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Issay Rodriguez
Silverlens, Manila

Installation Views

About

    We are pleased to announce Issay Rodriguez’s second solo exhibition at Silverlens. Rodriguez is also participating at the 57th Venice Biennale "Viva Arte Viva", curated by Christine Macel, opening mid-May.

    There is much emotion instilled in our habits when we find ourselves in the orbit of collectivity of the so-called oblivion. Oblivion does not simply mean a lack of remembrance or amnesia, but rather represents a way of how the past enunciates itself to the present. Thus, Issay Rodriguez takes these silent emotional signifiers of oblivion strewn across the material culture of everyday life into the gallery with utterance into her second solo exhibition at Silverlens. Stemming from her interest in the traces inscribed by the passing of time, the exhibition invites the audiences to engage in a dialogue with the tangible traces by exercising their sensory agency and haptic perception. The dialogue of the tactile eye and a sense of unbounded intimacy are explored through a series of framed works on paper; in conjunction with an installation of white fabric books, encouraging audiences to flip, to touch, and to feel.

    The subtle criticality of Rodriguez’s presentation at this exhibition demonstrates her serious engagement with the objecthood in ordinary circumstances of a household. For instance, piled up at the gallery corner, the laundry in the form of blue powder reminds its viewers of Felix Gonzalez-Torres’ Untitled (Portrait of Ross in L.A.). Unlike Gonzalez-Torres’ allegorical commemoration of his loved one, Rodriguez’s presentation highlights the structural erasure of housework in the everyday social experiences. There are also her framed punctured sheets of tracing paper, in layers inside each frame. As the result of punctured marks created by the artist and the artisan who work with her, not only does it produce a sense of familiarity to the processes of tailoring but also suggest an active mode of reading through these Braille-like markings on the outermost surface of the layered tracing papers.

    In a book titled Names of History; on the Poetics of Knowledge, French philosopher Jacques Rancière indicates, “that history in our century will reclaim as its realm –in place of ambassadors’ letters or of the paperwork of the poor, the multiplicity of spoken words that do not speak, of messages inscribed in things.” In this context, Rodriguez’s artistic process in presenting 27 sets of framed punctured sheets of tracing paper transforms ・・・ from a free floating signifier into a mnemonic tactic for the unsung beauty of the mundane labor. Her deliberate choice of ・・・(the only presence of text in the exhibition) emancipates the act of communication from expression and turns the purpose of dialogue reflectively back to the intimate moment when the two ends sense each other. It also signifies a moment of nostalgia, manifesting itself by the artist’s reference to traditional processes of embroidery stitches which are not in the visual representation but in the visibility of her laborious endeavor. This is shown in the tangibility of that needlework presented in the installation of fabric books. In ・・・, Rodriguez articulates expressions of collective memories in a non-verbalized manner in the poetic utterance of time.

    The juxtaposition between the paper works and the installation of fabric books might be seen as an invitation for audiences, whose participation of sewing or drawing can be considered part of the “reading” and practice of the labor history that has deprived its access to written words. By doing so, Rodriguez reveals the sense of the dialectic tension between the valuable and the residual in the following cases; between textuality and tactility, between the readability and the sensing capability, and lastly between the written history and silence of social memory.

     

    Words by Fang-Tze Hsu

    Issay Rodriguez’s practice is an amalgamation of all the influences she has accumulated and experienced as a co-producing laborer and collaborator. She works towards developing modes of articulation that uses strategies of chance, accuracy and reconfiguration. She employs a collage of techniques to convey a fusion of identities, places and memories. The possible narratives are derived from converging and diverging processes, spaces, materials, contexts and situations.

    Currently shifting her focus to a more research-oriented and community-based approach using digital media and photography as the most viable, accessible, democratic and widely used medium of the contemporary generation, Rodriguez thinks about image and objectmaking to counter alienation caused by daily dose of technology that envelopes post-modern life. In her process, she reflects many layers and approaches to exploring the concept of nostalgia through the use of the internet and other technologies made available today. Without verisimilitude as the main goal, she explores on ways to combine them with timeless but classical laborious modes of production in the field of Fine Arts like technical drawing & painting and tactile/sensory, sometimes participatory, art projects in this age of fascination for the fast, instant but distressing world of optical pleasure.

