topic

Making cultures

From sending gifts and cassette tapes of news to loved ones to producing visual, written, aural, and performing arts, “making cultures” reflects the enormous diversity of everyday, exceptional creation that Filipinos in the Philippines and its diaspora undertake to make sense of and comment upon their conditions. These scholarly and creative works indicate both the range of ways in which Filipinos make culture and the intensity with which they engage it.

 

As they go about the daily culture-making of getting to and from work, taking care of themselves and others, eating and being, Filipinos also make cultures by writing, painting, sculpting, performing, by intervening in and disrupting their erasure with their presence. These latter, more familiar modes of making culture draw on Filipinos' ongoing experiences of imperial history, global movement, labor, and encounter. The range of responses and intersections between the works gathered here further indicates the intensity and vitality with which Filipinos and others engage with the process and meaning of making cultures.

 

By recognizing these activities as a formal topic, CA+T underscores that making cultures is just as much a form of labor, albeit frequently unrecognized and unpaid, as the more formalized work that drives much of Filipinos’ global migration.

Imin Yeh Interviews Johanna Poethig about Placesettings

Imin Yeh Johanna Poethig

2011 Interview 14 minutes Courtesy of the author.

contributor

X

Imin Yeh

b. 1983

IMIN YEH received a B.A.in Art History with Asian Option from the University of Wisconsin-Madison (2005) and an M.F.A. from California College of the Arts (2009). She creates sculptures, installations, downloadable crafts, and participatory artist-led projects. Recent projects include a 2012 commission from the San Jose Museum of Art and a year-long parasitic contemporary art space called SpaceBi that takes place in the Asian Art Museum. She has exhibited at the Asian Art Museum, Zero1 Biennial, Yerba Buena Center for the Arts, Meridian Gallery, Kearny Street Workshop, San Francisco Arts Commission Gallery, Intersection for the Arts, Pro Arts Gallery, Mission Cultural Center, and Southern Exposure. She has been invited to be an Artist in Residence at Montalvo Art Center in Saratoga, CA (2010), Blue Mountain Center in New York (2011), and Sandarbh Artist Workshop in Partapur, India (2013), and Recology San Francisco (2014). She has received an Individual Artist Grant from the San Francisco Arts Commission (2011), Murphy and Cadogan Fellowship (2008), and the Barclay Simpson Award (2009). She was recently awarded a 2014-2016 Eureka Fellowship through the Fleishhacker Foundation and is an adjunct lecturer at San Jose State University.

Imin Yeh is an interdisciplinary project-based artist, working in sculpture, installation, participatory events, and print. The projects are reactions to the systems surrounding how objects are made and how objects are desired, valued, and consumed. The diversity of her practice is unified by a continual pushing at the boundaries of printmaking, a medium at the intersection of popular literacy, commercialism, and social engagement. This process-based medium and its potential for multiples reflects the inherent relationship between process and product, a laying bare of the labor involved that echoes the contemporary necessity for efficiency, production, and profit. Copying the very aesthetic and process that is ubiquitous in the mass-production of commercial industry, the projects blur the lines between imaginary and “real” businesses, people, and/or products. Through humor, satire, and participation, the projects try to implicate the viewer into more critical dialogue about the invisible labor and the stories behind the objects we consume.

SpaceBi unofficially occupied the Asian Art Museum as a studio for developing new work from August 2011-August 2012. Access to the museum was through a “buying-in” process; I procured a high-level membership, institutionally referred to as the “Jade Circle,” and gained the ability to invite three guests to enjoy the use of a private room and garden in a public institution. For one year, I manipulated this privilege to exhibit contemporary creative and critical projects that hoped to be a forum for alternative programming and dialogue, re-imagining the use of this public space and collection and forging new connections between inherited cultural objects and creative practices today.

contributor

X

Johanna Poethig

b. 1956

Johanna Poethig’s work crosses public and private realms. She studied at Jose Abad Santos Memorial City (JASMS) in Quezon City; the University of California, Santa Cruz; and got her M.F.A. at Mills College. She has exhibited her paintings, sculpture, public art works, murals, installations and video internationally. Poethig works with other artists, architects, planners, curators and communities on social and artistic interventions in our shared spaces. She produces and participates in performance events that mix feminism, global politics, cabaret, experimental music and video. Poethig is a professor at the Visual and Public Art department at California State University, Monterey Bay. She grew up in the Philippines and lives in Oakland, California.

