light, growth, residue reveals a body of work that confirms Poklong Anading’s place in contemporary art as one of its most keen observers of processes, particularly of the contentious bond that humans forge with nature. As an artist who has displayed incredible adaptability in using different media and materials—from drawing, to video, and to actual organic forms—Anading makes good of this versatility by demonstrating their interconnectedness, and by persisting on seamless movements from one idea to the next. These are ideas that remain faithful to an inquiry: on whether art is simply for the transformation of materials or is it through our interaction with materials that ultimately shape art?
Revisiting seven different works from different stages of his career, Anading is able to piece together a developing commentary on the conditions of the Anthropocene. Where man’s relationship with his environment increasingly becomes more shrouded in controversy, he reflects on their interdependence and how the artist, who has his own particular relationship with objects and materials, can navigate his way across the pitfalls of consumption and usage.
Although
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Sounding Together Thinking: Lani Maestro Speaking Digital Tagalog beside Poklong Anading +
My window is open to receive this day, today. Outside, the trees are luminous, holding the sky in their leaves against the soft autumn breeze. They rise from the earth as they have for some hundred years. I planted bamboo in their midst a decade ago, and time has turned their stalks into sturdy immigrant trees adapting to a non-tropical terrain. Their fine elongated leaves create a soft sound of caress, especially now, when the wind comes intermittently to announce the change of season. My dwelling of stone is born of the same earth as these trees. People in the past have dug and sculpted granite from this land to make buildings for people and animals. Three hundred years of someone’s counting have shaped this world and I live with the murmur of its history—my breath synchronized with theirs. One day, I too will turn into dust and join this earth with my sound and song, my utterance and silence beside me. The trees go on living.
How long does it take for one voice to reach another?1
Bamboo—so round between the embrace of two hands. Its skin a textile crafted delicately b
POKLONG ANADING
Biography
born in Manila (Philippines)
lives and works in Manila (Philippines)
University of the Philippines, Quezon City (RP)
Exhibition projects ( - )
a calm in the middle of the storm, Art Fair Philippines , Manila (PH) (solo)
cue from life itself, Metropolitan Museum of the Philippines Manila(PH)
normal scheduling will resume shortly, Cultural Center of the Philippines, Manila (PH)
Fracture/Fiction: Selections from the ILHAM Collection, ILHAM Gallery, Malaysia
current, MABINI, Karrivin Plaza, Makati (PH) (solo)
We Didn’t Mean To Break It (But It’s Ok, We Can Fix It), Pedro Cera Gallery. Lisbon, {PT}
Far Away but Strangely Familiar, Danubiana Museum, Cunovo (SK)
TRENTA, Gawad CCP (30 years of CCP Award for film and video), Cultural Center of the Philippines, Manila (PH)
The Philippine Pavilion: Muhon: Traces of an Adolescent City, (Homecoming exhibition from Venice Architecture Biennale - ) Ateneo, Davao (PH)
disco nap, das weisse haus, Hegelgasse 14, Vienna Austria (solo)
Walang Kikilos (Nobody Move), NCCA Gallery, Ground Floor, NCCA Building, General Luna Street, Intramuros, Manila (PH) Poklong Anading's spectrum of work ranges from video, installation, photography, drawing, and painting, continuously expanding on allegedly autonomous projects that reinforce a substantial discourse with an investigative, descriptive character - a chimeric entity, comprehensive in form and coherent in content. Often based on an interactive approach, engaging with the subject and the audience, Anading's work is defined by a unique standpoint on social occurrences and structures from which calculated intrusion arises from. A vast part of his projects, therefore conceptual approaches, is based on the notion of deductive research - collecting as an act, as a method to extract the essential but then portray the organic appropriateness of dissimilarity. In his acclaimed work series "Anonymity" and "Counter Acts" (ongoing), Anading photographs people holding a circular mirror in front of their faces and reflecting the sunlight against the artist's camera lens. The question of identity that arises with the work may not be limited to the subject but extends to the negotiation of the relationship between the One and the Other. Anading often involves the subje
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POKLONG ANADING
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