building diamonds
Poklong Anading
building diamonds
2018–2019
Published by MO_Space
January 2019
©Poklong Anading
Printed in Makati, Philippines
Watch the flipbook animation here.
about
the book
building diamonds
2018–2019
Published by MO_Space
January 2019
©Poklong Anading
Printed in Makati, Philippines
Watch the flipbook animation here.
Objects and Flipbooks
MO_Space AFP 2019
An object on a table or shelf has reached the stasis its maker destined it for. But the movement never ends, for some artists. The process was just arrested—by a subjective decision or even a deadline. My guess is that’s why variations on a theme or multiples get made. An artist is the image of a moving image. His objects just mark where the tumult has taken a breather. To generate an actual moving image though, he only needs to turn to film or digital video technology.
Or he can make a Flipbook.
The humble Flipbook is one of the simplest mediums for breathing life into images. It is probably the most direct and tactile way of transforming still images into living vignettes of movement. It is patently low-tech, even no-tech.
The feel of paper, the gentle whirring sound, and the miniature breeze generated make flipping a Flipbook a uniquely simple pleasure. This activity, commonly reserved for school children, hobbyists, and students of animation can be a viable medium for the ‘serious’ contemporary artist. The “Do Not Touch the Artwork” sign will certainly not apply.
A moment of movement through one’s fingers can be powerful on a very personal level, story or no story, abstract or not so abstract, pointed or pointless, drawn or undrawn; most certainly, not static.
See the Flipping Out exhibition here.
about
the book
About the Artist
Poklong Anading’s (b. 1975, Manila, Philippines) practice utilizes a wide range of media from drawing, painting, video, installation, photography and object-making. Taking a more process-oriented and conceptual approach, his continuing inquiry takes off from issues on self-reflexivity, both of himself and others, and site-specificity in an ongoing discussion about society, time and territory.
He earned a Bachelor of Fine Arts (BFA) in painting from the College of Fine Arts, University of the Philippines (1999). He completed residencies with Big Sky Mind, Manila, Philippines (2003 to 2004), Common Room, Bandung, Indonesia (2008), Bangkok University Gallery, Thailand (2013), Selasar Sunaryo Art Space, Bandung, Indonesia (2013), Philippine Art Residency Program - Alliance Francaise de Manille in Cite Internationale des Arts, Paris, Centre Intermondes, La Rochelle in France (2014) and das weisse haus, Vienna Austria (2018). He had solo exhibitions in Galerie Zimmermann Kratochwill, Graz, Austria (2010, 2012 and 2020), Taro Nasu in Japan and Athr Gallery in Jeddah (2016), 1335MABINI in Manila, Philippines (2013, 2015, 2017, and 2019). He has been included in notable group exhibitions such as: Gwangju Biennial, South Korea (2002 and 2012), No Country: Contemporary Art for South and Southeast Asia, the first exhibition of the Guggenheim UBS Map Global Art Initiative in New York, Hong Kong and Singapore (2013 to 2014), 5th Asian Art Biennial: Artist Making Movement, National Taiwan Museum of Fine Arts, Taiwan (2015), The Shadow Never Lies, Minsheng Art Museum, Shanghai, Afterwork, Para Site, Hong Kong, China and in the Architecture Biennale for the 15th International Architecture Exhibition, Philippine Pavilion: Muhon: Traces of an Adolescent City at Palazzo Mora, Venice, Italy (2016), disco nap, ‘We Didn’t Mean To Break It (But It’s Ok, We Can Fix It), Galeria Pedro Cera, Lisbon, Portugal (2019), Far Away But Strangely Familiar’, Danubiana Museum, Bratislava, Slovakia (2019), Normal scheduling will resume shortly, Cultural Center of the Philippines, Manila (2019) and Arts in Common Artjog MMXIX, Jogya Nationa Museum, Jogyakarta, Indonesia (2019),
Anading lives and works in Manila.
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