#poklong anading

31 August to 3 November 2019 Bulwagang Fernando Amorsolo (CCP Small Gallery), Pasilyo Victorio Edades (4F Hallway Gallery), and 4th floor Atrium

Normal scheduling will resume shortly will have its exhibit walk through at 2 PM followed by the opening reception at 3 PM on 31 August, Saturday. The exhibition will be up until 3 November 2019 at the CCP’s Bulwagang Fernando Amorsolo (CCP Small Gallery), Pasilyo Victorio Edades (4F Hallway Gallery) and 4th floor Atrium. Exhibit viewing hours are Tuesday to Sunday, 10am to 6pm. Hours are extended until 10pm on days with evening performances at the CCP Main Theater. For more information, contact the CCP Visual Arts and Museum Division, Production and Exhibition Department, at (632)832-1125 loc. 1504/1505 and (632) 832-3702, mobile (0917)6033809, email [email protected] or visit www.culturalcenter.gov.ph. 

These photos were taken during the exhibit walk through and opening reception last August 31,2019

Poklong Anading http://www.1335mabini.com/artistpoklonganading/

(via Solomon R. Guggenheim Museum, New York)

(via Galerie Zimmermann Kratochwill, Graz, Austria)

poklong anading magnet katipunan jan26-feb14 2008 An earlier meaning of the word "fallen" is "killed in battle," and in Poklong Anading's installation "fallen maps," that particular, dated meaning survives the battle it remembers. The battle could be the trouble of being that the practice of abstract art has always been probing into. The map, in its fallenness, may be what we could only reconstruct from the immediate fragments that we are shown here, much in the same way that cartographers treat as material what on land is visible. But here, nostalgia-that daydream of a previous wholeness that probably never was-is missing, and wholeness and wreckage, to the extent that they are thought about, are thought about with comic ambiguity. Anading situates the brokenness as a multiplication of visible territories, and he does so mechanically. Two acts of collection inform the process of making "fallen maps": the collection of rubble from a Manila Water Works System construction, and the photographing of trapo-circular rags made with remnant fabric from garment factories-that the artist found lying around the city. The photographs have appeared previously mounted on lightboxes as "Untitled (Landmark)"; there, in terms of composition, the trapo resembled the Japanese flag. The theme of flags continues and develops in "fallen maps," where patterns from trapo are painted with acrylic on the flat aspect of rubble. In his constant inquiry as to why paintings continue to be made, Anading treats trapo as a parallel to painting, for the "spontaneity of the collaging that happens when they are made. The trapo are handmade, and made individually," he notes. "The patterns are unique. The pattern depends on available material, done blindly as those who make them don't care about the patterns that they are making." "I wanted to make abstract flags or territories," says Anading, "that's how I see them. I remove the illusion of their basis on the photos, and simplify the patterns to simple colors, in the way flags were designed-pure colors and shapes." The installation might be said to resemble an explosion site, or an archipelago, or crumbs that, as in the folk tale, would lead one home-except that each crumb here is already home: rags on the street. "Here is the possiblity of error," Anading says. "Are they flags, or maps, or traffic signs, or road signs, or design?" In other words, what again is art, and where and what are we? - Marc Gaba

Poklong Anading Finale Gallery