Patrick D Flores
Biographic Data
| ID | 242455 |
|---|---|
| NAME | Patrick D Flores |
| GIVEN NAMES | Patrick D |
| FAMILY NAME | Flores |
| SIGNATURE | FLORES P D |
| AFFILIATIONS | University of the Philippines Diliman |
| VERIFIED | No |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
In terms of kalibutan
This essay discusses the curatorial method that engages with the concept of kalibutan, a word from the Visayas in the central Philippines that signifies both consciousness and the world, to awareness and aroundness. Seen in relation to a biennial of contemporary art in the Visayas, the said term assumes a geopoetic dimension to the degree that it shapes the curatorial form of the place at the same time that it is animated by the creative material…
Southeast Asian History as Contemporary Art
Belatedly and Finally
This essay discusses the uneasy process of mediating material that is assigned the term “Indigenous” and its variations, including “folk,” “customary,” “ethnic,” “Aboriginal,” and “First Nation,” among others. These terms are, in turn, set against a range of dominant rubrics, such as “national,” “modern,” and “Western”—a contrast that may catalyse assimilation or incite resistance. This fraught process plays out in various ways through the writin…
What is Radical
What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarshi…
The Philippine Inclination
In 2019, alongside my work in art history and curating a university museum in Manila, I directed the sixth Singapore Biennale, which coincided with the commemoration of 200 years since the arrival
Afterword
Artist Pepe Dayaw’s impetus is instructive in light of this volume’s content. His practice deems cooking ‘a process that occupies the immediate, the emergent and the local.’ For him it is a practice that provides ‘a meditative space for digesting and ruminating what is emerging.’ With this sentiment of converging as a framework for performative experiments, his art projects are events that center on cooking and how they convene ‘informal and oral…
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
The Moving Image as Incident of Disappearance
The essay probes the context of an aesthetic of disappearance in recent practice in the moving image in the Philippines. This aesthetic is not one of absence but of a marked incidence of loss, in fact, an index of brutal abduction. It focuses on how both the full-length film and the installative video work mediate the idiom of the long take and the documentary respectively, to flesh out the said aesthetic. Furthermore, the latter form references …
Towards a Lexicon of Inclinations
This article sketches out the implications of certain terms from the field of Southeast Asian discourse that refer in different ways to the notion of the “international.” These include “developmental,” “regionality/regionalist,” “reality/realism,” “Asian-African,” and “exploding galaxy.” These terms enable the local to incline outward or to widen its latitude. A discussion of these terms may lead to a fuller understanding of the relationship betw…
Total Community Response”
In 1969, the Cultural Center of the Philippines (CCP)—a grand project of First Lady Imelda Marcos—opened to the public. Ferdinand Marcos, her husband, was first elected in 1965. A contested context of artistic production, the CCP was the subject of intense critique of state power as well as a site of experimentation in form and experience. The territory on which it stands—reclaimed from the waters of Manila Bay—and its internationalist style of a…
Delicacy and Danger
This article presents various tendencies in contemporary artistic practice in Asia that responds to the political implications of the ecological. It maps out certain co-ordinates of practice in the region that is invested in the problematic of ecology and the place of the aesthetic in that procedure. Such an effort proposes trajectories of intervention in the political gesture of the cultivation of land; the re-intuition of the city as an ethnosc…
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
Post-colonial perils
The paper reflects on the tension that the process of sensing a nation brings to the formation of a post-colony in Southeast Asia. The “aesthetic” in this context creates forms of sensibility of the “national,” rendering it present in the world and endowing it with certain identity-effects. On the other hand, it also posits an exceptional singularity, at once discriminating against subjectivities that resist to be contained within the national pr…
The Masriadi effect
The essay seeks to initiate discussion on a single artist working in the contemporary world as index of both the form and the economy underlying the practice. I Nyoman Masriadi lives and works in Yogjakarta, Indonesia. His exemplary gains in the international art world through the auction circuit have raised issues about how an art market history shapes the aesthetics and politics of an art world in Southeast Asia. It looks at the discourse built…