Filipino food is my soul food. That is what I grew up eating. Every meal ends in my fingers. I grew up in Malate, downtown Manila, under the acacia tree that still stands. The year was divided up first into seasons of fruit and secondly into dry and rainy days. Mango season, santol season, sineguelas, lanzones, kamias, and the year-round papaya and bananas dipped in oil and brown sugar and barbequed. Mango season meant green mangos, crisp, white, sour and cut up in the latest fashion. I will not lie and say I eat balot. But I love pancit bihon, lumpia, sinigang and squid in ink and all things with patis, sour, soy sauce, vinegary and drenched in calamansi. As I designed the mural for the new I-Hotel, I read the poems by Al Robles and his times with the Manongs, eating, dancing, dreaming of lands I could also taste, smell and see. I had a vision of Placesetting. The tables of storytelling. A public art work for the personal everyday setting. The making of Placesetting was a labor of love. Researching and choosing the poems, the pictures and putting them together on the plates, bowls and mugs. Like eating, it was an everyday ritual and deeply satisfying.

Placesetting combines the utilitarian objects of a table setting with the art, necessity, emotion and politics of creating home and community. Finding housing and creating a place to call home is particularly relevant in our current economic crisis, but it is also a common thread through all human experience. This project is specific to this site and the Chinatown and Manilatown communities. San Francisco’s culture is rooted in the many different peoples who have made their homes here, and the history and struggle associated with the International Hotel (I-Hotel) is just one example of the many individual and collective struggles behind that effort to find a “setting” place – a home.

The Placesetting exhibit offers “souvenirs” to display or to use, as works of art, as remembrances or as objects of curiosity. Images from the Manilatown Heritage Foundation’s Archival Project; poems of Al Robles, Serafin Syquia, Nancy Hom, Genny Lim and Oscar Penaranda; saved newspaper articles lent by Mrs. Lee; objects from the Filipino and Chinese community; and imagery responding to the metaphors, myths and memories that resonate with the artist’s own experience growing up in the Philippines are fired onto bought and hand cast dinnerware. Digitally printed tablecloths, placemats and coasters are canvases for the installation.

As art or as utility, ceramics has built civilizations. They are the precious remains of archeological sites from which we piece together the past. They are the kitsch objects that line the shelves of the avid collector. They are the “revolutionary ceramics” of the Constructivists, feminist classics like Judy Chicago’s The Dinner Party and astounding public art of Antoni Gaudi in Barcelona. California has its own rich history in the development of ceramic arts and experiments in individual, public, community art and practices. Placesetting sets a table for this occasion, this place, this aesthetic of the home and the museum, for the everyday and for history.

location

X
  • Born: New Jersey, USA
  • Based: Oakland, CA, USA

comments

X

Imin Yeh Interviews Johanna Poethig about Placesettings

Imin Yeh Johanna Poethig

2011 Interview 14 minutes Courtesy of the author.

contributor

X

Imin Yeh

b. 1983

IMIN YEH received a B.A.in Art History with Asian Option from the University of Wisconsin-Madison (2005) and an M.F.A. from California College of the Arts (2009). She creates sculptures, installations, downloadable crafts, and participatory artist-led projects. Recent projects include a 2012 commission from the San Jose Museum of Art and a year-long parasitic contemporary art space called SpaceBi that takes place in the Asian Art Museum. She has exhibited at the Asian Art Museum, Zero1 Biennial, Yerba Buena Center for the Arts, Meridian Gallery, Kearny Street Workshop, San Francisco Arts Commission Gallery, Intersection for the Arts, Pro Arts Gallery, Mission Cultural Center, and Southern Exposure. She has been invited to be an Artist in Residence at Montalvo Art Center in Saratoga, CA (2010), Blue Mountain Center in New York (2011), and Sandarbh Artist Workshop in Partapur, India (2013), and Recology San Francisco (2014). She has received an Individual Artist Grant from the San Francisco Arts Commission (2011), Murphy and Cadogan Fellowship (2008), and the Barclay Simpson Award (2009). She was recently awarded a 2014-2016 Eureka Fellowship through the Fleishhacker Foundation and is an adjunct lecturer at San Jose State University.

