Archive for the ‘Galleon Trade’ Category

final na!

Friday, December 17th, 2010

Sayang! Missed a REALLY fun holiday/closing party at Green Papaya Art Projects last night…
I either need to become a moneybags jetsetter or get a whole lot better at astral projection.




OMG! And who would ever think Green Papaya Art Projects will last another year to celebrate yet again another year-end party! To think the world almost collapsed at the beginning of 2010. Wasak! Yes. It’s the final party for the year. And it’s our (my) way of saying we will be here definitely in 2011. Life goes on. And a happy life goes on and on and on and on and on… I guess you all know know whose voice this is. It’s not a new voice. It’s not an old voice either. It’s just the voice that has never been heard much in these postings. The voice you will hear from now on in forthcoming postings.

Meanwhile. Thank you Carlos Villa, Jenifer Wofford+Eliza Barrios+Reanne Estrada (aka: Mail Order Brides) and Lian Ladia, Steve Eland, Ong Keng Sen, Tay Tong, Cecilia Alemani, Maximilliano Gioni, Mauricio Cattelan, Suherwan Abu, Theresia Irma, Haslinda Abdul, Antonio Luz, and all those who participated and supported Green Papaya Art Projects in No Soul For Sale Festival of the Independents in Tate Modern, The Night Festival in Singapore, Project Immemorial in Manila, Serial Killers: From Tate Modern to Taksu Singapore, and in the ongoing program The Ephemera of Disposable Goods. You were the drugs that kept us hooked to our addiction. You were the wind behind our butt. You were the flesh to our rituals. You were the air pumped into our nicotine-layered lungs. Thank you for breathing life into our stubborn desire to remain “independent” – whatever that means in this post-independent era.

And for those who have missed the previous posting:

For “The Ephemera of Disposable Goods” series, Mail Order Brides/M.O.B. and Carlos Villa offer the delights of CHATSILOG, a reflection on the desire to connect across distance and time zones, a meditation on the shortcomings of digitally-dependent communication and the false sense of security it provides, and an effort at long-distance collaboration between 4 artists inhabiting 4 different places in the world, with the goal of producing a remote project in a 5th location.

CHATSILOG  is the fourth installment of The Ephemera of Disposable Goods, a program by current curator-in resident Lian Ladia. A curatorial platform presenting collaborations between two artists of similar or dissimilar genres investigating social sculptural projects based on context of time/place, relational works and encounters. This project aims to make available to featured artists Green Papaya’s space as an open studio facility where artists and public can engage in discussions as artists go through their process of constructions and deconstructions during their open sessions. Remnants of the day’s work remain on view at the shop window leading to a final documentation and installation at the end of each project.

THANK YOU Visual Pond for the TV monitors, for the FTP Server, 24Hr Art – The Northern Territory Centre for Contemporary Art (Darwin, Australia) for the DVD players and amplified speakers and Melissa Ramos, current Green Papaya artist-in-resident, for technical curatorial assistance.

opening today!

Friday, December 10th, 2010

Prague in snowy winter-time is lovely, but oooooh don’t I wish I were in balmy, tropical Manila right now…mad props to Lian Ladia and Peewee Roldan at Green Papaya Art Projects, and to artist-in-residence Melissa Ramos, for hosting, installing and documenting this!

insane diasporic filipino clown posse

Monday, November 8th, 2010

How To Make Art With
4 People in 4  Places
for a Venue in a 5th Place

Around December 10, CHATSILOG, Mail Order Brides/M.O.B.‘s collaborative piece with Carlos Villa will open at Green Papaya Art Projects in Quezon City!

Despite my love of all things “-silog“, I didn’t choose the title this time, I swear. But for an iChat-inspired project that was only possible through the miracles of video chat and built-in cameras, it just seemed to work. And considering all the time zones involved with this project, it’s highly probable that it’s always breakfast time for someone

The show was originally scheduled for Nov 1, so we finished work on the project early (if uninentionally so), for a change. There will be some installation updates later once it’s actually in Green Papaya, but since the work is fresh on my mind, here are some deets.

