Primary Drives by Lou Lim, Gary-Ross Pastrana, Issay Rodriguez, Maria Taniguchi

LOU LIM GARY-ROSS PASTRANA ISSAY RODRIQGUEZ MARIA TANIGUCHI Copyright Š 2018 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.

Text Š Maria Taniguchi. 2019 All rights reserved.

No part of this essay may be reproduced, modified, or stored in a retrieval system or retransmission, in any form or by any means, for reasons other than personal use, without written permission from the author.

2263 Don Chino Roces Avenue Extension Makati City, Philippines 1231 T +632. 816004 4 F +632. 816004 4 M +63917. 5874011 Tue-Fri 10am-7pm, Sat 10am-6pm www.silverlensgalleries.com info@silverlensgalleries.com

For the exhibition Primary Drives, three objects designated as columns exist in addition to the artists’ own works. Initially thought of as quasi-architecture, and not, strictly speaking, as collaborative work, these function simply as physical manifestations of a starting point. Anti-void, and inversely supra-void, the columns release the pressure to fill space, or to seek direct associations between the works in the exhibition.

Thus, they can exist as architectural and utilitarian objects at full scale, made of wood, metal, cement. They can exist as traces in pencil, paint, sticker, wire;or as outlines in string, or other gossamer, light material fitted on an armature, fragile, so that only intentions occupy space. The columns, in the end, signal the possibility of an exhibition space as a discursive entity alongside its usual function in the display and framing of artwork.

And as such, do more than their function to prop up structures and spaces. The phenomenology of these columns, of which the final form is undecided until the making of the exhibition itself, is what contextualises the four artist’s works.

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Lou Lim focuses her investigations into the processes of painting and sculpture. Adopting the method of printmaking, the surface of a painting of a cloud-filled sky is cast with silicone, its result used as a matrix to imprint a copy of the painting’s strokes onto a new surface. From a section of sky seen, photographed, painted, cast, and printed, these series of transformations and their outcomes draw focus towards the activity of expressing the momentary and the immaterial in relation to materiality and the notions of permanence.

Imitating The Shroud, 2019 oil on linen 35h x 27w in 88.90h x 68.58w cm

Imitating The Shroud, 2019 oil on linen 43h x 172w in 109.22h x 436.88w cm (diptych)

G A R Y - R O S S

P A S T R A N A

Gary-Ross Pastrana’s sculptural, object-based work are, for the artist, ‘realised’ prototypes - half artwork, half device for working out the problems and intricacies of new ideas. Having developed a rigorous practice in which his concerns often are dealt with in artistic projects that combine the quotidian and conceptual, in this new series of works the artist seeks to reorient himself in order to address new visibilities, in particular the various visual phenomena of digital information.

(Eidolon I) Lot- 01 Provisional Objects Series, 2019 carved wooden figure on MDF plinth 53h x 35l x 8d in • 134.62h x 88.90l x 20.32d cm (object) 43h x 45l x 21d in • 109.22h x 114.3l x 53,34d cm (pedestal)

Paperweight, 2017 soil, blood, online research printed on A4 copy paper (ongoing) 11.69h x 8.27w in 29.69h x 21.01w cm

Untitled (Imagine), 2015 laser etched text on plexiglass mirror 24h x 24w in 60.96h x 60.96w cm Edition of 3

Coding Air Lot-02 Provisional Objects Series, 2019 activated charcoal, resin, faux wood vinyl tiles 9in dia • 22.86cm dia. (object) 49h x 48l x 11d in • 124.46h x 121.92l x 27.94d cm (pedestal)

I S S A Y

R O D R I G U E Z

Issay Rodriguez’s series of cyanotypes and negatives depict the transience of memory despite the existence of photography.

Images salvaged from old photographs are arranged along a wall, separated by gaps that the artist characterises as lost time.

These abstract approaches to photography not only highlight the tactility of an image in the digital age but also serves as the artist’s own take on Ãoebermalte Fotografien’ (Gerhard Richter’s “that’s a mouthful”) where painting and photography meet.

