I see my current work as having no explanation (or one hasn't emerged yet). Rather than lacking an explanation, it does not need one, because the work exists without it. The whole theoretical routine of making meaning to one's work is similar to searching for a genie in a bottle. Its prison logic is tantamount to exorcising the ghosts squatting in intestinal mishaps. It makes me wince. Better try covering your nose from ghosts poops. No theory about why one has to lock oneself in a room to constantly jab at the mute opposition of wet and coagulated pigmented pastes has yet emerged (I'm improvising it, almost). Yet the paintings are appearing for all that, discoveries go on being made, and I see no need for a reason. 

Maybe I take it that the creation of a painting, like that of a child has its own inherent meaning. A painting grows out of a tradition, historical but also personal. It grows out of something; it is the consequence of a host of factors. It would be enough to stand in front of it and read it. I believe that the meaning is created along with the painting. I can perform my own reading and recreate a precise meaning ... but I can't be bothered to. I don't see it as being necessary. I take it that these creatures of mine have their reasons to be here. One could debate this instinctual, naturalist or creationist theory at length ... but we will fall into a somnambulistic state of miserable oblivion. 

Painting, after all is a Zombie medium. Usually, the art that I make is a by product of whatever's left in the refrigerator after a night of courageous gluttony and alcoholic dependency, with in and out bouts into the toilet. Sometimes I never quite make it there and I just stare at whatever's dribbling off my mouth and posterior lyrically dripping all-over the Suprematist tiled floor. White on White? Not anymore. Brown is the new white. 

Here we have a crossover of mutually opposed activities and factors: on the one hand, a steady and stubborn stream of nutty images, on the other a clumping of content that can immediately be constipated as an amalgamation of praxis (painting/shitting) and theory (how to put food in the tummy), between representation (how to sit comfortably on the toilet) and reflection (what to read in the toilet: ARTBOR'UM or FLUSH ART). From the structuring of different shapes and the process of experiencing juxtaposed and opposed forms emerges a new being - hopefully somewhat artistic - within which to unfold and formulate myself and do it all-over again. What is paradoxical about this 'artistic' body, however, is its dependency upon other spatial formations, both in its formulation and its reading. 

My method consists primarily in presenting the cross-breeding of these factors as a fundamental dialectic condition. They oscillate between pole and bipole, from Mouth to Anus. Both are conjoined, even mutually interdependent, in what might be called a production of artistic proportions. Sounds like shit in a can to me. One can see then that painting in my work asserts a marked conceptual utilization. This holds true for painting as well as for diarrhea, which interbreeds references of a textual(content) and visual(tactile/haptic) nature with the personal and autonomous. 

Here the expressive plays a not insignificant role, partly, through its traditional position as a sign of subjectivity, where the farty brushstroke expresses the "inner" and the "soulful". Look at Pollock who seems to be the epitome of the expressive, subjective artist. Pollock "drips" his paintings, an ultimately subjective form which actually leads to a disappearance of the subjective. Boy, what a relief! This obnoxious or rather ostentatious self-indulgence can be likened to the Freeing of Aesthetic Pleasure. This sits next to Kant's idea of aesthetic pleasure: freeing it from all moral justification, but also from the "sensuous" satisfaction of needs. 

Yes, just let it all out. Art doesn't need justification and "Artists shouldn't be Stooges to their ideas". Aesthetic pleasure is based on enjoyment from that which does not let itself be recognized or identified. Such pleasure arises not in direct confrontation with an object, in our rationally or sensuosly testing its qualities, but in our reflective recourse or return to the process of experiencing the object. In other words, it is The Return of the Thing as the Thing Itself. As in that Thing which you try to flush down but keeps coming back and exclaiming, "I Shall Return!" Well isn't that Painting?


