Josephine Turalba
HIGH WIRE HIGH SEAS
Jan.18-Feb.29, 2020 ART DIRECTOR
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Lara Espadero Vicente Amancio, Jr. Jose Joeffrey Baba Gabriel Abalos
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista
CATALOGUE DESIGN
Marikit Lagunzad
EXHIBITION NOTES
Angel Velasco Shaw
Copyright © 2020 Josephine Turalba and Galleria Duemila, Inc. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system transmitted in any form or by any abovementioned copyright holders, with the exception of reasonably brief excerpts and quotations used in articles, critical essays or research.
Josephine Turalba
HIGH WIRE HIGH SEAS Curated by Angel Velasco Shaw
Paratroopers (detail) 2019 parachute cloth with toy plastic paratrooper 40.00 x 30.00 cm / 15.75 x 11.81 in
Reflections on Trojan Horses and icons of war Art is necessary in order that man should be able to recognize and change the world. But art is also necessary by virtue of the magic inherent in it. -Ernst Fischer
Multidisciplinary artist, Josephine Turalba’s second solo exhibition, High Wire, High Seas, at Galleria Duemila is timely, in light of China’s two strategic maneuvers in which the Philippines is, officially, an unacknowledged crucial player in the Asian region. Her multilayered and often whimsical 36 pieces strategically arranged throughout the gallery can be seen as fragments of a larger geopolitical narrative installation attempting to connect the complex dots between China’s occupation of the Philippines-owned Spratly Islands and the global Belt and Road Initiative (BRI). Josephine’s new body of work grapples with the pros and cons of China’s master plan for infrastructural investments in building railroads, bridges, ports, pipelines, IT and communications sectors, industrial parks, Special Economic Zones, tourism, and new cities. When she embarked on this project, the question she posed to herself is the same one she asks her audience – “Does this fear of invasion, stemming from the rapid influx of Chinese nationals, have a factual basis or is it all paranoia?” The fantasy world that she creates is grounded in a spectrum of facts and imagination in which her viewers become investigators of the fraught relationship between China, the Philippines, and the 65 countries that BRI programs are currently underway in. The perspectives of the political leaders, businessmen and citizens affected by the BRI change depending on whether or not these ventures are seen as mutually beneficial or as Trojan horses. Similar to the red army line of paratrooper toys in her Tightrope sculpture, Josephine’s own point of view ambiguously balances on a precarious high wire. Her inspiration for this ambitious undertaking stems from a 2019 project which she produced for an exhibition in the Demilitarized Zone on the border of North and South Korea (DMZ) called DMZland (dmmm-zee-land). While researching in the DMZ, she became fascinated with the carnivalesque irony she witnessed there as South Korean tourists snapped selfies in a “Disneyfied” amusement park atmosphere, frolicking on and around the imaginary borderline between historic enemies who could go to war at any minute.
background
DMZLand (detail) 2019 parachute material, inflatable tubes, tent poles 300.00 x 400.00 x 400.00 cm / 118.11 x 157.48 x 157.48 in foreground
Undercurrent (editon of 5) 2020 single-channel video 11 minutes, 31 seconds
Key elements of Josephine’s DMZland—a life-size parachute made of actual parachute material, comprised of a collage of doll cut-outs referencing Disneyland’s It’s a Small World water-boat ride, icons of war and China’s penchant for gambling; framed panels made of left over parachute designs and a horde of red toy solider paratroopers— were reimagined and integrated into the High Wire, High Seas exhibition. The survival parachute transformed into a tent enclosing a pseudo military encampment with war paraphernalia scattered around the tent floor, nautical maps of the Spratly Islands and Scarborough Shoals. In one corner, is a television blaring a montage of news footage
from news agencies such as ABS-CBN, GMA 7, 60mins, Aljazeera, and Channel News Asia intercut with political analysts talking about the BRI at the Center for Strategic and International Studies, and the Carnegie Council for International Affairs, and superimposed 3D animated humanoids, terracotta soldiers, gambling and military icons. The video piece, Undercurrent, contains the intricate whole of the exhibition’s intentions, skillfully unifying the symbols repeated in many of the exhibition artworks and the social issues that they represent regarding the Spratlys and the new world order slowly, yet steadily being implemented by the all-encompassing Belt and Road Initiatives.
