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.

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.

linedrawing (no. 3)
2000/2022
11055
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pencil markings on canvas and video
481 x 24 in • 1221.74 x 60.96 cm
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untitled (landmarks)
2006–2017
11056
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chromogenic print and lightbox
11.0h x 13.5w x 1.0d in • 28.0h x 34.4w x 2.5d cm
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drawing in circle (no. 6)
2000/2022
11054
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painted wooden disk with pencil markings and photographs
48 in • 121.92 cm diameter (wooden disk)
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sold as a set with "drawing in circle (series)"
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water table (no. 10)
2022
11052
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etched mirror
65 cm in diameter
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SLABPAN018
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anonymity (set of 7)
2022
11053
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seven-channel video, no sound, each shown on a 24" wall-mounted flat screen
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Edition of 3 + 1AP
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ocular
2009
11060
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4-channel video
35:18, 31:32, 33:44 & 35:54 mins
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"Ocular" is a project by Poklong Anading who collected photographs of his deceased mother over the 11 years she worked as a domestic helper in Hong Kong. Using the photographs as clues, the artist retraced his mother's steps in Hong Kong and filmed the locations shown. He aimed to activate interrelations between the audience, artist, and landscape through the operation of the gaze, rather than simply capturing the pain of her loss. The presence of onlookers' shadows in the gallery raises questions about authentic representation and experience in photographic and video representations, as well as the sense of place and community's relation to space.

Some Rooms, Osage Gallery Hong Kong
Curated by Eugene Tan and Isabel Ching
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Bandilang Basahan (Volume 1)
2016-2017
11058
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found rags, hooks, fastener, aluminum, 2 sets of tents
198h x 170w x 160d cm • 77.95h x 66.93w x 62.99d in
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homage to homage (no. 14)
2014
11059
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found wooden scaffold wrapped with stainless steel
701504 x 2.297 cu cm/php
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Another object which is valorized against its disappearance is found in the work homage to homage. the lowly andamio—the makeshift scaffold for the local
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.
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/\ (series no.3)
2022
11057
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single-channel video (00:01:56 loop), no sound
Edition of 3
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Selected Exhibitions

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