Category: contributor

Timmy Harn only transitions between narrative and conceptual cinema in the context of where and how the work is seen. Otherwise his sensibilities tend to cut across and overlap. A fetish for shlock genre tropes generally, playfully and stylistically but never ironically re-purposed into varieties of dissonance and unease that takes swipes at all our debilitating conformities, political and spiritual and societal, and is somehow both freeform and meticulous, anarchic and joyful.

FILMOGRAPHY

”Ancan” 2020                      Director/Cinematographer

SEA Shorts, In competition
2020 (not yet announced publicly)
 

“Dog Days” 2018   Writer/ Director

QCinema International Film Festival  NETPAC JURY PRIZE WINNER  2018
Maginhawa Film festival, Main Competition, 2018
International Film Festival Rotterdam, Bright future program  2019

“Cyber Devil X Ahas” 2015         Writer/Cinematographer/Director

Cinema One Originals, 2015
HORS PISTES, TOKYO, 2016
International Bike Film Festival, New York, 2018

“AngPagbabalatngAhas” (Reptilia in Suburbia) 2013         Writer/Director

Cinema One Originals Finalist
Olhar de Cinema-Curatiba-International Film Festival
San Diego Asian Film Festival

“Class Picture” under Tito&Tito (2011)           Co-Director

Arkipel – Jakarta International Documentary & Experimental Film Festival, 2015
S-Express Bangkok, 2015
Small Projects/Tromsø Academy of Contemporary Art, Norway
SCCA Center for Contemporary Arts, Ljubljana, Slovenia, 2015
Images Festival, Art Gallery Of Ontario, Canada, 2015
Singapore International Film Festival, 2014
Neo-Angono Public Art Festival, Philippines, 2014
Binisaya Film Festival, Cebu City, Philippines, 2014
WNDX Festival of Moving Image, Canada, 2014
EXiS Experimental Film and Video Festival, South Korea, 2014
Echo Park Film Center, Los Angeles, CA, 2014
Yebisu International Festival for Art & Alternative Visions, Japan, 2014
Japan-ASEAN Single Channel Screenings by the Japan Foundation, Baguio City, Iloilo City, Davao City, Metro Manila, Bangkok, Jakarta, Kuala Lumpur Kineforum (Jakarta), Kuala Lumpur, 2013
Wavelengths: in the blink of an eye, Conversations at the Edge (CATE) by the School of the Art Institute of Chicago’s Department of Film, Video, and New Media, Chicago, USA, 2013
Wavelengths, Toronto International Film Festival, Canada, 2012
First Prize for Experimental Film, Ika-23 Gawad CCP Para saAlternatibongPelikula at Video, Cultural Center of the Philippines, 2011

“Panty “(2010)                    Writer/Director

.MOV Film Festival, Short film competition, 2011

Tanya Villanueva is a 37 year old artist born in Valenzuela, Philippines. Her work has developed over the years from looking into work and production of art objects through the lens of painting, photography and craft;  to exploring the perfomative nature of this cultural labor through the use of video installations, textile projects and collaborations. Her art is informed by her work as a single-mother, a working-class art practitioner and her struggle with chronic depression and anxiety.

Her work has been shown locally at institutions, commercial contemporary galleries and artist-run spaces. She had various art projects outside the county through artist-run spaces in Queens, San Francisco as well as an exhibition at a curator’s residence in Manhattan.

Tanya holds a Bachelor’s Degree in Fine Arts from the University of the Philippines and a Dressmaking certificate from Miriam College. She works and lives in Quezon City, Philippines.

Inti Guerrero (b. 1983, Colombia) is The Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate, London since 2016, and Artistic Director of Bellas Artes Projects, Manila since 2018. He was Chief Curator of the 38th EVA International – Ireland’s Biennial, Limerick (2018), Guest Curator of Dakar Biennale 2018 – La Biennale de l’Art africain contemporain-DAK’ART, Dakar (2018), and Artistic Director of TEOR/éTica, San Jose (2011-2014).