This is the first new project that the Brides have done since 2005, it’s the first time we’ve collaborated with Carlos, and it’s the first time we’ve made a piece without being in each other’s actual physical presences. While we’ve spent years concocting highly impractical projects to execute, the challenges of this project were in a whole new category. Still, all of the video chats we’ve logged over the past month have been hilariously good fun, and it’s just been so heartening seeing Reanne, Eliza and Carlos, if in mediated form. I miss ‘em all something awful.

We went from a serious of initial discussions like this:

To conversations like this:

While chatting in iChat, we constructed a sort of loopy narrative of actions amongst the 4 of us, which we also recorded  individually in Photobooth. (We are not topless, BTW. Just costume-less, since our super-hero outfits are in storage in California.)

All of the individual Photobooth files were then emailed to me, so that I could edit them into 4 linked videos. I lost Final Cut Pro when my last hard drive failed, so I edited the whole thing in (shudder) iMovie. Which, after re-learning it a bit, wasn’t so bad, actually.

Syncing all 4 films up without FCP, however, was a bit challenging: I would have to export the vids and then open them as individual quicktimes, to ensure that they were syncing up with each other accurately.

I often return to this quote  from my very first blog entry here on Wofflings, as I think Emily Ignacio helped provide some inspiration for this project:

Emily Noelle Ignacio’s “Building Diaspora” (Rutgers, 2005) describes how Filipinos widely scattered around the world, have embraced the internet as a way to develop connections, community and a stronger sense of self-identity. She identifies the multiple modes in which it’s contributed to creating a more concrete sense of the Filipino diaspora, how it has helped Filipinos better understand and articulate their postcolonial situation, as well as their relationship with other communities around the world. Moving beyond, or perhaps complementing Yen Le Espiritu’s definitions of “home” (Homebound, 2003), Ignacio suggests that while “home” is ever further removed from geographic place, it is being increasingly territorialized and renegotiated in cyberspace.

from kamuning to london

Wednesday, April 7th, 2010

Support Green Papaya Art Projects!
Buy one of these two amazing sets for a mere $30 USD, and send the crew from one of the best independent art spaces in the world from the PI to the UK!

(How genius is this design, BTW? The Philippine flag mash-up with the the Union Jack? FRESH.)

This, from the GPAP gang:




Minimum Yields Maximum!

Friday, February 19th, 2010
Ooh, if I could just teleport to LA for a few hours for this exhibition! Galleonista Gina Osterloh has organized a fantastic show featuring many members of our talented Manila/Cali barkada, as well as some other phenomenal suspects from other edges of the Pacific rim. The show opens this Saturday, February 20, 7-10 pm, at Monte Vista Projects.

Monte Vista is pleased to announce Minimum Yields Maximum, a group exhibition curated by LA-based artist Gina Osterloh, featuring work by artists from the Philippines, Vietnam, and Los Angeles. Along with the exhibition, Monte Vista will host a book release event for Sarita See’s (Asian/Pacific Islander American Studies, University of Michigan) new book The Decolonized Eye: Filipino American Art and Performance. All of the author proceeds will go to the environmental justice organization FACES (Filipino American Coalition for Environmental Solidarity).

The artists in Minimum Yields Maximum work through a conceptual lens that considers everyday materials, and often engages greater social inquiries—a type of art practice that is both wide-ranging and inclusive. Many of the artists from the Philippines have studied and/or collaborated with artist and teacher Roberto Chabet. Perhaps this exhibition is a reminder that the Philippines has never hailed a singular geographical identity. It is also an appeal to shift art history, to consider a conceptual and political art model that includes the Pacific Rim. Most importantly, as an artist, curator Osterloh has felt a strong resonance between the selected works from Manila and those from the United States. The works in this exhibition refuse to be easily identified or placed geographically. Instead, they build upon structures of loss, humor, rupture, trauma, and obliteration.

More information about the exhibition is at

Scavenging the Cultural Apocalypse

Friday, February 5th, 2010

Well, as long as we’re on the subject of creative exchange between the US and the Philippines, let’s take a second to embrace this event, which doesn’t involve any Michael Jackson DVD promotion. At least, I don’t think.