Imin Yeh is an interdisciplinary project-based artist, working in sculpture, installation, participatory events, and print. The projects are reactions to the systems surrounding how objects are made and how objects are desired, valued, and consumed. The diversity of her practice is unified by a continual pushing at the boundaries of printmaking, a medium at the intersection of popular literacy, commercialism, and social engagement. This process-based medium and its potential for multiples reflects the inherent relationship between process and product, a laying bare of the labor involved that echoes the contemporary necessity for efficiency, production, and profit. Copying the very aesthetic and process that is ubiquitous in the mass-production of commercial industry, the projects blur the lines between imaginary and “real” businesses, people, and/or products. Through humor, satire, and participation, the projects try to implicate the viewer into more critical dialogue about the invisible labor and the stories behind the objects we consume.

SpaceBi unofficially occupied the Asian Art Museum as a studio for developing new work from August 2011-August 2012. Access to the museum was through a “buying-in” process; I procured a high-level membership, institutionally referred to as the “Jade Circle,” and gained the ability to invite three guests to enjoy the use of a private room and garden in a public institution. For one year, I manipulated this privilege to exhibit contemporary creative and critical projects that hoped to be a forum for alternative programming and dialogue, re-imagining the use of this public space and collection and forging new connections between inherited cultural objects and creative practices today.

contributor

X

Johanna Poethig

b. 1956

Johanna Poethig’s work crosses public and private realms. She studied at Jose Abad Santos Memorial City (JASMS) in Quezon City; the University of California, Santa Cruz; and got her M.F.A. at Mills College. She has exhibited her paintings, sculpture, public art works, murals, installations and video internationally. Poethig works with other artists, architects, planners, curators and communities on social and artistic interventions in our shared spaces. She produces and participates in performance events that mix feminism, global politics, cabaret, experimental music and video. Poethig is a professor at the Visual and Public Art department at California State University, Monterey Bay. She grew up in the Philippines and lives in Oakland, California.

Filipino food is my soul food. That is what I grew up eating. Every meal ends in my fingers. I grew up in Malate, downtown Manila, under the acacia tree that still stands. The year was divided up first into seasons of fruit and secondly into dry and rainy days. Mango season, santol season, sineguelas, lanzones, kamias, and the year-round papaya and bananas dipped in oil and brown sugar and barbequed. Mango season meant green mangos, crisp, white, sour and cut up in the latest fashion. I will not lie and say I eat balot. But I love pancit bihon, lumpia, sinigang and squid in ink and all things with patis, sour, soy sauce, vinegary and drenched in calamansi. As I designed the mural for the new I-Hotel, I read the poems by Al Robles and his times with the Manongs, eating, dancing, dreaming of lands I could also taste, smell and see. I had a vision of Placesetting. The tables of storytelling. A public art work for the personal everyday setting. The making of Placesetting was a labor of love. Researching and choosing the poems, the pictures and putting them together on the plates, bowls and mugs. Like eating, it was an everyday ritual and deeply satisfying.

Placesetting combines the utilitarian objects of a table setting with the art, necessity, emotion and politics of creating home and community. Finding housing and creating a place to call home is particularly relevant in our current economic crisis, but it is also a common thread through all human experience. This project is specific to this site and the Chinatown and Manilatown communities. San Francisco’s culture is rooted in the many different peoples who have made their homes here, and the history and struggle associated with the International Hotel (I-Hotel) is just one example of the many individual and collective struggles behind that effort to find a “setting” place – a home.

