Manuel Ocampo at the Biennale of Sydney

nirin

“NIRIN” 22nd Biennale of Sydney
March 14 – June 8, 2020

“Under the artistic direction of Brook Andrew, the exhibition will include artworks across six sites: Art Gallery of NSW, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School.

The 22nd Biennale of Sydney is artist- and First Nations-led, presenting an expansive exhibition of contemporary art that connects local communities and global networks.

‘The urgent states of our contemporary lives are laden with unresolved past anxieties and hidden layers of the supernatural,’ said Brook Andrew. ‘NIRIN is about to expose this, demonstrating that artists and creatives have the power to resolve, heal, dismember and imagine futures of transformation for re-setting the world. Sovereignty is at the centre of these actions. I hope that NIRIN (edge) gathers life forces of integrity to push through often impenetrable noise.’ ” – excerpt from official website

Manuel Ocampo’s work will be located in Cockatoo Island

More information here: https://www.biennaleofsydney.art/

Hotel Art Fair Bangkok 2019

Just as Ibarra’s memories of the Manila are revived as he is driven in his horse-drawn carriage, Ged Merino’s Kuwentong Kutsero reminds us that the past is still with us. It is simultaneously an act of Proustian remembrance and an imaginative tribute to the hardy kutseros. The very title can be read in two ways: as often tall tales told by the kalesa drivers themselves to while the time away, and as the informal kasaysayan, or history, of this form of mass transportation and their working-class proprietors.

Manuel Ocampo at the Museum of Contemporary Art and Design

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Manuel Ocampo at the Museum of Contemporary Art and Design

The Spectre of Comparison
Lani Maestro
Manuel Ocampo

Curated by Joselina Cruz

The Manila homecoming of the Philippine Pavilion exhibition from the 57th Biennale di Venezia opens tomorrow at the Museum of Contemporary Art and Design (Manila), with an artists’ talk by Lani Maestro and Manuel Ocampo moderated by Curator, Joselina Cruz.

More information here.

Manuel Ocampo: Ideological Mash-Up/Remix

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Manuel Ocampo at STPI – Creative Workshop & Gallery

“Responding to a global culture of image production and consumption in flux, Manuel Ocampo’s often chaotic and violent compositions present interactions between image-forms of a fragmented time and space, recalling the spectres of history, of painting, and of oneself. Concerned with questions of identity and versions of culture, Ocampo’s works become dimensional screens of symbols and signs that are at once familiar and arbitrary; where humour bathes itself in a certain darkness, and darkness manifests itself in a certain comfort.

This distinct visual language is furthered at STPI, where Ocampo continues to employ symbols and iconography that straddle between accessibility and ambiguity. Developing print and paper experimentations in a collaborative setting which required a different momentum and mode of production, the artist imbues variations of old imagery with new techniques and approaches.”

– excerpt and image from the STPI website

Manuel Ocampo: Ideological Mash-Up/Remix
18 May – 22 June 2019

More information here.

Venice Biennale 2019: the must-see pavilions in the Arsenale

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Philippine Pavilion

Island Weather, Mark Justiniani

Entering the darkness of the Philippine pavilion, it looks at first glance like the artist Mark Justiniani has been burrowing through the floor to excavate the centuries-old foundations of the Artigliere building. As your eyes adjust, you realise that the tunnel of crumbling masonry is just one element of a bigger illusion. The installation Arkipelago (2019), inspired by the hybrid histories of the island nation, consists of three glass-topped biomorphic platforms, or islands, which harness the same infinity mirror technique used by Yayoi Kusama and Ivan Navarro. In place of their twinkling coloured lights, Justiniani’s work has a creepier doll’s (fun)house aesthetic, with plunging recessions of household objects—paper stacks, suspended apple cores, wine glasses and a modest meal on a banana leaf. For the full vertigo experience, take your shoes off, walk across the glass and do look down.

– excerpt taken from The Art Newspaper article on the Venice Biennale 2019

Read more here.

Mark Justiniani at the Venice Biennale 2019

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Mark Justiniani
Island Weather
Philippine Pavilion at the Venice Biennale
May 11–November 24, 2019

Curated by Tessa Maria Guazon

“The art project Island Weather is the official representation of the Philippines to the 58th Venice Biennale. A collaboration between curator Tessa Maria Guazon and artist Mark Justiniani, it comprises Arkipelago a site specific and immersive installation at the Artiglierie in Arsenale. Island Weather examines understandings of the world as interconnected and perceived as an island. We are buoyed by the seeming dissolution of borders, the unprecedented speed of time, and a mobility across places never before experienced. Yet we relentlessly face the threats of displacement, discrimination, and disasters. ”

-excerpt from e-flux

More information here.

More information on the Philippine Pavilion for the Venice Biennale 2019 here.

Alfredo and Isabel Aquilizan: the center will not hold at the Museum of Contemporary Art and Design Manila

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Alfredo and Isabel Aquilizan at the Museum of Contemporary Art and Design Manila

the center will not hold

An exhibition featuring works by Alfredo and Isabel Aquilizan, Shilpa Gupta, Heecheon Kim, Manny Montelibano, and Tintin Wulia.

The show is presented in partnership with Galleria Continua and Mao Ji-Hong Arts Foundation.

Opening March 7 , 2019
Museum of Contemporary Art and Design
De La Salle – College of Saint Benilde
Manila, Philippines 1004

 

More information here.

More information on MCAD Manila here.

Kwentong Kutsero

Just as Ibarra’s memories of the Manila are revived as he is driven in his horse-drawn carriage, Ged Merino’s Kuwentong Kutsero reminds us that the past is still with us. It is simultaneously an act of Proustian remembrance and an imaginative tribute to the hardy kutseros. The very title can be read in two ways: as often tall tales told by the kalesa drivers themselves to while the time away, and as the informal kasaysayan, or history, of this form of mass transportation and their working-class proprietors.

Boat Recollections

Boat Recollections revisits the process of boat-making as a recollection of memory and material. The artist gathers wood and gathers thoughts in the reconstruction of a boat and of a narrative of his emergent practice. The exhibit is reflective of the artist’s treasured childhood spent in a countryside island in the Philippines – his life and art practice enriched by the local communities and their culture.

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