Photo: Lawrence Carlos, Kilapsaw: The Delirium Sequence (80 mins), double exposure photograph, 2016. Documentation of the performance Kilapsaw: Everything Must Go (2016) by Noel Ed De Leon, Kulay Labitigan, Lawrence Carlos, London, 2016.

Lecture by Patrick Flores and Performance by Noel Ed De Leon

Event,


Practical information

Language
Event in English
Duration
Reservation
Reservation required
Admission
5 €


Event overview

6–7 pm
Performance
Noel Ed De Leon, Feast of the Predator

7–8 pm
Lecture
Prof. Patrick Flores, To Demystify, Play, Manifest, and Take a Step Together: Annotations on the Performative Encounter in Southeast Asia

Noel Ed De Leon, Feast of the Predator (2019)

Feast of the Predator is a new durational performance by Philippines-born artist Noel Ed De Leon which explores notions of power, confrontation and ceremony. Over the past decade, De Leon has developed a powerful performance practice, framed by his passion for collecting antique and historical objects from Britain and the Philippines. In his works, these objects are interwoven into conceptually-rich performances which speak to the histories of conflict and confluence intertwining Europe and Southeast Asia. For Feast of the Predator, a site-specific work developed in response to the Southeast Asia Performance Collection, De Leon takes up the material of fur in order to foster a conversation between the locality of Haus der Kunst in Munich and the artist’s hometown of Bautista in the province of Pangasinan in the Philippines. Historically, fur has played a key role symbolizing both power and affluence, as well as ethnic and religious belonging. Yet, underlying these social and cultural uses, fur also symbolizes predatory instincts, concerns for animal rights, loss of biodiversity and ecological destruction, which echo strongly in the present predicament of the Philippines. This live performance combines sound and installation-making in order to explore the role of attire and camouflage in constructions of nation-building and decolonization in the Philippines. 

Noel Ed De Leon (b. 1976, Philippines) is a visual and performance artist whose interests span archiving as artistic practice, installation, art made with readymade and found objects, and multimedia sculpture. De Leon’s work explores the themes of memory, DNA, remembrance and mapping traces of history through material objects. He holds a degree in Architecture and is an avid collector of memorabilia and original artefacts from the First and Second World War. He has presented performances and installations as part of the London Biennale (2014, 2016), at the A-Side B-Side Gallery, London (2016), the Juan Miro Foundation (2017), the Live Art Development Agency, London (2017), Framer Framed, Amsterdam (2018), and is currently developing a solo exhibition curated by Patrick Flores at the Jorge B. Vargas Museum and Filipiniana Research Center in Manila (2019).


Patrick D. Flores, To Demystify, Play, Manifest, and Take a Step Together: Annotations on the Performative Encounter in Southeast Asia

This talk initiates a conversation on tendencies that generate a condition in which a performative encounter takes place between artists and their audience in Southeast Asia, particularly in the Philippines, Singapore, and Thailand. Such an encounter partly expresses a desire to recover the encounter from the interests of an artworld that is perceived to be governed by an exclusionary bureaucracy. Thus, the performative gesture contributes to release art into a larger lifeworld through critique, spontaneity, self-initiation, and collective action. In working through inhibitions, the exhibition as a project, which includes the festival and the biennale, ramifies through the liveliness of the performative.

Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015. He is the Artistic Director of Singapore Biennale 2019.

Prof. Patrick Flores
Prof. Patrick Flores

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