Manuel Ocampo at the Biennale of Sydney


“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:

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.

Contact Us
(+63) 2 801 4397 or 98