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Venue: Gropius Bau
Pacita Abad, Marcos and His Cronies, 1985–95, acrylic, oil, textile collage, mirrors, shells, buttons, glass beads, gold thread and padded fabric on stitched and padded fabric, 503 × 252 cm, courtesy Pacita Abad Art Estate, Los Angeles; Collection Singapore Art Museum, photo: National Heritage Board
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1946 in Basco Batanes, PH – died 2004 in Singapore, SG
Although trapunto is an Italian quilting technique that predates the fourteenth century, contemporary artist Pacita Abad inverted this method of creating padded patterns on stitched cloth—lending it a sculptural dimension and infusing it with imagery rooted in non-hegemonic cultures. Using a sewing technique historically gendered “female,” she created a large-scale, hand-sewn, and vibrantly painted series of masks (1981–2000), which incorporate multiple materials and influences ranging from African masks to Nepalese and Tibetan thangkas, depictions of buddhas or deities painted on cloth.
As a Filipina and self-defined woman of color, Abad intensively researched the diverse epistemologies of the Global South throughout her career. Leaving the Philippines after being involved in protests against the dictatorship of Ferdinand Marcos (1965–86), she moved to the United States. As an art student in New York, she became aware of the considerable influence that so-called “primitive” art had exerted on western modernism and of the art world’s bias against the Indigenous artists who produced these works that were often labeled as “decorative” or “ethnographic.” Through her own work and extensive travels and study in Latin America, North America, Asia, and Africa, she became a joyful and persistent advocate for the geopolitical empowerment and artistic recognition of traditional cultures.
The selection of trapunto mask paintings on view includes the largest of the series: Marcos and His Cronies (1985–95), also known as Medicine Man, which took ten years to complete. It represents the brutality and corruption of her country’s government under the Marcos regime. The dictator appears surrounded by eighteen grotesque masks that represent various members of his cabinet as well as his wife Imelda, whose bright earrings refer to her notoriously lavish lifestyle.
Agustín Pérez Rubio
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
O Bailado do Deus Morto
Flávio de Carvalho
Play
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
#fight4rojava
Graffiti
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Pacita Abad, Marcos and His Cronies, 1985–95, acrylic, oil, textile collage, mirrors, shells, buttons, glass beads, gold thread and padded fabric on stitched and padded fabric, 503 × 252 cm, courtesy Pacita Abad Art Estate, Los Angeles; Collection Singapore Art Museum, photo: National Heritage Board
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1946 in Basco Batanes, PH – died 2004 in Singapore, SG
Although trapunto is an Italian quilting technique that predates the fourteenth century, contemporary artist Pacita Abad inverted this method of creating padded patterns on stitched cloth—lending it a sculptural dimension and infusing it with imagery rooted in non-hegemonic cultures. Using a sewing technique historically gendered “female,” she created a large-scale, hand-sewn, and vibrantly painted series of masks (1981–2000), which incorporate multiple materials and influences ranging from African masks to Nepalese and Tibetan thangkas, depictions of buddhas or deities painted on cloth.
As a Filipina and self-defined woman of color, Abad intensively researched the diverse epistemologies of the Global South throughout her career. Leaving the Philippines after being involved in protests against the dictatorship of Ferdinand Marcos (1965–86), she moved to the United States. As an art student in New York, she became aware of the considerable influence that so-called “primitive” art had exerted on western modernism and of the art world’s bias against the Indigenous artists who produced these works that were often labeled as “decorative” or “ethnographic.” Through her own work and extensive travels and study in Latin America, North America, Asia, and Africa, she became a joyful and persistent advocate for the geopolitical empowerment and artistic recognition of traditional cultures.
The selection of trapunto mask paintings on view includes the largest of the series: Marcos and His Cronies (1985–95), also known as Medicine Man, which took ten years to complete. It represents the brutality and corruption of her country’s government under the Marcos regime. The dictator appears surrounded by eighteen grotesque masks that represent various members of his cabinet as well as his wife Imelda, whose bright earrings refer to her notoriously lavish lifestyle.