Peripheral Visionaries
The article explores the ways in which the discourse and affect of miracle is performed in Philippine cinema, with the view of understanding how it exploits and inevitably corrupts mysticism and spiritual belief. Central to this project is the woman miracle worker, the visionary who is made to bear the exceptional gift of otherworldliness as well as the stigma of being bared as false and fictitious. This double coding becomes a productive site of…
Field Notes From Artworlds
This article explores the techniques through which art in Southeast Asia is crafted as a historical narrative. It argues that many of these are informed by the ethnographic, which is mediated in a range of ways as a method and a sensibility, broadly conceived as a reflexive framework. Deployed as a tangent to the art historical, the ethnographic is seen to be able to move away from the ‘Western’ perspective, reference locality and aspire to a pos…
Catholic Capital
Research Article| August 01 2004 Catholic Capital: Consuming Manuel Ocampo Patrick Flores Patrick Flores Search for other works by this author on: This Site Google positions (2004) 12 (3): 687–710. https://doi.org/10.1215/10679847-12-3-687 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Pa…
Field Notes From Artworlds
This article explores the techniques through which art in Southeast Asia is crafted as a historical narrative. It argues that many of these are informed by the ethnographic, which is mediated in a range of ways as a method and a sensibility, broadly conceived as a reflexive framework. Deployed as a tangent to the art historical, the ethnographic is seen to be able to move away from the ‘Western’ perspective, reference locality and aspire to a pos…
Post-colonial perils
The paper reflects on the tension that the process of sensing a nation brings to the formation of a post-colony in Southeast Asia. The “aesthetic” in this context creates forms of sensibility of the “national,” rendering it present in the world and endowing it with certain identity-effects. On the other hand, it also posits an exceptional singularity, at once discriminating against subjectivities that resist to be contained within the national pr…
Southeast Asian History as Contemporary Art
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
Total Community Response”
In 1969, the Cultural Center of the Philippines (CCP)—a grand project of First Lady Imelda Marcos—opened to the public. Ferdinand Marcos, her husband, was first elected in 1965. A contested context of artistic production, the CCP was the subject of intense critique of state power as well as a site of experimentation in form and experience. The territory on which it stands—reclaimed from the waters of Manila Bay—and its internationalist style of a…
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
Catholic Capital
Research Article| August 01 2004 Catholic Capital: Consuming Manuel Ocampo Patrick Flores Patrick Flores Search for other works by this author on: This Site Google positions (2004) 12 (3): 687–710. https://doi.org/10.1215/10679847-12-3-687 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Pa…
Catholic Capital
Research Article| August 01 2004 Catholic Capital: Consuming Manuel Ocampo Patrick Flores Patrick Flores Search for other works by this author on: This Site Google positions (2004) 12 (3): 687–710. https://doi.org/10.1215/10679847-12-3-687 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Permissions Cite Icon Cite Search Site Citation Pa…
Post-colonial perils
The paper reflects on the tension that the process of sensing a nation brings to the formation of a post-colony in Southeast Asia. The “aesthetic” in this context creates forms of sensibility of the “national,” rendering it present in the world and endowing it with certain identity-effects. On the other hand, it also posits an exceptional singularity, at once discriminating against subjectivities that resist to be contained within the national pr…
The Masriadi effect
The essay seeks to initiate discussion on a single artist working in the contemporary world as index of both the form and the economy underlying the practice. I Nyoman Masriadi lives and works in Yogjakarta, Indonesia. His exemplary gains in the international art world through the auction circuit have raised issues about how an art market history shapes the aesthetics and politics of an art world in Southeast Asia. It looks at the discourse built…
Peripheral Visionaries
The article explores the ways in which the discourse and affect of miracle is performed in Philippine cinema, with the view of understanding how it exploits and inevitably corrupts mysticism and spiritual belief. Central to this project is the woman miracle worker, the visionary who is made to bear the exceptional gift of otherworldliness as well as the stigma of being bared as false and fictitious. This double coding becomes a productive site of…
