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@artartlang
Prominent museum directors declaring that they are "deeply shaken" by climate activists is a resounding failure of leadership.
âWe need museum directors to become actual cultural leaders who know how to identify and address societyâs most pressing problems, and actively engage in solving them. Iâm calling on you to stop thinking like caretakers and start acting like changemakers.â
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Representation alone will not end inequity in art museums.
âAlthough the aesthetic presence of BIPOC work in museums is indispensable and allows room for pure visual appreciation, genuine equity will not develop until its multivalent cultural and aesthetic patterns are fully incorporated into how and why the gallery/museum is there in the first place. The work must be contextualized through BIPOC epistemologies.â
CNN Philippines
Corinne de San Jose Every Girl I Know, 2022 100 cyanotypes 7.87h x 5.91w in ⢠20h x 15w cm (each) My first gallery visit of the year was at Silverlens Galleries. I loved Corinne de San Joseâs Lazy Projectors. I loved the careful piecing together of information and imagination as the artist tried to follow the barely surviving trails of Dalagang Bukid (Country Maiden), said to be the first feature film produced and directed in the Philippines by a Filipino. De San Joseâs cyanotypes are delicate and picturesque, and the exhibition was an arresting study of a film now widely considered lost. I was not partial to the soundwork (4-7-8, 2022), though. I felt that the whole process of visualizing could do without it given the consistent visual characteristics of the prints and image projections.
ps. Youâll see more of my excellent camera work (wink wink) in future gallery visits haha!