Variable dimensions
Comprising two sculptures, one photograph and one video, the installation Malakas & Maganda (1986 – 2016) questions the mythological iconography of the Filipino conjugal dictators Ferdinand and Imelda Marcos and thus addresses the construction of propaganda representation and the role of art facing current events. The work is organized around the leftovers of a copy of a monumental sculpture of Imelda Marcos, which the artist had commissioned and whose remains were stored in his studio. Several included elements show how this body of work has evolved over time and in reaction to political events in the Philippines. The video footage, for example, was taken inside KADIST exhibition “Soil and Stones, Souls and Songs” with the Museum of Contemporary and Design in Manila in 2016, when the artist requested that his own piece (i.e. copied paintings representing the dictator) be repainted in black to protest against the revisionist funeral organized by current president Duterte. The installation was later presented for the first time as an ensemble at KADIST Paris for the exhibition “Conceal, cover with sand, replicate, translate, restore” in 2017.
In his practice, Pio Abad looks into the social and political significance of objects usually consigned to the sidelines of history. Abad uses different media such as textile, drawing, installation, and photography, and employs strategies of appropriation to extract alternative readings and repressed historical events. Abad ties threads of complicity between events, ideologies and people. His artworks glide seamlessly between these histories, enacting quasi-fictional combinations with their leftovers and weaving together threads of complicity between events, ideologies, and people. Abad was artist-in-residence at KADIST San Francisco from April to June 2019, where he conducted research into narratives of exile and displacement from the 1970s and 80s that brought Filipinos to California.
Dutch Emerging: Ruben Janssen X GRA Fashion Bachelor 2023 – A Shaded View on Fashion From the back to the middle and around again — Ria’s wedding dress, Alan’s patterns and John’s model: ‘My project is an investigation into evolution, explored through prisms of biology, computation and a poetic personal narrative, shifting between timescales on an evolutionary timeline...
Flag (Thames) 2016 depicts a small section of the Thames River—one that is adjacent to the Palace of Westminster in London—as an algorithmic representation on an LED panel...
Consider the Drone , Barbara London and Aura Satz in conversation What’s in a sound? And what of a drone? Venerable curator Barbara London is joined in conversation by artist Aura Satz, an interdisciplinary artist based in London, UK with a particular interest in the sustained, ambient, and minimal...
Natura Negra , which translates to “Black Nature”, is a black-and-white photographic series by Chanell Stone that explores the connection between the Black body and nature within man-made environments...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
The installation Self Tracking (the five stages of grief) was realized from a performance that is to be re-activated...
Composed of two rectilinear pieces of glass, this work is part of a series of sculptures started in 2006...
Art Basel reveals 287 leading galleries and expanded city-wide program for its 2024 edition in Basel, Switzerland (News) - ArteFuse Art Basel reveals 287 leading galleries and expanded city-wide program for its 2024 edition in Basel, the first led by the show’s new Director Maike Cruse With 287 premier galleries from 40 countries and territories, Art Basel will once again bring together the international art world at its marquee fair in Basel, Switzerland...
The Dragon is the Frame by Mary Helena Clark is an elegy that is somewhat paradoxically organized as a film noir or murder mystery, one that pays direct homage to Hitchcock’s Vertigo ...
Solid are the Winds: Aeolian Encounters at The 9th Asia Pacific Triennial (Part I) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Natasha Harth for QAGOMA untitled (giran) (2018), Jonathan Jones in collaboration with Dr Uncle Stan Grant Snr AM January 10, 2019 By Marcus Yee (1259 words, five-minute read) This is the first of a two-part essay on the 9th Asia Pacific Triennial running at the Queensland Art Gallery, Brisbane, Australia, from 24 November 2018 to 28 April 2019...
Untitled (Celestial Motors) is a visual meditation on an icon of modern urban Philippine life—the jeepney...