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."