1335MABINI is proud to present Soun Hong’s solo exhibition ‘Sidescape – Objections’. In this series, Soun Hong re-contextualizes images based on photographic references. He references a photograph by isolating areas such as the sky, the ground or a fragment from a wall or a person’s clothing. Using these sources, Soun Hong overcomes the attributed functionalities of the objects and landscapes in the respective contexts of the moment they were captured on camera, thereby emphasizing the independence and transcendence of specific and/or implied situations.

Recently Soun Hong expanded his series ‘Sidescape’ to include overlooked or little known histories. Cecil Rhodes (1853-1902) is the subject of a series of new paintings made here in Manila recently. Soun Hong voices his concern that this racist and ruthless businessman – he established a near monopoly in the diamond trade – is still epitomized by the Rhodes scholarship program and statues all around South Africa. He is recorded to have said that “the native is to be treated as a child and denied the franchise. We must adopt a system of despotism in our relations with the barbarians,” and he acted accordingly. Statues and scholarships are symbols that matter deeply and Soun Hong investigates how these can reveal underlying values.

His muted monochromes display an air of delicate and restrained effort, and the artist’s use of the brush and pigment on canvas is subdued as it is masterful.

 

 
In the body of work on display at Art Basel Hong Kong, Jill Paz enacts a homecoming that embraces the realms of both the intensely personal and the distant past. Paz revisits and reinterprets the body of works of the late 19th century Filipino painter Félix Resurrección Hidalgo (1855-1913), an enigmatic figure in Philippine art history and a great grand-uncle of hers. During his lifetime, Hidalgo would move and work constantly between Europe and Manila, underscoring both the assimilation of influences and diasporic nature that have characterized the practice of many Filipino artists up to today. Paz’s ancestral homage delves into the unstable nature of the past: as fragments, shards and recollections.   Historical artworks, such as those by Hidalgo, are ex-cited in many ways, for example through memory, which makes it a breeding ground of subjectivity in Paz’ work.  Jill Paz’s starting point is one particular landscape painting by Hidalgo:  The Grove of Trees  (this particular painting by Hidalgo is in dire need of restoration). She asks the questions: what goes missing when a home, a person, or a society becomes renovated? What pulses behind the desire to re-build, or create an otherwise new veneer? And in what ways does the skeleton of the old inform the flesh of the new? Here the word ‘renovation’ becomes critical; she is interested in that which is remodeled from an existing structure or infastructure, not that which is entirely re-built. The new body of work for ABHK’s Discovery Section explores the need and subsequent limitation for repair and renovation, rendering the limits between object and being, history and folklore, fact and fiction, permeable.

In the body of work on display at Art Basel Hong Kong, Jill Paz enacts a homecoming that embraces the realms of both the intensely personal and the distant past. Paz revisits and reinterprets the body of works of the late 19th century Filipino painter Félix Resurrección Hidalgo (1855-1913), an enigmatic figure in Philippine art history and a great grand-uncle of hers. During his lifetime, Hidalgo would move and work constantly between Europe and Manila, underscoring both the assimilation of influences and diasporic nature that have characterized the practice of many Filipino artists up to today. Paz’s ancestral homage delves into the unstable nature of the past: as fragments, shards and recollections.

Historical artworks, such as those by Hidalgo, are ex-cited in many ways, for example through memory, which makes it a breeding ground of subjectivity in Paz’ work.

Jill Paz’s starting point is one particular landscape painting by Hidalgo: The Grove of Trees (this particular painting by Hidalgo is in dire need of restoration). She asks the questions: what goes missing when a home, a person, or a society becomes renovated? What pulses behind the desire to re-build, or create an otherwise new veneer? And in what ways does the skeleton of the old inform the flesh of the new? Here the word ‘renovation’ becomes critical; she is interested in that which is remodeled from an existing structure or infastructure, not that which is entirely re-built. The new body of work for ABHK’s Discovery Section explores the need and subsequent limitation for repair and renovation, rendering the limits between object and being, history and folklore, fact and fiction, permeable.

 

EXHIBITIONS


SOUN HONG
Sidescape - Objections

9 March to 20 April 2019
1335MABINI


BRISA AMIR, DATU ARELLANO, KRISTOFFER ARDENA, JAN BALQUIN, LESLEY-ANNE CAO, MIGGY INUMERABLE, CZAR KRISTOFF,
CELINE LEE, CRIS MORA, INDY PAREDES, MARK SALVATUS, JEL SUAREZ, JOSE TONG
City of Bawal
27 April to 8 June 2019
1335MABINI

POKLONG ANADING

15 June to 3 August 2019
1335MABINI

KIRI DALENA
10 August to 21 September 2019
1335MABINI

DEXTER SY
28 September to 9 November 2019
1335MABINI