    Rodriguez obtained a Bachelor of Fine Arts degree at the University of the Philippines, Diliman and was awarded the Outstanding Thesis Award and ”Gawad Tanglaw” in 2013. She also studied as an exchange scholar at the Ecole Nationale Superieure des Beaux-Arts, Paris under the auspices of the French Government where she took short courses on Fresco and Wood carving for their classical old-world charm. She has exhibited her works in Venice, Hanoi, Ho Chi Minh City, Jakarta, Taipei, Manila, New Delhi, Dubai and Paris. She has also been recently selected to participate in the exhibition Viva Arte Viva to be held at the Central Pavilion for the 57th Venice Biennale this year.

We are pleased to announce Issay Rodriguez’s second solo exhibition at Silverlens. Rodriguez is also participating at the 57th Venice Biennale "Viva Arte Viva", curated by Christine Macel, opening mid-May.

There is much emotion instilled in our habits when we find ourselves in the orbit of collectivity of the so-called oblivion. Oblivion does not simply mean a lack of remembrance or amnesia, but rather represents a way of how the past enunciates itself to the present. Thus, Issay Rodriguez takes these silent emotional signifiers of oblivion strewn across the material culture of everyday life into the gallery with utterance into her second solo exhibition at Silverlens. Stemming from her interest in the traces inscribed by the passing of time, the exhibition invites the audiences to engage in a dialogue with the tangible traces by exercising their sensory agency and haptic perception. The dialogue of the tactile eye and a sense of unbounded intimacy are explored through a series of framed works on paper; in conjunction with an installation of white fabric books, encouraging audiences to flip, to touch, and to feel.

The subtle criticality of Rodriguez’s presentation at this exhibition demonstrates her serious engagement with the objecthood in ordinary circumstances of a household. For instance, piled up at the gallery corner, the laundry in the form of blue powder reminds its viewers of Felix Gonzalez-Torres’ Untitled (Portrait of Ross in L.A.). Unlike Gonzalez-Torres’ allegorical commemoration of his loved one, Rodriguez’s presentation highlights the structural erasure of housework in the everyday social experiences. There are also her framed punctured sheets of tracing paper, in layers inside each frame. As the result of punctured marks created by the artist and the artisan who work with her, not only does it produce a sense of familiarity to the processes of tailoring but also suggest an active mode of reading through these Braille-like markings on the outermost surface of the layered tracing papers.

In a book titled Names of History; on the Poetics of Knowledge, French philosopher Jacques Rancière indicates, “that history in our century will reclaim as its realm –in place of ambassadors’ letters or of the paperwork of the poor, the multiplicity of spoken words that do not speak, of messages inscribed in things.” In this context, Rodriguez’s artistic process in presenting 27 sets of framed punctured sheets of tracing paper transforms ・・・ from a free floating signifier into a mnemonic tactic for the unsung beauty of the mundane labor. Her deliberate choice of ・・・(the only presence of text in the exhibition) emancipates the act of communication from expression and turns the purpose of dialogue reflectively back to the intimate moment when the two ends sense each other. It also signifies a moment of nostalgia, manifesting itself by the artist’s reference to traditional processes of embroidery stitches which are not in the visual representation but in the visibility of her laborious endeavor. This is shown in the tangibility of that needlework presented in the installation of fabric books. In ・・・, Rodriguez articulates expressions of collective memories in a non-verbalized manner in the poetic utterance of time.

The juxtaposition between the paper works and the installation of fabric books might be seen as an invitation for audiences, whose participation of sewing or drawing can be considered part of the “reading” and practice of the labor history that has deprived its access to written words. By doing so, Rodriguez reveals the sense of the dialectic tension between the valuable and the residual in the following cases; between textuality and tactility, between the readability and the sensing capability, and lastly between the written history and silence of social memory.

