discussion of his current exhibitions and industrious curatorial project, "Bastards of Misrepresentation."
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Lilibeth Cuenca Rasmussen describes her work in the 54th Venice Biennale and the context her oeuvre touches on. She also talks about what it means to be an artist in Denmark, her influences and inspirations, progression of and plans for her art practice.
Robert Gutierrez and Albert Pinya mounted a collaborative reflection on Spain's colonization of the Philippines in Casal Solleric de Palma on May 2012. Robert Gutierrez talks us through the multi-disciplinary approach that he and Albert Pinya framed their work while in the studios of CRIdA (Center for Residency and Exchange of Artists) at Espai Sant Jeroni. Navigating through their respective ancestral heritage, they rewrite a historical colonial narrative based on what-if scenarios of conquest.
The exhibition Phantoms of Asia opened last May 2012 at the Asian Art Museum in California. It gathers works by 31 artists to survey the concept of phantoms as shared across cultures and time periods. Poklong Anading and Ringo Bunoan is part of this first large-scale exhibition of contemporary in Asian Art Museum - and Dorothy Santos reviews their significant contribution to the project.