Lowres Bluesmithing (from mother’s archive) 3, 2019 plexiglass, cyanotype, alum on paper and acetate 76h x 26w in 193.04h x 66.04w cm

Lowres Bluesmithing (from mother’s archive) 6, 2019 plexiglass, cyanotype, alum on paper and acetate 76h x 26w in 193.04h x 66.04w cm

Lowres Bluesmithing (from mother’s archive) 5, 2019 plexiglass, cyanotype, alum on paper and acetate 17h x 43w in 43.18h x 109.22w cm

Lowres Bluesmithing (from mother’s archive) 7, 2019 plexiglass, cyanotype, alum on paper and acetate 26h x 76w in 66.04h x 193.04w cm

Lowres Bluesmithing (from mother’s archive) 2, 2019 plexiglass, cyanotype, alum on paper and acetate 26h x 76w in 66.04h x 193.04w cm

Lowres Bluesmithing (from mother’s archive) 8, 2019 plexiglass, cyanotype, alum on paper and acetate 26h x 76w in 66.04h x 193.04w cm

M A R I A

T A N I G U C H I

Maria Taniguchi’s quasi-abstract paintings propose an expanded idea of the self within an expanded notion of painting.

Process-oriented and time-based, the paintings possess subtle architectural and sculptural qualities. In the work, accumulative, serial labor is what facilitates the entanglement of body and object over time. Outlined in pencil, the rectangular cells are individually painted. Viewed closely, the cells look decidedly non-mechanical, with distinct tonal variations and irregularities.

Untitled, 2018 acrylic on canvas 114h x 312w in 289.56h x 792.48w cm SPI_MT025

Untitled, 2019 acrylic on canvas 60h x 48w in 152.40h x 121.92w cm SPI_MT038

Untitled, 2019 acrylic on canvas 60h x 42w in 152.40h x 106.68w cm SPI_MT041

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Lou Lim (b. 1989) earned her BFA from the University of the Philippines. Her works, mostly process based, explore the idea and power of surface in producing meanings.

She is interested in the connection between the corporeal and the spiritual, between objects and visual imagery and what these relations articulate. Lim has been active in group exhibitions since 2011 in Manila, Philippines and has participated in a residency program of Pavillon Neuflize OBC in Palais de Tokyo, Paris resulting to exhibitions in ICA Singapore, Seoul Korea, and Opera de Paris.

SOLO EXHIBITIONS 2018 A Tangible Translation, West Gallery, Quezon City 2017 Horizon, Silverlens, Makati, Philippines SELECTED GROUP EXHIBITIONS 2019 Primary Drives, Silverlens, Makati, Philippines

Art Fair Philippines, Silverlens and 1335 Mabini, Makati, Philippines 2018 To eat is to survive to be hungry, 1335 Mabini, Manila, Philippines

Art Fair Philippines, Silverlens, Makati, Philippines 2017 Thing/Object/Stuff, Galerie Roberto, Alabang, Philippines

D, Vinyl on Vinyl, Makati, Philippines

Melted City 4, ISB Gallery, Rhode Island School of Design, Providence, USA

and Blanc Gallery, Katipunan Ave., Philippines

Art Fair Philippines, Silverlens, Makati, Philippines 2016 Urban Legends, Seoul Museum of Art, South Korea, under Le Pavillon

Neuflize OBC,

Palais de Tokyo Residency Program and in co-production with SeMa Nanji Residency 2015 Sous la lune/Beneath the moon, ICA, LASALLE College of Arts Singapore,

under Le Pavillon Neuflize OBC, Palais de Tokyo Residency Program

Nonfiction, Project 20, Quezon City, Philippines

Manufacturer’s Advice: Content May Vary, Art Fair Philippines, Tinaw,

Makati, Philippines

I went to the forest to live deliberately, Art Informal, Mandaluyong, Philippines 2014 Hand Job, Galerie Anna, Megamall, Philippines

#Destroy3000YearsofCulture, Post Gallery, Cubao, Philippines

2013

2012

2011

First Kamias Triennale, Kamias, Quezon City, Philippines Fog, Art Informal, Mandaluyong, Philippines Horse, Blanc Gallery, Katipunan Ave., Philippines Dinner Party, Blanc Gallery Fundaciòn Broke, Art Informal, Mandaluyong, Philippines Open, Tam-awan Gallery, Baguio Message Delay, Two Person Exhibition with Bea Alcala, Art Informal, Mandaluyong, Philippines Xing E. Jacinto, Tinaw Gallery, Makati, Philippines Petit Format, Cultural Center of the Philippines

EDUCATION 2011 BFA (Painting), Cum Laude, University of the Philippines, Diliman

Outstanding Thesis Award PROJECT 2015 Preview 20th Anniversary, Group Exhibition, Axon Hall, Green Sun Hotel, Philippines

Upon Leaving the Hollow, ESC Projects - one day exhibition, 98B, First

United Building, Escolta, Manila, Philippines PERFORMANCE 2016 Cast Off, Opéra national de Paris , France -in collaboration with choreographer