The Placesetting exhibit offers “souvenirs” to display or to use, as works of art, as remembrances or as objects of curiosity. Images from the Manilatown Heritage Foundation’s Archival Project; poems of Al Robles, Serafin Syquia, Nancy Hom, Genny Lim and Oscar Penaranda; saved newspaper articles lent by Mrs. Lee; objects from the Filipino and Chinese community; and imagery responding to the metaphors, myths and memories that resonate with the artist’s own experience growing up in the Philippines are fired onto bought and hand cast dinnerware. Digitally printed tablecloths, placemats and coasters are canvases for the installation.

As art or as utility, ceramics has built civilizations. They are the precious remains of archeological sites from which we piece together the past. They are the kitsch objects that line the shelves of the avid collector. They are the “revolutionary ceramics” of the Constructivists, feminist classics like Judy Chicago’s The Dinner Party and astounding public art of Antoni Gaudi in Barcelona. California has its own rich history in the development of ceramic arts and experiments in individual, public, community art and practices. Placesetting sets a table for this occasion, this place, this aesthetic of the home and the museum, for the everyday and for history.

location

X
  • Born: New Jersey, USA
  • Based: Oakland, CA, USA

comments

X

Bibingka

Kay Cuajunco

2014 Video 10m 30s Courtesy of the artist.

contributor

X

Kay Cuajunco

b. 1986
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Kay Cuajunco is a queer pinay activist, educator, and filmmaker. She was born in Guam and is currently based in Oakland, CA. As a granddaughter of Filipino farmers, she reclaims her connection to land through her work organizing for food justice, and she finds healing and creative inspiration cooking for cultural survival. Her first film Roots of Struggle, an anti-imperialist love story revealing the intimate violence of the military-industrial-complex on queer youth, premiered at the Queer Women of Color Film Festival in San Francisco, screened at the Allied Media Conference in Detroit and the Assata Will Rise showcase at the Eastside Arts Alliance, and was awarded best short at the Oakland Pride Film Festival in 2013. She holds a Bachelor of Arts from the University of California, Santa Barbara and a Master of Arts from San Francisco State University where she wrote her thesis on critical pedagogy and farmworker solidarity movements, focusing on the ideas on Paulo Freire and the Coalition of Immokalee Workers.

Bibingka is a short film that explores how recipes tell stories of migration and cultural survival through the lens of Filipino foods. Behind every recipe there are countless memories of celebration, ritual, and comfort that allow us to reclaim our connection to the land, family, and home. Bibingka is one of the first Filipino desserts I learned how to cook with my mom and the smell of which always reminds me of home. Throughout the silent journey of making this dessert from looking through the aisles for ingredients to putting it into the oven, you can hear stories about Filipino food to narrate the feelings and memories of love, care, absence, and frustration that come up while cooking. Featuring voices from the Filipino diaspora, Bibingka awakens our senses to the urgency to keep the legacy of our traditional foods alive.

location

X
  • Born: Agana, Guam
  • Based: Oakland, CA, USA

comments

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Ta, Too Project 01

Kimberley Acebo Arteche

2014 Lightbox installation. 18 in. x 24 in. x 3 in. Courtesy of the artist.

contributor

X

Kimberley Acebo Arteche

b. 1987
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Born in Silver Spring, Maryland, Kimberley was raised in the suburbs of the Metropolitan Washington, D.C. area. She received her Bachelor of Fine Arts in Visual Arts and Photography from the University of Maryland, Baltimore County. During college, she was heavily involved with the Filipino American Student Association at UMBC and served as National Director and District VI Chair for Filipino Intercollegiate Networking Dialogue (F.I.N.D.). She was also a Principal dancer and Director of Operations for the 501(c)3 non-profit organization, Culture Shock Washington, D.C. She has worked with several arts youth and community outreach programs, including Banner Neighborhoods, Sitar Arts Center, and So Others Might Eat ( S.O.M.E.). Kimberley also recently served as Executive Producer for the 2013 International Choreographer’s Showcase held in Washington, D.C.

Kimberley currently resides in Daly City, California and is pursuing her M.F.A. in Art at San Francisco State University. She is the recipient of the 2014 Sher-Right Scholarship and 2014 Jack and Gertrude Murphy Award, administered by The San Francisco Foundation. She will be showing in an exhibition of the Murphy and Cadogan awardees at the SOMArts Cultural Center in San Francisco, California, opening on September 3, 2014.