It’s happening this Saturday in Manila at Carlos Celdran’s beloved Living Room/Syquia Apts (ground zero for Galleon Trade 2007‘s shenanigans), involving some folks I absolutely adore and miss to pieces:

Music of the Lost Cities: Scavenging the Cultural Apocalypse

(A Networked Sound and Visual Jam)

FEB 6 — 20:00, Living Room, Syquia Apartments

“Lost Cities” is a psycho-geographical, mixed-media narrative that explores pre and post apocalyptic urban landscapes and architectural backdrops through imaginary characters named “the sub-colonials” who move, dance, and tread through these past, futurist, and surreal environments. Collaborators in the project, that involves interactive computer-generated sound and video, are Chris Brown (Sound) and Johanna Poethig (Visuals) from Oakland, California; and Tad Ermitaño (Visuals), Caliph8 (Sound) and Malek Lopez (Sound) from Manila.
They will present their work-in-progress and discuss its artistic intentions and technical implementation with the audience.

Presenting the Oakland-Manila Art Exchange:

Chris Brown, composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Recent recordings of his music include “Boundary Layer”, a 3-CD box set of new and old computer network music by The Hub, on Tzadik, “Cutter Heads “, duets with Fred Frith on Intakt, “Talking Drum”, binaural recordings of interactive installations interleaved with environmental soundscapes on Sonore; and “Lava”, for brass percussion and electronics on Tzadik. He is also known for his recorded performances of music by Henry Cowell, Luc Ferrari, Jose Maceda, David Rosenboom, Larry Ochs, Wadada Leo Smith, and John Zorn. He has also performed and recorded extensively with The Hub, Anthony Braxton, Pauline Oliveros, Fred Frith, Rova Saxophon Quartet, Ikue Mori, Alvin Curran, William Winant, Glenn Spearman Double Trio, among others. In 2005 he created TeleSon, a composition for two ReacTable instruments performed in a joint concert between Ars Electronic in Linz, Austria and the International Computer Music Conference in Barcelona, Spain. He teaches electronic music and composition at Mills College in Oakland, where he is Co-Director of the Center for Contemporary Music (CCM).

Tad Ermitaño, media artist, writer and filmmaker. As far as the media art goes, he is interested in algorithmic/procedural editing and composition, new uses for the moving image and have been lately drifting into elementary robotics. His work “Quartet” was exhibited in the recently concluded International Symposium for Electronic Arts (ISEA) in Singapore.

Johanna Poethig, a visual, public and performance artist who has exhibited internationally and has been actively creating public art works, murals, paintings, sculpture and multimedia installations for over 20 years. She has worked in collaboration with other artists, architects, urban planners, design teams, arts commissions, specific communities and cultural groups. Poethig’s public art works intervene in the urban landscape, in neighborhoods, on freeways, in parks, hospitals, schools, homeless shelters, cultural centers, advertising venues and public buildings. She has received numerous commissions and awards for this work. Her paintings, sculpture and installations reflect her interest in satire, symbol, human nature, society and our consumerist culture. She has produced and participated in performance events that mix feminism, global politics, costume, props, cabaret, experimental music and video.

Malek Lopez, Berklee-trained virtuoso who is the principal composer for the band Drip, and half of the abrasive electronica duo Rubber Inc, who are responsible for establishing electronica in Manila. He is also a well-noted film composer.

Caliph8, beat smith, graffiti bomber and soothsayer. A lynch-pin of various groups and ensembles, he’s probably the most sought after sound manipulator in the Philippines. His output extends to more than just sniffing aerosol paint and flexing wrists with fat markers–he also creates visuals and projects them while manipulating audio and creates sound collage.

Feb. 6 — 8 PM

at the Living Room in Syquia Apts., MH del Pilar, Malate
Hosted by Living Room (Carlos Celdran) and SABAW Media Art Kitchen



Monday, June 15th, 2009

So I guess this is how my new, disembodied, Prestige Worldwide life is gonna look for a bit: here I am in Brno, but I’ve got stuff to rep for in other places in the world. Last week, I had a piece in Pop Noir, Southern Exposure’s annual fundraiser,  in San Francisco. This week, I have a piece in Cartographical Lure, Valentine Willie Fine Art‘s new exhibition, opening in Kuala Lumpur! I believe that I’ll be showing with VWFA again early next year, but this is my first opportunity to work with them, so I’m pretty thrilled about it:


So if you happen to be in Malaysia this month, maybe catch this show!
the release:

Valentine Willie Fine Art, Kuala Lumpur
Cordially invite you to the opening of

Participating Artists: Bea Camacho, Chong Kim Chiew, Gan Siong King, Jason Wee, Jenifer Wofford, Krisna Murti, Mark Salvatus, Nadiah Bamadhaj and Tiffany Chung.