One hundred forty-four shiny red-painted army paratroopers swoop down from the gallery’s ceilings landing on the floor. Their colorful parachutes, made from a single discarded parachute, are imprinted with 10 positive and 10 negative designs. These photoshopped collages obtained from internet stock photos and illustrations of military planes, helicopters, submarines, barbed wire, playing cards, poker chips, dice, the Chinese dragon, camouflage, and other Chinese symbols are emblematic of China’s suspect “expansionism and Easternization” in the Philippines and the surrounding region. Single words like “culture”, “intervention”, “build”, and “occupy” are inscribed on some of the parachutes, punctuating what Josephine has identified as the various perspectives on China’s encroaching domination, not just in the Philippines, but around the world. Her cunning titles, an extension of her circuitous way of thinking are calculated devices designed for the viewers to navigate through the exhibition’s politically sensitive subject matter. Nine multicolored found-object sculptures constructed out of wood and resin weaving shuttles consisting of upcycled children’s toys—Lego pieces, plastic doll and action hero body parts—are artfully juxtaposed with domino pieces, empty bullet cases and 3D printed humanoids and paratroopers (also seen in the Undercurrent video). They are cleverly assembled like fishing boats floating on top of impressionistic black and white aerial maps of the Chinese occupied and Philippines-owned territories in the South China Sea. The names of these reefs, shoals and islands accompanied by their corresponding geographic coordinates serve as their titles. The textural interplay of these objects and their meanings offset Josephine’s grave concern about China’s takeover of valuable seaways for trade and strategic military locations. At the dawn of the second decade in the 21st century, the dictum “All roads lead to China” reverberates with varying truths depending on one’s perspectives on what can be gained, lost and found, and traded on the ancient Silk Road that connected the world together well before nations had names, visible and invisible boundaries established and disputed over and over again as wars were fought, and empires rose and fell. These welltraveled land and sea routes that brought a reciprocal kind of economic development and wealth around the world has resurfaced as China’s grand vision to sustain itself as a superpower.
High Wire, High Seas is on the cutting edge of critical artistic inquiry into social and political issues that we are living through today. Josephine Turalba seems to ask-“Is the BRI progress moving towards peace and economic growth world-wide or another form of imperialist economic dependence and colonial occupation through non-military aggressions?” The works in this exhibition, some of which are highlighted in this essay, are playful tongue-in-cheek red flags. (pun intended). However, upon closer examination, the artist appears to be calling for a more serious investigation into China’s policies and endeavors, and their effects on the Philippines, the region and globally. The understated tension in the works is perhaps a reflection of the artist’s apprehension to use the creative practice to support a singular point of view as a means to change the world. Instead, she is using the creative process to work through ways by which to inform her viewers of the dangers of China advancing a political agenda that may not be sufficiently challenged if the Trojan horse in the Philippines, remains unveiled. The mediums are the messages that are inevitably interpretable. Angel Velasco Shaw 2020
Angel Velasco Shaw is a media artist, educator, curator, and cultural organizer living in Manila and New York City. Her experimental documentaries—Inherited Memories, When Absence Becomes Presence, Motherload, The Momentary Enemy, Umbilical Cord, Asian Boys, and Nailed have screened internationally in festivals, museums, and schools. They are in several European museum archive collections including the Museum of Modern Art in New York. Curatorial visual art and film exhibitions, and cross-cultural exchange projects include “Not Visual Noise”, “The Inverted Telescope”, “Markets of Resistance”, “Women as (Mythical) Hero”, “Vestiges of War”, and co-curated “Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War”. Publications include the anthology Vestiges of War: The Philippine-American War and the Aftermath of An Imperial Dream: 1899-1999, co-edited with Luis H. Francia (New York University Press, 2002 and Markets of Resistance anthology (Ateneo de Manila University Press, 2020). She received a Filipina Women’s Network 100 Most Influential Filipina Women in the U.S. “Innovators & Thought Leaders” award, 2011.