 

Photograph by Joseph Mintz. 

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

location

X
  • Born: Silver Spring, MD, USA
  • Based: Daly City, CA, USA

comments

X

Ta, Too Project 03

Kimberley Acebo Arteche

2014 Lightbox installation. 18 in. x 24 in. x 3 in. Courtesy of the artist.

contributor

X

Kimberley Acebo Arteche

b. 1987
image description
  • See All Works
  • visit website

Born in Silver Spring, Maryland, Kimberley was raised in the suburbs of the Metropolitan Washington, D.C. area. She received her Bachelor of Fine Arts in Visual Arts and Photography from the University of Maryland, Baltimore County. During college, she was heavily involved with the Filipino American Student Association at UMBC and served as National Director and District VI Chair for Filipino Intercollegiate Networking Dialogue (F.I.N.D.). She was also a Principal dancer and Director of Operations for the 501(c)3 non-profit organization, Culture Shock Washington, D.C. She has worked with several arts youth and community outreach programs, including Banner Neighborhoods, Sitar Arts Center, and So Others Might Eat ( S.O.M.E.). Kimberley also recently served as Executive Producer for the 2013 International Choreographer’s Showcase held in Washington, D.C.

Kimberley currently resides in Daly City, California and is pursuing her M.F.A. in Art at San Francisco State University. She is the recipient of the 2014 Sher-Right Scholarship and 2014 Jack and Gertrude Murphy Award, administered by The San Francisco Foundation. She will be showing in an exhibition of the Murphy and Cadogan awardees at the SOMArts Cultural Center in San Francisco, California, opening on September 3, 2014.

 

Photograph by Joseph Mintz. 

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

location

X
  • Born: Silver Spring, MD, USA
  • Based: Daly City, CA, USA

comments

X

Ta, Too Project 04

Kimberley Acebo Arteche

2014 Lightbox installation. 18 in. x 24 in. x 3 in. Courtesy of the artist.

contributor

X

Kimberley Acebo Arteche

b. 1987
image description
  • See All Works
  • visit website

Born in Silver Spring, Maryland, Kimberley was raised in the suburbs of the Metropolitan Washington, D.C. area. She received her Bachelor of Fine Arts in Visual Arts and Photography from the University of Maryland, Baltimore County. During college, she was heavily involved with the Filipino American Student Association at UMBC and served as National Director and District VI Chair for Filipino Intercollegiate Networking Dialogue (F.I.N.D.). She was also a Principal dancer and Director of Operations for the 501(c)3 non-profit organization, Culture Shock Washington, D.C. She has worked with several arts youth and community outreach programs, including Banner Neighborhoods, Sitar Arts Center, and So Others Might Eat ( S.O.M.E.). Kimberley also recently served as Executive Producer for the 2013 International Choreographer’s Showcase held in Washington, D.C.

Kimberley currently resides in Daly City, California and is pursuing her M.F.A. in Art at San Francisco State University. She is the recipient of the 2014 Sher-Right Scholarship and 2014 Jack and Gertrude Murphy Award, administered by The San Francisco Foundation. She will be showing in an exhibition of the Murphy and Cadogan awardees at the SOMArts Cultural Center in San Francisco, California, opening on September 3, 2014.

 

Photograph by Joseph Mintz. 

This series of self-portrait installations is in dialogue with Carlos Villa's "Tat2" pieces that appropriated Maori facial tattoo traditions to explore his identity as a Filipino American in the 1970s. Villa’s appropriation of Maori tattooing was a reflection on the inaccessibility to information of Filipino Art History and Indigenous Filipino traditions.

Considering how technology and the Internet has aided my search for self and placing myself within today’s ethnic and cultural landscape, I manipulate and construct images through digital processes that allow me to explore the complex burden in our relationships with images and identity.