On Wednesday, 17 June 2009, 8.00 pm at
1st Floor, 17 Jalan Telawi 3, Bangsar Baru
59100 Kuala Lumpur, Malaysia

The exhibition runs from 17 June until 4 July 2009.
Works can be viewed online at
*The website will be LIVE on the opening date.

Refreshments will be served
RSVP Liza +603 2284 2348 /

Gallery and Resource Room opening hours:
Monday ”“ Friday 12 noon to 8pm. Saturday 12 noon to 6pm
Closed on Sunday and public holidays

gina’s shooting blanks!

Thursday, February 19th, 2009

Woohoo! My girl and Galleon Trader-ette Gina Osterloh is having her debut LA show this weekend! Wish I could be there to catch it. Ever since her Fulbright in the Philippines last year, Gina’s been on fire. This show is an extension of works that she showed in Manila at Green Papaya Art Projects and Silverlens Gallery, and probably relates to what she’s also currently showing at Valentine Willie Fine Art in Kuala Lumpur.  I absolutely loved Gina’s photographs since well before Galleon Trade, but I extra-love them now. Catch this show if you’re around LA this month!


Gina Osterloh
Shooting Blanks
Feb. 21st ”“ March 28th, 2009
Opening Reception Saturday February 21st from 6 pm to 10 pm

Shooting Blanks is Gina Osterloh‘s debut Los Angeles solo exhibition as her photographs continue to deftly combine elements of sculpture, performance, and painting.

Building upon her use of restrained serial performances and gesture, the photographs in Shooting Blanks mark a pivotal shift in Gina Osterloh’s arc of work.  While previous work insisted upon the use of her own body, Shooting Blanks expands to incorporate other anonymous bodies, and “cast paper maché mannequins, as she transforms the human subject of her surreal photographs into a prop, devoid of identity.”

Created during her recent Fulbright Scholar Fellowship in Manila, Osterloh obsessively cut and collaged colored office bond paper, which comes in only four colors in the Philippines ”“ candy pink, blue, yellow and green, as well as recycled paper from a local factory in Manila. The result is unsettling images of life size rooms where Osterloh activates metaphors of camouflage beyond the language of war and makes visible the psychological and physical space that both the body and its environment occupy.

Gina Osterloh’s photographs are unexpected propositions that interrupt established narrative through an oblique angle.  Employing a conceptualist strategy, Osterloh incorporates a loose rule-based practice that investigates the body as material and image as language. Shooting Blanks is based upon the impotence and futility of language, dislocation, mimicry, and the desire to connect with one’s surroundings.

For more information, please contact Francois Ghebaly at or at the gallery at +1 213 625 1802

Chung King Project
945 Chung King Road
Los Angeles, CA 90012
+1 213 625 1802

lost in your eyes

Monday, November 17th, 2008

Cool cool pinoy-related international project initiated by Jon Cuyson in New York!

This, from Jon himself:

If you think you will be in the neighborhood next Sunday, catch the 2nd Year MFA Open Studios from 1 – 6pm at Watson and Prentis Hall and at 6pm there will be an exhibition opening at the Neiman Center. Read on for more details.
See you there!

Title:  “Lost In Your Eyes” Press Release
Venue:  Le Roy Neiman Gallery, Columbia University, New York, and U.S.A.
Date:   Opens November 23, 2008 at 6pm
“Lost In Your Eyes” is a collaborative exhibition that aims to comment on how authorship, mutability, subjectivity and fabrication destabilize simple representation, allowing fiction to take on the appearance of fact and vice versa. The exhibition title “Lost In Your Eyes” is the title of a famous 80′s pop song and it can also allude to a state of being when one is open to the possibilities for the creation of alternative thinking and communication. Paul Pfeiffer, Manuel Ocampo and David Medalla were invited by Jon Cuyson and Dominic Mangila to participate in this three-part traveling exhibition wherein each artist were asked to send an image, idea or an actual object that would serve as the point of entry for the curatorial direction of the exhibition. The curators then invited artists to respond to the developed ideas allowing the context of their presentations of their responses to become the explicit subject.