1965 born in QuezonCity (Philippines)
lives and works in Marikina City (Philippines)
1984 University of the Philippines, Quezon City (RP)
1985 California State University, Bakersfield (USA)

Solo exhibitions, projects (2000-2013, selection)

Perverse Sublime of the Toxic, Nosbaum & Reding, Luxembourg

Finale Art File, Makati City, Manila (RP)
Tyler Rollins Fine Art, New York (USA)

Galerie Zimmermann Kratochwill, Graz (Austria) 
The Ghost Poop of Painting, philara - Sammlung zeitgenössischer Kunst, Düsseldorf (Germany) Contemporary Psychology and The Theoretical Steroid Defiled Modernist   Chicken, SOD Space of Drawings, Marie Kirkegaard, Copenhagen (Denmark) 
Rebels of abstraction and the ghost poo of painting, adhoc galleria, Vigo (Spain)
KalimanRawlins Art Gallery, Melbourne (Australia)
Terrible Beauty: Art, Crisis, Change & The Office of Non-Compliance, Dublin Contemporary, Dublin (Ireland)

An exhibition of collaborations with 7 imaginary friends showing avariety of painterly mishaps flaunted as majestic embellishments, Nosbaum & Reding - Art Contemporain, Luxemburg (L)
An Arcane Recipe of Cannibalized Ingredients Taken from the Reliquaries of Some Profane Illumination, Tyler Rollins Fine Art, New York City/New York (USA)

Monuments to the Institutional Critique of Myself, Pablo Gallery, Manila (RP)
Painting as an Attempt to Memorialize Reality’s Triumph over Art, Galerie Nathalie Obadia, Brüssel (B)
Papier, Galerie Baerbel Graesslin, Frankfurt (D)
Manuel Ocampo, Bongoût, Berlin (D)

Manuel Ocampo: The tragicomic Gravitational Destiny of the Conscious Stricken World..., Uplands Gallery, Melbourne (AUS)
Guided by Sausage, Galeria Tomas March, Valenzia (ES)

Guided by Sausage, Le (9) bis, Saint-Etienne (F)
Kitsch Recovery Program, Lizabeth Oliveria Gallery, Los Angeles/Kalifornien (USA)

En El Cielo No Hay Cerveza sin Alcohol, mit Curro Gonzalez, Galeria Adhoc, Vigo (ES)
Down with Reality, Galerie Jesco von Puttkamer, Berlin (D)
Kitsch Recovery Program: An Image is Just a Pathetic Attempt to do Justice to a Picture, Nosbaum & Reding - Art Contemporain, Luxembourg (L)
No System Can Give the Masses the Proper Social Graces, mit Damien Deroubaix, Haptic in La Maison Rouge, Paris (F)
Manuel Ocampo, Venetia Kapernekas Gallery, New York City/New York (USA)

The Holocaustic Spackle in the Murals of the Quixotic Inseminators, Lizabeth Oliveria Gallery, Los Angeles/Kalifornien (USA)
Bastards of Misrepresentation, Casa Asia, Barcelona (ES)
Manuel Ocampo, New Works, LAC, Lieu d’Art Contemporain, Sigean (F)

Bastards, Galerie Baerbel Graesslin, Frankfurt (D)
Miserable Intentions, with Gaston Damag, Nosbaum & Reding - Art Contemporain, Luxembourg (L)

Manuel Ocampo, Sprüth Magers Projekte, München (DE)
Wunderkammer, Gesellschaft für Gegenwartskunst, Augsburg (D)


An All Out Attempt at Transcendence, Galerie Baerbel Graesslin, Frankfurt (D)
Comprehensible Only to a Few Initiates, Galerie Nathalie Obadia, Paris (F)
The Inadequacy of the Struggle Against the Inadequacy of the Struggle, Gallery Paule Anglim, San Francisco/Kalifornien (USA)

Presenting the Undisclosed System of References in the Loophole of Misunderstanding, Galeria OMR, Mexico City (MEX)
Free Aesthetic Pleasure Now!, Babilonia 1808, Berkeley/Kalifornien(USA)

Those Long Dormant Pimples of Inattention Counterattacking the Hyper-Convoluted Dramas of the Gaze, Sprüth Magers Projekte, München, Galerie Baerbel Grasslin, Frankfurt (D)
Those Long Dormant Pimples of Inattention Meandering through theCranium Arcade of Pitiless Logic Swastikating between Love and Hate, Jack ShainmanGallery, New York (USA)

Group Exhibitions (2000-2013, selection)

Dieu Est Un Fimeur De Havanes, MUDAM - Musée d´Art Moderne Grand-Duc Jean, Luxembourg
On Painting, Centro Atlántinco de Arte Moderno (CAAM), Las Palmas (ES)