“The legal ownership is not disputed anymore, so we should not say that the area is disputed, because the moment you say the area is disputed, China will say ‘You see, it’s still disputed.’ Don’t say that because the tribunal has already ruled with finality. There’s no appeal. We’re the owners of the resources there. There is no legal dispute as to the ownership of oil, fish, and gas. It belongs exclusively to the Philippines. The only problem is how to get China to comply.” -Interview with Supreme Court Justice Antonio Carpio and Karen Davila, ANC Headstart, March 2018
Don’t Call Them Disputed 2019 engraved wooden planks, gold paint 174.00 x 129.00 x 6.00 cm / 68.50 x 50.79 x 2.36 in
Paratrooper Visual Glossary for Expansionism and Easternization 2020 ultraviolet digital print on polyester canvas, spent shotgun shells, wood scroll frame 91.44 x 177.41 cm / 38.00 x 72.00 in
Note Verbale: Skirmishes, Standoffs, Harassment 2020 ultraviolet digital print on tear resistant Enduro Ice transulcent paper, spent shotgun shells, scroll frame 140.00 x 100.00 cm / 55.12 x 39.37 in
ASSISTANCE GAMBLING
SOVEREIGNTY MILITARY
BELT & ROAD
EMPIRE
AID
ENTRY
BUILD
OCCUPY
PROGRESS
PROTEST
RISE
ISLAND
EQUALITY
MARINE
INTERVENTIOIN CULTURE
SURVEILLANCE SECURITY
Tight Rope 2020 acrylic on plastic, aluminum, wood 107.00 x 10.00 x 26.00 cm / 42.16 x 3.94 x 10.24 in
Panganiban Reef, Spratly GPS: 09° 54’ 00” N, 115° 32’ 00” E Mischief Reef is a low-tide elevation located in the Spratly Islands. China first took possession of the feature in 1995. U.S. Board of Geographic Names: Mischief Reef China: Meiji Jiao, 美济礁 Philippines: Panganiban Reef Taiwan: Meiji Reef, 美濟礁 Vietnam: Đá Vành Khăn Occupied by: China Legal Status: Low-tide elevation Total area of reclamation: 1,379 acres
Burgos Reefs, Spratly GPS: 10° 12’ 24” N, 114° 13’ 25” E Gaven Reefs is a rock located in the Spratly Islands. China first tookpossession of the feature in 1988. U.S. Board of Geographic Names: Gaven Reefs China: Nanxun Jiao, 南薰礁 Philippines: Burgos Reefs Taiwan: Nanxun Reef, 南薰礁 Vietnam: Đá Ga Ven Occupied by: China Legal Status: Rock Total area of reclamation: 34 acres
McKennan Reef, Spratly GPS: 9° 54’ 30” N, 114° 29’ 50” E Hughes Reef is a low-tide elevation located in the Spratly Islands. China first took possession of the feature in 1988. U.S. Board of Geographic Names: Hughes Reef China: Dongmen Jiao, 东门礁 Philippines: McKennan Reef Taiwan: Dongmen Reef, 東門礁 Vietnam: Đá Tư Nghĩa Occupied by: China Legal Status: Low-tide elevation Total area of reclamation: 19 acres
Panatag Shoal GPS: 15° 8’ 55” N, 117° 45’ 50” E Scarborough Shoal is a rock in the South China Sea, approximately 120 nautical miles west of the Philippine island of Luzon. There are no structures built on Scarborough Shoal, but the feature is effectively controlled by China, which has maintained a constant coast guard presence at the feature since 2012. U.S. Board of Geographic Names: Scarborough Shoal China: Huangyan Dao, 黄岩岛 Philippines: Bajo de Masinloc / Panatag Shoal Taiwan: Huangyan Dao, 黃岩島 Legal Status: Rock
Zamora Reef, Spratly GPS: 10° 55’ 25” N, 114° 5’ 5” E Subi Reef is a low-tide elevation located in the Spratly Islands. China first took possession of the feature in 1988. U.S. Board of Geographic Names: Subi Reef China: Zhubi Jiao, 渚碧礁 Philippines: Zamora Reef Taiwan: Zhubi Reef, 渚碧礁 Vietnam: Đá Su Bi Occupied by: China Legal Status: Low-tide elevation Total area of reclamation: 976 acres
