Multiple Languages

Ahmad Fuad Osman

Alfredo Esquillo

Angki Purbandono

Christopher Zamora

Dongwook Lee

Eric Zamuco

Hojin Lee

Jaeho Jung

Jet Pascua

Joy Mallari

Leslie de Chavez

Lorenza Diaz

Mariano Ching

Mariano Montelibano III

Mark Justiniani

Michael Muñoz

Osang Gwon

Santiago Bose

Se Eun An

Wire Tuazon

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Curated by Leslie de Chavez &Louise Marcelino

Multiple Languages

Silverlens, Manila 13 August - 13 September 2014

This exhibition interprets the role of language in everyday life. Its

various modalities enable individuals to communicate and socialize.

While language is dependent on signs, the connection between the

latter and meaning often shows incongruence. A linguistic representation,

such as a word, broken down into minute components of letters and

sounds has properties that show no outright correspondence to

the idea being signified.

Language has an arbitrary scheme that derives efficacy and validation

from social conventions. In A Grammar of the Multitude, Paolo Virno

wrote of language as belonging to everybody and nobody. According

to Virno, the multitude is a concept that teeters between the individual

and the collective. The multitude is bound not only by common places

but also by “abstract intellect” or linguistic cognitive abilities unique to

human beings. The existence of language presupposes the presence

of people. Language is a shared construct essential to survival,

understanding, and evolution.

Constantly changing, language transcends sheer pragmatics.

Grammar and other principles of organization are followed to

ensure the optimal transmission of messages. The general rules of

engagement are modified to conform to specific individual and group

necessities. Literacy becomes a measure of mastery and control. As

with other cultural tools, language can also be subject to manipulation

and appropriation. The specificity or flexibility of language offers

promise for personal expression and style. As a signifier of identity

and relations, language creates conditions for solidarity, connectivity,

and variations. On the other hand, language can also be a compelling

force that disrupts, confuses, and distresses. It is a tool that enables

communication on the one hand; and alienates, on the other.

Art speaks in multiple languages. Contemporary artists here

explore the limits of intermedia to convey a complex of messages.

Ephemera and found objects are assembled so they could be

captured permanently via ‘scanography’, a technique the artist

coins to refer to a preferred image making apparatus. Glimmering

with saturated colors and garish details, Angki Purbandono’s works

appear in a light box like carefully crafted advertisement composed

actually within the bounds of the detention cell during the period of

his incarceration. The sheen on the work of Osang Gwon downplays

the patchwork of C-prints assiduously put together to compose

an expressive sculptural form. Locked in the safety of a vitrine,

Dongwok Lee imagines an environment both horrid and surreal. A

pathetic looking creature seems to beckon on top of a translucent

golden yellow pile. The artist’s handling of miniature forms and

clinical attention to detail reveal an aura of fragility and refinement.

The works of Se Eun An captures the streets of Manila teeming

with public utility vehicles and kariton, wooden mobile carriers. She

composes mundane situations in a painting style that overlays

fragmented patterns on solid forms. As a global migrant, the sense

of incompleteness and the minimal presence of human figures are

telling of the artist’s fleeting encounters. Santiago Bose’s intimation

of displacement and longing in the midst of an impersonal subway

ride can be felt in NYC Journals. Jaeho Jung’s works convey the

transience of experience and likewise foreground the urban life.

Privileging marginalized spaces in his paintings such as alleys and

corners, Jung paradoxically illustrates aspects of the city’s blight in

vivid hues and solid strokes.

by Louise Marcelino

Multiple Languages

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The project of Ahmad Fuad Osman began with a single object: a

portrait painting of a controversial Malaysian opposition leader,

his face beaten black and blue. Osman converts the image into

a poster announcing the search for a missing painting, and

documents them as they appear in the streets. Passersby respond

to the call perplexingly, disturbed by the violence depicted in the

image and lured by the promise of reward indicated in the text.

