Art, Exhibit, Lobby, West Wing Gallery (Edge)

Echo Studies | Maria Taniguchi

Echo Studies
Maria Taniguchi

30 March to 28 May 2011
Lobby and West Wing Gallery

Opening Reception on
30 March, Wednesday, 4pm

The Vargas Museum presents the exhibition Echo Studies by Maria Taniguchi. It opens on 30 March 2011, 4pm at the Lobby and West Wing Gallery and ends on 28 May 2011.

Echo Studies reflects Taniguchi’s practice in the “sublimation of the intersections in information sharing and research”. It focuses on how the researcher’s decisions, sensitivities, and process continuously challenge scientific objectivity in the creation and manipulation of data. Employing sound, video, painting, drawing, and installation, the artist probes relationships among subject, representation, and process. Taniguchi brings in this exhibition a large-scale geometric abstract painting, Untitled Mirrors rendered meticulously with black brick-like designs revealing the potential of pattern to “reflect information”. Echo Studies also foregrounds the artist’s notion of the tropics through a recent work in Romblon, an island south of the Manila known for marble production.

Maria Taniguchi (b. 1981) graduated from the University of the Philippines with a degree in Fine Arts, major in sculpture. She took her MFA Art Practice in Goldsmiths London in 2009. In the same year, Taniguchi was accepted in the LUX Associate Artists Programme, an arts agency supported by Arts Council England. Taniguchi has exhibited extensively both locally and abroad. Her recent exhibitions include Roving Eye: Video from Southeast Asia (SorlandetsKunstmuseum, Norway); JUMP CUT Dialectic Dream (The Barber Shop, Lisbon); Complete and Unabridged (Osage, Hong Kong and La Salle, Singapore); +Pyramid (Green Papaya Art Projects, Manila); and VIDEO e identidad cultural en Filipinas (CAIXAFORUM, Barcelona).

For more information, please call the Vargas Museum at (+632) 9281927, (+632) 981-85-00 loc. 4024 or e-mail vargasmuseum@gmail.com.

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About Jorge B. Vargas Museum

It aims to preserve its collection donated by Jorge B. Vargas and conducts research, exhibitions, publications, and educational programs. The Vargas Museum and Filipiniana Research Center houses a museum, archives, and library devoted to the Philippine history, art, and culture from the late 19th century until the post-war era. Its main beneficiaries are students, faculty, researchers and scholars of the Philippines and Asia.

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Green Go Home featured artist: MIKE ADRAO

Initiated by Tomas Vu and Rirkrit Tiravanija, the project collaborates with seven contemporary Filipino artists. Mike Adrao creates an image based on a photograph from Bulatlat.com of the People Surge rally in Tacloban in 2014.

Super Typhoon Yolanda (international name: Haiyan) landed in the Philippine eastern coasts of Leyte and nearby provinces in November 2013. A year after the calamity that killed more than 6,000 people, simultaneous rallies happened in Eastern Visayas, Bohol, Zamboanga, and Metro Manila to denounce the government’s ineptitude in giving services and aid. People Surge is an alliance established in Tacloban City on 25 January 2014 by the survivors of the typhoon and it has organized mud walks to commemorate the Yolanda event. Green Go Home by Tomas Vu and Rirkrit Tiravanija is at the 1F Galleries of the Vargas until 18 November 2017. Through collaborations with seven contemporary Filipino artists, images of recent protest actions in the Philippines are drawn on the walls of the Vargas as the exhibition progresses. 
According to Vu and Tiravanija, “the provocation inherent in Green Go Home is positioned against the subtle underlying subtext of U.S. interventions, and colonialist attitudes, towards its neighbors in Latin American from Mexico southwards: an antagonism that has cost many lives and much strife. In the imagery itself, the presence of each character-from films to music to personalities of resistance-reveals itself to the viewer as addressing the condition of the graffiti text. The grid holds up the statement and reinforces the layers of interpretation, readings, and misunderstandings. Green Go Home is meant to be a wall of resisters, and of resistance.” On Saturday, 19 October 2017, the museum will be open as usual with viewing hours from 9am to 5pm. However, please be advised of heavy traffic inside the university campus due to the UPCAT (University of the Philippines College Admission Test). Here are some photos from last Saturday's opening reception of Green Go Home at the 1F Galleries. More photos can be viewed at our Facebook page. #TomasVu #RirkritTiravanija #BuenAbrigo #MikeAdrao #RenzLee #GabbyNazareno #ArchieOclos #IggyRodriguez #JoTanierla #drawing #mural #protestArt #resistance #socialsculpture Here is "Membranes" created by artist-educator Yan Abeledo
for the exhibit ">upgrade | homo sapiens sapiens" currently on view at the 3F Galleries. Thanks to @eyascapes for the photograph. Described as “social sculpture”, Green Go Home dwells on, magnifies, and renders the gesture of protest looming, urgent, and lively in current time and present political life. Conceived by collaborators Tomas Vu and Rirkrit Tiravanija, it has been organised in Colombia, the United States and Spain. This year, Green Go Home goes to UP Vargas Museum. Through collaborations with contemporary Filipino artists, images of recent protest actions in the Philippines will be drawn on the walls of the Vargas as the exhibition progresses. The exhibit seeks to review our notions of history by contributing a specific history of protest through interactions with the audience. The Vargas develops a timeline of protests to be accompanied by discussions as an integral part of the exhibition.” Mike Adrao’s artwork is based on a photograph of People Surge Tacloban published in Bulatlat.com, 11 November 2014

Green Go Home runs until 18 November at the 3F Galleries. Thanks to @tinawartgallery for the Instagram photograph. Third week of viewing: >upgrade | Homo sapiens sapiens | Yan Abeledo runs until 27 October 2017. The image is an installation shot at the 3F Galleries of two sculptural works titled Adam™ and Eve™ with corresponding printed texts and graphics on sintra boards also created by the artist. The exhibit raises questions on the human body and the ethical interventions on it. The allure of the commercial aspect of this venture may attract visions of the future, yet with it comes uncertainty.

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