Myriam Kamionka, as part of the event, La Rumeur des Naufrage, under Le

Pavillon Neuflize OBC, Palais de Tokyo Residency Program RESIDENCIES 2015-2016 Le Pavillon Neuflize OBC, Palais de Tokyo Residency, Paris, France

In co-production with, SeMa Nanji Residency, Seoul, South Korea SELECTED PUBLICATIONS 2018 Rogue, March - April, Volume 12 Issue 117 2015 Preview Magazine, September Issue 2011 Metro Society: Art and Culture Issue, Vol.8 No.7

Contemporary Art Philippines, Issue No. 18 ARTIST TALKS 2017 Vocalizing the Visual, Silverlens, Makati, Philippines 2012 College of Fine Arts, University of the Philippines, Baguio

GARY-ROSS PASTRANA Gary-Ross Pastrana’s practice has been one of the most persistent in terms of investigating the real relationship between ideas and objects. His conceptual pieces, although loaded with poetic intensity, remain unobtrusively subtle and even almost quaint in their appearance. Coiled photographs, woven tales from found pictures in the internet, sawed off parts of a boat shipped to another country, his shirt tied into a pole to commensurate a flag, these are the slightest of turns Gary-Ross has his objects make to create a new text within.

Born in 1977 in Manila, he received his Bachelors degree in Painting from the University of the Philippines where he was awarded the Dominador Castaneda Award for Best Thesis. He has gained considerable experience and exposure within the region, with residency programs in Bandung, Kyoto and Bangkok and most recently at the Center for Contemporary Art, Singapore. Pastrana is a recipient of the CCP Thirteen Artists Award in 2006. He has shown at the Singapore Art Museum, Metropolitan Museum of the Philippines, the Jorge B. Vargas Museum and was part of the 2012 New Museum Triennale and 2008 Busan Biennale. In 2004, he co-founded Future Prospects art space and has since continually organized exhibitions in Manila and abroad.

AWARDS, RESIDENCES, AND GRANTS 2016 Finalist, Sovereign Asian Art Prize 2015 NTU Center for Contemporary Art, Gillman Barracks, Singapore 2010 Bangkok University Gallery, Bangkok 2009 The Making of New Silk Roads, Arthub/BUG, Bangkok, Thailand 2008 Japan Foundation, Jenesys Program, Kyoto 2006 13 Artists Award, Cultural Center of the Philippines, Manila 2004 Asian Cultural Council, Bangkok University Gallery and Big Sky Mind

Exchange Project, Bangkok SOLO EXHIBITIONS 2018 Utopia Hasn’t Failed Me Yet, Silverlens, Manila 2017 _*Clock Map Knife Mirror*_, ROH Projects, Jakarta, Indonesia 2016 The Untamed Wall, Silverlens, Manila

2014

2013 2011 2009 2008 2004 2003

2002 2000

99%, Silverlens, Singapore and Mo_Space, Manila Summa, Jorge Vargas Muesum, Manila On (or before) Photography / The Silver + Gelatin Works, Silverlens, Manila Vivo Fragmenta, Bangkok University Gallery, Bangkok Indivisibilis, Silverlens, Manila New Collages, Silverlens, Manila Stray Bullets, Finale Art File, Manila Actuality/Virtuality, IAF Shop*, Fukuoka City Detour/Set/Fraction, Green Papaya Art Projects, Manila Echolalia, Finale Art File, Manila Sustaining Symmetry, Big Sky Mind, Manila

SELECTED GROUP EXHIBITIONS 2019 (upcoming, October), Singapore Biennale 2019, Singapore

(upcoming, September), Art Encounters, Romania

Primary Drives, Silverlens, Manila

Art Basel, Silverlens, Hong Kong

An Opera for Animals, Para Site, Hong Kong

Art Fair Philippines, Silverlens, Manila 2018 DESTRUCTURE, Mo_Space, Manila

Epoch, ROH Projects, Jakarta

Signum Contemporary Objects: Storage of Memories, A-11 Gallery, Manila

The Extra Extra Ordinary, Museum of Contemporary Art and Design, Manila

Imago Mundi Highlights, Imago Mundi Musuem, Treviso, Italy

Never Is A Promise, two-man show with Heman Chong, inaugural show, Calle Wright, Manila

Art Fair Philippines, Silverlens, Manila 2017 Counterfeit Monochromes, MO Space, Manila

Curated by Federico de Vera, Ayala Museum, Manila

The Other Face of the Moon, Asia Culture Center, Korea Sydney Contemporary, Carriageworks, Australia

