Saturday, July 7, 2018, 6 pm

7 July to 4 August 2018 

Four artists from different backgrounds deal with the medium painting from the perspective of conceptualism. Through contra points, the works of these four artists form a dialog – albeit, a dialog characterized by dissonance – and differences are necessary to keep the conversation open to the possibility of incubating new ideas crystalized in new forms. A dialog between lush versus fine brushstrokes and innovative concepts, pigments and time, paint and space (ideological space, cyberspace, artificial space, studio space, exhibition space, everyday urban space, etc.), colors and body, primer and memory – these need to work in tandem to convey the multitude of intentions of the artists to audiences within the space of the exhibition.

Poklong Anading (1975) graduated from the University of the Philippines. His photographic work Counter Acts I was collected and exhibited by the Guggenheim Foundation New York and included in the exhibition No Country: Contemporary Art for South and Southeast Asia in the Center for Contemporary Art in Singapore. The artist participated in the Gwangju Biennale in 2002 and 2012. He was invited to the Jakarta Biennale in 2009 and he is awardee of the 12th CCP Award for Experimental Video in 2000 and of the Thirteen Artists Awards in 2006. He is a two-time recipient of the Ateneo Art Awards (2006 and 2008). In 2012 Anading was invited to contribute his work series Anonymity to the exhibition Phantoms of Asia: Contemporary Awakens the Past in the Asian Art Museum in San Francisco (California, USA) and works of the artists have been exhibited in the Zentrum für Kunst und Medientechnologie Karlsruhe (Germany) and the Yokahama Museum of Art (Japan), the Singapore Art Museum (SG), the Asia Society Museum (NYC/USA) and in the Minsheng Art Museum (Shanghai/CN).  He has been part of the 5th Asian Art Biennale (Taichung/TW), the Roppingi Art Night 2015 and he joined the Philippine Pavilion at the Architecture Biennale Venice, 2016. Anading’s works are included in the permanent collection of the Singapore Art Museum (SG), the Mori Art Museum (Tokyo/JP) and the Guggenheim Foundation (NYC/USA).

Poklong Anading described his practice as “the act of accumulation as a meditative process in pursuing an idea of mishap for the critique of myself in a subjective relation to my environment.” He accumulates discarded, unwanted everyday objects, for example the ‘basahan’ or rags that are, among other works, used in the as above, so below painting series, which were also part of his solo exhibition household at 1335MABINI in 2017. Memories of interactions of people, sounds of the city, etc., are abstracted into the Dragon Kite series with branches meandering away from main arteries, withering away into oblivion or to start anew.

Santiago Giralda (Madrid, Spain, 1980) currently resides in NY. Graduated with a degree in Fine Art and a master’s in Art, Creation and Research from the Complutense University of Madrid. He also completed a postgraduate course at Hochschule für Bildende Künste, Hamburg. His work has been exhibited in the United States, Germany, the United Kingdom, HK and Spain. He has received numerous distinctions, including the Caja Madrid Generación Award (2008 and 2014), Circuitos de Artes Plásticas (2012), Tentaciones (2010), the Bancaja Award (2009), the BMW Painting Award (2006) and the 10th Virgen de las Viñas Painting Competition (2011). He has had numerous solo and group shows. Santiago Giralda’s work can be found in various private and public art collections, including those of the Spanish Ministry of Culture, Museum of Contemporary Art of La Coruña, Banco Santander, DKV, Caja de Murcia and Caja Madrid.

Santiago Giralda states that he reconsiders “the contribution of painting in the technological context our present society stands on. I’m interested on the path a picture performs in order to find its new spot in painting. The approach sets off on the relationship established between the pictorial tradition and new technologies and its representation and gaze of a gradually more digitalized world. Through painting, my work opens a space to ponder on the different ways we relate to our environment.”

Soun Hong (Seoul, 1959) graduated from the Busan National University in Korea and continued his studies at the École National Supérieure des Beaux-Arts in Paris, France, where he resided for thirteen years. The artist has been awarded nationally and internationally for his work and he has participated in numerous exhibitions worldwide. In 2016, 1335MABINI showed his solo show titled Manila. Feb. 2016. And earlier this year, Soun Hong showed his second solo exhibition at 1335MABINI titled Ordinary Monument. Hong had solo exhibitions at numerous institutions, for example: the Maraya Art Center (Sharjah, AE), the Mimesis Art Museum (Paju, KR), the National Museum of Contemporary Art (Gwacheon, KR) and the Savina Museum of Contemporary Art (Soul, KR). He was part of the Santa Fe International Biennial in 2008 and his works are included in international institutional collections: Seoul Museum of Art (Seoul, KR), Santa Fe Art Institute (Santa Fe, USA), Gyeonggi Museum of Modern Art (Gyeonggi-do, KR), Ho-Am Art Museum (Seoul, KR).

Soun’s painting series Sidescape can be described as a re-contextualization of images of people, objects and situations based on photographic references. His means of understanding how to address his concerns about these photographic references, such as newspaper photographs, points towards an analysis of how photographs and paintings can be viewed, and this includes presenting a visual experience through extracting parts of these photographic references. These are pictures of objects, people, current natural phenomena and socio-political happenings that are then dissected by the artist: he divides the imagery into segments and re-focuses the pictorial merit on the periphery of the scene by painting the cropped image. As an example, he references a war-related photograph by isolating areas such as the sky, ground, or a fragment from a wall or a person’s clothing. Using these sources, Hong overcomes the attributed functionalities of the objects and landscapes in the respective contexts of the moment they were captured on camera, thereby emphasizing the independence and transcendence of specific and/or implied situations. 

Maya Muñoz (1972) graduated from San Jose State University, San Jose, California. In 2006 she was awarded the 3rd Ateneo Art Award. She has had numerous solo and group shows in the Philippines and abroad.

Muñoz’ mixed media work in this show is visceral and offers ample space for poetic mistranslations and diverse aesthetic experiences within the bodies of visitors to the exhibition Dissonances.

Curated by Roy Voragen

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