MO_Space X: PROCESS / MEANING
Various Artists
Kristoffer Ardeña, Lena Cobangbang, Maria Cruz, Carina Evangelista, Sarah Goffman, Andrew Hurle, Riza Manalo, Gerardo Tan
Kristoffer Ardeña, Lena Cobangbang, Maria Cruz, Carina Evangelista, Sarah Goffman, Andrew Hurle, Riza Manalo, Gerardo Tan
09 September – 08 October 2017
Curated by
Gerardo Tan
09 September – 08 October 2017
Acts of Translation
The condition of contemporaneity in art requires a particular affinity or facility for process: the continuous act of traveling and transcribing across concept, medium, time and space that precedes and follows the production of the final art object. If the idea of process is understood and defined as actions and steps towards a particular end, then the largely invisible acts of thinking, feeling, and doing should be seen as inseparable aspects of material things yielded.
Fascinating and welcome encounters occur when the journey is viewed as equally crucial as the destination itself. The exhibition PROCESS / MEANING surveys individual works by eight artists whose practice reflects this keen sensibility and sensitivity for exploration across various phases of creative production. Many of the works represent artistic projects pursued over longer durations of time; others are new translations of already embedded commitments. Whether triggered by diasporic, historical, or material impulses, the works collectively underscore how things and their acts of becoming are precious and interconnected.
PROCESS / MEANING threads through the productive possibilities of reflexive and research-based artistic practice: among these, deconstructing traditional art techniques and media; surfacing the materiality of intangible presences, such as movement, sound, and action; and delving into the political economy and import of everyday things.
The contributions by Kristoffer Ardeña, Maria Cruz, and Andrew Hurle may be expressly connected by how they yield artistic media and technique as a way to actively intervene, translate, and alter both the surface and nature of the visual image.
Ardeña’s “Ghost Painting” series, for instance, explores how the act and process of painting alters and obscures both surface and language of political advertisements—ubiquitous things in a country where patronage politics and the cult of personality is normalized to disturbing degrees. Cruz’s “Red 30000,” an iteration of a series she has worked on since 2002, playfully celebrates the textures, shapes, and surfaces of painting as a physical and symbolic presence. Building an entire constellation from the basic shapes of coins and discs, Cruz’s work offers several entry points for the viewer: from the visual pleasure of seeing to looking at the symbolic nature of these objects used for everyday commerce and exchange.
Hurle, on the other hand, responds to the experimental work of early 19th century English engraver Richard Williamson. Williamson worked with a ruling machine of his own invention to create linear banknote designs as anti-counterfeiting features, predating the modernist fascination with geometric abstraction, optical art, and contemporary digital technology by employing sines and other curved patterns. Hurle reenacts Williamson’s work across larger scales with current software, offering not only a throwback but also a seamless intersection of new technology and visual culture across two centuries and continents.
Other works in the show underscore how the cognizance of process makes it possible to translate intangible presences—sound, movement, action—into visual expression.
Riza Manalo, for instance, offers two separate works produced through spontaneous movements and actions. In a video installation titled “Line Dialogue” (2015), Manalo frames the freehand act of drawing as performance. She maps the ephemerality of movement and action across space and translates these temporal gestures into digital form: tracing lines drawn and effaced, etched and erased. The construction of three-dimensional form from similarly spontaneous gestures is also expressed in “Untitled Action” (2017), a small, sculptural object made from mundane materials and assembled through equally ordinary actions such as binding, tying, and fastening. Bearing some semblance to the human heart in weight, scale and shape, the resulting object stands as a fragile yet resilient presence.
Exhibition curator and artist Gerardo Tan, conversely, explores the translation and transcription of textile weaving to sound and vice versa. Previously collaborating with musicologist Felicidad Prudente and traditional hablon weavers from the Indag-an Primary Multi-purpose Cooperative in Miag-ao, Iloilo in 2016, Tan transcribes ambient sounds and beats of loom weaving to musical notations to produce new visual and textile forms. Tan now works with an Ifugao weaver to produce the largest piece in this continuing series.
One last thread in the exhibit is how it emphasizes the potential of process-based work to delve into the political economy and import of everyday things. For outside the gallery or museum walls, textiles and other humble artifacts and craft-based objects always persist in perilous contexts of social production, while objects of exchange value such as banknotes, coins, and political advertising collaterals all point to the proliferation and inundation of capital in very physical and symbolic ways.