Melted City 4, RISD ISB Gallery, Rhode Island School of Design, Providence, Rhode Island

Translación, Inaugural Exhibition, Curated by Gary-Ross Pastrana, Silverlens, Manila 2016 The Immeasurable Here, curated by Jason Wee, Outlet Gallery Brooklyn, New York

Extended Play, Vinyl on Vinyl, Manila

Art Basel, Silverlens, Hong Kong

2015

2014

2013

2012

2011

Practising Habits of the Day, curated by FormContent, ICA Lasalle, Singapore Art Fair Philippines, Silverlens, Manila I submit to the wisdom of the body, Silverlens, Manila Eagles Fly, Sheeps Flock - Biographical Imprints, Curated by Khim Ong, South East Asia Platform Art Stage Singapore Exhibit 101: Curated by Vera Mey, The Lab, CCA, Singapore Art Taipei, Silverlens, Taipei Exhibit 101, With Li Ran, The Lab, Singapore The Vexed Contemporary, curated by Joselina Cruz, Museum of Contemporary Art and Design, Manila You Must Change Your Life, Equator Art Projects, Singapore Art Fair Philippines, Silverlens, Manila Art Basel, Silverlens, Hong Kong Art Stage Singapore, Silverlens, Singapore Still/Moving: A Triple Bill on the Image, curated by Sam I-Shan and Alexander Supartono, SIngapore Art Museum, Singapore Art Taipei, Silverlens, Taipei Afterimage, SAM at 8Q, Singapore stick up don’t move smile (reinventing black, 1957 to today), Finale Art File, Manila What does it all matter, as long as the wounds fit the arrows?, Cultural Center of the Philippines, Manila New Natives: Survey of Contemporary Filipino Art, Lightbombs Contemporary The Bold Sopranos, curated by Arianna Gellini, Gallery Exit, Hong Kong Art Basel, Silverlens, Hong Kong The Philippine Contemporary: To Scale the Past and the Possible, curated

by Patrick D. Flores, Metropolitan Museum of Manila, Manila Ley Hunting, Silverlens, Singapore Ley Hunting, Silverlens, Manila Marcel Duchamp in South-East Asia, curated by Tony Godfrey, Equator Art Projects, Singapore Encounter, Experience, and Environment, curated by Eugene Tan, Gillman Barracks, Singapore The Ungovernables, Curated by Eungie Joo, New Museum, New York Immemorial, curated by Steve Elland and Peewee Roldan, Chan Contemporary Art Space, Darwin Islands, Espace Louis Vuitton, Singapore VOLTA 7, Basel Points of Ellipsis, Osage Gallery, Hong Kong Complete and Unabridged, Osage Gallery, Hong Kong

2010

2009

2008

2007

2006 2005 2004

Chûte, Curated by Hikaru Miyakawa, Aichi Triennale, Nagoya Minimum Yields Maximum, Monte Vista Projects, Los Angeles Serial Killers, Taksu Gallery, Singapore Immemorial, Jorge Vargas Museum, Philippines Thrice Upon a Time, Singapore Art Museum, Singapore NAT-4: Work From Manila, OK Mountain, Austin, Texas Busan Biennale, Sea Art Festival, Busan Futuramanila, Osage Gallery, Hong Kong/Singapore Metropolitan Mapping, Hong Kong Cultural Center, Hong Kong Manila Envelope, Worth Ryder Gallery, Los Angeles Aesthetics/Dietetics, Curated by Mizuki Endo, GAMeC, Bergamo Daejeon Fast, Gallery Banjiha, Daejeon Cross Currents, BUG, Bangkok

ORGANIZER/CURATOR 2018 Countercurrents, Silverlens, Manila 2016 MAPS, ROH Projects, Jakarta 2013 Space and Two Points, Silverlens, Singapore

Bernardo Pacquing | Max Balatbat, Silverlens, Manila

Rélikt, Silverlens, Singapore

The Midnight Marriage, Silverlens, Manila

Ley Hunting Part 2, Silverlens, Singapore 2012 Ley Hunting Part 1, Silverlens, Manila

Ghost Chasing Ghost, Finale Art File, Manila

The Porous Border, g23 Gallery, Bangkok 2011 Complete and Unabridged, ICA, Singapore/Osage Gallery Hong Kong

On the Radar: Six New Symptoms, Silverlens, Manila

2010 Broke+Louie Cordero+Poklong Anading, Manila Contemporary, Manila 2009 Tears, Cuts and Ruptures: A Philippine Collage Review, Silverlens, Manila

