Alfredo And Isabel Aquilizan: Of Fragments and Impressions at the STPI Creative Gallery and Workshop


” ‘Of Fragments and Impressions’ is a ground-breaking exhibition staged by STPI and award-winning Brisbane-and Manila-based installation artist duo Alfredo and Isabel Aquilizan in conjunction with STPI’s 15th anniversary. Impressive in scale and pivotal in its undertaking, the extensive oeuvres see the prolific artists breaking new frontiers by transforming fragments of their widely-acclaimed temporal installations into permanent material works for the very first time. From a sweeping installation of cardboard pulp and steel metal rods, to gritty shanty town houses constructed with compressed cardboard, to spectacular large-scale cyanotype collages of wings, the artists turned the STPI gallery into a stellar showcase which embodies their decades-long practice.”

Excerpt from STPI

STPI Creative Workshop and Gallery

41 Robertson Quay
Singapore 238236

More information here.

Ged Merino and Aze Ong: Open Threads at Topaz Arts, Inc


“Open Threads at TOPAZ ARTS features textile-based work by two artists, The GedAze Project, traversing a lineage of contemporary artists pushing the boundaries of textile. Together, both artists have a common thread – from materials and process, to their interest in engaging viewers to interact with the work – the tactility, both a reflection and reminder of familiar objects, and the stories bound within.”

TOPAZ ARTS, Inc. presents Open Threads
an exhibition by artists Ged Merino and Aze Ong
co-curated with Todd B. Richmond & Paz Tanjuaquio

On view September 16 to October 28, 2017

TOPAZ ARTS, 55-03 39th Avenue in Woodside, Queens, NY

More information here.

Alfredo and Isabel Aquilizan at Bellas Artes Projects


High Noon at Cagayan Garden
Alfredo and Isabel Aquilizan
Curated by Diana Campbell
Opening 7pm, August 15, 2017 at the Bellas Artes Outpost

“Cagayan Garden (2017) takes inspiration from Alfredo Aquilizan’s personal history growing up in Cagayan and his and Isabel’s artistic concerns with displacement, change, memory and community. During their residency in Bataan, Isabel, Alfredo, and their children collected posts of antique Filipino houses that had been relocated to Bataan as part of the Las Casas Filipinas de Acuzar’s collection of heritage houses. Together with other materials they gathered from the workshops, the result is an exquisite zen inspired garden where one can contemplate the journeys that the houses, and the families who once lived inside them, underwent in order for the garden to come into existence.”

Press from Bellas Artes Project

More information here.

Alfredo and Isabel Aquilizan at the Mosman Art Gallery


” The Bayanihan Philippine Art Project is an exciting multi-arts program presented throughout 2017 in partnership with six key cultural institutions across Sydney. Partners include Mosman Art Gallery, Art Gallery of New South Wales, Blacktown Arts Centre, Campbelltown Arts Centre, Peacock Gallery & Auburn Arts Studio and Museums & Galleries of NSW. A collaborative presentation of multi-arts projects including visual art exhibitions, performances, publications and community programs, project partners will showcase the extraordinary traditional and contemporary art and cultural practices of the Philippines and its strong links to Australia under the banner of the Bayanihan Philippine Art Project.”

More information here.

Mark Justiniani at the YOKOHAMA TRIENNALE 2017 Islands, Constellations & Galapagos


The Drawing Room congratulates Mark Justiniani as part of the roster of artists for the Yokohama Triennale 2017 Islands, Constellations & Galapagos

” The sixth edition of the Yokohama Triennale is pleased to announce the exhibition title of Yokohama Triennale 2017, “Islands, Constellations and Galapagos.” The title, together with the concept, has been conceived as a result of a series of discussion by the Conception Meeting members, consisting of the directors and experts of different generations working in different fields.

“Islands,” “constellations,” and “Galapagos,” are words that open possibilities for us to discuss various issues such as isolation and connectivity, imagination and guidance, distinctness and diversity, among others. In contemplating what we shall consider wisdom for our future during this time of uncertainty, we hope to engage people in these discussions using our imagination and creativity.