The accumulated works in the New York exhibition will travel to London and then Manila to interact with another group of artists who were invited to make works in response to the concepts sent by the three main artists whilst considering the works presented in New York. The resulting works from this process of regeneration and repetition will be compiled and documented which will then be presented as an artist’s book, produced at the LeRoy Neiman Center for Print Studies. The participating artists in the New York exhibition are:

Mayen Alcantara, Brandon Alvendia, Kate Bae, Camille Bailey, Elena Bajo, Michael Berryhill, Christi Birchfield, Ayla Bonfiglio, Byoungdu Choi, Shenjuti Chowdhury, Ernest Concepcion, Ellissa Corwin, Jennifer Covarrubias, Grayson Cox, Jon Cuyson, Arvin Flores, Read Flusser, Michael Gaillard, Eric Guerrero, Jose Guinto, Robert Gutierrez, Josephine Halvorson, Ann Marie Heal, Rafael Laurel, Jing Liu, Dominic Mangila, Abbie Manock, Teruyuki Matsuyama, Rita Mercedes, Maceo Montoya, Murad Mumtaz, John Orthwein, Jeana Poindexter, Alyssa Phoebus, Chaenee Rhee, Daniela Rivera, Ivan Sarenas, Ivor Shearer, Annie Shaw, Emily Mae Smith, Jomar Statkun, Paolo Vinluan, Mark Wade, Jessie Weiss, Nate Wolf

The exhibition opens November 23 and runs until December 13,2008.

no Weiwei? yes Weiwei!

Tuesday, October 28th, 2008

Dang. I took quite a little blog-vacation there. I thought that I’d be posting more, given that things have slowed down, but as it turns out, I apparently needed a blog-break, too.

There’s some catching up to do, some new stuff to report about. I’ve been enjoying teaching this semester, although the “3 different classes at 3 different campuses” thing is starting to wear me down a bit. Still, my students are fantastic and fun, and I’m really excited about a great deal of the work that they’ve been doing.

My UC Berkeley course, “Multicultural and Global Perspectives”, has been going well. It’s both studio and seminar: last week, they presented projects they’d created after reading and discussing Edward Said’s essay on exile. Now, we’re about to go into a project on borders. Whew. It’s challenging working with big old themes like these, but it’s been pretty amazing what how students have managed to make meaning of this in their work…

Through sheer dumb luck (actually, the gracious offer from the Berkeley Art Museum), we got to have internationally acclaimed artist Ai Weiwei come to our class for an hour last month, and have an informal rap session with us.

He had originally missed the date he supposed to visit us, so we assumed that we wouldn’t get to meet him. We were all set to make a sock-puppet video of all the questions we would have asked him, when he ended up re-scheduling and coming to class, after all, which was a big treat (and of course, which scuttled our sock-puppet video):

Weiwei talking a bit about his Documenta project

Papa Smurf, breaking it down

Weiwei woffwoff
Kool and the Gang

Turns out Weiwei’s a blogger, too, so a few days after his visit, he posted pics of US on HIS blog, which was pretty funny. I can’t seem to find them now, for some reason. Maybe we’re strictly confidential. Or the Chinese government had a problem with us being on his blog.

Sooo, what else: Galleon Trade BAN 5 is now down, my Market Street posters are still up. I’ve got a couple of prints in the new Kearny Street Workshop “Shifted Focus” exhibition. I’m working on a couple of residency applications, and I’m preparing to go down to Riverside for a conference. And I’ve spent the past month rebuilding and updating my website, which is why I haven’t been blogging, come to think of it! It’s been a lot of work: not hard, really, just time-consuming. Re-sizing photos, editing text, building new sections, yada yada yada.

The new site’s not too dissimilar to the original Wofflehouse, actually: the main significant difference is that Max and I rebuilt it in WordPress, so that I can now manage the content myself (before, I had to pester Max for every minor update, since I couldn’t do any of it on my own). There are still a few kinks to work out, but overall, I’m just delighted to be able to mess around with it myself, at long last! Let me know what you think of it.

New/significantly updated sections:

The Franklin Party
Motel Cucaracha


And I’m still updating the TEACHING and ALSO sections, so they’re chock-a-block with changes and new content soon, too.
OK. Enough with the woffling about wofflehouse.
Got to go get ready for school now.
Hope this stuff keeps you entertained for a few minutes.