The iconic image encouraged fact-finding and the search for the

elusive truth, undermining the fiction spun on the lost object. On

the other hand, the video work of Manny Montelibano collapses

two sets of recordings that weigh the validity of declaration and

interpretation. One video combines interviews of three random

individuals focusing on the distorted movement of their lips as

they verbalize associations of the Ilonggo word pasaway. The trend

of responses ultimately point to politicians and their relentless lip

service. Conversing with the video is an archival footage of the

first Philippine President, an embodiment of state power, reciting

a speech. A critical look into individuals in the position of power is

being called for as well in the work of Leslie de Chavez titled 24. The

artist repositions the staunch phalanx of men in a circle, activating

the shape’s significations. The uniform figures are caught in an

endless cycle of beheading or bequeathing; as in the ambiguous

inheritance of curse or privilege.

The illuminated blocks of text by Michael Muñoz conjure an excerpt

from the Nicene Creed, a declaration that lays down the basic

tenets of Christianity. Alfredo Esquillo’s painting invokes the crossfire

between institutions of the church and the state. Two individuals

face each other with their mouths agape, ready to pounce at the

moment of heated provocation. The authority of institutions and

belief systems is further complicated by the works of Eric Zamuco.

In Sculpture, Zamuco questions the influential role of art institutions

and other gatekeeping mechanisms in validating works of art.

Inspired by current social networking dynamics, another work titled

I Live for Your Likes addresses cogently the issue of validation.

Akin to religious devotion, the ‘like’ button functions crucially

in the rituals of performative online exchange. In a similar vein,

Christopher Zamora’s painting focuses on a gadget that enables

virtual connection via the interface of ‘touch’. The gaze of the figures

is directed to the tablet, detaching the attention to physical bodies to

be substituted by a virtual presence.

There are works in the exhibition that harness the written word.

Artists demonstrate how texts can be independently regarded. Or

how letters or words can shape our reading when it is subsumed

within a visual form. Joy Mallari’s work sets the scene for winnowing,

a homegrown skill that can be honed through constant practice.

Roman letters resembling grains and chaff are found in a bilao, a

semi-flat basket-weaved container. Words are configured almost

spontaneously by selecting from a pile of letters, essential blocks of

language as basic as grains of rice. Mariano Ching’s Get Ready for

Love mimics a crescendo and presents the combination of letters

as display. Its verso reveals copious details inscribed by burning

the wooden surface. Onomatopoeic, the work intimates heated

excitement as well as the rise and fall of vigor.

Wire Tuazon’s works spell out ‘UNTITLED’ as an installation of mirrors

reflecting the graphics of the painting opposite it, and engages the

environment within its reflective reach. The metallic silver and black

painting forms an empty crossword puzzle, waiting to be filled up by

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one’s imagination. The reflective surface in Mark Justiniani’s work

appropriates the jeepney header, a ubiquitous accessory whose

sole function is ornamentation. The text ‘Propaganda’ could be read

in different ways depending on one’s accentuation. It could refer

to a political agenda on the one hand, or the inclination towards

surface gloss, on the other. When condensed in the vernacular, the

word becomes a critique to a futile government focused on self-

promotion and pageantry.

Potent juxtapositions of text and image can be gleaned in Santiago

Bose’s works. In Design for the Philippines, the artist inscribes the

Latin adage Populus vult decipi ergo decipiatur (The people want

to be deceived, so let them be deceived). Bose foregrounds the

schism between the farmers and the more privileged class of

performers who labor diligently yet aimlessly in the fields. They

seem to be indifferent to time’s passing. Beyond the horizon lies

the image of a monumental cenotaph for Newton, a utopian vision

conceptualized by the French architect Boullée, but was never built.

In Bose’s configuration, the dream of self-determination is ever

palpable, yet still unreachable. Leslie de Chavez’s Veiled painting is

reminiscent of the promise of salvation through religious devotion.

