Ian Findlay-Brown discovers the ebullient woman behind the pioneering art practice of Pacita Abad. Pacita talks about materials, craft, experience of being an immigrant and, most of all, how an artist sees the world.
Library
Leo Valledor, who plays a crucial part in the Park Place group (New York) in the 1960's, speaks about the inspired lives and times of the collective, how he identifies his practice in the locus California and New York as well as the dynamism inherent in shapes, color and dimensionality. (Text and images courtesy of Togonon Gallery and Copyright Valledor Estate, 2011)
Written in 2003, this article is one of Pat Hoffie's texts from her Santiago Bose archive. A seminal essay, this introduces Santiago Bose's inherited background and moves on to his resurrection of the past as his unique way of reviving Philippine culture, his initiatives and overall cultural resistance.
Carlos Villa recalls growing up in San Francisco, living in the Tenderloin district and his exposure to racism, the influence of Leo Valledor, growing up Filipino in California and the difficulties that accompanied it.
This article is Eileen Legazpi-Ramirez’s exhibition notes on "Vantage," the seminal 3Anggulo group exhibition held in 2007 at Finale Art Gallery.
Lena Cobangbang speaks about her association to her oeuvre as 'failed science projects' in this interview by Adeline Ooi for the exhibition "Velvet Landing" at Mo_space.
Kevin Power wrote a crucial text delineating the climate of artistic practice in Manila through Manuel Ocampo's current curatorial endeavor "Bastards of Misrepresentation." This was originally published as a catalog essay for the first Bastards exhibition "Doing Time On Filipino Time" in Freies Museum Berlin from October 22 to November 21 2010.
In 2009, Dayang Yraola created a research which explored models of art projects and artist initiatives in Manila, particularly through artists run spaces, creative artist dynamics and the art market within the Philippines. Below is the paper which explored crucial links to the current art scene in Manila.
Lena Cobangbang speaks about her association to her oeuvre as 'failed science projects' in this interview by Adeline Ooi for the exhibition "Velvet Landing" at Mo_space.
Kevin Power wrote a crucial text delineating the climate of artistic practice in Manila through Manuel Ocampo's current curatorial endeavor "Bastards of Misrepresentation." This was originally published as a catalog essay for the first Bastards exhibition "Doing Time On Filipino Time" in Freies Museum Berlin from October 22 to November 21 2010.
In 2009, Dayang Yraola created a research which explored models of art projects and artist initiatives in Manila, particularly through artists run spaces, creative artist dynamics and the art market within the Philippines. Below is the paper which explored crucial links to the current art scene in Manila.
Leo Valledor, who plays a crucial part in the Park Place group (New York) in the 1960's, speaks about the inspired lives and times of the collective, how he identifies his practice in the locus California and New York as well as the dynamism inherent in shapes, color and dimensionality. (Text and images courtesy of Togonon Gallery and Copyright Valledor Estate, 2011)
This article is Eileen Legazpi-Ramirez’s exhibition notes on "Vantage," the seminal 3Anggulo group exhibition held in 2007 at Finale Art Gallery.
Written in 2003, this article is one of Pat Hoffie's texts from her Santiago Bose archive. A seminal essay, this introduces Santiago Bose's inherited background and moves on to his resurrection of the past as his unique way of reviving Philippine culture, his initiatives and overall cultural resistance.
Carlos Villa recalls growing up in San Francisco, living in the Tenderloin district and his exposure to racism, the influence of Leo Valledor, growing up Filipino in California and the difficulties that accompanied it.
Ian Findlay-Brown discovers the ebullient woman behind the pioneering art practice of Pacita Abad. Pacita talks about materials, craft, experience of being an immigrant and, most of all, how an artist sees the world.