Dayang Yraola is an Associate Professor at the Department of Theory, College of Fine Arts, University of the Philippines. She was awarded 2021 Centennial Professorial Chair.
She has a Bachelor of Arts in Philippines Studies and Master of Arts in Museum Studies from the University of the Philippines, and Doctor of Philosophy in Cultural Studies from Lingnan University Hong Kong.
Her curatorial work is on art as expanded practice involving residencies, performances, exhibits and archives. This includes research on ecology of art practices (artist initiatives/ collectives, art residencies, sound practice communities).
From July 24–August 4, 2018, BAP hosted Namamahay//Home(ing), a flash curatorial residency with BAP’s inaugural curator in resident, Dayang Yraola.
Dayang’s curatorial mandate is that artists are not limited by the unfamiliar or lack of resources but rather are compelled to create despite of it. Within these 12 days, eight media artists conceptualized, collaborated and executed a project in collaboration with the craftsmen and staff at Las Casas Filipinas de Acuzar in addition to holding workshops with students from Bagac National High School and GMRC. The resulting projects were presented to the public on August 3rd and 4th.
Mulino by Cheuk Wing Nam (also known as Chang May Wing Joy, Hong Kong)
Cheuk Wing Nam combined multimedia and sound practice to create kinetic sculptures. The windmills were made from wood and other different materials acquired from the workshop in collaboration with the Las Casas furniture making worskhop and senior carpenter Manong Francisco. When cranked, the turbines produce tempest sounds. The artist mentions that in Hong Kong, a similar device as a mulino is used for praying for good fortune. Created during the passing of tropical storm, Wing aims for this installation to bring good fortune to the Philippines too.
You may… by Suzy Sulaiman and Teja Sofea (Malaysia)
Working with the mosaic artisans, Suzy and Teja made nine mosaic plates with images imagined by the characteristics of Casa Lubao. Suzy was drawn to working with this particular workshop because it mostly composed of women and children. For her, it is a great symbolism of her collaboration with her daughter, Teja.
Angle of Incidence by Derek Tumala (Philippines)
Derek’s live audio-visual performance, “Angle of Incidence” juxtaposes a collection of audio and visual clips which he shot in a span of ten days around Bagac and neighboring towns.
Casa Binan: Reimagined by Fairuz Sulaiman (Indonesia)
Fairuz worked with performers from the Las Casas dance troupe to do a live shadow play retelling the stories of Casa Binan. Inspired by the furniture and objects inside the house, they collectively authored three stories tackling on the themes of love, perseverance, and duty.
A Piece of Mango’s by Tetsuya Umeda (Japan)
Working with Las Casas tour guides, Tetsuya created a tour performance about interpretation. “A Piece of Mango’s” is derived from the recurring imagery of a woman with a mango in paintings found in different houses in Las Casas. The guides led a small group of 10 people to tour around Casa Binan. The controversial love story within the house’s history unfolds and mangos appear and disappear with each turn of the corner. Playing on the themes of history, truths, myths and authenticity, Tetsuya leaves it to the tour participant to decide “what is authentic or not.”
153km Away by Mars Bugaoan (Philippines)
Mars collaborated with the mosaic workshop. He used fiberglass trimmings and quilted them together in irregular shapes with a variety of colors. He then placed these chained sections throughout various interior and exterior places throughout Las Casas. Mars’s intention for the work is a movable installation art that can be installed all over the place. He also made a video documentation of the meandering of this work within Las Casas throughout the duration of the residency.
Pamamahay by Katti Sta. Ana (Philippines)
Katti’s “Pamamahay” was the closing ritual for “Namamahay.” With Kuya Tonton, senior welder, she designed a topiary in the shape of a paniki (Philipppine giant fruit bat or Golden Crowned Flying Fox) made out of scrap metal soldered together with a tangisan-bayawak planted inside the sculpture. These two represent the symbiotic relationship of each other: paniki feeds on figs of the tangisan-bayawak. The closing ritual commenced with a prayer led and sung by all the participating artists and GMRC students. It was then followed by the lighting of the terracotta lanterns that were made in collaboration with the brick making workshop. The ritual was concluded with “Hol Doyon Kuy D’wata,” a song that praises the Creator.
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