In addition to the exhibition, a series of public forums “Yokohama Round” will be kicked off in January 2017 as a platform for conversations/discussions, contemplation, as well as sharing/co-existence in exploring the ideas surrounding the title of Yokohama Triennale 2017.”

Press from website

More information here.

The Inverted Telescope at the Cultural Center of the Philippines


“A Century Hence (“Filipinas dentro de Cien Anos”)

“Then began a new era for the Filipinos. They gradually lost their ancient traditions, their recollections–they forgot their writings, their songs, their poetry, their laws, in order to learn by heart other doctrines, which they did not understand, other ethics, other tastes, different from those inspired in their race by their climate and their way of thinking. Then there was a falling-off, they were lowered in their own eyes, they became ashamed of what was distinctively their own, in order to admire and praise what was foreign and incomprehensible: their spirit was broken and they acquiesced.”

~Jose Rizal (originally published serially in the Filipino fortnightly
review “La Solidaridad”, of Madrid, running through the issues
from September, 1889, to January, 1890).

The Inverted Telescope
Cultural Center of the Philippines
Exhibition runs until July 9, 2017


More information here.

Lani Maestro and Manuel Ocampo for the Philippine Pavilion at the Venice Biennale 2017

Screen Shot 2018-12-01 at 1.13.26 PM

The Drawing Room congratulates artists Lani Maestro and Manuel Ocampo and curator Joselina Cruz!

“The title of this exhibition The Spectre of Comparison is drawn from the novel Noli Me Tángere by the Filipino National Hero Jose Rizal. Originally written in Spanish as “el demonio de las comparaciones,” this enigmatic phrase is a framework for the practices of Lani Maestro and Manuel Ocampo, artists representing the Philippine Pavilion.

The phrase encapsulates the experience of Rizal’s protagonist, Crisostomo Ibarra, when he gazes out to look at the Botanical Garden of Manila while simultaneously remembering the gardens of Europe. This double-vision of experiencing events up close and from afar, no longer able to see the Philippines without seeing Europe nor gaze at Europe without seeing the Philippines, was pointed out by historian Benedict Anderson in his essay “The First Filipino” (1997): “Here indeed is the origin of nationalism, which lives by making comparisons.” Rizal, the nineteenth century indio from the colony, with some melancholy, comprehended the colonising European other.

With this as pivot, Lani Maestro’s and Manuel Ocampo’s practices, aesthetically worlds apart and produced through a multiplicity of contexts, have at their core this “spectre of comparison.” Both artists were politicised by the specific moments of their departure from the Philippines: Maestro leaving at the height of the Marcos dictatorship, Ocampo during the 1980s, after the Marcos regime was ousted in a revolution mounted by a society deeply dissatisfied with the ensuing corruption that followed Martial Law. Although their practices developed at different moments, they were forged within the “collective” experience of the émigrés spectre.”

 – Excerpt from e-flux


Lani Maestro and Manuel Ocampo
The Spectre of Comparison
May 13–November 26, 2017

Philippine Pavilion at the Venice Biennale
Artiglierie Arsenale

Image reposted from Asia Now Paris Asian Art Fair

More information here.

Alfredo and Isabel Aquilizan at the Honolulu Biennial 2017


Middle of Now | Here

“The inaugural Honolulu Biennial 2017 (HB2017) showcases the diversity of ideas, art, and culture from the people who live today throughout the places connected by the Pacific Ocean. It will include contemporary art from Hawaiʻi, the Pacific Islands, Asia, North America, Australia, and New Zealand. By exhibiting the work of artists from all around this vast region, Honolulu Biennial 2017 shines a spotlight on the collective artistic vision from this important and dynamic Pacific neighborhood.”

Excerpt taken from the website, a statement by Fumio Nanjo, Curatorial Director and Ngahiraka Mason, Curator of Middle of Now | Here 

Image courtesy of Honolulu Biennial 2017

March 8 – May 8, 2017
Honolulu, Hawai’i


More information here.

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