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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
Being in Crisis together – Einander in Krisen begegnen
Feminist Health Care Research Group (Inga Zimprich/Julia Bonn)
Online workshop
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
Flávio de Carvalho: Fazenda Capuava
Archive of Lisette Lagnado
Photographs
Undocumented Rumours and Disappearing Acts from Chile
María Berríos
Essay
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.
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
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
„Klaus Eckschen: Hörspiel“
Die Remise
Hörspiel
Fragments of the Artist’s Diary, Berlin 11.2019–1.2020
Virginia de Medeiros
Diary
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
Touching Feeling. Affect, Pedagogy, Performativity
Eve Kosofsky Sedgwick
Monograph
Teatro da Vertigem
Monograph
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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
Flávio de Carvalho wearing the New Look and walking on the streets of São Paulo, Experiência no. 3, 1956, courtesy the heirs of Flávio de Carvalho; Fundo Flávio de Carvalho/CEDAE-UNICAMP, Campinas
New Look
Flávio de Carvalho
Performance
Género y colonialidad en busca de claves de lectura y de un vocabulario estratégico descolonial
Rita Segato
Essay
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
Freiheit für Chile!
Anonymous
Photo album
„Klaus Eckschen: Hörspiel“
Die Remise
Hörspiel
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
A Moment of True Decolonization / Episode #6: Sinthujan Varatharajah. Constructing the Tamil Eelam State
The Funambulist / Sinthujan Varatharajah
Podcast
Glossary of Common Knowledge
L’Internationale Online
Glossary
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
COVID-19 VIDEOS
Carlos Motta
Video
Undocumented Rumours and Disappearing Acts from Chile
María Berríos
Essay
THE MOBILIZATION
Nicolás Cuello
Text
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.