Though fully geared for worship, de Chavez’s veiled figures seem to

be bereft of humanity and soul; an indication of blind following. Their

ghastly appearance tempers down the dazzling gold background

and the sacred orb of the divine, symbols often present in Christian

iconography. On the other hand, Jet Pascua’s Bitter Pills weighs

the import of language in acculturation and assimilation. Machine-

incised with Norwegian vowels, the enlarged discs forming the

artist’s installation represent pills taken for temporary relief. Pascua

testifies that the plight of integration into the larger Norwegian

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community entails the painful process of denying one’s linguistic

identity. In order to gain respite, one must embrace the hegemony

of another culture and language. These artists render how the

society grapples with structures of belief and knowledge whether in

the form of history, language, or religion.

Lorenza Diaz and Lee Hojin intimate movement and feelings in

abstract form. Diaz’s small-scale canvases reveal a quiet elegance.

Neutral colors and sparse brushwork glorify the void and the

fluidity of subtle forms. The brushwork in Lee’s paintings suggests

spontaneity and active movement. One critic describes the artist’s

penchant for intense colors as “feasts of energies with unclear

perspective.” The works’ preoccupation with inner life and emotions

are evocative of the limits of language; its cognitive thrust. As the

intermedia artist Ann Hamilton once expressed, “The problem

with language is that it is made out of words. Language is not an

experience. You have to trust the things you can’t name. You feel

through your body, you take the world through your skin.”

Multiple Languages imparts the conditions that make this

international gathering possible. The artists operate by difference,

each having a unique background. Their convergence is facilitated

by the possibilities of translation, access to information/technology,

increased mobility, and alternative platforms, thus presenting

opportunities for temporal networks or lasting bonds. They are

unified by their persistent explorations of form and active pursuit

of meaning in a globalized world. They are part of a multitude

committed to art.

Jet PascuaBitter Pillspainted fiberglass (15 pcs)variable dimension2013

Leslie de ChavezVeiledoil on panel with gold and silver leaf64 x 52 in • 162.5 x 132 cm2014

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After Party, and Going Home!, Angki Purbandono; Rest (Offcut), Fall (Fall), and Bruch (Break), Lorenza Diaz; Exploration of Namelessness, and Linguistic Mischief and the Aesthetic of Mental Gymnastics, Wire Tuazon; Tahip, Joy Mallari; Fuse_S (red version), Osang Gwon; Design for the Philippines, Santiago Bose; Get Ready for Love, Mariano Ching; NYC Journals, Santiago Bose

Installation view at Silverlens, ManilaPhoto: Silverlens Galleries

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Angki PurbandonoAfter Party scanography print on paper & transparency 31.5 x 59 in • 80 x 150 cm2013unique edition

Angki PurbandonoGoing Home!scanography print on paper & transparency (neon box installation)59 x 39.4 in • 150 x 100 cm2013unique edition

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Tahip, Joy Mallari; Rest (Offcut), Fall (Fall), and Bruch (Break), Lorenza Diaz; Exploration of Namelessness, and Linguistic Mischief and the Aesthetic of Mental Gymnastics, Wire Tuazon; Design for the Philippines, Santiago Bose


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above images

Lorenza DiazRest (Offcut)Fall (Fall)Bruch (Break)oil on canvas12.20 x 9.05 • 31 x 23 cm each2014

right images

Joy MallariTahipmixed media18.5 (dia) x 15 in • 47 (dia) x 38 cm2014

detail

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Wire TuazonExploration of Namelessnesswood, mirror and adhesivesvariable dimension2014

Linguistic Mischief and the Aesthetic of Mental Gymnasticsacrylic and silver leaf on canvas54.5 x 54.5 in • 138.4 x 138.4 cm2014

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Osang GwonFuse_S (red version)c-print, mixed media11.8 x 40 x 16.5 in • 30 x 100 x 42 cm2009-2010

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Eric ZamucoSculptureold Sculpture magazines recovered from flood, saw, and plinth21 x 11 x 18 in • 53 x 28 x 46 cm2014