Such anxieties resonate in works by Lena Cobangbang, Sarah Goffman, and Carina Evangelista. Cobangbang and Goffman contribute various takes on the prevalence of contemporary consumerism. In her “Terrible Landscapes” series (2008), Cobangbang revisits reportage compiled during the early 2000s and appropriates the practice of food styling and photography, arranging edibles to conjure dioramas of disasters. Cobangbang’s re-chronicling of mishaps and accidents, both natural and man-made, point to the many little deaths and losses that occur across economies of scale.
Goffman, on the other hand, inquires into the materiality of plastic as transformed—and transformable—matter: mutable to the point of resembling other things or substances but also weighed with the ethical consequences of being a material for mass production. In this series titled “Plastic Arts” (2017), featuring PET plastic objects painted with patterns to resemble antique blue-and-white chinaware, Goffman transforms discards into coveted objects as a way to explore cross-cultural histories while responding to the question of production beyond sustainability.
The question and challenge of present political action, finally and significantly, is referenced in “Writ’s Run” (2017), Carina Evangelista’s first foray as an exhibiting artist. Comprised of a carved charcoal block sculpted in collaboration with Kelly Ramos and 216 white chrysanthemums, the work alludes to both Pres. Rodrigo Duterte’s floral offering on the occasion of deposed dictator Pres. Ferdinand Marcos’ burial at the Libingan ng mga Bayani in November 2016 and his ominous Proclamation #216 last May 2017, declaring martial law and the suspension of the writ of habeas corpus in Mindanao which remains in place to date. Evangelista’s work distills the state’s transition from symbolic to actual militarist gestures in less than a year: from administration to regime in the parlance of street parliamentarians.
Whether this reclaiming of full state-fascism will be successfully repelled or submissively received by the Filipino people remains to be seen. In the ongoing documentation of the work’s projected afterlife, Evangelista propels the question of convergences back to the viewer, to translate into reflection and action.
PROCESS / MEANING is part of MO_Space X, a series of shows that celebrates the gallery’s ten years of activities since its opening in 2007.
About the Artist
About the Artists
Kristoffer Ardeña (b. 1976, Philippines) works with various formats ranging from readymades, photography, installation, sculpture, video, painting, performance and other projects.
He is the recipient of various awards and scholarships: a full undergraduate scholarship at the Academy of Art in San Francisco, California (USA), scholarship awarded by the Ministry of Culture from Luxembourg, the Academy in Rome award and the Cajamadrid Generaciones in Spain.
He has done projects at: Museo Carrillo Gil in Mexico, Selesar Sunaryo Art Space, Ruang Mes56 and Cemeti Art House (Indonesia), Vargas Museum and the Cultural Center of the Philippines in Manila (Philippines),Centro de Arte Dos de Mayo Museum (Madrid), La Conservera Centro de Arte Contemporáneo (Murcia), Spain.
He has also participated in various collective projects, among them the 3rd Bucharest Biennale (Romania), 3rd Guangzhou Triennale (China), Konstholl C in Stockholm (Sweden), Caixa Forum in Barcelona and La Casa Encendida in Madrid, MUSAC in León (Spain), Casino Forum d’Art Con-temporain (Luxembourg), Apexart in New York (USA), Museo Ex Teresa Arte Actual (Mexico and the Museo de Arte Moderno in Medellin (Colombia).
Lena Cobangbang (b. 1976, Philippines) studied Fine Arts at the University of the Philippines in Diliman QC. Her work is broad-ranging, moving across video, installation, and found objects to embroidery, cookery, performance and photography. Integral to her art practice is doing collaborations with other artists, such as with Yasmin Sison under the created fictional identity as Alice and Lucinda; and with Mike Crisostomo as The Weather Bureau.
Apart from making art, she writes and works as an independent curator. A part of the seminal artist collective Surrounded By Water, her art practice extends to doing art administration and exhibit organizing, having been a fellow at the 2008 HAO Summit for emerging artists, curator and art managers in Asia in Singapore in 2008, and having undergone an artist/curator research residency exchange between Green Papaya Art Projects and Pekarna-Magdalenske Mreže in Maribor, Slovenia in 2010. She was also part of the touring exhibit, Bastards of Misrepresentation, curated by Manuel Ocampo which has been held in Berlin, Hamburg, Bangkok and New York and the Manila Vice show in Sète, France.
