Screening programme: Everything but…. Curated by Planting Rice in collaboration with The Drawing Room
Dublin Core
Title
Screening programme: Everything but…. Curated by Planting Rice in collaboration with The Drawing Room
Description
6 Apr 2014, Sun 2:00 - 4:00 pm
Attention has been given to everything but the event. Conditions, such as planning, theory, negotiation, framework, lead to the definition of context while intended results become an afterthought. To highlight this particular issue, Planting Rice brought together a series of works addressing everything else but the end point. For this screening programme, the event and the absent end are the means of inquiry. In the selection of video works by Filipino artists, Planting Rice brings to the fore questions involved in Philippine contemporary art practice that opens up to further queries on the global and the local.
Planting Rice is the curatorial banner of Manila-based Lian Ladia and Sidd Perez.
Shireen Seno, Fine Times (2011), is the artist’s guerilla documentation of a site-specific project in an exhibition site. The video explores the relationship of viewership and authorship, with the exhibiting subject in focus being ephemeral in nature.
Mark Salvatus, Haiku (2012), transforms the artist’s collection of graffiti tags photographed from his residency stints in Japan, New York, Australia, Indonesia and the Philippines into poetic configurations of what seems to be a universal code.
Yason Banal, Untitled / again (Marienbad) (2008-2010), is a film-performance-installation inspired by Alain Resnais’ seminal film Last Year at Marienbad (1961). Yason Banal forms a contemporary constellation around etiquette, modernity and desire by transporting “Marienbad” to different sites (Manila, Hong Kong, Singapore, Jakarta, San Francisco, Berlin, London), inhabited by human figurines, sculptural garments, gallery artifacts and exhibition attendees.
Juan Alcazaren, Cube descending staircase (2010), is turned into an object travelling within the exhibition site. The animation video work refers to the seminal Duchamp work by means of stop-motion in providing a recall to the discourse on spatial continuity and constructs that art objects succeed to in their exhibiting sites.
Gaston Damag, Nature Culture (2009), addresses the gestures the artist takes in deconstructing the relationship of exhibiting sites and the main aspect of his practice – the wooden anthromorphic figure “bulul”: guardians of rice and objects of ritual and territorial indication.
A public programme of The Disappearance.
Attention has been given to everything but the event. Conditions, such as planning, theory, negotiation, framework, lead to the definition of context while intended results become an afterthought. To highlight this particular issue, Planting Rice brought together a series of works addressing everything else but the end point. For this screening programme, the event and the absent end are the means of inquiry. In the selection of video works by Filipino artists, Planting Rice brings to the fore questions involved in Philippine contemporary art practice that opens up to further queries on the global and the local.
Planting Rice is the curatorial banner of Manila-based Lian Ladia and Sidd Perez.
Shireen Seno, Fine Times (2011), is the artist’s guerilla documentation of a site-specific project in an exhibition site. The video explores the relationship of viewership and authorship, with the exhibiting subject in focus being ephemeral in nature.
Mark Salvatus, Haiku (2012), transforms the artist’s collection of graffiti tags photographed from his residency stints in Japan, New York, Australia, Indonesia and the Philippines into poetic configurations of what seems to be a universal code.
Yason Banal, Untitled / again (Marienbad) (2008-2010), is a film-performance-installation inspired by Alain Resnais’ seminal film Last Year at Marienbad (1961). Yason Banal forms a contemporary constellation around etiquette, modernity and desire by transporting “Marienbad” to different sites (Manila, Hong Kong, Singapore, Jakarta, San Francisco, Berlin, London), inhabited by human figurines, sculptural garments, gallery artifacts and exhibition attendees.
Juan Alcazaren, Cube descending staircase (2010), is turned into an object travelling within the exhibition site. The animation video work refers to the seminal Duchamp work by means of stop-motion in providing a recall to the discourse on spatial continuity and constructs that art objects succeed to in their exhibiting sites.
Gaston Damag, Nature Culture (2009), addresses the gestures the artist takes in deconstructing the relationship of exhibiting sites and the main aspect of his practice – the wooden anthromorphic figure “bulul”: guardians of rice and objects of ritual and territorial indication.
A public programme of The Disappearance.
Date
2014-04-06
Coverage
Programme Item Type Metadata
Short Description
In the selection of video works by Filipino artists, Planting Rice brings to the fore questions involved in Philippine contemporary art practice that opens up to further queries on the global and the local.
Programme Type
Audience
General
Location
Onsite (CCA)
Collaboration
Yes
Commissioned Work
No
Education
No
Theme
Collection
Citation
“Screening programme: Everything but…. Curated by Planting Rice in collaboration with The Drawing Room,” NTU CCA Singapore Digital Archive, accessed April 27, 2024, https://ntuccasingapore.omeka.net/items/show/2091.
Item Relations
| This Item | Is Part Of | Item: The Disappearance |
| Item: Planting Rice | Is Part Of | This Item |
| Item: The Drawing Room | Is Part Of | This Item |