Pag-asa Island GPS: 11° 3’ 12” N, 114° 17’ 5” E Thitu Island is a rock located in the Spratly Islands. The Philippines first took possession of the feature in 1974. U.S. Board of Geographic Names: Thitu Island China: Zhongye Dao, 中业岛 Philippines: Pag-asa Island Taiwan: Zhongye Qunjiao, 中業群礁 Vietnam: Đảo Thị Tứ Occupied by: The Philippines Legal Status: Rock
Calderon Reef, Spratly GPS: 08° 51’ 45” N, 112° 50’ 15” E Cuarteron Reef is a rock located in the Spratly Islands. China first took possession of the feature in 1988. U.S. Board of Geographic Names: Cuarteron Reef China: Huayang Jiao, 华阳礁 Philippines: Calderon Reef Taiwan: Huayang Reef, 華陽礁 Malaysia: Terumbu Calderon Vietnam: Bãi Châu Viên Occupied by: China Legal Status: Rock Total area of reclamation: 56 acres
Parola Island GPS: 11° 27’ 9” N, 114° 21’ 15” E Northeast Cay is a rock located in the Spratly Islands. The Philippines first took possession of the feature in 1968. U.S. Board of Geographic Names: Northeast Cay China: Beizi Dao, 北子島 Philippines: Parola Island Taiwan: Beizi Jiao, 北子礁 Vietnam: Đảo Song Tử Đông Legal Status: Rock Total area of reclamation: 677 acres
Panganiban Reef, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, wax, copper, spent brass, nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 15.00 cm / 19.69 x 19.69 x 5.94 in Burgos Reefs, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, glass, PLA, spent brass and nickel bullet shells, digital print on paper, framed) 50.00 x 50.00 x 11.00 cm / 19.69 x 19.69 x 4.33 in McKennan Reef, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, PLA, spent nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 11.00 cm / 19.69 x 19.69 x 4.33 in Panatag Shoal 2019 mixed media (acrylic on resin and antique wood weaving shuttles, discarded toys, spent brass, nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 10.00 cm / 19.69 x 19.69 x 3.94 in Zamora Reef, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, wax, copper, PLA, spent nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 10.00 cm / 19.69 x 19.69 x 3.94 in Pag-asa Island 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, spent brass, nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 11.00 cm / 19.69 x 19.69 x 4.33 in Calderon Reef, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, beads, resin, spent brass and nickel bullet shells, digital print on paper, framed) 50.00 x 50.00 x 10.00 cm / 19.69 x 19.69 x 3.94 in Parola Island 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, spent nickel and shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 11.00 cm / 19.69 x 19.69 x 4.33 in Kagitingan Reef, Spratly 2019 mixed media (acrylic on resin weaving shuttle, discarded toys, PLA, spent shotgun bullet shells, digital print on paper, framed) 50.00 x 50.00 x 10.00 cm / 19.69 x 19.69 x 3.94 in
Kagitingan Reef, Spratly GPS: 9° 32’ 45” N, 112° 53’ 15” E Fiery Cross Reef is a rock located in the Spratly Islands. China first took possession of the feature in 1988. U.S. Board of Geographic Nzs: Fiery Cross Reef China: Yongshu Jiao, 永暑礁 Philippines: Kagitingan Reef Taiwan: Yongshu Reef, 永暑礁 Vietnam: Đá Chữ Thập Occupied by: China Legal Status: Rock Total area of reclamation: 677 acres
Terriclaims “Terriclaims, short for territorial reclamation, is a term that is useful for describing a nation’s reclamation activities when it seeks to preserve or expand territory as part of a broader geopolitical ambition.” -AMTI
clockwise