Field Notes From Artworlds
This article explores the techniques through which art in Southeast Asia is crafted as a historical narrative. It argues that many of these are informed by the ethnographic, which is mediated in a range of ways as a method and a sensibility, broadly conceived as a reflexive framework. Deployed as a tangent to the art historical, the ethnographic is seen to be able to move away from the ‘Western’ perspective, reference locality and aspire to a pos…
Delicacy and Danger
This article presents various tendencies in contemporary artistic practice in Asia that responds to the political implications of the ecological. It maps out certain co-ordinates of practice in the region that is invested in the problematic of ecology and the place of the aesthetic in that procedure. Such an effort proposes trajectories of intervention in the political gesture of the cultivation of land; the re-intuition of the city as an ethnosc…
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
Towards a Lexicon of Inclinations
This article sketches out the implications of certain terms from the field of Southeast Asian discourse that refer in different ways to the notion of the “international.” These include “developmental,” “regionality/regionalist,” “reality/realism,” “Asian-African,” and “exploding galaxy.” These terms enable the local to incline outward or to widen its latitude. A discussion of these terms may lead to a fuller understanding of the relationship betw…
Total Community Response”
In 1969, the Cultural Center of the Philippines (CCP)—a grand project of First Lady Imelda Marcos—opened to the public. Ferdinand Marcos, her husband, was first elected in 1965. A contested context of artistic production, the CCP was the subject of intense critique of state power as well as a site of experimentation in form and experience. The territory on which it stands—reclaimed from the waters of Manila Bay—and its internationalist style of a…
The Moving Image as Incident of Disappearance
The essay probes the context of an aesthetic of disappearance in recent practice in the moving image in the Philippines. This aesthetic is not one of absence but of a marked incidence of loss, in fact, an index of brutal abduction. It focuses on how both the full-length film and the installative video work mediate the idiom of the long take and the documentary respectively, to flesh out the said aesthetic. Furthermore, the latter form references …
Social Realism
Looking at the legacy of 1970s social realist painting in the Philippines, Patrick D. Flores reflects on the intersection of postcolonial discourse, historical imagination and political art practice
Afterword
Artist Pepe Dayaw’s impetus is instructive in light of this volume’s content. His practice deems cooking ‘a process that occupies the immediate, the emergent and the local.’ For him it is a practice that provides ‘a meditative space for digesting and ruminating what is emerging.’ With this sentiment of converging as a framework for performative experiments, his art projects are events that center on cooking and how they convene ‘informal and oral…
What is Radical
What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarshi…
The Philippine Inclination
In 2019, alongside my work in art history and curating a university museum in Manila, I directed the sixth Singapore Biennale, which coincided with the commemoration of 200 years since the arrival
Belatedly and Finally
This essay discusses the uneasy process of mediating material that is assigned the term “Indigenous” and its variations, including “folk,” “customary,” “ethnic,” “Aboriginal,” and “First Nation,” among others. These terms are, in turn, set against a range of dominant rubrics, such as “national,” “modern,” and “Western”—a contrast that may catalyse assimilation or incite resistance. This fraught process plays out in various ways through the writin…
In terms of kalibutan
This essay discusses the curatorial method that engages with the concept of kalibutan, a word from the Visayas in the central Philippines that signifies both consciousness and the world, to awareness and aroundness. Seen in relation to a biennial of contemporary art in the Visayas, the said term assumes a geopoetic dimension to the degree that it shapes the curatorial form of the place at the same time that it is animated by the creative material…
Southeast Asian History as Contemporary Art
Aesthetics (13 works) · Art (13 works) · Sociology (12 works) · History (11 works) · Political science (11 works) · History (9 works) · Law (9 works) · Philosophy (9 works) · Epistemology (8 works) · Philippine History and Culture (8 works)