Motions of this Kind

The increddible work "Blue Moon" by @mark_salvatus @loadnaditoprojects for #motionsofthiskind Mark will be speaking THIS FRIDAY at 6pm at the @bruneigallery @soasuni on the penultimate night of the show. We close Saturday. Crazy times! COME ON DOWN 🔥✌🔥 Images by @agnesesanvito (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/By0tf9lFRuT/?igshid=cfstjkmui4e1

The increddible work "Blue Moon" by @mark_salvatus @loadnaditoprojects for #motionsofthiskind Mark will be speaking THIS FRIDAY at 6pm at the @bruneigallery @soasuni on the penultimate night of the show. We close Saturday. Crazy times! COME ON DOWN 🔥✌🔥 Images by @agnesesanvito (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/By0tckPl_nD/?igshid=1kvwnqyl17joe

The increddible work "Blue Moon" by @mark_salvatus @loadnaditoprojects for #motionsofthiskind Mark will be speaking THIS FRIDAY at 6pm at the @bruneigallery @soasuni on the penultimate night of the show. We close Saturday. Crazy times! COME ON DOWN 🔥✌🔥 Images by @agnesesanvito (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/By0taMrlgdV/?igshid=1easz0y5ga9y8

And we also in @studio.international!!! Thanks to @harriet_thorpe ✌✌✌ #motionsofthiskind @bruneigallery @soasuni come before we close on June22!!!! (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/ByXbfkpF2xm/?igshid=9vnzvxn4m2jv

WE IN @frieze_magazine #motionsofthiskind is on until JUNE 22 come visit visit. PS doing a tour tonight at 6pm for the LDN folks #friezemagazine #cleoroberts @soasuni @bruneigallery (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/ByXbKosFkkV/?igshid=1k3ax0jpa15fy

WE IN @frieze_magazine #motionsofthiskind is on until JUNE 22 come visit visit. PS doing a tour tonight at 6pm for the LDN folks #friezemagazine #cleoroberts @soasuni @bruneigallery (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/ByXa9a2lxek/?igshid=b9soohue9007

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho  Immersion 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse (a fibrous byproduct of cane sugar manufacturing), and palm husk 66 cm x 30 cm Big Dick Energy 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, and palm husk 56 cm x 56 cm Beneficiaries 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, sugarcane flowers, and bird’s nests 36 cm x 25 cm Death Curve 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, and organic carbonated rice hulls 36 cm x 25 cm Notice of Coverage 2019 Ink, candle wax, watercolor, and gouache on paper made from cotton, bagasse, tree bark, and organic carbonated rice hulls  36 cm x 25 cm Alongside this mural is a new series of drawings on handmade paper, embedded with various organic matter gathered in Negros—including sugarcane pulp sourced from the same sugar mill complex that is the site of The Angry Christ. This bio-matter is enmeshed with a wax-resist technique that Ossorio utilized in a series of drawings made while working on the mural, which embodied a private perversity that couldn’t be expressed in the sacred space of the church. The drawings have been unpacked and repacked, worked and reworked, on their journey from Negros to London, via Hong Kong and Manila, tracing the exigencies of the artists’ peripatetic movements. Presenting this project here in London draws the specificity of The Angry Christ into the global metropolis, underscoring an urgency to acknowledge those overlooked spaces that bear the harshest wounds from capitalist circulation. Images by @agnesesanvito (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo_ib7FqRr/?igshid=14quja7b334bs

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho Notes on “The Angry Christ” 2019 Charcoal, real/imitation blood, molasses, semen, and soil Alongside this mural is a new series of drawings on handmade paper, embedded with various organic matter gathered in Negros—including sugarcane pulp sourced from the same sugar mill complex that is the site of The Angry Christ. This bio-matter is enmeshed with a wax-resist technique that Ossorio utilized in a series of drawings made while working on the mural, which embodied a private perversity that couldn’t be expressed in the sacred space of the church. The drawings have been unpacked and repacked, worked and reworked, on their journey from Negros to London, via Hong Kong and Manila, tracing the exigencies of the artists’ peripatetic movements. Presenting this project here in London draws the specificity of The Angry Christ into the global metropolis, underscoring an urgency to acknowledge those overlooked spaces that bear the harshest wounds from capitalist circulation. (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo_HoFFYAF/?igshid=qz4ycd0rists

