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Venues: KW Institute for Contemporary Art, 11th Berlin Biennale c/o ExRotaprint
Born 1975 in Manila, PH – lives and works in Manila
Kiri Dalena’s socially engaged practice took a significant turn at the beginning of 2012 with Tungkung Langit, a video work shot while accompanying relief efforts after a devastating hurricane hit a remote village in Iligan, Philippines. With the community’s encouragement, she found herself documenting two survivors, both young children—siblings who had lost their family in the tragedy and were left to cope on their own. Realizing the fragility and vulnerability of her subjects, Dalena found herself reevaluating the filming process to find a more compassionate form of taking part in telling their stories, and she began to join the children in drawing and making art.
In her most recent work, Alunsina (2020), Dalena continues to explore both the possibilities and limits of engagement within a community that is facing trauma. Working closely with human rights organizations, she finds herself documenting the struggles of children and families in an urban settlement severely impacted by the government’s declaration of war on drugs—an ideology that has led to thousands of extrajudicial killings of suspected drug users, and has orphaned hundreds of children. Here, she engages with another family whose child has resorted to drawing pictures to cope with the tragedy, and again confronts the complexities in communicating the violence they have witnessed. Through her accounts of the people’s struggles and the children whose lives are affected, Dalena’s practice continues to expand our notions of artistic production to include a nurturing hand, helping members of the community to find their own expression—particularly the child as subject—and obligating us to turn our attention to their voices and powers of imagination, while in the process, uncovering pain that is both unspeakable and unimaginable.
Cocoy Lumbao
Teatro da Vertigem
Monograph
Grupo Experimental de Cine en acción
Gabriel Peluffo
Drawing
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
New Look
Flávio de Carvalho
Performance
Umbilical Cord Amulet
McCord Museum
Object
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
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Venues: KW Institute for Contemporary Art, 11th Berlin Biennale c/o ExRotaprint
Born 1975 in Manila, PH – lives and works in Manila
Kiri Dalena’s socially engaged practice took a significant turn at the beginning of 2012 with Tungkung Langit, a video work shot while accompanying relief efforts after a devastating hurricane hit a remote village in Iligan, Philippines. With the community’s encouragement, she found herself documenting two survivors, both young children—siblings who had lost their family in the tragedy and were left to cope on their own. Realizing the fragility and vulnerability of her subjects, Dalena found herself reevaluating the filming process to find a more compassionate form of taking part in telling their stories, and she began to join the children in drawing and making art.
In her most recent work, Alunsina (2020), Dalena continues to explore both the possibilities and limits of engagement within a community that is facing trauma. Working closely with human rights organizations, she finds herself documenting the struggles of children and families in an urban settlement severely impacted by the government’s declaration of war on drugs—an ideology that has led to thousands of extrajudicial killings of suspected drug users, and has orphaned hundreds of children. Here, she engages with another family whose child has resorted to drawing pictures to cope with the tragedy, and again confronts the complexities in communicating the violence they have witnessed. Through her accounts of the people’s struggles and the children whose lives are affected, Dalena’s practice continues to expand our notions of artistic production to include a nurturing hand, helping members of the community to find their own expression—particularly the child as subject—and obligating us to turn our attention to their voices and powers of imagination, while in the process, uncovering pain that is both unspeakable and unimaginable.
Cocoy Lumbao
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
O Bailado do Deus Morto
Flávio de Carvalho
Play
Feminist Health Care Research Group
Web archive
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
Maternidades subversivas
María Llopis
Monograph
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venues: KW Institute for Contemporary Art, 11th Berlin Biennale c/o ExRotaprint
Born 1975 in Manila, PH – lives and works in Manila
Kiri Dalena’s socially engaged practice took a significant turn at the beginning of 2012 with Tungkung Langit, a video work shot while accompanying relief efforts after a devastating hurricane hit a remote village in Iligan, Philippines. With the community’s encouragement, she found herself documenting two survivors, both young children—siblings who had lost their family in the tragedy and were left to cope on their own. Realizing the fragility and vulnerability of her subjects, Dalena found herself reevaluating the filming process to find a more compassionate form of taking part in telling their stories, and she began to join the children in drawing and making art.
In her most recent work, Alunsina (2020), Dalena continues to explore both the possibilities and limits of engagement within a community that is facing trauma. Working closely with human rights organizations, she finds herself documenting the struggles of children and families in an urban settlement severely impacted by the government’s declaration of war on drugs—an ideology that has led to thousands of extrajudicial killings of suspected drug users, and has orphaned hundreds of children. Here, she engages with another family whose child has resorted to drawing pictures to cope with the tragedy, and again confronts the complexities in communicating the violence they have witnessed. Through her accounts of the people’s struggles and the children whose lives are affected, Dalena’s practice continues to expand our notions of artistic production to include a nurturing hand, helping members of the community to find their own expression—particularly the child as subject—and obligating us to turn our attention to their voices and powers of imagination, while in the process, uncovering pain that is both unspeakable and unimaginable.
Cocoy Lumbao
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
IV: How Fear Can Dismantle a Body. Vis-a-Vis with two of four curators of the 11th Berlin Biennale
María Berríos, Lisette Lagnado
Conversation
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
O Bailado do Deus Morto
Flávio de Carvalho
Play
COVID-19 VIDEOS
Carlos Motta
Video
New Look
Flávio de Carvalho
Performance
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venues: KW Institute for Contemporary Art, 11th Berlin Biennale c/o ExRotaprint
Born 1975 in Manila, PH – lives and works in Manila
Kiri Dalena’s socially engaged practice took a significant turn at the beginning of 2012 with Tungkung Langit, a video work shot while accompanying relief efforts after a devastating hurricane hit a remote village in Iligan, Philippines. With the community’s encouragement, she found herself documenting two survivors, both young children—siblings who had lost their family in the tragedy and were left to cope on their own. Realizing the fragility and vulnerability of her subjects, Dalena found herself reevaluating the filming process to find a more compassionate form of taking part in telling their stories, and she began to join the children in drawing and making art.
In her most recent work, Alunsina (2020), Dalena continues to explore both the possibilities and limits of engagement within a community that is facing trauma. Working closely with human rights organizations, she finds herself documenting the struggles of children and families in an urban settlement severely impacted by the government’s declaration of war on drugs—an ideology that has led to thousands of extrajudicial killings of suspected drug users, and has orphaned hundreds of children. Here, she engages with another family whose child has resorted to drawing pictures to cope with the tragedy, and again confronts the complexities in communicating the violence they have witnessed. Through her accounts of the people’s struggles and the children whose lives are affected, Dalena’s practice continues to expand our notions of artistic production to include a nurturing hand, helping members of the community to find their own expression—particularly the child as subject—and obligating us to turn our attention to their voices and powers of imagination, while in the process, uncovering pain that is both unspeakable and unimaginable.
Cocoy Lumbao
Maternidades subversivas
María Llopis
Monograph
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
Museo de la Solidaridad Salvador Allende (MSSA) in Berlin
A conversation between María Berríos and Melanie Roumiguière
Conversation
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
O Bailado do Deus Morto
Flávio de Carvalho
Play
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.