Archetypes, New designs by Stanley Ruiz, Silverlens, Manila

Land Of Promise by Gail and Marija Vicente, Silverlens, Manila 2008 Futuramanila, Osage Galleries, Hong Kong, Singapore

Untitled, (Four Filipina Artists), Kyoto Art Center, Kyoto EDUCATION University of the Philippines - Diliman, Quezon City, Philippines Bachelor of Fine Arts, Major in Painting Dominador Castañeda­Award for Best Thesis 2000

PUBLICATIONS

“The Vexed Contemporary.” La Sallian Education INnovators Foundation. 2017

Cover image. Esquire. Manila: Summit Media. October 2016

Art Asia Pacific. Hong Kong: Art Asia Pacific. Issue 88. 2014

“Still Moving: After Image.” Singapore: Singapore Art Museum. 2014

Marc Bollansee. “Southeast Asian Contemporary Art Now.” 2013

Ho, Louis. “Perdido Eden.” Art Asia Pacific. Accessed April 2013. http:// artasiapacific.com/Magazine/WebExclusives/PerdidoEden

New Museum. “Gary-Ross Pastrana.” New Museum Triennial: The Ungovernables. UA: Skira Rizzoli Publications, Inc. 2012

“The Porous Border” Catalogue. Bangkok: Srinakharinwirot University. 2012

“Tomorrow, Today.” Contemporary Art From The Singapore Art Museum (2009-2011). Singapore: Singapore Art Museum. 2012

“Marcel Duchamp in South-East Asia” Catalogue. Singapore: Equator Art Projects. 2012

“Vivo Fragmenta.” Catalogue. Bangkok: Bangkok University Gallery. 2011

“Thrice Upon A Time.” Philippines. Singapore: Singapore Art Museum. 2009

“The Philippine Yearbook: 61 Artists That Will Change The World.” Manila: The Fookien Times Yearbook Publishing Company. 2009

“Busan Biennale 2008.” Catalogue. 2008. pp. 114-115

Papaya: Absolut Magazine. Green Papaya Art Projects. September 2008

ISSAY

RODRIGUEZ

Issay Rodriguez (b. 1991, Philippines) obtained a Bachelor of Fine Arts degree at the University of the Philippines, Diliman, and was awarded the Outstanding Thesis Award and Gawad Tanglaw upon graduation in 2013. As a student she has been a scholar of the Jose “Pitoy” Moreno Foundation and has also studied as an exchange scholar at the Ecole Nationale Superieure des Beaux-Arts, Paris, under the auspices of the French Government. She has exhibited her works in Hanoi, Ho Chi Mihn City, Jakarta, Taipei, Singapore, New Delhi, Dubai, Manila and Paris.

Together with Katherine Nuñez, Rodriguez showed work in the main exhibition Viva Arte Viva at the Central Pavillion of the 57th Venice Biennale. In 2017, she participated in Asia in Darwin’s research and residency project: VANISHING IN THE PROCESS: An Exploration of Dream States and Related Symbolism taking place between LIRSpace in Yogyakarta, Indonesia, & 98B COLLABoratory in Manila. A year after, she conducted a local artist residency with Bellas Artes Projects in Bagac, Bataan.

Rodriguez’s portfolio of artworks includes installations, drawings,prints, objects, and videos that allude to tactile histories. Her work connects fragments of memories, places, and identities that allow her to reflect on image and object productions within the context of the everyday. She views her work as an extension of the audience’s reflexive investigations and narratives extracted from archival research as well as non-digital human interactions. Rodriguez explores new modes of art productions that are tactile, sensory, at times participatory, in this age of instantaneous but distressing world filled with optical pleasure.

As an extension of her art practice, Issay works through CC, a collaborative art initiative co- founded with artist Anjo Bolarda. Their recent projects include KPC (Kamatis Power Corp.), Metu Adwa Atlu and B+ ;a research project touching upon bees and food security issues that will be further explored in their upcoming residency through Bamboo Curtain Studio in Taipei, Taiwan this coming May 2019.

CC is a an artist initiative that focuses on projects that optimize the capabilities of its collaborators within the framework of design and education to increase environmental and social awareness. By conducting projects that rethink the nature of artistic collaborations amidst community engagement, CC works with field professionals and

community-based advocates to develop modes of production that stem from formative research.

CC endeavors to participate in collecting visual data references to serve as simple and accessible tools for organizers, innovators and educators who wish to execute community collaborations with its local artists in the form of field research and workshops.