#Amylien and #EnzoCamacho for #motionsofthiskind @bruneigallery @soasuni Amy Lien & Enzo Camacho Notes on “The Angry Christ” 2019 Charcoal, real/imitation blood, molasses, semen, and soil Amy Lien and Enzo Camacho’s work departs from a remarkable church mural on the Philippine island of Negros commonly known as The Angry Christ. Painted in 1950 by the New York-based Filipino- American artist Alfonso Ossorio, this wild depiction of the Last Judgment adorns a chapel built to service the workers of an industrial sugar refinery. Both the refinery and chapel are still in use today. Notes on “The Angry Christ” consists of fragmentary research notes transcribed over charcoal tracings of the mural on several walls in the gallery’s light-saturated upper stairwell. By engaging the act of copying as a mode of close study and interpretation, Lien & Camacho utilize the formal density of Ossorio’s original mural as a structural tool, sketching out a lush cosmology of queerness and Modernism, Catholicism and Communism, oligarchy and sugar that spirals outward from the The Angry Christ and its regional context. By following these threads forward into the present and tying them to live political struggles, the artists ask how The Angry Christ might be radically reprogrammed towards collective expressions of anger in our contemporary moment. (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/Bxo-4A0lSDz/?igshid=kbvgqnno4kox

#YasonBanal's huge installation for #motionsofthiskind @bruneigallery @soasuni. For a long time the glitch remained motionless... and in disbelief! 2019  Installation with multiple video projections, 3D printed acrylic sculptures, tarpaulins, paintings, photocopies, drone, MIFFED Manila-speed publicly accessible WIFI, other elements, and some surprises  Dimensions variable  Refracted in divergent yet interlinking ways, Banal’s project continues his ongoing exploration into abstract and architectural mechanisms as well as the effects of state power and spectacle. Whilst comprised of various strands, the work centres around the Marcos-era architectural wonder and nightmare that is the Manila Film Center, built for the so-called “New Society” during the Marcos’ three- decade reign in the Philippines. Hastily constructed to provide a venue for the first Manila International Film Festival (MIFF) in January 1982, hundreds of construction workers are believed to have been buried within its walls as structures collapsed amidst rain and wind during the typhoon season of 1981 and solidified in quick-dry cement. Unravelling its haunted history and mythology of pageantry and power, corruption and death, stardom and surveillance, cultural patronage and undead labour, the trajectories and afterlives of the Manila Film Centre are thus made manifest by Banal through elements ranging from video, painting, text, and sculpture. Another core aspect of the work explores the ways in which media is consumed in the Philippines today, specifically through the internet. Slowing the Brunei Gallery WIFI down to 1MPBS—accessible to the public through the MIFFED network (password MIFFED19) —replicates the internet speed of the Philippines, reportedly the slowest in Southeast Asia. Following the “Quasinternet”, a concept emphasising both the “lack of internet access and slow WIFI frequency” as much as its “homonormative and homonationalist content [...]”, Banal explores the buffering architectonics and belated dark technology present in this local context in relation to the spectres of MIFF and the Manila Film Center itself.  (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwreC4elU4b/?utm_source=ig_tumblr_share&igshid=h6w482hgbg01

#YasonBanal's huge installation for #motionsofthiskind @bruneigallery @soasuni. For a long time the glitch remained motionless... and in disbelief! 2019  Installation with multiple video projections, 3D printed acrylic sculptures, tarpaulins, paintings, photocopies, drone, MIFFED Manila-speed publicly accessible WIFI, other elements, and some surprises  Dimensions variable  Refracted in divergent yet interlinking ways, Banal’s project continues his ongoing exploration into abstract and architectural mechanisms as well as the effects of state power and spectacle. Whilst comprised of various strands, the work centres around the Marcos-era architectural wonder and nightmare that is the Manila Film Center, built for the so-called “New Society” during the Marcos’ three- decade reign in the Philippines. Hastily constructed to provide a venue for the first Manila International Film Festival (MIFF) in January 1982, hundreds of construction workers are believed to have been buried within its walls as structures collapsed amidst rain and wind during the typhoon season of 1981 and solidified in quick-dry cement. Unravelling its haunted history and mythology of pageantry and power, corruption and death, stardom and surveillance, cultural patronage and undead labour, the trajectories and afterlives of the Manila Film Centre are thus made manifest by Banal through elements ranging from video, painting, text, and sculpture. Another core aspect of the work explores the ways in which media is consumed in the Philippines today, specifically through the internet. Slowing the Brunei Gallery WIFI down to 1MPBS—accessible to the public through the MIFFED network (password MIFFED19) —replicates the internet speed of the Philippines, reportedly the slowest in Southeast Asia. Following the “Quasinternet”, a concept emphasising both the “lack of internet access and slow WIFI frequency” as much as its “homonormative and homonationalist content [...]”, Banal explores the buffering architectonics and belated dark technology present in this local context in relation to the spectres of MIFF and the Manila Film Center itself.  (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwrdqFslfUW/?utm_source=ig_tumblr_share&igshid=1m13jx1p39nk2

