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Anading once again focused on the ordinary, and introduced four works about âhome, exploring and finding, operating systems and the puzzlement of information and filtering, desire and fulfillment.â This exhibition, like his previous ones, encouraged active participation from the audience. One of the shows in the exhibition was called ârfinderexploreâ, which consisted of sound files made up of the various voices heard during the religious conference. The artist presented all of these sound files as blank folders, eliminating the certainty that the digital usually brings and instead forcing the viewer to delve into uncertainty.
168:, in which a scaffold was wrapped in steel by the artist in order to celebrate its temporary nature. The idea behind the show was to demonstrate the vanishing nature of all objects that are created for the sole purpose of aiding architecture that will construct the ideal metropolitan city. The scaffold's form was preserved but wrapped in luster by the artist in order to depict the very question behind its presence, and ultimately its disappearance.
22:(born August 1, 1975, Manila, Philippines) is a contemporary artist. He works in various mediums including photography, video, painting, sculpture and installation. He is the recipient of the 2006 Ateneo Studio Residency Grant in Australia, the 2006 Cultural Center of the Philippines 13 Artists Award, and 2006 and 2008 Ateneo Art Awards. His previous residencies include Big Sky Mind, Manila (2003â04), and Common Room,
202:(2011, Mo Space, Manila) was the artist's exhibition of large scale installations. For this project the artist collected used materials around the city and re-used them as art objects that have regained In addition to a new way of producing art, with this exhibition Anading also created a new way of touring an exhibition. His installations included both fabric and iron, portraying the balance between two opposites.
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sense of anonymity through the faces concealed by the bright sunlight. The artist aims to mark the âclothes, bearings and backgroundsâ of these individuals as their only possible identifier, and places attention on the âbackground that configures the encountered âOther.ââ Anading also expresses interest in the point where identity and representation vanish and âselfhoodâ is both marked and erased.
69:, also included images of anonymous people taking selfies of themselves. The artist has classified identity as a ânever-endingâ topic that intensifies the more it is discussed. His various attempts at concealing the faceâconsidered the main identifier of an individualâare the result of a desire to create a âclean slateâ by removing the limitations of identity.
182:, was a three-part video set in three different cities: Singapore, Manila and La Rochelle. The artist used this video to explore the âborders that define a cityâ through the use of contradicting images such as structure and sky, and silhouette and light. Anading drew attention through the video to how the urban edifices change cityscapes.
154:. In the show, the artist used âforgottenâ objects from the city that were annihilated in order to make way for the new urban setting, and placed them outside of their usual environment. Understanding the exhibition requires questioning what is lost within the structure and what it is replaced with.
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This exhibition was held in the 1335 Mabini art gallery in Manila, and was structured to draw the audience's attention to the unique structures hidden in the city. The artist's idea behind this project is that our conception of a city relies heavily on cosmopolitan ideals, which inevitably eliminate
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is an ongoing photography project, which began in 2004. Taken on streets where
Anading has traveled, the photographs in the series show individuals holding circular mirrors in front of their faces that reflect sunlight back to the camera. The series creates an absence of knowledge and an enhanced
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This exhibition was held at the
Galerie Zimmermann Kratochwill (Graz, Austria) from October 31, 2012, to January 5, 2013. Anading came up with the title of the exhibition during an inter-religious event in the same city, and derived the name from a 7th-century pocketbook. For this exhibition,
175:, Anading placed rubber tires used as speed bumps throughout the gallery to highlight their contradictory nature; an object used for motion that becomes a means to cease motion. The artist depicted the paradox behind speed bumps alongside the paradox with the progression of city life.
54:. Through his art, Poklong Anading assumes the role of observer and collector, creating images and objects derived from facts and memories. He also explores and documents the intangible such as light, time, gravity and space.
161:, the artist accumulated images of tower cranes in clear film photographs, as the tower crane disappeared when the skyscraper reached its final stage. As the new object was completed the tower cranes vanished in oblivion.
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called Perahu. The first half of the exhibition was set in a dark room with recorded sounds of the Perahu in water, while the second half projected on unused gallery equipment the colorful images of
Perahus in water.
