{"id":22,"date":"2020-08-26T14:13:04","date_gmt":"2020-08-26T18:13:04","guid":{"rendered":"https:\/\/marissalargo.com\/new\/?page_id=22"},"modified":"2023-05-10T17:22:57","modified_gmt":"2023-05-10T21:22:57","slug":"curatorial-projects","status":"publish","type":"page","link":"https:\/\/marissalargo.com\/new\/curatorial-projects\/","title":{"rendered":"Curatorial Projects"},"content":{"rendered":"\t\t
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Curatorial Projects<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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2022<\/h3>

X Marks the Spot: Filipinx Futurities<\/em><\/strong><\/a><\/p>

X Marks the Spot<\/em><\/strong>\u00a0takes the\u00a0X\u00a0in \u201cFilipinx\u201d as a theoretical and methodological intervention in curation. The X signals an intergenerational relationality \u2013 a sort of \u201ccall and response\u201d \u2013 between recognized and rising practitioners working on Turtle Island that speaks to the legacies, influences, and transformations of Filipinx visual art in last decade. These relationalities generously explore themes such as spiritual healing and hauntings (Cruz x Garay), queer recuperations of colonial gazes and consumerist desire (Manapul x Velasco), and migration, movement, and transcendence (Gonzales x Villanueva).<\/p>

Marking \u201cthe spot\u201d identifies our particular moment in time and space that gives rise to aesthetic possibilities that imagine and embody diasporic Filipinx subjectivity. They transcend nationhood, normativity, capitalist aspirations, and colonial temporality. These investigations take form through sculpture, painting, video, and photocollage and propose alternative engagements with space, place, materiality, selfhood, and community that defy modernism\u2019s limiting ideologies. Beyond identitarian politics,\u00a0X Marks the Spot<\/em><\/strong>,\u00a0gestures to the multifarious ways in which diasporic Filipinx artists invent aesthetic futurities as an emancipatory practice.<\/p>

\u2014 Visit filipinext.ca\/exhibition<\/strong><\/a> to learn more<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Photo credit: Revill Villanueva<\/em><\/p>

2021<\/h3>

Elusive Desires<\/em><\/strong><\/a>. b<\/em> traces the intimacies and (be)longings of two queer Asian diasporic artists: Ness Lee (they\/she) and Lan Yee (they\/theirs). Both descendants of the Chinese diaspora (Hakka and Cantonese, respectively), Lee and Yee queer mythologies of the nation, settler colonial imaginaries that pervade Canadian art history, and trouble notions of seamless assimilation into a society that leaves much to be desired.<\/p>

The artists\u2019 desires and affects, as embodied through illustration, painting, installation, embroidery, and sculpture, visualize gendered, sexual, and racial difference, but do so in alluring and sometimes, ironic ways. The promises of affirmation offered by conventional institutions \u2013 as in archives, citizenship, and the nuclear family \u2013 are elusive for these two artists, who instead, propose affinities, diasporic kinships, and relationalities that centre care and equity.<\/p>

Elusive Desires<\/i><\/a> seeks to create a space in which the often-obscured subjectivities and intimacies of queer Asian diaspora are brought to the fore in the archive, gallery, and public realm.<\/p>

\u2014 Visit elusivedesires.com<\/strong><\/a> to see the virtual gallery<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\"1.<\/figure><\/a><\/div>
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Photo credit: Toni Hafkenscheid<\/em><\/p>

\u00a0<\/p>

Matatag<\/em><\/strong><\/a>. October 2021 \u2013 May 2022. A Space Gallery, 401 Richmond St. W. Toronto, Ontario.<\/p>

Matatag<\/a> – steadfast amidst challenges – is a photo series by 78 Filipina nurses, personal support workers, and in-home caregivers during COVID-19.<\/p>

Using participatory action research and photovoice, care workers captured everyday moments of struggle while caring for the most vulnerable. They did so despite pandemic-related challenges, such as a lack of PPEs and sick days, intensified working requirements and precarious citizenship.<\/p>

Through kwentuhan (talk-story) sessions, they highlight what it is like to navigate work, immigration processes, and family separation and reunification. Above all, their narratives of hope, faith, and strength shine through.<\/p>

\u2014 Visit filipinacareworkers.com<\/strong><\/a> to learn more<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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2017<\/h3>

Unsettling Imaginaries<\/i><\/strong><\/a>. Nov. 3 – Dec. 15, 2017. A Space Gallery, 401 Richmond Ave., Toronto, Ontario.<\/p>

Exhibition of four Filipinx artists in Canada: Kuh Del Rosario (Vancouver\/Batan), Julius Poncelet Manapul (Toronto), Marigold Santos (Montreal\/Calgary), and Leslie Supnet (Winnipeg\/Toronto). Art work expresses Filipinx subjectivity in excess to the dominant stereotypes that persist in the midst of racist and colonial discourses that are enmeshed in the political, social, and cultural dimensions of Canadian society.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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2015<\/h3>

Visualizing the Intimate in Filipino\/a Lives in the Diaspora<\/strong>.<\/i>\u00a0Jan. 23 \u2013 Feb. 15, 2015. Open Gallery, 48 McCaul St., Ontario College of Art and Design University.<\/p>

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.<\/p>

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2014<\/h3>

Cabinet of Queeriosities. The Art of Julius Manapul<\/strong>.<\/i>\u00a0June 21 \u2013 27th, 2014. Studio 386, 386 Ontario Street, Toronto, ON.<\/p>

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.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Photo Credit: Jane Dennis Moore<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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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\u2019s 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.<\/p>\n

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\u2019s exquisite, highly crafted works of art.<\/p>\n

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\u2019s artistic intervention in WorldPride is an assertion of his experiences from the margins of the margin in the global city.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Curatorial Projects 2022 X Marks the Spot: Filipinx Futurities X Marks the Spot\u00a0takes the\u00a0X\u00a0in \u201cFilipinx\u201d as a theoretical and methodological intervention in curation. The X signals an intergenerational relationality \u2013 a sort of \u201ccall and response\u201d \u2013 between recognized and rising practitioners working on Turtle Island that speaks to the legacies, influences, and transformations of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-22","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/pages\/22","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/comments?post=22"}],"version-history":[{"count":194,"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/pages\/22\/revisions"}],"predecessor-version":[{"id":2524,"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/pages\/22\/revisions\/2524"}],"wp:attachment":[{"href":"https:\/\/marissalargo.com\/new\/wp-json\/wp\/v2\/media?parent=22"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}