SCHOLARSHIPS & AWARDS 2018 Ateneo Art Awards, Ateneo Art Gallery, shortlist 2017 Patnubay ng Sining at Kalinangan 2017, Patnubay ng Sining at Kalinangan

sa Sining Biswal, 446th Araw ng Maynila 2013 Tanglaw ng Sining

Outstanding Thesis Awards, University of the Philippines, Diliman 2012-13 Ecole Nationale Superieure des Beaux-Arts, Paris Scholarship, Exchange

Student Program 2012 Everyone’s VISION, Petron Print Making Category, semifinalist 2009-10 Jose “Pitoy” Moreno Scholarship 2009 Environmental Management Bureau-DENR, On-the-Spot Poster Making Contest, finalist BIENNALE PARTICIPATION 2017 57th Venice Biennale: Viva Arte Viva!, Central Pavilion, Giardini SOLO EXHIBITIONS 2017 ..., Silverlens, Manila 2016 Capitol Gains, First United Building Community Museum, Binondo, Manila

blueprints, Silverlens, Manila 2015 She Dug A Well So Well, 1335 Mabini, Manila 2014 Observatory, Art Informal, Manila

Mise En Abyme, Light and Space Contemporary, Manila SELECTED GROUP EXHIBITIONS 2019 Primary Drives, Silverlens, Manila 2018 Equivalent/s, Silverlens, Manila

TIRADA: 50 Years of Philippine Printmaking 1968-2018, Cultural Center of the Philippines

To eat is to survive to be hungry, 1335 Mabini, Manila

2017

2016

2015

2014

2013

2012

2011

Vanishing in the Process, PAN// Project Space, Manila Asia Now Paris Asian Art Fair, 9 Avenue Hoche, Paris parle pas français, merci, UP Fine Arts Gallery, Manila Manila: Hidden in Plain Sight, Metropolitan Museum of Manila & universities in Manila Making Waves, Bellas Artes Projects, Bataan CTRL + ALT, Para://Site Projects, Manila Indescribable Figure 2.0, Jing Lü Gallery, Taiwan Art Dubai: 10th Marker Exhibition, Madinat Jumeirah Impact Through Design, JMI M.F. HUSAIN Art Gallery, New Delhi Restorative, UP Bulwagan ng Dangal, Manila On/Line, Artery Art Space, Manila Rapid Cycling, Project Space Pilipinas, Lucban, Quezon Re:Tracings, First United Building Community Museum, Manila World Photography Day, JMI M.F. HUSAIN Art Gallery, New Delhi Nonfiction, Project 20, Manila Repulse, Makna Seni Jakarta, Indonesia Four Generations of UP Fine Arts Graduates, Corredor Gallery, UP College of Fine Arts, Manila I Went to the Forest to Live Deliberately, Art Informal, Manila Refrain, 1335 Mabini, Manila Luminescence, BSP Gallery, Metropolitan Museum of Manila Objection, PAN/// Project Space, Manila Busted, NCCA Gallery, Manila Dark Side of the Sun, Art Informal, Manila Dinner Party, Blanc Gallery, Manila College of Fine Arts | Degree Show, UP Vargas Museum, Manila Mental Jungle, Cour Chimay, ENSBA Paris Souterrains de Paris: Priere et Repose, Amphitheatre d’Honor, ENSBA Paris Art by the Squarefoot, Vietnam University of Fine Arts, Hanoi City & Ho Chi Mihn, Vietnam What a Pillow is Not: Unconscious, Mag:net Gallery, Manila

RESIDENCIES 2017 Bellas Artes Projects, Las Casas Filipinas de Acuzar, Bataan, Philippines 2017-18 Asia in Darwin 2017: Vanishing in the Process, Darwin Community Arts,

Yogyakarta, Indonesia/Manila, Philippines EDUCATION 2008-2013 Bachelor of Fine Arts, University of the Philippines, Diliman 1996-2004 St. Scholastica’s Academy, Marikina City

MARIA

TANIGUCHI

Maria Taniguchi’s works encompass painting, sculpture, video and installation. Her practices investigate space and time along with social and historical contexts. Her series of “Untitled” brick paintings is an ongoing series that had been initiated in 2008. Each painting consists of seemingly countless rectangular cells, each one outlined by hand with graphite and filled with gray and black tones. The painstaking process creates a subtle yet complex pattern on the surface. These paintings develop in various extents, most of them reaching meters in size. The constructive structure embodies architectural elements, resulting in the paintings themselves manifesting as monumental existences within the space. The artist has referred to her brick paintings as the fundamental root of her larger artistic practice, while the other artworks such as sculptures and installations are reflection, or refractions of it.