Sculpture, Eric Zamuro; Propaganda, Mark Justiniani; Trifling Moment 2, Trifling Moment 3, and Trifling Moment 1, Se Eun An


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Mark JustinianiPropagandamixed media17 x 48 in • 43 x 122 cm2006

Se Eun AnTrifling Moment 2Trifling Moment 3Trifling Moment 1acrylic on canvas24 x 36 in • 61 x 91 cm each2014

13

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Hojin LeeThe Escapemixed media44 x 63.5 in • 112 x 161 cm2014

Story Ofmixed media28.5 x 20.5 in • 72.4 x 52 cm2013

Santiago BoseNYC Journalsmixed media, acrylic37.4 x 48 in • 95 x 122 cm2002

Linguistic Mischief and the Aesthetic of Mental Gymnastics, Wire Tuazon;Design for the Philippines, and NYC Journals, Santiago Bose


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Santiago BoseDesign for the Philippinesmixed media on canvas72 x 72 in • 182.8 x 182.9 cm2001

Mariano ChingGet Ready for Lovewood, wax, pyrograph30 x 5 x 10 in • 76.2 x 12.7 x 25.4 cm2014

detail

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Consubstantialem Patri, Michael Muñoz; 24, Leslie de Chavez; Holy Debate, Alfredo Esquillo; Touch, Christopher Zamora; I live for your likes, Eric Zamuco; Insomnia, Ahmad Fuad Osman; Pooh, Dongwook Lee


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Michael MuñozConsubstantialem Patriplaster of paris, lightbox, steel cablevariable dimension2011

reverse

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Leslie de Chavez24fiber reinforced plastic (24 pcs), light bulb, electrical wire 13 x 8 x 23 in • 33 x 20 x 58 cm each2014

detail

Alfredo EsquilloHoly Debateoil on canvas36 x 60 in • 91.4x 152 cm2008

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24, Leslie de Chavez, Consubstantialem Patri, Michael Muñoz; Holy Debate, Alfredo Esquillo;


Eric ZamucoI Live For Your Likescut-out sticker5.5 x 73 in • 14 x 185 cm2014

Christopher ZamoraTouchoil on canvas48 x 60 in • 122 x 152 cm2014

Mariano Montelibano IIIOtro Man2 channel video installation5 mins, 43 secs2014edition 1 of 5

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White Shelter, and Corner, Jaeho Jung; Pooh, Dongwook Lee


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Jaeho JungWhite ShelterCorneroil on linen39.4 x 39.4 in • 100 x 100 cm each2010

Dongwok LeePoohmixed media6 x 6 x13.7 in • 16 x 16 x 35 cm2013

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Ahmad Fuad Osman

Insomniaoil on canvas, 2 posters, 16 framed photographs, LED displayvariable dimension

2011/2014

Ahmad Fuad (b. 1969, Kendah) left his hometown of Baling, Kedah in 1987 to obtain a degree

in Fine Arts degree at the then Intittute Teknologi MARA (now Universiti Teknologi MARA

UiTM). It was there that he met fellow artists Bayu Utomo, Hamir Soib, Ahmad Shukri and

Masnor Ramli and formed the Matahati group. This artist collective has played a pivotal role in

the careers of its members as well as in the development of Malaysian contemporary art.

His work has been widely exhibited in Southeast Asia. His awards and residencies include:

Asia Pacific Breweries Foundation’s Signature Art Prize, Juror’s Choice (2008); Rimbun Dahan

Residency, Kuang Selangor, Malaysia (2007-08); Asian Artists Fellowship, Goyang National Art

Studio, South Korea (2005-06); Asian Artists Fellowship, Freeman Foundation, Vermont Studio

Center, USA (2004); and, Philip Morris Malaysia Art Award, Juror’s Choice (2000 & 2003).

Alfredo Esquillo (b. 1972, Las Piñas) is a Fine Arts graduate from the University of Santo Tomas.

He was a recipient of the Cultural Center of the Philippines’ Thirteen Artists Award in 2000.