Terriclaims 3 2019 ink, acrylic on antique wooden drawer box, antique nano parachute jumper toy soldier, plastic lego pieces, parachute string, and 72 pcs. spent nickel bullet shells 31.00 x 11.00 x 11.50 cm / 12.20 x 4.33 x 4.52 in Terriclaims 4 2019 ink, acrylic on antique wooden drawer box, antique auburn rubber sound detector toy soldier , resin, and 132 pcs. spent shotgun primers 31.00 x 11.00 x 11.50 cm / 12.20 x 4.33 x 4.52 in Terriclaims 5 2019 ink, acrylic on antique wooden drawer box, antique border boy scout signalling toy, plastic lego toy, resin, and spent shotgun shells 31.00 x 11.00 x 12.00 cm / 12.20 x 4.33 x 4.73 in Terriclaims 2 2019 ink, acrylic on antique drawer box, paper, antique Bradley machine long/stride gunner toy soldier, plastic lego pieces, PLA, and empty shotgun bullet shell 31.00 x 11.00 x 11.50 cm / 12.20 x 4.33 x 4.52 in Terriclaims 1 2019 ink, acrylic on antique drawer box, paper, antique Bradley prone machine gunner toy soldier, discarded monster doll head, resin, and shotgun primers 31.00 x 11.00 x 11.50 cm / 12.20 x 4.33 x 4.52 in
BRI Map According to Turalba 2020
large format UV print on acrylic sheet 63.70 x 90.00 cm / 25.08 x 35.43 in
“A Little Maritime Accident” - PRRD 2020
ultraviolet digital on polyester canvas, unframed122.00 122.00x x183.00 183.00cm/ cm/48.07 48.00xx 72.10 72.00 in ultraviolet digital printprint on polyester canvas, unframed
Fatherland 2019 dye sublimation digital print on parachute cloth, framed 81.00 x 90.00 x 5.00 cm / 31.89 x 35.43 x 1.97 in Crimson Sky 2019 dye sublimation digital print on parachute cloth, framed 81.00 x 132.00 x 5.00 cm / 31.89 x 51.97 x 1.97 in
Susi 2019 dye sublimation digital print on parachute cloth, framed 91.00 x 81.00 x 5.00 cm / 35.83 x 31.89 x 1.97 in Triple Threat 2019 dye sublimation digital print on parachute cloth, framed 80.00 x 130.00 x 5.00 cm / 31.50 x 51.18 x 1.97 in
DMZLand 2019
parachute material, inflatable tubes, tent poles 300.00 x 400.00 x 400.00 cm / 118.20 x 157.60 x 157.60 in
Josephine Turalba www.josephineturalba.art EDUCATION
2009 1988
Masters in Fine Arts, New Media Transart Institute validated by Donau-Universtät Krems, Linz, Austria Bachelor of Arts, Major in Psychology University of the Philippines Diliman, Quezon City, Philippines
EXHIBITIONS
2020 36th International Festival Sarajevo Winter, Collegium Artisticum, Bosnia and Herzegovina Solo High Wire High Seas, Galleria Duemila, Metro Manila, Philippines Carpe Diem, ALT Exhibition, SM Aura, Manila, Philippines The Art Piece as a Closed Text Series, Makati City, Philippines 2019 ONSAEMIRO: Art Politic - Border Crossing DMZ, Suwon Museum of Art, South Korea (Solo) K9, Aphro, Makati City, Metro Manila, Philippines Violence Transformed, MA, USA Not Another Mother and Child, Orange Project, Bacolod City, Philippines Womensemble: Creating Female Subjectivity in Art, National Taiwan Craft Research and Development Institute, Taipei, Taiwan 2018 Moving pledges: Art and action in Southeast Asia, Institute of Contemporary Arts, Singapore Femi-flow Creating Female Subjectivity in Art, National Taiwan Craft Research and Development Institute, Taipei, Taiwan 6th Canakkale Biennial: Imagined Homes, Turkey Guns and Gun Violence in America: Too Many Too Close, Cambridge College, MA, USA (Solo) Candid Canines, Dragon Gallery, Yuchengco Museum, Manila, Philippines SAB’R: Light a Dream, Institute for Peace and Development in Mindanao, Marawi City 2017 Collectionner, le désir