May/June 2023

May/June 2023


Imelda Cajipe Endaya, The Wife is a DH, 1995. Multimedia installation, 176 × 116 × 65.5 cm. Courtesy the artist and Visual Arts and Museum Division, Cultural Center of the Philippines. Photo: Erik Liongoren.

May 2, 2023
May/June 2023
Issue 133
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Whether it is resisting the currents of history or finding ways to shape the present, artists are continually engaged in a struggle against the times, and even time itself.

In our cover feature, we look at Imelda Capije Endaya, an artist whose practice has engaged both with the politics of the now, and with the long arc of history in the Philippines since colonial times. As contributor Portia Placino explains, ever since the 1970s when Capije Endaya started her printmaking practice, she has attempted 
to re-center the historical narrative of the Philippines around women, portraying them as leaders of social campaigns, instrumental to the economy, and as key forgotten figures in the national mythology.

The second feature in this issue is an interview by deputy editor 
HG Masters with the Korean artist Shim Moon-Seup, for whom the rhythms of nature and the embodied energy found in raw materials are the core of his practice. Known for his “anti-sculptures,” Shim was a leading figure in South Korea during the late 1960s and early 1970s and has furthered his practice in painting in recent years.

For Inside Burger Collection, curator Tobias Ostrander interviews Paris-based Colombian artist Iván Argote about 
his research and performances around public monuments. Argote’s recent projects in France have fictionalized the removal of monuments to colonialism, intersecting with protest movements against public memorials for those who led campaigns of civilizational violence. In Up Close, we spotlight the latest sound installation by Hajra Waheed, a painting series by Brook 
Hsu for a church, and a cave created by Vaevae Chan to hide from the world.

In Profiles we dive deep into the practices Citra Sasmita in Bali, learning about the histories and cosmologies of her work that derive from the tradition of Kamasan painting. Berlin-based artist Sung Tieu shares the personal story behind her recent project on a former East Berlin dormitory for Vietnamese laborers. In Essays, we revisit the years Korean abstract painter Yun Hyong-Keun spent in Paris after the 1980 military crackdown and massacre in Gwangju.

Elsewhere in the issue, for our One on One column, performance artist Kawita Vatanajyankur explains the formative lessons she took from the practice of Marina Abramović when she was a student. In The Point, artist-activist Johanna Palmeyro describes her initiatives to re-make the museum during her residency at the Singapore Art Museum. For the Dispatch column, Danielle Shang brings us up-to-date on the Asian American and Pacific Islander (AAPI) initiatives in Los Angeles. For Reviews, we examine the 30th anniversary edition of the Sharjah Biennial, plus exhibitions of artists revered and upcoming from Tokyo to Singapore, Manila to New York.

Finally, in Where I Work, writing from Auckland, Hutch Wilco visits the young family of Seung Yul Oh and Jungeun Lee to see how they make their creative enterprises a central part of their household. Between balancing childcare and relocating to a new home, even when time is short, Oh and Lee manage to do all they can for their practices, their family—and even their pet bunnies.

A digital edition of the full issue is now available for purchase on Zinio, Google Play, the Apple App Store, and Magzter.

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