His other awards and residencies include: Award For Continuing Excellence In Service (ACES),

Metrobank Foundation, 2004; Projek Mager group residency project with Anting Anting and

Matahati, Kuala Lumpur, Malaysia (2004); Asean Art Awards, Fourth Prize, Bangkok, Thailand

(1996); Asean Art Awards, First Prize, Jakarta, Indonesia (1995); Philippine Art Awards, Juror’s

Prize, Manila (1995 & 1996); Three-month residency at Fukuoka Asian Art Museum, Fukuoka,

Japan (2001); and, Two-month residency, Vermont Studio Art Center, USA (1999). The artist

lives and works in Las Piñas City.

Artists Bio

AHMAD FUAD OSMAN

ALFREDO ESQUILLO

25

Angki Purbandono (b. 1971, Semarang) studied photography at the Indonesian Institute

of Arts and was the co-founder of the Ruang MES 56 Alternative Space in Yogyakarta.

Besides important art events such as the CP Biennial and the Industrial Fiesta Cemeti

Art House (2007), the artist has participated in several group exhibitions both in

Indonesia and abroad.

Purbandono is by all means the upgraded artist. He upgrades his own individual

universe at each software being released on the marketplace, he archives memories

of the future by decontextualisng invisible and forgotten everyday life objects that he

appropriates as his own manifesto of Indonesian Digital.

After the group show Fetish (2007) and Hyperlinks (2010), the artist presented at Biasa

Artspace the solo exhibition entitled Happy Scan. Angki Purbandono was the recipient of

the Asian Artist Fellowship at Changdong Art Studio, South Korea (2006).

Christopher Zamora (b. 1978, Manila) obtained his Bachelor of Fine Arts degree from

Philippine Women’s University, Manila. His residencies include: the Southeast Asian Group

Exchange Residency (SA GER) in Kuala Lumpur (2011), Yogyakarta (2011), and Philippines

(2012). His work has been widely exhibited locally. Selected international exhibitions

include Art Triangle in Kuala Lumpur (2008), Art Beijing in Beijing (2008), Tenggara

in Greenland (2008) and London (2009), Plastic Syndrome in Incheon (2009), and

Thingness in Seoul (2012). He lives and works in Manila.

ANGKI PURBANDONO

CHRISTOPHER ZAMORA

Dongwook Lee’s (b. 1976, Daejeon) works are suffused with a simultaneously gloomy and

lyrical horror. His miniature human figures condense both hyper-reality and surrealistic illusion,

creating odd but beautiful cacophonies. Some are displayed as medical curiosities, squeezed

into a syringe or cocooned in a bell jar. Here, the human form is scrutinised and dissected

under a cold scientific gaze.

In Extinction (2004) a mythical, transgenic mermaid floats in the trivial surrounding of a

domestic fishbowl. The pathos of this piece is indicative of the emotional tension present

in much of Lee’s work. There is an ever-present opposition between the mundane and the

grotesque, reality is constantly disrupted and challenged by fantastical illusion.

He received his BFA and MFA at Hongik University, Seoul. His work has been exhibited in

Korea, Germany, the US, the UK, Switzerland, Italy, and Japan among others. He lives in Korea.

Eric Zamuco (b. 1976, Manila) received his MFA from the University of Missouri in 2009.

Having relocated from Manila to Missouri in 2005, to Massachusetts in 2009, and back to

Manila in 2012, Zamuco’s body of work has been about filtering his own displaced experience.

His subject matter runs the gamut from notions about home, belief, identity, post-colonial

narratives, to the need for reclamation of space. The works which are of a diverse range of

media, include sculpture, installation, photography, drawing, video and performance. They

not only serve as social commentary but also as self-critique. The intention in transforming

the commonplace is to pull the immaterial from banality and to possibly find knowledge for

some kind of human order.