inachevé, Musée d’Angers, France Taste The Future Collection, Fine Art Gallery The American University of Paris, France No Way Forward No Way Back, Massachusetts Institute of Technology, USA Taxi, Erratum, Milan, Italy Curated By Federico de Veyra, Ayala Museum, Makati, Philippines Taste The Future Collection, Fine Art Gallery The American University of Paris, France En Masse, Thompson Giroux Gallery, Chatham, New York, USA 3.2.1., Ricco Renzo Gallery, Manila, Philippines 2016 2016 London Biennale: Synchronisations/Syncopations, Rome, Italy Homeland, 5th International Çanakkale Biennial, Turkey Solo Vagari, Galeria Duemila, Manila, Philippines Cairotronica, Palace of the Arts, Cairo, Egypt Papers and Layers, Cultural Center of the Philippines Multiples, KUAD Galeri, Istanbul, Turkey 2015 Personal Structures – Crossing Borders, European Cultural Center, Palazzo Mora, Venice, Italy (concurrent with the 56th Venice Biennale 2015) Speak Together, Hofburg Imperial Museum, Innsbruck, Austria Caravanserraglio, PolilLab, Arezzo, Italy Fusionera, Thompson Giroux Gallery, Chatham, New York, USA Studio 300 Digital Art and Music Festival 2015, Kentucky, USA
Handmade, Cultural Center of the Philippines En Masse, Thompson Giroux Gallery, Chatham, New York, USA 2014 The Roving Eye: Southeast Asian Contemporary Art, ARTER Space, Istanbul, Turkey Mother Load, MET Open, Metropolitan Museum, Manila, Philippines Solo Fractured Focus, Koussevitzky Art Gallery, Massachusetts, USA Relative Realities, Yuchengco Museum, Makati City, Philippines Terms & Conditions, Simultan Festival #10, Arthouse, Timisoara, Romania Dornier, Royal Armed Forces Museum, London, United Kingdom Small is Beautiful, KUAD Gallery, Istanbul, Turkey Yesterday Once More, Erehwon Art Space, Quezon City, Philippines Alay Sining 7: Art with a Heart, Manila, Philippines 2013 Pra Biennale – JOGJA International Mini Print Festival, Jakarta, Indonesia VII Tashkent Biennale of Contemporary Art: Different Cultures-One World, Uzbekistan Grounded, Lopez Museum, Pasig City, Philippines Nuit Blanche, Paris, France Inside OUT, Atlantic Center for the Arts, Florida, United States of America Hugot, Sining Makiling Gallery, Calamba Laguna, Philippines Masterpieces: Asian Digital Art, Ayala Museum, Makati City, Philippines Untuned, CCAMS Gallery, Philippine Womens University-Manila, Philippines Six Pack Abs, Ricco Renzo Gallery, Makati City, Philippines Pagtitipon, De La Salle University Manila, Philippines (Solo) Ricochet, Nova Gallery-Manila, Makati City, Philippines 2nd Izmir International Biennal, Izmir, Turkey The Story of the Creative, See Exhibition Space, New York, United States of America DomestiCITY, J Gallery, Manila City, Philippines 2012 Where is The Here If The Here is In There?, Dublin, Republic Ireland Earth Body Mind, 2nd Kathmandu International Arts Festival, Katmandu, Nepal (Solo) In Wonderland, Künstlerdorf Schöppingen, Schöppingnen, Germany M1 Singapore Fringe Festival 2012, Singapore City, Singapore Beautiful Life: Memory and Nostalgia, Pier-2 Art Center, Kaohsiung, Taiwan, China Connecting the Dots, Arnica Gallery, Kamloops BC, Canada Human Frames, La Cinémathèque Française, Paris, French Republic Wits School of Arts, Johannesburg, South Africa Werkstatt der Kulturen, Berlin, Germany 2011 Nowheresville, General Hardware Contemporary, Toronto, Canada Nothing to Declare, Yuchengco Museum, Makati City, Philippines Beautiful Life: Memory and Nostalgia, South Hill