 As an independent curator he curated or co-curated the exhibitions: ‘Soil and Stones, Souls and Songs’ (touring at MCAD, Manila, Para Site, Hong Kong, and Jim Thompson Art Center, Bangkok, 2016-2017); ‘Afterwork’ (touring at Para Site, Hong Kong; and ILHAM, Kuala Lumpur, 2016-2017); ‘The World is Our Home. A Poem on Abstraction’‘, Para Site, Hong Kong (2015); ‘A Chronicle of Interventions‘, Tate Modern, London (2014); ‘A Transatlantic Affair. Josephine Baker and Le Corbusier’, Museum of Art of Rio-MAR in Rio de Janeiro (2014); ‘A Journal of the Plague Year’ (touring at Para Site, Hong Kong; The Cube, Taipei; Arko Art Center, Seoul; and Kadist Art Foundation and The Lab, San Francisco; 2013-2015); ‘The City of the Naked Man’, Museum of Modern Art of São Paulo (2011); ‘Light Years. Cristina Lucas’ (touring at Centro de Arte 2 de Mayo, Madrid; Carrillo Gil Museum, Mexico City; and Museo Amparo, Puebla 2010-2011); ‘Flying Down to Earth’ (touring at the Museum of Contemporary Art of Vigo; and FRAC Lorraine, 2009-2010); ‘Eppur si Muove’, Fondazione Sandretto Re Rebaudengo, Torino (2009).  

Cosmin Costinas (b. 1982, Romania) is the Executive Director/Curator of Para Site, Hong Kong since 2011, and Artistic Director of Kathmandu Triennale 2020. He was a Guest Curator of Dakar Biennale 2018 – La Biennale de l’Art africain contemporain-DAK’ART, Dakar (2018), Guest Curator at the Dhaka Art Summit ’18 (2018); Co-curator of the 10th Shanghai Biennale (2014), Curator of BAK-basis voor actuele kunst, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010), and Editor of documenta 12 Magazines, documenta 12, Kassel (2005–2007).

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most activeindependent art institutions in Asia. It produces exhibitions, publications, discursive, andeducational projects aimed at forging a critical understanding of local and internationalphenomena in art and society.

Founded in early 1996 as an artist run space, Para Site was Hong Kong’s first exhibition–making institution of contemporary art and a crucial self–organised structure within the city’scivil society, during the uncertain period preceding its handover to Mainland China.Throughout the years, Para Site has grown into a contemporary art centre, engaged in a widearray of activities and collaborations with other art institutions, museums, and academicstructures in Hong Kong and the international landscape. In early 2015, Para Site moved togreatly increased premises, in North Point/Quarry Bay. Throughout its history, Para Site’sactivities have included a range of different formats, among which P/S magazine(1997–2006), a bilingual publication, which was Hong Kong’s first visual arts magazine and acentral platform for the development of art writing and of a discursive scene in the city and theCuratorial Training Programme (2007–2010). Since 2012, Para Site has been running anInternational Art Residency Programme and has been organizing an annual internationalconference. This is accompanied, starting from 2015, by a new educational format aimed attraining young curators and other art professionals. Para Site’s activities are made possible bythe generous support of its patrons, and grants from foundations and the Government of theHKSAR.

Carol Yinghua Lu is an art critic and curator. She is a Ph.D. candidate in art history at the University of Melbourne and director of Beijing Inside-out Art Museum. She is a contributing editor at Frieze and is on the advisory board of The Exhibitionist. 

As a curatorial team, Liu Ding and Carol Yinghua Lu have curated Liberation (2010); Little Movements: Self-practice in Contemporary Art I\II\III (2011, 2013, 2015); The 7th Shenzhen Sculpture Biennale (Accidental Message: Art is Not a System, Not a World) (2012), From the Issue of Art to the Issue of Position: Echoes of Socialist Realism (2014), New Measurement and Qian Weikang: Two Case Studies in Early Chinese Conceptual Art (2015), Salon Salon: Fine Art Practices from 1972 to 1982 in Profile—A Beijing Perspective (2015) and Factories, Machines, and the Poet’s Words: Echoes of the Realities in Art (2019). Their ongoing practice of exhibition and publication making establishes organic connections between history and the contemporary, investigates and narrates historical realities from multiple perspectives. They intend to generate narratives of the subjectivity in Chinese art from a diversity of entry points, related closely to the intellectual tradition in China.