Through research of Wang Od, the last Philippine headhunting tattoo artist, and traditional Kalinga tattooing traditions in women, I continue Villa’s exploration of identity, opening a critical discussion on how information and images have been embedded into our bodies, and how our image-informed identities are then performed in our everyday lives.

location

X
  • Born: Silver Spring, MD, USA
  • Based: Daly City, CA, USA

comments

X

Mediated Diasporas: Material Translations of the Philippines in a Globalized World

Deirdre McKay Mark Johnson

2011 Criticism 16 pages. Courtesy of IP Publishing.

South East Asia Research 19. 2 (2011): 181-196.

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X

Deirdre McKay

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Dr. McKay is a Senior Lecturer in Social Geography and Environmental Politics at Keele University. Previously she held appointments as a Postdoctoral Fellow and then Research Fellow in the School of Pacific and Asian Studies, Australian National University. McKay earned her B.A. (1st Hons) in Biology and Master's in Environmental Studies from Dalhousie University (Canada) and a Ph.D. in Geography from the University of British Columbia. Dr. McKay's research draws on both social/cultural geography and social anthropology to explore people's place-based experiences of globalization and development. She is interested in the long-distance relations that connect outmigrants to their sending communities, changes in local livelihoods and the possibilities for locally sustainable, alternative economic development, and environmental degradation linked to migration. Dr. McKay does fieldwork in the global South and also with migrant communities from developing areas who have moved into the world's global cities. Much of her work has been conducted with people who originate in indigenous villages in the northern Philippines. Dr. McKay is the author of numerous articles, chapters, and edited collections. Her book, Global Filipinos: Migrants' Lives in the Virtual Village, was published in 2012 by Indiana University Press.

contributor

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Mark Johnson

b. 1963
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I was born in Oklahoma in 1963, but I spent most of my childhood in the Southern Philippines, living in Sulu and Zamboanga.  It is that early experience that underpins my continuing interest in and research about Filipino Muslims in particular.  After taking my first degree in California, I moved subsequently to the U.K. where I undertook postgraduate training, first in Archaeology and then Anthropology, at University College London.

My research interests and writing are focused broadly around the issues of gender/sexuality, landscape and material culture, movement and transnationalism. I have conducted ethnographic research in the Philippines, Vietnam, Costa Rica and, more recently, Saudi Arabia. My original research in the Philippines was concerned with gender and sexual diversity in the context of both real and imagined movements of people and the growth of ethno-nationalist discourse. Recent Arts and Humanities Research Council-funded research focused on the place of religion in the experiences of Filipino migrant workers in the Middle East and Saudi Arabia in particular.

Books

2011. Diasporic Journeys, Ritual, and Normativity among Asian Migrant Women. London: Routledge. (with Pnina Werbner, eds.)

1997. Beauty and Power:  Transgendering and Cultural Transformation in the Southern Philippines.  Oxford: Berg.

Edited Journal Issues

2012.  Queer Asian Subjects:  Transgressive Sexualities and Heteronormative Meanings.  Asian Studies Review 36(4) December. (with E. Blackwood, eds.)

2011. Mediated Diasporas: Material Translation of the Philippines in a Globalized World. South East Asia Research 19(2): 181-341. (with D. McKay, eds)

2010.  Diasporic Encounters, Sacred Journeys:  Ritual, Normativity and the Religious Imagination among International Asian Migrant Women. Special double issue of The Asia Pacific Journal of Anthropology11 (3-4): 205-448.  (with P. Werbner, eds.)

2000.  Gender and Sexual Diversity in East and South-East Asia. Culture, Health and Sexuality 2(4): 361-472. (with P. Jackson, eds.)

location

X
  • Born: Oklahoma, USA
  • Based: Hull, England, UK

comments

X

SPAM/MAPS: Oceania

Michael Arcega

2007 Spam luncheon meat 48 in. x 36 in. x 2 in. Courtesy of the artist.

contributor

X

Michael Arcega

Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced.