Park, Bracknel, United Kingdom Not Festival, New York, United States of America Human Frames, KIT Kunst-im-Tunnel, Düsseldorf, Germany Human Frames, The Sub station Theatre, Singapore City, Singapore Alay Sining 3: Art with a Heart, Manila, Philippines 2010 12th International Cairo Biennale, Cairo, Egypt Spaces in Between, ConcentArt, Berlin, Germany Re-Dress, Tam-Awan Arts Festival, Baguio City, Philippines Constructing Secrets, Thoughts & Memories: Aspects of Postmodern Practice National Commission for Culture & Arts Gallery, Manila, Philippines 2009 The World Next Door, Malta Contemporary Art Center, Malta Uncommon Sense (trauma, interrupted, too) Cultural Center of the Philippines Tutok SONA Edukasyon, Manila Contemporary, Manila, Philippines
2008 2007 2003 2002 1997 1995 1990
Tutok Krisis: Kalunasan Anong K Mo?, Blanc Art Space, Manila City, Philippines 08.08.08 Britania Art Projects, Quezon City, Philippines (Solo) Open Season, Cultural Center of the Philippines, Manila City, Philippines (Solo) Hidden Tales, Ricco Renzo Gallery, Makati City, Philippines Trajectories, Wooloo Productions, Chelsea Gallery Space, New York, United States of America Corredor Gallery, CFA, University of the Philippines, Quezon City, Philippines (Solo) Exploits on the Dining Table, Power Plant Mall, Makati City, Philippines (Solo) Batanes Through the Lens, Intramuros, Manila City, Philippines Our Environment Today, Exportbank Plaza, Makati City, Philippines (Solo) Josephine Turalba Paintings and Photographs, Lopez Museum Pasig City, Philippines (Solo) Living Tales, Berenguer-Topacio Gallery Manila City, Philippines Oil, Water and Clay, Galleries of Fine Arts, Quezon City, Philippines
AWARDS/GRANTS/FELLOWSHIPS
2018 2017 2016 2015 2014 2013 2012 2011 2008 2005 2003
MIT Future Heritage Lab Fellowship Council for Arts MIT, Artist Project Grant Massachussets Institute of Technology Arts, Culture, Technology Program Research Affiliation Fondation La Roche–Jacquelin Visual Arts Residency, France Fine Arts Work Center, Artist Residency, Provincetown, MA, USA La Macina di San Cresci Artist Residency, Italy Cultural Center of the Philippines, Visual Arts Venue Grant National Commission for Culture and the Arts, Philippines Travel Grant to Venice, Italy Lesley University College of Art and Design, Studio Residency for Teaching Artist Turkiye Artist Residency, Sapanca, Turkey Vermont Studio Center, Artist Residency, USA Atlantic Center for the Arts, Artist Residency, Florida, USA 9th International Artist Grant, Cappadocia, Turkey Art Omi International Artist Residency Grant, New York, USA Stiftung Künstlerdorf Schöppingen Visual Artist Residency Grant, Germany National Commission for Culture and the Arts, Philippines Travel Grant to Singapore Cultural Center of the Philippines, Visual Arts Venue Grant Tahitian Pearl Trophy Asia 2005, G.I.E. Perles de Tahiti Tahitian Pearl Trophy Asia 2003, G.I.E. Perles de Tahiti
COLLECTIONS
Francis J. Greenberger Foundation, New York, USA Omer M. Koc Collection, Istanbul, Turkey & London, UK Yuchengco Museum Manila, Philippines Metropolitan Museum of Manila, Philippines Fondation La Roche Jacquelin, France
galleria duemila was established in 1975 by Italian born Silvana Ancellotti-Diaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila. Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cutting-edge of Philippine art, making and archiving history as it happens.
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