#YasonBanal's huge installation for #motionsofthiskind @bruneigallery @soasuni. For a long time the glitch remained motionless... and in disbelief! 2019  Installation with multiple video projections, 3D printed acrylic sculptures, tarpaulins, paintings, photocopies, drone, MIFFED Manila-speed publicly accessible WIFI, other elements, and some surprises  Dimensions variable  Refracted in divergent yet interlinking ways, Banal’s project continues his ongoing exploration into abstract and architectural mechanisms as well as the effects of state power and spectacle. Whilst comprised of various strands, the work centres around the Marcos-era architectural wonder and nightmare that is the Manila Film Center, built for the so-called “New Society” during the Marcos’ three- decade reign in the Philippines. Hastily constructed to provide a venue for the first Manila International Film Festival (MIFF) in January 1982, hundreds of construction workers are believed to have been buried within its walls as structures collapsed amidst rain and wind during the typhoon season of 1981 and solidified in quick-dry cement. Unravelling its haunted history and mythology of pageantry and power, corruption and death, stardom and surveillance, cultural patronage and undead labour, the trajectories and afterlives of the Manila Film Centre are thus made manifest by Banal through elements ranging from video, painting, text, and sculpture. Another core aspect of the work explores the ways in which media is consumed in the Philippines today, specifically through the internet. Slowing the Brunei Gallery WIFI down to 1MPBS—accessible to the public through the MIFFED network (password MIFFED19) —replicates the internet speed of the Philippines, reportedly the slowest in Southeast Asia. Following the “Quasinternet”, a concept emphasising both the “lack of internet access and slow WIFI frequency” as much as its “homonormative and homonationalist content [...]”, Banal explores the buffering architectonics and belated dark technology present in this local context in relation to the spectres of MIFF and the Manila Film Center itself.  (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwrdYTQl4iC/?utm_source=ig_tumblr_share&igshid=1h9jwmm18sfhu

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Close up of Cian's vitrine install with objects from the @soasuni Ifor Bal Powell Collection, giftshop and tourist objects and other materials. #CianDayrit #motionsofthiskind (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwboJQeF0fm/?utm_source=ig_tumblr_share&igshid=2un216yl756j

Archival material from the Ifor Bal Powel Collection @soasuni plus tourist objects and other materials included in Cian's vitrine works. #motionsofthiskind #CianDayrit (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwbmaWSlQGq/?utm_source=ig_tumblr_share&igshid=1eseo0ou5ngip

Some more install shots by @agnesesanvito for #motionsofthiskind at the #bruneigallery @soasuni. Open until June 22!!! #CianDayrit Northern Conquests in Oriental Soil and Sea 2019 Tapestry, archival objects and documents arranged in museum vitrines 215 cm x 238 cm Dimensions variable  Commissioned with the support of @gasworkslondon Dayrit’s map, entitled Northern Conquests in Oriental Soil and Sea, aims to literally upturn our traditional perception of geographic space. Based upon a work from 1744 by Emanuel Bowen (a renowned English map maker who worked for both George II of England and Louis XV of France), Dayrit’s Northern Conquests... not only physically reverses the original through rotating the North and South axes but replaces the colonial names delineated in Bowen’s “new and accurate map of the East India Islands” with the collective names of local indigenous groups. As such, whilst geographically depicting the exact area described by Isaac Newton in a passage from Principia— the seas between “Leuconia”, South China, and Borneo, the very site in which Edward Halley’s strange tidal motions were discovered —Dayrit rejects the naturalised efficiency of colonial cartography and instead reveals a defiant minor narrative working against the historical grain. Yet the power of Dayrit’s “counter cartography” not only emerges in its dense infographic status—the ability to function as visual forms depicting space, memory, and time, alongside the plethora of emblems and clandestine insignia embedded within them— but so too through their basically anachronistic positionality. The contrast of materials, concepts, and temporalities, as well as the chronological juxtaposition of pre- and neo-colonial artefacts, thus enables Dayrit to “talk about the issues of today with the language of yesterday”. While the main body of the tapestry was produced in Metro Manila, final key elements were completed at Hand & Lock, a London-based establishment founded in 1767 and official embroiderers to the Royal Family and Royal Armed Forces. Imperial and colonial history thus not only exist representatationally or conceptually but are woven into the very fabric of the tapestry (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwblvdjFHkO/?utm_source=ig_tumblr_share&igshid=ek2xfto3cwr3

#motionsofthiskind opened last Thursday night and i could not be more happy with how the project has gone. More pics from each of our artist to come but here's a few shots to start with from our amazing install photographer @agnesesanvito. #motionsofthiskind features artists #yasonbanal, @jon_cuyson, #ciandayrit, @lizzamaydavid & #gabrielrossellsantillán, #MichelleDizon, #eisajocson, #amylien #enzocamacho, #katmedina, and @loadnaditoprojects #marksalvatus. Curated by Rafael Schacter, @rgll____  #renanlaruan and #mervespina @greenpapayaartprojects. Thanks to @outsetart @soasuni @ucl @phbritish @britishcouncil @flypal @gasworkslondon @delfinafdn and all our other supporters! (at Brunei Gallery, School of Oriental and African Studies) https://www.instagram.com/p/BwXogbwlolE/?utm_source=ig_tumblr_share&igshid=1vutwis0v5e8u