Liu Ding is a Beijing-based artist and curator. He has participated in international biennials such as 2015 Istanbul Biennial, 2015 Asia Pacific Triennial, 2014 Shanghai Biennial, 2014 Prospect 3 New Orleans, 2012 Taipei Biennial, Chinese Pavilion of 2009 Venice Biennial, 2008 Media City Seoul, and 2005 Guangzhou Triennial. His works have been presented in many art institutions and museums across the world.

As a curatorial team, Liu Ding and Carol Yinghua Lu have curated Liberation (2010); Little Movements: Self-practice in Contemporary Art I\II\III (2011, 2013, 2015); The 7th Shenzhen Sculpture Biennale (Accidental Message: Art is Not a System, Not a World) (2012), From the Issue of Art to the Issue of Position: Echoes of Socialist Realism (2014), New Measurement and Qian Weikang: Two Case Studies in Early Chinese Conceptual Art (2015), Salon Salon: Fine Art Practices from 1972 to 1982 in Profile—A Beijing Perspective (2015) and Factories, Machines, and the Poet’s Words: Echoes of the Realities in Art (2019). Their ongoing practice of exhibition and publication making establishes organic connections between history and the contemporary, investigates and narrates historical realities from multiple perspectives. They intend to generate narratives of the subjectivity in Chinese art from a diversity of entry points, related closely to the intellectual tradition in China.

NOZOMU OGAWA was born and lives in Tokyo and is currently Director of Art Center Ongoing. He graduated from Musashino Art University in 2001, and completed an MA from the Graduate School of Interdisciplinary Information Studies, University of Tokyo. From 2002 to 2006, he organized an annual juried exhibition showcasing a diverse network of artists. In 2008, based on this network, he launched Art Center Ongoing, an art complex in Kichijoji. He also serves as Chief Director of TERATOTERA, an artist project that develops programs in the area between JR Koenji station and Kokubunji station.

http://ongoing.jp/

SA SA BASSAC was a gallery and resource center dedicated to curating, mediating and archiving Cambodian contemporary visual culture, both within and outside of our space. Their program in Phnom Penh focused on singular exhibitions of new work by Cambodian artists, and projects by guest curators and collaborative projects. All of their projects worked to inspire innovative educational programs in Khmer and English. From 2011 until 2018 SA SA BASSAC acted as a partner with local, regional and international institutions, residencies, museums, and galleries to expand networks and knowledge for artists and audiences alike.

SA SA BASSAC was co-founded in 2011 by Stiev Selapak artist collective and curator Erin Gleeson.

http://sasabassac.com

Shen Xin’s practice engages with film, video installation and performative events. Her work fabricates the process of producing abstraction of inclusivity and foreignness, forming ways to be known to others that is reflexive of images’ representational agencies. Recent solo presentations include Methods of Inhabiting, K11 Shanghai (2018), Sliced Units, Center for Chinese Contemporary Art, Manchester (2018), half-sung, half spoken, Serpentine Pavilion, London (2017) and At Home, Surplus Space, Wuhan, China (2016). Recent group shows include New Metallurgists, Julia Stoschek Collection, Düsseldorf (2018), Songs for Sabotage, the New Museum Triennial, New York (2018), and The New Normal, UCCA, Beijing (2017). Shen was awarded the BALTIC Artists’ Award in 2017, and she is currently an artist in residence at the Rijksakademie, Amsterdam.

Mayumi Hirano is an independent curator, researcher and translator based in Manila and Osaka, Japan. She is the co-founder of a multi-disciplinary space 98B COLLABoratory where she was the head of educational program, until 2018. After her curatorial practice at Yokohama Triennale (2005) and Koganecho Bazaar (2008-2013), her research and practice continues to focus on the relationship between art and society. She is currently focusing on developing educational programs that facilitate experimentations with various ideas by using creative mediums. Mayumi was an Asian Public Intellectuals Fellow (2013-2014), and worked as a researcher for Asia Art Archive, Hong Kong (2007-2008).