In 2005, she was nominated for the 3rd Ateneo Art Awards. She received the Cultural Center of the Philippines Thirteen Artists Award in 2006, and was one of the participating artists in the 2008 Singapore Biennale. She did curatorial projects for galleries Pablo, Post Gallery, Galerie Anna, Galerie Roberto, Art Anton, and Secret Fresh in Manila, Philippines. She was part of a residency program hosted by Langgeng Art Foundation in Jogjakarta in 2016.
Maria Cruz (b. 1957, Manila) was recipient of the Portia Geach Portrait Prize (1997), the Ps1 International Studio Program, New York (2000–2001), the Australia Council Artist Development and Project Grant (1999, 2000–2001), the City of Hobart Contemporary Art Prize (2004), and the Karl Hofer Gesselschaft Residency, Berlin, Germany (2005), as well as residencies at the University of Woolongong (2008), and the Canberra Institute of the Arts (1989). She has lectured in different universities in Australia, including the Canberra School of Art, Australian National University, the Sydney School of Arts, University of Sydney, and the School of Contemporary Arts, University of Western Sydney.
Cruz has participated in solo and group exhibitions internationally, in galleries and institutions such as Galeria Duemila, Artinformal, MO_Space, Ateneo Art Gallery, the Metropolitan Museum of Manila, Cultural Center of the Philippines, the UTS Gallery University of Technology (Australia), the Kaliman Gallery (Australia) Gertrude Contemporary Art Spaces (Australia), Galerie Droescher-Meyer (Germany), the Freies Museum (Germany), and the Mori Gallery in Sydney, among others.
Carina Evangelista is an art professional whose practice straddles the Philippines and the US. She is currently Editor at Artifex Press in New York and had worked on numerous exhibitions at the Museum of Modern Art and the Delaware Center of Contemporary Art. A 2004 / 2005 Asian Cultural Council fellowship led to her subsequent involvement in the Philippine art world. She has published numerous essays on Philippine contemporary art and is contributing author of the monographs on the artists Roberto Chabet and Constancio Bernardo. While “Writ’s Run” is not the first artwork she has made, PROCESS / MEANING is her first foray into exhibiting. She is particularly interested in threading together historical or art historical references with text, in creating or abstracting codes, and in transmuting symbols to add new layers of meaning.
Sarah Goffman (b. 1966, Sydney) earned a Diploma of Arts with Distinction (Photography) from the East Sydney Technical College, National Art School, and completed a Bachelor of Fine Arts degree from the same school. She also finished a doctoral degree of creative arts at the University of Wollongong, NSW.
Goffman had solo and group exhibitions at various galleries mostly in Australia. She has also done performances in different art spaces and festivals such as the Sydney Festival (2013), Oxford Art Factory (2014), and at the Museum of Contemporary Art Australia (2017). Goffman has exhibited in the Philippines twice, at DAGC Gallery and Pablo Gallery, before her group show at MO_Space, PROCESS / MEANING (2017).
Sarah Goffman became part of studios and residencies at Performance Space, Sydney (2010), Fraser Studios, Sydney (2011), ART CAMP at Marrickville Council in Sydney (2011), Asialink Residency Tokyo Wonder Site in Tokyo, Japan (2011), and Life 3 which is an off-site Yokohama Triennale project in Shin-Minatomura, also in Japan (2011).
Andrew Hurle (b. 1962, Geelong, Victoria, Australia) is currently living and working as an artist in Berlin, Germany. He finished his Graduate Diploma at Victorian College of the Arts, Master of Arts (Visual Art) at Sydney College of the Arts, and took up PhD (Visual Art), at the College of Fine Arts, UNSW. He studied printmaking in Australia during the 1980s, integrating screen-print and relief techniques with reprographic and early desktop computing technologies. The subject of much of his artwork has concerned the print medium itself and its authoritative role within social communications and bureaucratic structures. Areas of academic scholarship include technologies of monetary production, history of security printing, theories of image reproduction (print and digital), history and methods of manuscript and typography. His doctoral research examined the origins and function of monetary signs and the manner in which they migrate and are made counterfeit. This project was facilitated by a fellowship at the Smithsonian Museum in Washington D.C.