DONGWOOK LEE

ERIC ZAMUCO

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Hojin Lee (b. 1974, Seoul) is a graduate of the Pratt Insitute and New York University. He works

with painting, installation, and media. He deconstructs the conventional composition of

oriental painting by absorbing modernist expressionism into his self-centered imagery, no fixed

perspective, no background or front-ground but just a swirling inner-explosion on the picture

surface. Hojin Lee gradually keeps himself away from the art of former times which emphasizes

artist’s personal styles and some specific themes, and is committed himself to the exploration

of how post-modern experiences of puzzlement is presented, how disorder of contemporary

super-reality is ritualized as the highest fetishism. Lee’s work has been exhibited in Korea, the US,

Germany, France, and China. He lives and works in Korea.

HOJIN LEE

Jaeho Jung (b. 1970, Busan) was educated at the San Francisco Art Institute, USA and Se-Jong

University, Seoul (MFA & BFA). He has exhibited widely in Korea and has been included in group

exhibitions in San Francisco and New York. Selected solo exhibitions include: Detached place,

YooArt Space (2013); Every single day, Gallery b’one (2010); Euphoria, Gallery LVS, Seoul (2009);

solo exhibition, Window Gallery, Gallry Hyundai, Seoul (2008); and Made, Goyang Art Studio

Gallery, Korea (2006). Some of his artist residencies include the Seoul Foundation for Art and

Culture in 2013 and the Vermont Studio Freeman Fellowship (full grant) in 2008-09. His works

are currently part of the collections of Seoul Museum of Art, Art Bank of National Museum of

Contemporary Art, and Cartier Collection.

JAEHO JUNG

Joy Mallari (b. 1966, Rizal) is a contemporary Filipino painter and visual artist. Mallari is

known for a visual style similar to the contemporary Filipino figurative expressionism

common among members of the Grupong Salimpusa and Sanggawa art movements,

but distinguished by a narrative approach which one critic has described as exploring “the

linkages between literature and art”- an approach which she attributes to her exposure to the

pre-digital animation industry during her developmental years as an artist.

She is also known for exploring themes of identity and marginalization in Philippine society

The children’s book “Doll Eyes”, which she co-created with writer Eline Santos, won the

National Children’s Book Award in 2011.

Leslie de Chavez (b. 1978, Manila) is a young artist who cautiously deals with sensitive topics

like cultural imperialism, colonial history, contemporary life, politics, and religion in his country.

He contemplates deeply about the significant function, influence, and directivity of art in

society. De Chavez’s adroit sensibility in painting casts bitter metaphors in the society he lives

in, suggesting a response to realities through reconstruction and reinvention of narratives,

issues, icons, and symbols of the time. His value system about society and art is firm and clear.

He invites introspection on reality through works that reflect hard work, passion, and a stand.

Jet Pascua’s (b. 1969, Manila) artistic practice during the past 10 years or so has been greatly

influenced by his migration to Norway. Liminality, migration, memory and forgetting and rewriting

of histories are recurring themes in his work. He uses historical events, whether public or personal, as

references and material in imagining a different reality, or making sense of the present one.

JOY MALLARI

LESLIE DE CHAVEZ

JET PASCUA

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Lorenza Diaz (b. 1978, Frauenfeld) studied at the School for Design in St. Gallen and the FHNW

Basel, Schwitzerland, achieving her degree in 2010. As an exchange, student she also studied

at the Fine Arts Academy of Danzig and the HGB Leipzig. Her work has been exhibited in

Switzerland, Germany, and Belgium among others. She currently lives in Leipzig, Germany.

LORENZA DIAZ

Leslie de Chavez has held several solo exhibitions in the Philippines, China, Korea, and Switzerland.

He has also participated in several notable exhibitions and art festivals which include the Third

Asian Art Biennale in Taiwan 2011, Third Nanjing Triennial in China 2008 and the First Pocheon

Asia Biennale in South Korea in 2007.

He is the director of the artist-run initiative Project Space Pilipinas and has been exclusively

represented by Arario Gallery since 2006.

