
Poklong Anading
Bio

Poklong Anading (b. 1975, Manila, Philippines. Lives and works in Manila) works with a wide range of mediums and is acclaimed for his pieces that investigate photography and travel. Fascinated with the process of creation and permutation, Anading explores different mediums to engage with a range of sociopolitical and environmental questions. He is not driven by an overt agenda, but prefers to let his mind wander—thinking with and through his materials as they undergo their transformations. He frequently uses found objects and discarded materials that lead him to investigate notions of worth and value, and to explore what it means for art to exist inside and beyond capitalist production.
Poklong Anading graduated from the University of the Philippines in 1999 and has been recognized for his work both nationally and internationally. Anading has participated in major Asian Biennials and international exhibitions and has been invited by notable curators such as Mami Kataoka, Alia Swastika, Eugene Tan, and June Yap. His work Counter Acts I was collected and exhibited by the Guggenheim Foundation New York and included in the exhibition No Country: Contemporary Art for South and Southeast Asia in the Center for Contemporary Art in Singapore. Anading has also received numerous awards, including the 12th Gawad CCP for Experimental Video in 2000 and the Thirteen Artists Awards in 2006. His works can be found in the permanent collections of institutions such as the Singapore Art Museum, the Mori Art Museum, and the Guggenheim Foundation.
Selected Works
Selected Works






Some Rooms, Osage Gallery Hong Kong
Curated by Eugene Tan and Isabel Ching


carpenter to use—is wrapped by Anading in stainless steel to celebrate its ad hoc nature, which embodies the essence of its form. These objects, which are
necessitated into existence for the purpose of aiding the construction of another form (a part of a wall, a house, or a building) disappear against the realization of a more refined and ideal architecture. but the andamio’s form—arrived at with exigency, in random fashion, in a multitude of shapes and sizes, and in odd formations to guarantee its sturdiness—as already a contradicting sight to behold, is enveloped further in such luster to signify the enigma of their presence, and ultimately—their disappearance.
Selected Exhibitions
Selected Press
- Artnet News | Art Industry News: Movers & Shakers
- MoMA | In living we draw out the light
- Asia Art Archive | Interview with Poklong Anading
- The Artling | Poklong Anading at 1335 MABINI
- South China Morning Post | Society’s waste is art for this Filipino
- ASEF.org | On selfies, sewers, and art residencies | Q&A with Poklong Anading
- The New York Times | 'No Country,’ New Asian Art at the Guggenheim
- Studio Das Weisse Haus | Weekly Conversations... with Poklong Anading