He had various solo exhibitions such as Geldumlaufgeschwindigkeit at ICAN Gallery, Sydney, Excavating at Kunstlerhaus Bethanien, Berlin, and Schmutzgeld at Elastic Residence Gallery, London. Hurle also participated in group exhibitions including Post-planning (cur. Balla Starr) at Ian Potter Museum, Melbourne and MO_Space X: PROCESS / MEANING at Taguig, Philippines.
Riza Manalo (b. Manila, Philippines) is a Melbourne-based visual artist. Manalo creates work that spans public performance, sound, video, and installation. Most of her work explores embodied experience through interdisciplinary practice based on sensoriality and sociality that involves participatory engagement and informal encounters in public space. In her research and practice, she examines the importance of artistic representation of lived experiences in the understanding of the production of social and cultural meanings in public space.
She currently works in open collaboration with artists and non-artists to explore how experiential performance and engagement plays in constructing identity and shaping public and mind space.
She has been exhibiting in solo and group exhibitions since 1994. Her work has been shown in galleries and film screenings internationally, including Smack Mellon, Brooklyn, NY; ABC NO RIO, New York, NY; Minna Gallery, San Francisco; Dumbo Art Centre, Brooklyn, NY; P.S. 122, New York, NY; Contemporary Museum of Honolulu; New York Video Film Festival; National Geographic All Roads Film Festival, Washington; Rotterdam International Film Festival, Netherlands; Federation Square Light in Winter Festival; Australian Centre for the Moving Image; White Night Melbourne, among others. She is currently pursuing a PhD in Art focusing on spatial empowerment.
Gerardo Tan, also known as Gerry Tan, is a visual artist, curator, and art educator. He finished Bachelor of Fine Arts, Major in Painting, at the University of the Philippines (UP) Diliman College of Fine Arts (CFA) in 1982 and Masters of Fine Arts, Major in Painting, at the State University of New York at Buffalo in 1992 as a Fulbright Fellow. He was a professorial lecturer at UP CFA from 1993 to 2000 and the former dean of the University of the East College of Fine Arts from 2002 to 2005. Tan was awarded the Cultural Center of the Philippines Thirteen Artists Award in 1988.
As a conceptual artist, Tan explores the nature of art and how forms and materiality can be articulated in ideas and concepts, be it through painting, sculpture, found objects, artists books, or installations. Often referencing and revisiting his earlier work, Tan deals with aesthetic questions related to the reproducibility of images and the spatial and temporal authenticity of a work.
Tan has exhibited at the Cultural Center of the Philippines, Jorge B. Vargas Museum, Ateneo Art Gallery, Metropolitan Museum of Manila, and Lopez Museum, among many more institutions in the Philippines. He has participated in several international exhibitions such as the 2nd Asian Art Show in Fukuoka Museum, 1982, the 1st Melbourne Biennale,1999, the 4th Gwangju Biennale, 2002, and the inaugural exhibition of The National Gallery of Singapore, 2016. He continues to work with contemporary artists making up the Bastards of Misrepresentation that is curated by Manuel Ocampo, which has aggressively and independently been exhibiting since 2010 in Berlin, Germany, Queens New York, and Sete, France.
In 2022, his work was featured at the Philippine Pavilion of the 59th Venice Biennale entitled Milk of Dreams, curated by Yael Buencamino and Arvin Flores.
Related Exhibitions
About the Artists
About the Artist
Kristoffer Ardeña (b. 1976, Philippines) works with various formats ranging from readymades, photography, installation, sculpture, video, painting, performance and other projects.
He is the recipient of various awards and scholarships: a full undergraduate scholarship at the Academy of Art in San Francisco, California (USA), scholarship awarded by the Ministry of Culture from Luxembourg, the Academy in Rome award and the Cajamadrid Generaciones in Spain.
He has done projects at: Museo Carrillo Gil in Mexico, Selesar Sunaryo Art Space, Ruang Mes56 and Cemeti Art House (Indonesia), Vargas Museum and the Cultural Center of the Philippines in Manila (Philippines),Centro de Arte Dos de Mayo Museum (Madrid), La Conservera Centro de Arte Contemporáneo (Murcia), Spain.
He has also participated in various collective projects, among them the 3rd Bucharest Biennale (Romania), 3rd Guangzhou Triennale (China), Konstholl C in Stockholm (Sweden), Caixa Forum in Barcelona and La Casa Encendida in Madrid, MUSAC in León (Spain), Casino Forum d’Art Con-temporain (Luxembourg), Apexart in New York (USA), Museo Ex Teresa Arte Actual (Mexico and the Museo de Arte Moderno in Medellin (Colombia).