Michael has a B.F.A. from the San Francisco Art Institute and an M.F.A. from Stanford University. His work has been exhibited at venues including the Museum of Contemporary Art in San Diego, the de Young Museum in San Francisco, Yerba Buena Center for the Arts, the Orange County Museum of Art, the Contemporary Museum in Honolulu, the Museum of Fine Arts in Houston, the Cue Arts Foundation, and the Asia Society in New York among many others. He was recently awarded a 2012 Guggenheim Fellowship in Fine Arts. Michael is currently a Resident Fellow at Bemis Center for Contemporary Art in Omaha, Nebraska.

As an interdisciplinary artist working in sculpture and installation, my work revolves largely around language and research. Directly informed by Historic events, material significance, and the format of jokes, my subject matter deals with sociopolitical circumstances where power relations are unbalanced.

I seek out cultural and historic markers embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog is infused with Spanish and English words, lending itself to verbal mutation. This malleability results in wordplay and jokes that transform words like Persuading to First Wedding, Tenacious to Tennis Shoes, and Masturbation to Mass Starvation. As a "Naturalized American," my practice draws from the sensibility of the insider and outsider-- making work from a constantly shifting position.

location

X
  • Born: Manila, Philippines
  • Based: San Francisco, CA, USA

comments

X

SPAM/MAPS: World

Michael Arcega

2001 Spam luncheon meat and pins 36 in. x 48 in. x 2 in. Courtesy of the artist.

contributor

X

Michael Arcega

Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced.

Michael has a B.F.A. from the San Francisco Art Institute and an M.F.A. from Stanford University. His work has been exhibited at venues including the Museum of Contemporary Art in San Diego, the de Young Museum in San Francisco, Yerba Buena Center for the Arts, the Orange County Museum of Art, the Contemporary Museum in Honolulu, the Museum of Fine Arts in Houston, the Cue Arts Foundation, and the Asia Society in New York among many others. He was recently awarded a 2012 Guggenheim Fellowship in Fine Arts. Michael is currently a Resident Fellow at Bemis Center for Contemporary Art in Omaha, Nebraska.

As an interdisciplinary artist working in sculpture and installation, my work revolves largely around language and research. Directly informed by Historic events, material significance, and the format of jokes, my subject matter deals with sociopolitical circumstances where power relations are unbalanced.

I seek out cultural and historic markers embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog is infused with Spanish and English words, lending itself to verbal mutation. This malleability results in wordplay and jokes that transform words like Persuading to First Wedding, Tenacious to Tennis Shoes, and Masturbation to Mass Starvation. As a "Naturalized American," my practice draws from the sensibility of the insider and outsider-- making work from a constantly shifting position.

location

X
  • Born: Manila, Philippines
  • Based: San Francisco, CA, USA

comments

X

SPAM/MAPS: World (detail)

Michael Arcega

2001 Spam luncheon meat and pins 36 in. x 48 in. x 2 in. Courtesy of the artist.

contributor

X

Michael Arcega

Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced.

Michael has a B.F.A. from the San Francisco Art Institute and an M.F.A. from Stanford University. His work has been exhibited at venues including the Museum of Contemporary Art in San Diego, the de Young Museum in San Francisco, Yerba Buena Center for the Arts, the Orange County Museum of Art, the Contemporary Museum in Honolulu, the Museum of Fine Arts in Houston, the Cue Arts Foundation, and the Asia Society in New York among many others. He was recently awarded a 2012 Guggenheim Fellowship in Fine Arts. Michael is currently a Resident Fellow at Bemis Center for Contemporary Art in Omaha, Nebraska.

As an interdisciplinary artist working in sculpture and installation, my work revolves largely around language and research. Directly informed by Historic events, material significance, and the format of jokes, my subject matter deals with sociopolitical circumstances where power relations are unbalanced.

I seek out cultural and historic markers embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog is infused with Spanish and English words, lending itself to verbal mutation. This malleability results in wordplay and jokes that transform words like Persuading to First Wedding, Tenacious to Tennis Shoes, and Masturbation to Mass Starvation. As a "Naturalized American," my practice draws from the sensibility of the insider and outsider-- making work from a constantly shifting position.

location

X
  • Born: Manila, Philippines
  • Based: San Francisco, CA, USA

comments

X