Mariano “Manny” G. Montelibano III (b. 1971, Bacolod) is a Visayan media artist who focuses

his works on the psychology of current social, political, economic, and religious structures. His

works have been exhibited in the National Museum of the Filipino People, Cultural Center of the

Philippines, Metropolitan Musuem of Manila, Singapore Art Museum, Seoul Citizen Hall, Museo

Iloilo, Visayas Islands Visual Arts Exhibit and Conference, Vargas Museum, Ateneo Art Gallery,

Galleria Duemila, NOVA Gallery, Museo Negrense de La Salle, and Fort Santiago-Intramuros in

the Philippines. He has been part of exhibitions in Seoul, Korea, Hong Kong, Spain, Germany,

New Zealand, Canada, and France.

He is a video and sound installation artist, film and stage director, editor, technical specialist and

teacher at the University of St. La Salle in Bacolod City. Currently, he is affiliated with the National

Commission for Culture and the Arts of the Philippines, Black Artists in Asia Association, Crossing

Negros Cultural Foundation Inc., Produksyon Tramontina Inc., Bacollywood Organization, and

VIVA ExCon Org. Manny is based in the south of the Philippines, City of Bacolod, the province of

Negros Occidental, Philippines.

MARIANO MONTELIBANO III

Mariano Ching’s (b. 1971, Manila) works dwell on the excesses of the imagination. A recipient

of the Monbusho Japanese Grant and the Cultural Center of the Philippines’ Thirteen Artists

Awards. Mariano Ching‘s fictional landscapes may be reminiscent of childlike fantasies,

cartoonish and playful; and may be peopled by grotesque figures, deformed and mythical,

but the underlying motif behind each scenery almost always consists of a sequence of

revelation, an apparition achieved through a psychedelic state or a rude awakening propelled

by the colors and symbols of a mix of shamanistic, Krishna, voodoo, alien or colonial iconography.

Such paradox elevates his work from the mere excursions of the psyche and imagination to a rich,

multi-layered narrative that has the ability to engage its audience like a sci-fi novella.

Ching received his education in the University of the Philippines Fine Arts Program and

became a distinguished Research Student as a Printmaking Major in Kyoto Arts University,

Japan. His works have been shown regularly in Manila, as well as in other countries such as

Malaysia, Singapore, France, and Japan.

Mark Justiniani (b. 1966, Bacolod) studied fine arts at the University of the Philippines, Diliman.

He was granted the CCP Thirteen Artists Award in 1994. He has mounted several notable

solo exhibitions, which include, Orbit at Finale Art Gallery, Mimefield at Tin-aw Gallery in 2013,

Malikmata at Silverlens Gallery in 2010, Catapult at Substation Gallery, Singapore in 2008,

2002 at Galleria Duemila in 2002, Sanktuaryo at Boston Gallery in 1999 and White Rain at

Hiraya Gallery in 1995. Justiniani is a well-traveled artist and has represented the Philippines in

various international conferences, workshops and exhibitions in Japan, Singapore, Denmark,

Australia and the USA.

MARIANO CHING

MARK JUSTINIANI

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Michael Muñoz (b. 1973, Rizal) studied painting at the UP College of Fine Arts in 1993 and

pursued a career with the artist-run space and artists-collective Surrounded by Water in

1999. He has exhibited in various venues in the country and participated in a few exhibitions

abroad. In 2003, he worked as exhibition consultant and designer for the Museo ng

Kalinangang Pilipino at the Cultural Center of the Philippines, setting-up exhibitions on the

indigenous collections of the museum and local craft traditions in the country. In 2005, he

helped found MANLILIKHA Artisans’ Support Network (www.manlilikha.org) and since then

was involved in various heritage advocacy projects through exhibitions, documentation

and promotion of local traditions, craftworks and artisans. Muñoz is a recipient of the CCP

Thirteen Artists Award in 2012.