Lena Cobangbang (b. 1976, Philippines) studied Fine Arts at the University of the Philippines in Diliman QC. Her work is broad-ranging, moving across video, installation, and found objects to embroidery, cookery, performance and photography. Integral to her art practice is doing collaborations with other artists, such as with Yasmin Sison under the created fictional identity as Alice and Lucinda; and with Mike Crisostomo as The Weather Bureau.
Apart from making art, she writes and works as an independent curator. A part of the seminal artist collective Surrounded By Water, her art practice extends to doing art administration and exhibit organizing, having been a fellow at the 2008 HAO Summit for emerging artists, curator and art managers in Asia in Singapore in 2008, and having undergone an artist/curator research residency exchange between Green Papaya Art Projects and Pekarna-Magdalenske Mreže in Maribor, Slovenia in 2010. She was also part of the touring exhibit, Bastards of Misrepresentation, curated by Manuel Ocampo which has been held in Berlin, Hamburg, Bangkok and New York and the Manila Vice show in Sète, France.
In 2005, she was nominated for the 3rd Ateneo Art Awards. She received the Cultural Center of the Philippines Thirteen Artists Award in 2006, and was one of the participating artists in the 2008 Singapore Biennale. She did curatorial projects for galleries Pablo, Post Gallery, Galerie Anna, Galerie Roberto, Art Anton, and Secret Fresh in Manila, Philippines. She was part of a residency program hosted by Langgeng Art Foundation in Jogjakarta in 2016.
Maria Cruz (b. 1957, Manila) was recipient of the Portia Geach Portrait Prize (1997), the Ps1 International Studio Program, New York (2000–2001), the Australia Council Artist Development and Project Grant (1999, 2000–2001), the City of Hobart Contemporary Art Prize (2004), and the Karl Hofer Gesselschaft Residency, Berlin, Germany (2005), as well as residencies at the University of Woolongong (2008), and the Canberra Institute of the Arts (1989). She has lectured in different universities in Australia, including the Canberra School of Art, Australian National University, the Sydney School of Arts, University of Sydney, and the School of Contemporary Arts, University of Western Sydney.
Cruz has participated in solo and group exhibitions internationally, in galleries and institutions such as Galeria Duemila, Artinformal, MO_Space, Ateneo Art Gallery, the Metropolitan Museum of Manila, Cultural Center of the Philippines, the UTS Gallery University of Technology (Australia), the Kaliman Gallery (Australia) Gertrude Contemporary Art Spaces (Australia), Galerie Droescher-Meyer (Germany), the Freies Museum (Germany), and the Mori Gallery in Sydney, among others.
Carina Evangelista is an art professional whose practice straddles the Philippines and the US. She is currently Editor at Artifex Press in New York and had worked on numerous exhibitions at the Museum of Modern Art and the Delaware Center of Contemporary Art. A 2004 / 2005 Asian Cultural Council fellowship led to her subsequent involvement in the Philippine art world. She has published numerous essays on Philippine contemporary art and is contributing author of the monographs on the artists Roberto Chabet and Constancio Bernardo. While “Writ’s Run” is not the first artwork she has made, PROCESS / MEANING is her first foray into exhibiting. She is particularly interested in threading together historical or art historical references with text, in creating or abstracting codes, and in transmuting symbols to add new layers of meaning.
Sarah Goffman (b. 1966, Sydney) earned a Diploma of Arts with Distinction (Photography) from the East Sydney Technical College, National Art School, and completed a Bachelor of Fine Arts degree from the same school. She also finished a doctoral degree of creative arts at the University of Wollongong, NSW.
Goffman had solo and group exhibitions at various galleries mostly in Australia. She has also done performances in different art spaces and festivals such as the Sydney Festival (2013), Oxford Art Factory (2014), and at the Museum of Contemporary Art Australia (2017). Goffman has exhibited in the Philippines twice, at DAGC Gallery and Pablo Gallery, before her group show at MO_Space, PROCESS / MEANING (2017).
Sarah Goffman became part of studios and residencies at Performance Space, Sydney (2010), Fraser Studios, Sydney (2011), ART CAMP at Marrickville Council in Sydney (2011), Asialink Residency Tokyo Wonder Site in Tokyo, Japan (2011), and Life 3 which is an off-site Yokohama Triennale project in Shin-Minatomura, also in Japan (2011).