Agustín Pérez Rubio
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
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
Feminist Health Care Research Group
Web archive
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Pacita Abad, Marcos and His Cronies, 1985–95, acrylic, oil, textile collage, mirrors, shells, buttons, glass beads, gold thread and padded fabric on stitched and padded fabric, 503 × 252 cm, courtesy Pacita Abad Art Estate, Los Angeles; Collection Singapore Art Museum, photo: National Heritage Board
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1946 in Basco Batanes, PH – died 2004 in Singapore, SG
Although trapunto is an Italian quilting technique that predates the fourteenth century, contemporary artist Pacita Abad inverted this method of creating padded patterns on stitched cloth—lending it a sculptural dimension and infusing it with imagery rooted in non-hegemonic cultures. Using a sewing technique historically gendered “female,” she created a large-scale, hand-sewn, and vibrantly painted series of masks (1981–2000), which incorporate multiple materials and influences ranging from African masks to Nepalese and Tibetan thangkas, depictions of buddhas or deities painted on cloth.
As a Filipina and self-defined woman of color, Abad intensively researched the diverse epistemologies of the Global South throughout her career. Leaving the Philippines after being involved in protests against the dictatorship of Ferdinand Marcos (1965–86), she moved to the United States. As an art student in New York, she became aware of the considerable influence that so-called “primitive” art had exerted on western modernism and of the art world’s bias against the Indigenous artists who produced these works that were often labeled as “decorative” or “ethnographic.” Through her own work and extensive travels and study in Latin America, North America, Asia, and Africa, she became a joyful and persistent advocate for the geopolitical empowerment and artistic recognition of traditional cultures.
The selection of trapunto mask paintings on view includes the largest of the series: Marcos and His Cronies (1985–95), also known as Medicine Man, which took ten years to complete. It represents the brutality and corruption of her country’s government under the Marcos regime. The dictator appears surrounded by eighteen grotesque masks that represent various members of his cabinet as well as his wife Imelda, whose bright earrings refer to her notoriously lavish lifestyle.
Agustín Pérez Rubio
Expresiones de la locura: el arte de los enfermos mentales
Hans Prinzhorn
Monograph
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
Maternidades subversivas
María Llopis
Monograph
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
Memorial to the Sinti and Roma of Europe murdered under National Socialism, Berlin, photos: Alex Ostojski
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
Freiheit für Chile!
Anonymous
Photo album
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venue: Gropius Bau
Pacita Abad, Marcos and His Cronies, 1985–95, acrylic, oil, textile collage, mirrors, shells, buttons, glass beads, gold thread and padded fabric on stitched and padded fabric, 503 × 252 cm, courtesy Pacita Abad Art Estate, Los Angeles; Collection Singapore Art Museum, photo: National Heritage Board
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Pacita Abad, installation view, 11th Berlin Biennale, Gropius Bau, 5.9.–1.11.2020, photo: Mathias Völzke
Born 1946 in Basco Batanes, PH – died 2004 in Singapore, SG
Although trapunto is an Italian quilting technique that predates the fourteenth century, contemporary artist Pacita Abad inverted this method of creating padded patterns on stitched cloth—lending it a sculptural dimension and infusing it with imagery rooted in non-hegemonic cultures. Using a sewing technique historically gendered “female,” she created a large-scale, hand-sewn, and vibrantly painted series of masks (1981–2000), which incorporate multiple materials and influences ranging from African masks to Nepalese and Tibetan thangkas, depictions of buddhas or deities painted on cloth.
As a Filipina and self-defined woman of color, Abad intensively researched the diverse epistemologies of the Global South throughout her career. Leaving the Philippines after being involved in protests against the dictatorship of Ferdinand Marcos (1965–86), she moved to the United States. As an art student in New York, she became aware of the considerable influence that so-called “primitive” art had exerted on western modernism and of the art world’s bias against the Indigenous artists who produced these works that were often labeled as “decorative” or “ethnographic.” Through her own work and extensive travels and study in Latin America, North America, Asia, and Africa, she became a joyful and persistent advocate for the geopolitical empowerment and artistic recognition of traditional cultures.
The selection of trapunto mask paintings on view includes the largest of the series: Marcos and His Cronies (1985–95), also known as Medicine Man, which took ten years to complete. It represents the brutality and corruption of her country’s government under the Marcos regime. The dictator appears surrounded by eighteen grotesque masks that represent various members of his cabinet as well as his wife Imelda, whose bright earrings refer to her notoriously lavish lifestyle.
Agustín Pérez Rubio
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
A World Without Bones
Agustín Pérez Rubio
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
Undocumented Rumours and Disappearing Acts from Chile
María Berríos
Essay
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.