Marissa Largo

Curatorial Projects

2015
Visualizing the Intimate in Filipino/a Lives in the Diaspora. Jan. 23 – Feb. 15, 2015. Open Gallery, 48 McCaul St., Ontario College of Art and Design University. Co-curated with Dr. Robert Diaz. Organized the exhibition of 12 Filipino/a Canadian artists, wrote the curatorial essay, organized the gallery attendant schedule, and presented at an artist dialogue.
2014
Cabinet of Queeriosities. The Art of Julius Manapul. June 21 – 27th, 2014. Studio 386, 386 Ontario Street, Toronto, ON. An Affiliate Event of WorldPride 2014 Toronto. Wrote curatorial essay, facilitated the artist/curator talk and guided tour, co-ordinated volunteers, and led the general administration of the exhibition.
 

The Cabinet of Queeriosities (2014) is a new body of work by Philippine-born, Toronto-based visual artist Julius Poncelet Manapul. An Affiliate Event of WorldPride 2014 Toronto, this artistic intervention spans three spaces of first floor of Studio 386 (386 Ontario Street, just south-east of the Church Wellesley Village) and consists of installation, sculpture, video projection, digital art, and mixed media works which interrogate the artist’s experiences of racialized queerness in the age of globalization and diaspora. Using visual vocabularies culled from colonial and Indigenous cultures in the Philippines, abstracted gay pornography, and found everyday objects, Manapul constructs stunning hybrid creations that belie first impressions and challenge homonormative and heteronomative gazes.

Curated by artist and scholar Marissa Largo, this intervention includes an artist/curator talk that will provide opportunities to consider the experiences of queers of colour and artistic production in the midst of mainstream representations proliferated by the Internet and popular culture. The guided tour offers an up-close and behind-the-scenes look at Manapul’s exquisite, highly crafted works of art.

In light of WorldPride, Manapul mobilizes compelling and subversive visual strategies to assert that queerness is not a universal experience, but is mediated by race, class, culture, and other subjectivities. These are sometimes unaccounted for by globalized discourses of queerness, which purport solidarity and pride at the expense of difference. Manapul’s artistic intervention in WorldPride is an assertion of his experiences from the margins of the margin in the global city.