Uploaded February 6, 2020
sa 2020 Kamias Triennial
a prompt by diskurso.com
the triennial's poster
IN CASE you don't know, the Kamias Triennial that will open in Quezon City this February 7 and last until February 22 will already be the third such event. And this time it will involve several QC venues including Green Papaya, Load Na Dito, Los Otros, Project 20, the University of the Philippines Film Institute, and the Mountain Standard Time Performative Art Festival.
This year the event has the title Sawsawan: Conversations in the Dirty Kitchen, with curators Allison Collins, Canadian-Filipino (or Filipino-Canadian) Patrick Cruz, and Canadian curator Su-Ying Lee organizing the event's contents.
This time, too, participating artists from mainly seven countries will include Lesley-Anne Cao (Philippines), Fabiola Carranza (Canada/Costa Rica/USA), Marcos Castro (Mexico), Raven Chacon (USA), Gabi Dao (Can), Elisa Ferrari (Can/Italy), Fastwurms (Can), Carolina Fusilier (Argentina/Mex), Cristóbal Gracia (Mex), the artist collective Maharlika (Catalina Africa, Zeus Bascon, Tanya Villanueva) (Phi), Miko Revereza (Phi), Issay Rodriguez (Phi), Scott Rogers (Can/UK), Sarah Rose (New Zealand/UK), Carolina Magis Weinberg (Mex), the Prras! collective (Nelly César & Tamara Ibarra) (Mex), and Jacobo Zambrano (Venezuela).
Other contributors to the triennial include Rosemarie Roque (Phi); Grrrl Gang Manila (Phi); and Stride Gallery/M:ST, Calgary, artist-in-residence Stephanie Comilang.
THIS third iteration of the Kamias Triennial (codenamed KT3) will feature exhibitions, performances, film and video screenings, discussions, and more, with all events offered for free and open to the public.
Here's how the event's press release goes, which would also read as the reason why we're prompting our readers to check the event out, if only so diskursos (discourses) could occur around the anti-Goliath issues and aims the event has been putting on the table:
"Although the word 'triennial' simply means an occurrence once of once every three years, it has become synonymous with institutionalized, powerful art-world events. Against such expectations, Kamias takes place in a 'developing' country favouring a domestic scale, artist-run culture, accessible events and participants selected for their potential to gather together to generate new possibilities. The project is situated to consider the notion of globalization as a now-established norm, yet one where uneven national relationships often gives authority to topics defined in the West. Since the Kamias Triennial was founded by Canadian-Filipino artist Patrick Cruz in 2014, the event has continued to take place in the dedicated Kamias Special Projects space (KSP), adjacent to the Cruz family home, and across partner venues in Quezon City, Metro Manila. The domestic-cum-public location of the KSP space has remained the heart of the Kamias Triennial signifying deep roots and attentiveness to human scale and scope.
"The title of KT3, 'Sawsawan: Conversations in the Dirty Kitchen' refers to sawsawan (dipping sauce) that Filipino cultural writer Doreen G. Fernandez considered representative of a cultural ethos of sharing labour, authorship and power. 'Dirty kitchen' is the name for the outdoor kitchen where the foundational, but sometimes messy task of cooking is done. It is an extension of the home where nourishment takes place and friends and family gather. The title is a metaphoric underscoring of practices that resist colonialism and a stated expression of our foundational value, the domestic as a figurative and literal space. It foregrounds our intention to gather where we can engage in messy, complex and nourishing conversations generated by the many voices of our artists and audiences. We arrive at the ancestral kitchen, the KSP project space to consider the 3rd Triennial’s movements of reverse migration across the Global South—Mexico to the Philippines and across the north-south divide from Canadian and Eurpoean contexts to a shared space to engage related concerns of context.
"The Kamias Triennial positions the domestic scale, both architecturally and as an ethos, as a space for contributing to contemporary cultural production where being, thinking and making together carry the same weight as exhibiting and viewing. The Triennial is produced by the Kamias Special Projects Collective--our acronym KSP references a Tagalog language abbreviation, which translates as 'kulang sa pansin', meaning lack of attention. This deliberate citation refers to the nuanced, but urgent and pressing need to spend time with the overlooked problems and challenges that we face as cultural producers and consumers. As implied by the state of 'lacking attention', rather than turning our attention towards replicating the mainstream art-world, we are attentive to creative and intellectual work realized through lateral dialogues across cultures, open-ended community practices, and experimental curatorial strategies on an intimate scale."
Take that, Art Fair Philippines? [d]
[For more information about the triennial's calendar of events, visit the website: www.kamiasspecialprojects.com/ or contact: firstname.lastname@example.org]
IN CASE you don't know, the Kamias Triennial that will open in Quezon City this February 7 and last until February 22 will already be the third such event.
a view of one of the exhibitions during the 2nd Kamias Triennial. (Photo courtesy of Kamias Triennial)
"The Kamias Triennial positions the domestic scale, both architecturally and as an ethos, as a space for contributing to contemporary cultural production where being, thinking and making together carry the same weight as exhibiting and viewing."
Text (c) copyright 2020 diskurso.com
© 2014-2017 diskurso art magazine online. all rights reserved.