 

Words by Fang-Tze Hsu

Issay Rodriguez’s practice is an amalgamation of all the influences she has accumulated and experienced as a co-producing laborer and collaborator. She works towards developing modes of articulation that uses strategies of chance, accuracy and reconfiguration. She employs a collage of techniques to convey a fusion of identities, places and memories. The possible narratives are derived from converging and diverging processes, spaces, materials, contexts and situations.

Currently shifting her focus to a more research-oriented and community-based approach using digital media and photography as the most viable, accessible, democratic and widely used medium of the contemporary generation, Rodriguez thinks about image and objectmaking to counter alienation caused by daily dose of technology that envelopes post-modern life. In her process, she reflects many layers and approaches to exploring the concept of nostalgia through the use of the internet and other technologies made available today. Without verisimilitude as the main goal, she explores on ways to combine them with timeless but classical laborious modes of production in the field of Fine Arts like technical drawing & painting and tactile/sensory, sometimes participatory, art projects in this age of fascination for the fast, instant but distressing world of optical pleasure.

Rodriguez obtained a Bachelor of Fine Arts degree at the University of the Philippines, Diliman and was awarded the Outstanding Thesis Award and ”Gawad Tanglaw” in 2013. She also studied as an exchange scholar at the Ecole Nationale Superieure des Beaux-Arts, Paris under the auspices of the French Government where she took short courses on Fresco and Wood carving for their classical old-world charm. She has exhibited her works in Venice, Hanoi, Ho Chi Minh City, Jakarta, Taipei, Manila, New Delhi, Dubai and Paris. She has also been recently selected to participate in the exhibition Viva Arte Viva to be held at the Central Pavilion for the 57th Venice Biennale this year.