Andrew Hurle (b. 1962, Geelong, Victoria, Australia) is currently living and working as an artist in Berlin, Germany. He finished his Graduate Diploma at Victorian College of the Arts, Master of Arts (Visual Art) at Sydney College of the Arts, and took up PhD (Visual Art), at the College of Fine Arts, UNSW. He studied printmaking in Australia during the 1980s, integrating screen-print and relief techniques with reprographic and early desktop computing technologies. The subject of much of his artwork has concerned the print medium itself and its authoritative role within social communications and bureaucratic structures. Areas of academic scholarship include technologies of monetary production, history of security printing, theories of image reproduction (print and digital), history and methods of manuscript and typography. His doctoral research examined the origins and function of monetary signs and the manner in which they migrate and are made counterfeit. This project was facilitated by a fellowship at the Smithsonian Museum in Washington D.C.
He had various solo exhibitions such as Geldumlaufgeschwindigkeit at ICAN Gallery, Sydney, Excavating at Kunstlerhaus Bethanien, Berlin, and Schmutzgeld at Elastic Residence Gallery, London. Hurle also participated in group exhibitions including Post-planning (cur. Balla Starr) at Ian Potter Museum, Melbourne and MO_Space X: PROCESS / MEANING at Taguig, Philippines.
Riza Manalo (b. Manila, Philippines) is a Melbourne-based visual artist. Manalo creates work that spans public performance, sound, video, and installation. Most of her work explores embodied experience through interdisciplinary practice based on sensoriality and sociality that involves participatory engagement and informal encounters in public space. In her research and practice, she examines the importance of artistic representation of lived experiences in the understanding of the production of social and cultural meanings in public space.
She currently works in open collaboration with artists and non-artists to explore how experiential performance and engagement plays in constructing identity and shaping public and mind space.
She has been exhibiting in solo and group exhibitions since 1994. Her work has been shown in galleries and film screenings internationally, including Smack Mellon, Brooklyn, NY; ABC NO RIO, New York, NY; Minna Gallery, San Francisco; Dumbo Art Centre, Brooklyn, NY; P.S. 122, New York, NY; Contemporary Museum of Honolulu; New York Video Film Festival; National Geographic All Roads Film Festival, Washington; Rotterdam International Film Festival, Netherlands; Federation Square Light in Winter Festival; Australian Centre for the Moving Image; White Night Melbourne, among others. She is currently pursuing a PhD in Art focusing on spatial empowerment.
Gerardo Tan, also known as Gerry Tan, is a visual artist, curator, and art educator. He finished Bachelor of Fine Arts, Major in Painting, at the University of the Philippines (UP) Diliman College of Fine Arts (CFA) in 1982 and Masters of Fine Arts, Major in Painting, at the State University of New York at Buffalo in 1992 as a Fulbright Fellow. He was a professorial lecturer at UP CFA from 1993 to 2000 and the former dean of the University of the East College of Fine Arts from 2002 to 2005. Tan was awarded the Cultural Center of the Philippines Thirteen Artists Award in 1988.
As a conceptual artist, Tan explores the nature of art and how forms and materiality can be articulated in ideas and concepts, be it through painting, sculpture, found objects, artists books, or installations. Often referencing and revisiting his earlier work, Tan deals with aesthetic questions related to the reproducibility of images and the spatial and temporal authenticity of a work.
Tan has exhibited at the Cultural Center of the Philippines, Jorge B. Vargas Museum, Ateneo Art Gallery, Metropolitan Museum of Manila, and Lopez Museum, among many more institutions in the Philippines. He has participated in several international exhibitions such as the 2nd Asian Art Show in Fukuoka Museum, 1982, the 1st Melbourne Biennale,1999, the 4th Gwangju Biennale, 2002, and the inaugural exhibition of The National Gallery of Singapore, 2016. He continues to work with contemporary artists making up the Bastards of Misrepresentation that is curated by Manuel Ocampo, which has aggressively and independently been exhibiting since 2010 in Berlin, Germany, Queens New York, and Sete, France.
In 2022, his work was featured at the Philippine Pavilion of the 59th Venice Biennale entitled Milk of Dreams, curated by Yael Buencamino and Arvin Flores.
Related Exhibitions
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