10 June 2017, 11:00 – 17:30 Saturday
Laboratory of Advanced Research A
University of Tsukuba
“Another Brick in The Wall” problematises the notion of a classroom to enable an opening for a continuing discourse on intellectual emancipation. Borrowed from Pink Floyd’s 1979 single, the title of the exhibition also provisionally interrupts the authority of a classroom as a space for the transformative development of an individual in a society – by questioning its crucial role in providing rigorous education, especially the imposed acquisition of a dominant ideological narrative such as nationalism and national identity.
Bringing together two artists known for their distinct contemporary artistic practices, Jay Ticar and Jong Pairez set forth the interruptions by engaging both the space and ideology of a classroom through their ‘immersive’ and ‘discursive’ work pieces. Set inside the classroom itself, the exhibition invokes the argument of Jacques Ranciere’s precedence of innovative radical thinking from below – as described in his one among many important books “The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation (1981)”.
Following Ranciere’s critical approach to education and intellectual emancipation, however, “Another Brick in The Wall” also narrows down its broader discourse towards a particular question on Philippine dominant narratives, especially the unquestionable collective identity of the Filipino. In a short text written by political scientist Nathan Quimpo problematising the postcolonial identity of Filipinos in relation to its complex composition of multi-ethnic identities in the archipelago, he argued that “Philippines and Filipino are both tarnished terms.” Because precisely it has a colonial and ethnocentric origin prompting other ethnic minorities, who continues to resist colonialism, to contend the term.
This exhibition would like to engender a continuing discourse on intellectual emancipation in relation to the contending ideas behind the narrative of Philippine independence and nationalism by asking these hypothetical questions: What if the Philippines, as an imagined community, is rethought from a decentralised and distributed network imagination, how will it resolve the colonial residues found in Filipino ethnocentrism? Will the multiplicity of differences in the archipelago is better understood using a lateral form of history similar to sound sampling?
Curated by Jean Makisig
The Philippines as an Exquisite Cadaver
File sharing device, Computer
In The Philippines as an Exquisite Cadaver, Jong Pairez uses a wireless file sharing device to allow by chance how people will share and exchange their stories as represented by the digital files of information they upload and download. Additionally, the chat room included in the file sharing device’s web interface also allows people not only to communicate virtually but also to unconsciously create a tapestry of unrelated words into a collective story representing the Philippines as an exquisite cadaver. In the early 20th century Europe, a group of artists known as surrealists invented a method “by which a collection of words and images is collectively assembled” to create a composition in sequence, they call it exquisite cadaver (from the original French, cadaver exquis). In this installation piece, Pairez repurposed the piratebox file sharing device – originally developed by free and open-source advocates – to re-imagine the collective idea of the Philippines and or narrative in the technological paradigm of decentralisation and networked distribution.
Fruits of the Loop
Construction paper, Chalk
Fruits of the Loop is a composition that uses the class room context of the exhibition space as an element to build an enhanced active stage. Installed into space are elements based from the traditional blackboard and chalk, to further emphasize the classroom signification and add the quality of materials with presence. This element is constructed in the physical form of a loop. It is done to embody ideas that relate to the nature of multiple usages of a lesson, and that of the lesson itself which includes looping in sound art. The lesson written on board like structure is based on an interview of Filipino artist Caliph 8. The interview is a source to imagine a sound art curriculum which in turn inspired the instruction as art structure as take off for this text component.
Jong Pairez (b. 1978 Philippines) is a media artist and researcher based in Manila and Tokyo. In 2014 he initiated Civilisation Laboratory (CIV:LAB – a tactical convivial space dedicated to research and design for sustainable and alternative living. He then presented this initiative as a Painting thesis in U.P. College of Fine Arts and received The Most Outstanding Thesis Award for pushing the boundary of his studio practice towards contemporary social practice in the art. Before arriving in the social turn, he usually works with digital and analog technologies as mediums of expression in articulating his condition as a foreign migrant worker in Japan. Pairez independently produced digital video works and 8mm films bordering to documentary filmmaking. After a while, he decided his role – as a foreign migrant worker – to be in itself an artistic practice. Pairez is currently working on his postgraduate thesis at the Graduate School of Global Arts in Tokyo University of the Arts.
Jay Ticar received his first breaks for exhibitions through the recommendations of his teacher at the U.P. College of Fine Arts, Professor Roberto Chabet- father of Philippine conceptual art. His tutelage paved the way for Jay to practice as a multidisciplinary artist. On 2003 Jay Ticar left to study MFA in Tokyo as a Monbukagakusho Scholar, this began his path as an artist/researcher. Shortly after finishing at Tama Art University, he was awarded the Asian public Intellectual Fellowship Grant by the Nippon Foundation. This award supported his 1 year research on the identity of artists as workers in Japan and Indonesia. At present, he is conducting art activities regarding the response of visual art to the emergence of sound art in Japan, Indonesia and Vietnam, through the auspices of the Asia Centre Fellowship Grant of the Japan Foundation. Jay Ticar is an exhibiting artist who has shown among established and respected venues of art for 2 decades. In Japan his artworks are represented by Ota Fine Arts.
Special Thanks To:
Association of Filipino Scholars in Tsukuba, Japan Foundation Asia Centre Fellowship, Arvin Valderrama (PhD Candidate) and Prof. Nathan Quimpo (PhD)