Maria Taniguchi was born in Dumaguete City, Philippines, in 1981. She won the Hugo Boss Asia Art Award in 2015 and was a LUX Associate Artist in 2009. Recent exhibitions include the 12th Gwangju Biennale: Imagined Borders, Gwangju Biennale Exhibition Centre, South Korea (2018); 21st Biennale of Sydney, SUPERPOSITION: Equilibrium & Engagement, Museum of Contemporary Art, Australia (2018); History of a vanishing present: A prologue, the Mistake Room, Los Angeles (2016); Afterwork, Para Site, Hong Kong (2016); Globale: New sensorium, ZKM Centre for Art and Media, Karlsruhe, Germany (2016); The vexed contemporary, Museum of Contemporary Art and Design, Manila (2015); and the 8th Asia Pacific Triennial of Contemporary Art, QAGOMA,Brisbane (2015). Her work is held in a number of collections including the M+ Museum, Hong Kong; the Burger Collection, Hong Kong; Kadist Art Foundation, San Francisco; QAGOMA, Brisbane; and the K11 Art Foundation, Shanghai.

RESIDENCIES 2013 Khalid Shoman Foundation, Darat Al Funun, Amman, Jordan 2012 ARTSPACE, Auckland 2003 Plastique Kinetic Worms, Singapore SOLO EXHIBITIONS 2019 Maria Taniguchi, Carlier | Gebauer, Berlin

2017

2016

2015 2014 2013 2011

Maria Taniguchi, Ibid, Los Angeles Maria Taniguchi, Silverlens, Manila Maria Taniguchi, Taka Ishii Gallery, Tokyo Maria Taniguchi, Galerie Perrotin, Hong Kong Maria Taniguchi, Ibid Projects, London Maria Taniguchi, carlier|gebauer, Berlin Maria Taniguchi, Silverlens Singapore and Manila Art Statements, Art Basel 44, Basel Echo Studies, Jorge Vargas Museum, Manila

SELECTED GROUP EXHIBITIONS 2019 Primary Drives, Silverlens, Manila

Art Basel, Silverlens, Hong Kong

Group Exhibition, Taka Ishi Gallery, Tokyo

Frieze Los Angeles, Taka Ishi Gallery, Los Angeles

Taipei Dangdai, Silverlens, Taipei 2018 Visayas Islands Visual Arts Exhibition and Conference (VIVA EXCON),

Roxas City, Capiz

12th Gwangju Biennale: Imagined Borders, Gwangju, South Korea

In Search of Southeast Asia through the M+ Collections, M+ Pavilion, Hong Kong 21st Biennale of Sydney, curated by Mami Kataoka, Sydney, Australia 2017 Sydney Contemporary, Carriageworks, Sydney, Australia

Anarchéologies, curated by Marcella Lista, Centre Pompidou, Paris

Almost There, Jorge Vargas Museum, Manila

Marching in Circles, curated by Robin Peckham, Long March Space, Beijing

Damage Control, Ibid, Los Angeles

Translación, Inaugural Exhibition, Curated by Gary-Ross Pastrana,

Silverlens, Manila 2016 JUDEA, curated by Arin Rungjang, West, Den Haag, The Haag

Oceanic feeling: Maria Taniguchi and Sriwhana Spong, curated by Susan

Gibb Institute of Contemporary Arts (ICA), Singapore

44 Salon International de Artistas, curated by Inti Guerrero, Salón Nacional

de Artistas Pereira, Colombia

MAPS, ROH Projects, Jakarta

Apeirophobia / Aporia, Human Resources, Los Angeles, California

With Institutions Like These…, curated by Victor Wang and Alex Meurice,

The Averard Hotel, London

Globale: New Sensorium, curated by Yuko Hasegawa, ZKM Center for Art

and Media, Karlsruhe

Histories of a Vanishing Present: A Prologue, curated by Kris Kuramitsu,

The Mistake Room, Los Angeles

Afterwork, curated by Cosmin Costinas, Para Site, Hong Kong

Riviera, curated by Caterina Riva, Swiss Institute, Milan

With Institutions Like These..., curated by Victor Wang and Alex Meurice,

Averard Hotel, London 2015 Hugo Boss Asia Art Award, Rockbund Art Museum, Shanghai

Reverence & Reproach: Modernist Legacies in Contemporary Film &

Video, Tate Britain, England (screening)