Works

Issay Rodriguez
Secret Page 1
2017
4146
2
tracing paper, laundry bluing, stainless steel pins
13.5 x 17 in • 34.29 x 43.18 cm
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Issay Rodriguez
Secret Page 2
2017
4147
2
tracing paper, laundry bluing, stainless steel pins
15h x 12.50w in • 38.10h x 31.75w cm
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Issay Rodriguez
Secret Page 3
2017
4148
2
tracing paper, laundry bluing, stainless steel pins
13.50h x 17w in • 34.29h x 43.18w cm
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Issay Rodriguez
Secret Page 4
2017
4149
2
tracing paper, laundry bluing, stainless steel pins
9h x 16w in • 22.86h x 40.64w cm
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Issay Rodriguez
Secret Page 5
2017
4150
2
tracing paper, laundry bluing, stainless steel pins
15h x 21.50w in • 38.10h x 54.61w cm
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Issay Rodriguez
Secret Page 6
2017
4151
2
tracing paper, laundry bluing, stainless steel pins
17h x 46w in • 43.18h x 116.84w cm
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Issay Rodriguez
Secret Page 7
2017
4152
2
tracing paper, laundry bluing, stainless steel pins
13h x 11.50w in • 33.02h x 29.21w cm
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Issay Rodriguez
Secret Page 8
2017
4153
2
tracing paper, laundry bluing, stainless steel pins
17h x 27.75w in • 43.18h x 70.49w cm
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Issay Rodriguez
Secret Page 9
2017
4154
2
tracing paper, laundry bluing, stainless steel pins
12h x 17w in • 30.48h x 43.18w cm
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Issay Rodriguez
Secret Page 10
2017
4155
2
tracing paper, laundry bluing, stainless steel pins
18.50h x 13.50w in • 46.99h x 34.29w cm
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Issay Rodriguez
Secret Page 11
2017
4156
2
tracing paper, laundry bluing, stainless steel pins
12.50h x 12.50w in • 31.75h x 31.75w cm
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Issay Rodriguez
Secret Page 12
2017
4157
2
tracing paper, laundry bluing, stainless steel pins
11.50h x 9w in • 29.21h x 22.86w cm
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Issay Rodriguez
Secret Page 13
2017
4158
2
tracing paper, laundry bluing, stainless steel pins
15h x 12w in • 38.10h x 30.48w cm
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Issay Rodriguez
Secret Page 14
2017
4159
2
tracing paper, laundry bluing, stainless steel pins
19h x 25w in • 48.26h x 63.50w cm
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Issay Rodriguez
Secret Page 15
2017
4160
2
tracing paper, laundry bluing, stainless steel pins
16.50h x 12w in • 41.91h x 30.48w cm
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Issay Rodriguez
Secret Page 16
2017
4161
2
tracing paper, laundry bluing, stainless steel pins
14.50h x 18w in • 36.83h x 45.72w cm
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Issay Rodriguez
Secret Page 17
2017
4162
2
tracing paper, laundry bluing, stainless steel pins
20h x 20w in • 50.80h x 50.80w cm
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Issay Rodriguez
Secret Page 18
2017
4163
2
tracing paper, laundry bluing, stainless steel pins
14.25h x 12w in • 36.20h x 30.48w cm
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Issay Rodriguez
Secret Page 19
2017
4164
2
tracing paper, laundry bluing, stainless steel pins
17.25h x 15w in • 43.82h x 38.10w cm
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Issay Rodriguez
Secret Page 20
2017
4165
2
tracing paper, laundry bluing, stainless steel pins
14h x 20.50w in • 35.56h x 52.07w cm
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Issay Rodriguez
Secret Page 21
2017
4166
2
tracing paper, laundry bluing, stainless steel pins
8.75h x 12w in • 22.23h x 30.48w cm
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Issay Rodriguez
Secret Page 22
2017
4167
2
tracing paper, laundry bluing, stainless steel pins
18h x 15w in • 45.72h x 38.10w cm
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Issay Rodriguez
Secret Page 23
2017
4168
2
tracing paper, laundry bluing, stainless steel pins
18h x 20.50w in • 45.72h x 52.07w cm
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Issay Rodriguez
Secret Page 24
2017
4169
2
tracing paper, laundry bluing, stainless steel pins
27.50h x 35.50w in • 69.85h x 90.17w cm
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Issay Rodriguez
Secret Page 25
2017
4170
2
tracing paper, laundry bluing, stainless steel pins
22h x 31.50w in • 55.88h x 80.01w cm
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Issay Rodriguez
Secret Page 26
2017
4171
2
tracing paper, laundry bluing, stainless steel pins
41h x 41w in • 104.14h x 104.14w cm
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Issay Rodriguez
Secret Page 27
2017
4172
2
tracing paper, laundry bluing, stainless steel pins
14h x 19w in • 35.56h x 48.26w cm
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Issay Rodriguez
Secret Page 28
2017
4173
2
tracing paper, laundry bluing, stainless steel pins
14.50h x 11.75w • in 36.83h x 29.85w cm
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Issay Rodriguez
Secret Page 29
2017
4174
2
tracing paper, laundry bluing, stainless steel pins
14h x 11w in • 35.56h x 27.94w cm
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Issay Rodriguez
Secret Page 30
2017
4175
2
tracing paper, laundry bluing, stainless steel pins
13.50h x 13.25w • in 34.29h x 33.66w cm
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Issay Rodriguez
Secret Page 31
2017
4176
2
tracing paper, laundry bluing, stainless steel pins
16.50h x 24w in • 41.91h x 60.96w cm
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Issay Rodriguez
Secret Page 32
2017
4177
2
tracing paper, laundry bluing, stainless steel pins
17.50h x 30w in • 44.45h x 76.20w cm
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Issay Rodriguez
Secret Page 33
2017
4178
2
tracing paper, laundry bluing, stainless steel pins
16h x 42w in • 40.64h x 106.68w cm
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Issay Rodriguez
Secret Page 34
2017
4179
2
tracing paper, laundry bluing, stainless steel pins
26h x 33.50w in • 66.04h x 85.09w cm
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Issay Rodriguez
Secret Page 35
2017
4180
2
tracing paper, laundry bluing, stainless steel pins
34h x 54w in • 86.36h x 137.16w cm
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Issay Rodriguez
Secret Page 36
2017
4181
2
tracing paper, laundry bluing, stainless steel pins
26.75h x 46w in • 67.95h x 116.84w cm
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