Da solidão do lugar a um horizonte de fugas / From the solitude of placeto a vanishing horizon - Berardo Museum - Collection of Modern andContemporary Art, Lisbon
7th Asia Pacific Triennial Of Contemporary Art (apt7) - Asia Pacific Triennial of Contemporary Art, Brisbane, QLD
Transcultural narrations: paperworks - BUG - Bangkok University Gallery, Bangkok     Flying - Künstlerhaus Bethanien, Berlin
Manuel Ocampo / Paul Pretzer / Joachim Weischer - Galerie Conrads, Dusseldorf
Narren. Künstler. Heilige - Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn
Strip 2012 - Silverlens Gallery, Makati City
Sod Group Show - SOD Space of Drawings, Copenhagen
Alter Egos - Tyler Rollins Fine Art, New York City, NY
Afraid To Be Good - LOSTprojects, Quezon City

Hirschfaktor - Die Kunst des Zitierens - ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe
Trans–figuration - Tyler Rollins Fine Art, New York City, NY
El Guernica: Deconstrucción - Ayala Museum, Makati City
The Possessed - Charlie Smith London, London (England)

Painting With a Hammer To Nail The Crotch Of Civilization - Manila Contemporary, Makati City
Stick with the enemy - Mo Space, Taguig City
She Awoke With A Jerk - Andrea Rosen Gallery, New York City, NY
Another Nude Show - Robert Berman Gallery, Santa Monica, CA
Le Meilleur des Mondes - MUDAM - Musée d’Art Moderne Grand-Duc Jean,  Luxembourg     Celebration - Collection du Frac Auvergne - FRAC -  Auvergne, Clermont Ferrand
Selected works from the backroom - Mag:net Gallery - Ayala Avenue, Makati City

The making of Art, Schirn Kunsthalle Frankfurt (D)

Problems with style, Green Papaya Art Project, Manila (RP)
In the context of: La dégelée Rabelais, organisiert von FRAC Languedoc-Roussillon, (F)
Morts de rire, La Panacée, Montpellier (F)
Et tout pour les mange-tripes!, Musée Pierre André Benoit & Espace de Rochebelle, Alès (F)
A Thélème, Priape s’est cogné…,CIRCA - La Chartreuse, Villeneuve-les-Avignon (F)

Rooms, Conversations, Frac Île-de-France, Le Plateau, Paris (F)
L’Explosition, Frac Languedoc-Roussillon, Montpellier (F)
Die Kunst zu sammeln (The art of collecting), Museum Kunst Palast, Duesseldorf (D) 

Five Stories High, Track 16 Gallery, Santa Monica/CA (USA)
Painting Codes, Galeria Comunale d’Arte Contemporanea di Monfalcone (I)
Goetz meets Falckenberg, Phoenix Kulturstiftung, Hamburg (D)

BIACS 1, First International Biennal of Eontemporary Art of Seville, kuratiert von Harald Szeemann, La Alegria de mi Sueños, Centro Andaluz de Arte Contemporanea, Sevilla (ES) 

End of the Start, Yerba Buena Center for the Arts, San Franzisko (USA)

Extranjeros: Los Otros Artistas Españoles, Museo de Arte Contemporaneo Esteban Vicente, Segovia (ES)
Disarming Parables: Collection Highlights, San Jose Museum of Art, San Jose/CA (USA)

La Biennale di Venezia, 49. Esposizione Internazionale, Plateau of Mankind Venice (I) (Katalog)
Berlin Biennale II, Berlin (D) (Katalog)
Vom Eindruck zum Ausdruck (From impression to expression) : Graesslin Collection, Deichtorhallen, Hamburg (D) (Katalog)
Contemporary Devotion, San Jose Museum of Art, San Jose/CA (USA)
Circos globulos: Selected works from the Babilonia Wilner Collection, Babilonia 1808, Berkeley/CA (USA)

Made in California: Art, Image, and Identity. 1900-2000, Los Angeles County Museum of Art, Los Angeles (USA) (Katalog)
Faith: The Impact of Judeo-Christian Religion on Art at the Millenium, The Aldrich Museum, Ridgefield/CA (USA) (Katalog)
5th Biennale d’Art Contemporain de Lyon, Partage d’Exotismes, Lyon (F)
The Sensational Line, Museum of Contemporary Art, Denver (USA)