Mark Salvatus (b. 1980) currently lives and works between Manila, Philippines and Osaka, Japan. He graduated cum laude at the University of Santo Tomas College of Fine Arts and Design Manila with a degree in Advertising Arts. He had solo shows at the Vargas Museum (Manila/PH), Ateneo Art Gallery (Manila/PH), Cultural Center of the Philippines (Manila/PH), La Trobe University Visual Art Center, (Melbourne/AU) and Goyang Art Studio (KR). His works have been presented in various international exhibitions including Video Spotlight: Philippines, Asia Society (NYC/USA, 2015); Neither Back nor Forward: Acting in the Present, Jakarta Biennale (Jakarta/ID, 2015); Survival Kit, (Umea/SW, 2014); Prologue: Honolulu Biennial (2014); Censorship, Move on Asia, Alternative Space Loop (Seoul/KR, 2014); Hotel Inmigrantes, parallel event Manifesta 9 (Hasselt/BE, 2012); 4th Guangzhou Triennale, Guandong Museum of Art (Guangzhou/CN, 2011); 3rd Singapore Biennale, Singapore Art Museum (SG, 2011); Koganecho Bazaar (Yokohama/JP, 2011); X IV Jakarta Biennale, Galeri Nasional (Jakarta/ID, 2011), La Trobe Univeristy Museum of Art | LUMA (Melbourne/AU, 2011), Next Wave Festival (Melbourne/AU, 2010); Asia Panic (Gwangju/KR, 2009). Mark Salvatus is a recipient of the 13 Artists Award from the Cultural Center of the Philippines (2012); Sovereign-Schoeni Art Prize, Hong Kong (2012) and Ateneo Art Awards (2010) and was part of the Philippine Pavilion at the Architecture Biennale 2016 in Venice/IT.

Remaining anonymous for reasons of safety, an Unnamed Artist lives and works on the archipelago known as the Philippines where they regularly contribute to events and activities as an independent artist.

Lost Frames is a community-based initiative for viewing artists’ video in the Philippines. Through local events and collaborations with other institutions, it has consistently staged programs for artists whose works occupy the margins and interstices of the vast field of moving images. From its origins inside a small screening room in Cubao, Lost Frames has gathered more than 80 filmmakers, animators, designers, and visual artists through regular screenings held since 2015. Each screening event includes talks by artists and discussions among viewers and other participants. This format of presenting and discussing works highlights dialogue as a vital part of the viewing experience, which is geared towards developing a community where anyone can participate and put forward artistic, practical, or social concerns. From its initial attempts to future regular screenings, Lost Frames aims to adhere to this simple format, which is discovery through viewing, and understanding through discussions.  

Lost Frames differ from other screening programs being a non-curatorial outfit, reaching out instead to other artists to share works that have, since their time of production, failed to sustain an audience. These are works that fall outside more conventional screening programs, have received limited gallery exposure, or are simply at their stage of finding viewership. 

Some of Lost Frames’ notable screening events include collaborations with institutions like MCAD, in College of St. Benilde, Manila (2016); Gasworks London, UK (2017); The First Manila Biennale, Intramuros, Manila (2018); Cultural Center of the Philippines, Manila (2018); and Unconfined Cinema, The Link, Makati (2020).

Lost Frames current member organizers include:

Poklong Aanding
Victor Balanon
Lena Cobangbang
Rico Entico
Cocoy Lumbao

Erin Gleeson is an independent curator, researcher and writer. Her work is rooted in knowledge and practices in and related to Southeast Asia, with current focuses on indigeneity and contemporary art in the region, and exhibition histories of Cambodia. Erin was the co-founding director and curator of SA SA BASSAC, a non-profit exhibition space, reading room and resource center in Phnom Penh (2011-2018) and is the founding curator of the biennale exhibition and symposium Elevations Laos (2018-).