8th Asia Pacific Triennial of Contemporary Art, Australia

Sights and Sounds: Philippines, The Jewish Museum, New York

TOWER, Ibid, London

Sights and Sounds: Global Film and Video, Jewish Museum, New York

The Vexed Contemporary, curated by Joselina Cruz, Museum of

Contemporary Art and Design, Manila

Missing Links: Exhibition of Southeast Asian Moving Image, curated by

Gridthiya Gaweewong, Jim Thompson Art Center, Bangkok 2014 Don’t You Know Who I Am? Art After Identity Politics, Museum Of

Contemporary Art (M HKA), Antwerp

Material Memory, Fluxxia Gallery, Milan

Erasure: From Conceptualism to Abstraction, Osage, Hong Kong

Michael Van den Abeele, Flora Hauser and Maria Taniguchi, Inaugural

Group Show, Ibid, London

The Bold Sopranos, curated by Arianna Gellini, Gallery Exit, Hong Kong 2013 HIWAR | Coversations in Amman, curated by Adriano Pedrosa, Khalid

Shoman Foundation, Amman

The Philippine Contemporary: To Scale the Past and the Possible, curated

by Patrick D. Flores, Metropolitan Museum of Manila, Manila

The Midnight Marriage, Silverlens, Manila 2012 WITHOUT A MURMUR, curated by Joselina Cruz, Museum of

Contemporary Art and Design, Manila

A Reader of Materials and a Writer of Forms, curated by Lucy MacDonald,

MOT International, Brussels

Rambler’s Association (with Adam Avikainen), Artspace, Auckland

The Porous Border, curated by Gary-Ross Pastrana, Gallery G23, Bangkok

Detroit: LUX Associate Artists Program, London (screening) 2011 Video e identidad cultural en Filipinas: 1999-2009, CaixaForum, Barcelona (screeing)

Young London, V22 Collection, London

2009

Roving Eye: Video from Southeast Asia, Sorlandets Kunstmuseum, Norway Jump Cut: Dialectic Dream, curated by Caterina Riva, The Barber Shop, Lisbon Complete and Unabridged: A survey of Philippine Conceptualism, Osage Gallery Kwun Tong, curated by Ringo Bunoan, Nilo Ilarde, and Gary-Ross Pastrana, Hong Kong +Pyramid (with Bea Camacho), Green Papaya Art Projects, Manila Lost in Your Eyes / Foreign Correspondent, FormContent, London boyleANDshaw Art Salon Project 4, curated by Elea Himmelsbach, Artprojxspace, London

AWARDS 2015 2012 2011

Hugo Boss Asia Art Award for Emerging Asian Artists, Shanghai Ateneo Art Awards, Manila Ateneo Art Awards, Manila

COLLECTIONS Singapore Art Museum, Singapore M+ Museum, Hong Kong The Burger Collection, Hong Kong K11 Art Foundation, Shanghai Queensland Art Gallery/Gallery of Modern Art, Brisbane Kadist Art Foundation, San Francisco/Paris SELECTED PUBLICATIONS

Taniguchi, Maria. “Blooming Pool.” Writing: Cabin Fever, edited by Sarah Elson and Heman Chong. Launch Pad, 2016.

Rebecca Morrill. “Maria Taniguchi.” Vitamin P3: New Perspectives in Painting, edited by Tom Melick and Rebecca Morrill. Phaidon Press, 2016.

Susan Gibb. “Dogs in Space, Witches of Dumaguete.” Sriwhana Spong and Maria Taniguchi: Oceanic feeling. Institute of Contemporary Arts Singapore, 2016.

Joselina Cruz. “Maria Taniguchi: The Act and the Object.” Hugo Boss Asia Art Award for Emerging Artists 2015, edited by Li Qi. Rockbund Art Museum and Sternberg Press, 2015.

Chantal Wong. “It Is Difficult to Talk about Maria’s Work.” LEAP: The International Art Magazine of Contemporary China 35 (Sept.–Oct. 2015).

Kathleen Ditzig. “Review: Maria Taniguchi.” Flash Art 295 (Mar.–Apr. 2014).

Joselina Cruz. “Maria Taniguchi.” Kaleidoscope Asia 19: The Making of Asia (Fall 2013).

ABOUT SILVERLENS

Through its artist representation, institutional collaborations, art consultancy, and exhibition programming including art fairs and gallery partnerships, SILVERLENS aims to place its artists within the broader framework of the contemporary art dialogue. Its continuing efforts to transcend borders across art communities in Asia have earned it recognition from both artists and collectors as one of the leading contemporary art galleries in Southeast Asia. SILVERLENS was founded by Isa Lorenzo and Rachel Rillo in 2004.