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The artist has said that he derives his ideas from his current settingâhis "present circumstances" or a "given moment" dictate the medium in which he will work. His work is often preceded by a great deal of research.
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For this exhibition
Anading divided the exhibition space into two: One half for his video, and the other half for his sound project. Both installations were based on his experience with a wooden toy boat from
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Although he received his formal training in painting, Anading works mainly in photography and video. His work has also extended into process-oriented sculpture and installation in the style of
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sculptures (2014-2015) dwell on âthe ratio of Manila's aggressive urbanization and accretion of skyscrapers on the one hand and the abounding living and working conditions on the other.â
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and graduated from the
College of Fine Arts, University of Philippines in 1999 with a BFA in painting. He has been recognized for his work on both a national and international level.
76:(2011) show exhibited at Mo Space, Manila focused on bringing the observer back to a childlike state through the use of colorful materials and confetti, his other works such as the
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series (2004-), the artist takes photographs of individuals whose faces are unidentifiable behind blinding sunlight. His
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Poklong
Anading's art also focuses on including the subject or the viewer in the artwork. While his
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Ito, Lisa. "Miracle
Healing and Other Hopeful Things." Mo-Space. 2011. Accessed June 21, 2016.
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also received the 007 Silverlens
Foundation Acquisition Grant. The first piece in the series,
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its true character. For this show, Anading exhibited four series of projects:
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304:"On Selfies, Sewers, and Art Residencies | Q&A with Poklong Anading."
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450:"Poklong Anading: Miracle Healing and Other Hopeful Things."
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Anading has also expressed an interest in identity. For his
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Ateneo Art
Gallery. July 06, 2009. Accessed July 06, 2016.
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ASEF Culture 360. April 30, 2015. Accessed June 23, 2016.
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No
Country: Contemporary Art for South and Southeast Asia
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Asia Art Archive. February 2009. Accessed June 23, 2016.
65:(2015) show exhibited at the 1335 Mabini art gallery in
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Galerie Zimmermann Kratochwill. Accessed June 22, 2016.
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Guggenheim Collection Online. Accessed June 22, 2016.
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Guggenheim Collection Online. Accessed June 22, 2016.
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462:"Poklong and Marina at the Ateneo Art Gallery."
452:Asia Art Archive. 2011. Accessed June 06, 2016.
412:1335mabini. March 2015. Accessed July 06, 2016.
399:1335mabini. March 2015. Accessed June 23, 2016.
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195:Miracle Healing and Other Hopeful Things (2011)
34:Poklong Anading was born on August 1, 1975, in
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440:Planting Rice. 2013. Accessed July 06, 2016.
426:"Miracle Healing and Other Hopeful Things."
374:Asian Art Biennial. Accessed June 23, 2016.
428:1335mabini. 2015. Accessed July 06, 2016.
200:Miracle Healing and Other Hopeful Things
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74:Miracle Healing and Other Hopeful Things
438:"Pocket Coffin : Poklong Anading."
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125:and the Center for Contemporary Art in
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344:"Interview with Poklong Anading."
164:A similar topic was portrayed in
290:VOLTA12. Accessed June 22, 2016.
178:The final show in the project;
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123:Asia Society Hong Kong Centre
111:Solomon R. Guggenheim Museum
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109:, was exhibited at the
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38:. He was a student of
320:http://mo-space.net/
186:Pocket Coffin (2013)
88:Selected exhibitions
63:Hit or Miss is a Hit
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133:Urban Canyon (2015)
36:Manila, Philippines
384:"Poklong Anading."
372:"Poklong Anading."
332:"Poklong Anading."
302:Del Rosario, Lai.
288:"Poklong Anading."
250:"Poklong Anading."
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113:in the exhibition
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173:Road to Mountains
159:Untitled (Drawer)
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117:. With the
52:Arte Povera
475:Categories
263:"Homepage"
220:References
30:Early life
273:August 1,
127:Singapore
103:Anonymity
98:Anonymity
59:Anonymity
213:Bandung
180:Gateway
152:Gateway
150:, and
67:Manila
46:Themes
275:2016
171:In
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