Inteerruption: video art from the Philippines 1998-2017

Samson, Lourdes Abela (2018) Inteerruption: video art from the Philippines 1998-2017. Masters thesis, LASALLE College of the Arts.

LSamson_Interruption-VideoArtFromThePhilippines1998-2017_27Apr (JT Signed).pdf - Published Version
Available under License Creative Commons Attribution Non-commercial No Derivatives.

| Preview
Item Type: Thesis (Masters)
Title: Inteerruption: video art from the Philippines 1998-2017

Video art from the Philippines has gained currency on the global stage in recent years. While its inclusion in prestigious international exhibitions and recognition from various award- giving bodies might suggest that video art is now part of mainstream contemporary art practices in the Philippines, this thesis asserts that it still remains very much on the periphery. These global turns have served to highlight the current dearth of art historical scholarship on video art from the Philippines. This study therefore seeks to shed light on the following key questions: 1) How did video art emerge in the Philippines? 2) How is it being supported locally? 3) How can it continue to develop in the future?
Through primary interviews with key contemporary artists and curators who have consistently worked with the medium of video, this thesis traces video art’s emergence from the alternative visual cultures of experimental film and conceptual art from the late 1990s till the present. It also analyzes the ecosystem supporting video art to identify the factors that have fueled Philippine video art’s successes or served to limit its wider acceptance amongst local audiences.
Over the past 20 years, video has been used in various ways to reflect not just social issues but also to explore notions of time and space, memory and identity, performativity and process. Video art’s development over this period was sustained by the established educative and commercial infrastructure for film and visual arts, as well as financial and organizational support provided by public and private institutions. On the other hand, video art’s wider appreciation by audiences was challenged by the local market’s continued preference for painting and concerns on the medium’s reproducibility, the economic and logistical difficulties of organizing dedicated video art exhibitions, and the absence of an institution to drive archiving and research initiatives.
In light of these structural challenges, what can the future be for video art in the Philippines? Can these “interruptions” even be overcome? Recent initiatives by artists and independent curators suggest that the path towards this future must first be grounded in the past. Such artist-run initiatives can become the common ground by which the various players in the ecosystem might piece together the origins of video art, from anecdotes of lost files and past exhibitions, and begin to build the discourse that will sustain its future.

Subjects: Art History
Divisions: Faculty of Fine Arts > Master - Asian Art Histories
Depositing User: Ms Ashalatha Krishnan
Date Deposited: 13 May 2019 07:30
Last Modified: 13 May 2019 07:31
View Item View Item