Osang Gwon (b. 1974, Seoul) has made it his quest to demolish the line that divides the medium

of sculpture from that of photography. He accumulates photographs to build sculptural forms

and sets up sculptural forms to compose photographs. Trained academically in sculpture,

Gwon has incited interest in the circles of both sculptors as well as photographers.

Dedicated to his most famous series, Deodorant Type, the book Gwon, Osang: The Sculpture

was published by Arario Gallery. His work can be found in numerous local and international

exhibitions, as well as in publications that present and feature contemporary Korean art. Gwon

has held solo exhibitions in South Korea, the United States, and the United Kingdom, and his

work was shown in the international touring exhibition Roundabout which traveled from New

Zealand to Israel.

MICHAEL MUÑOZ

OSANG GWON

Santiago Bose (1949 – 2002, Baguio) was a mixed-media artist from the Philippines and the

founder of the Baguio Arts Guild. He is a graduate of the College of Fine Arts at the University

of the Philippines (1972), Bose continued his studies in the United States at the West 17th Print

Workshop in New York.

Bose was granted the CCP Thirteen Artists Award in 1976. He has exhibited in major

international events: Third Asian Art Show, Fukuoka, Japan (1989); Havana Biennial, Cuba

(1989); First Asia-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane,

Australia (1993); At Home & Abroad, 20 Contemporary Filipino Artists, Asian Art Museum,

San Francisco (2000). In June 2002, he was presented the “Gawad ng Maynila: Patnubay

ng Sining at Makabagong Pamamaraan” (Cultural Award for New Media presented to an

Outstanding Filipino Artist) by the City of Manila, and was posthumously shortlisted for the

Order of National Artists for Visual Arts in 2006.

SANTIAGO BOSE

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Se Eun An (b. 1971, Seoul) received her Bachelor’s degree in Painting at Ewha Woman’s

University, Seoul in 1994. She received her MFA in painting at the same university and later

on received a Master’s degree in New Forms at the Pratt University in New York.

Her work has been widely exhibited in Korea, and has also exhibited in the US, Germany,

Japan, and now, the Philippines. She currently lives and works in Manila.

Wire Tuazon (b. 1973, Rizal) is a visual artist whose practice combines the hyperrealist, semiotic,

and the performative. Graduating with a degree in Fine Arts from the University of the

Philippines Diliman in 1999, he became a founding member of the art collective Surrounded

By Water, which set up independent artist-run spaces in Angono and later on in Manila in 2000.

In 2001, Tuazon received a residency grant at the Ashiya City Museum of Art and History from

the Japan Foundation Asia Center. In 2003, Tuazon was chosen as one of the Cultural Center

of the Philippines’ annual Thirteen Artist Awardees. He served as President of the Rizal-based

Neo-Angono Artists Collective in addition to participating in numerous group exhibitions and

public art performance festivals across the Philippines, Australia, Singapore, Japan, and Korea.

SE EUN AN

WIRE TUAZON

SILVERLENS (Manila and Singapore), through its

exhibition program, artist representation, art fair

participation, and institutional collaboration, aims

to place its artists within the broader framework

of international contemporary art dialogue.

SILVERLENS, founded by Isa Lorenzo and

Rachel Rillo, has earned recognition from both

artists and collectors as one of the leading

contemporary art galleries in Southeast Asia.

Artists represented include Maria Taniguchi,

Patricia Eustaquio, Gary Ross Pastrana, Luis

Lorenzana, and I Lann Yee. Recent collaborations

include the Museum of Contemporary Art and

Design Manila, Vargas Museum Manila, and

Singapore Art Museum. Silverlens participates

annually in key international art fairs.

30Special thanks to :

Multiple LanguagesCopyright © 2014 Silverlens Inc.All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or otherwise, without the prior written consent of the above mentioned copyright holders, with the exception of brief excerpts and quotations used in articles, critical essays or research.

All texts copyright the authors.

Cover Image: Tahip, 2014, Joy Mallari (detail)

Back Cover Image:Sculpture, 2014, Eric Zamuco (detail)

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S I N GA P O R E

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