Frieze Seoul: The Sea and The Jungle

Patricia Perez Eustaquio, Pow Martinez, Yee I-Lann
Booth A24, COEX, 513 Yeongdong-daero, Gangnam-gu, Seoul, South Korea

About

    Silverlens is proud to present three important and deeply collected artists from Southeast Asia in the inaugural Frieze Seoul: Yee I-Lann (1971, Kota Kinabalu), Patricia Perez Eustaquio (1977, Cebu/Baguio), and Pow Martinez (1983, Manila). The Philippines and Borneo sit squarely between the jungle and the sea. The artists are presenting works that talk about this rich ecosystem of cultural pollination.

    Yee I-Lann: Excerpts from Tikar/Meja

    At Frieze Seoul, Yee I-Lann is presenting individual pieces from her acclaimed series, Tikar/Meja —a collection of Bajau Sama DiLaut mats on which tables have been woven — that have been shown previously in museum exhibitions in Kota Kinabalu (SICC, 2021), Seoul (MMCA, 2021), and Hong Kong (CHAT, 2021).

    The mats will be installed in a loose grid, 3 pieces high by 3 pieces wide, on the central wall. The table represents administrative power and control — colonial, patriarchal, federal, and state power. They are the antithesis of the non-hierarchical, community-based, open platform of the tikar. Tikar/Meja forms a message from the people on the mat directed to the people at the table. The table can be rolled up, essentially “eaten” by the mat. Like a game of rock-paper-scissors, the paper-like object (the mat) actually has more power than the object that is typically seen as being stronger (the table).

    “Traditionally in the Southeast Asia region, all communities sat on mats on the ground; had a tradition of making mats. The tikar, or mat, for me, is intrinsically feminist, representing a communal, egalitarian power that comes from old knowledges, heritage, and culture,” says Yee I-Lann.

    Patricia Perez Eustaquio: History is a Jungle

    At Frieze Seoul, Patricia Perez Eustaquio will be presenting her show, History is a Jungle, featuring a collection of spears made of foliage exhibited alongside the tapestry An Unraveling (Conversation Among Ruins, After Francisco). This exhibition, described by Perez Eustaquio as a tangle of drawing, painting, tapestry, and objects, is an exploration of things and our relationship to them. According to the artist, we exist in an empire of things. Historically, the desire to obtain things has dominated our pursuits and has led humans to travel all across the world in search of obtaining more objects. But this quest is not without consequence. In the case of Philippine colonial history, this dominance led to, for example, the destruction of natural resources such as cutting down hardwood forests to create galleons for the Manila-Acapulco trade route. In her works, Perez Eustaquio aims to tease apart the questions that arise from the complex histories of objects and their creation. 

    Perez Eustaquio's work which she describes as a "jungle of odds and ends" questions established notions of art and history vis-a-vis the colonial history of the Philippines through the pictorial and material narratives of the tapestry and objects.

    “I have always found it more interesting to smash together different forms and flavors of art, to see what kind of statements and equations such juxtapositions would spawn,” says Patricia Perez Eustaquio.

    Pow Martinez

    At Frieze Seoul, Pow Martinez is showing new paintings that blend the mundanities of his everyday studio life on the banks of the notorious-for-flooding Marikina River with elements of pop culture. From films to music to famous imagery in art history, Martinez uses sights and sounds that resonate with him as starting points for his paintings. Just like his previous works, Martinez paints the world as he sees it, creating wildly expressionist visual treats. He continues to explore societal roles and consumption in contemporary culture. At Frieze Seoul, the artist shows paintings that poke fun at the exoticization of tribal cultures, usually by the “West.” Martinez explores primitivism alongside imagined tribal roles and their consumption in contemporary culture with a tongue-in-cheek, satirical edge.

    Contemporary artists Frank Callaghan, Chati Coronel, Gregory Halili, and Gina Osterloh will also be part of the Frieze Viewing Room, together with our onsite presentation of The Sea and The Jungle by Patricia Perez Eustaquio, Pow Martinez, and Yee I-Lann.

Silverlens is proud to present three important and deeply collected artists from Southeast Asia in the inaugural Frieze Seoul: Yee I-Lann (1971, Kota Kinabalu), Patricia Perez Eustaquio (1977, Cebu/Baguio), and Pow Martinez (1983, Manila). The Philippines and Borneo sit squarely between the jungle and the sea. The artists are presenting works that talk about this rich ecosystem of cultural pollination.

Yee I-Lann: Excerpts from Tikar/Meja

At Frieze Seoul, Yee I-Lann is presenting individual pieces from her acclaimed series, Tikar/Meja —a collection of Bajau Sama DiLaut mats on which tables have been woven — that have been shown previously in museum exhibitions in Kota Kinabalu (SICC, 2021), Seoul (MMCA, 2021), and Hong Kong (CHAT, 2021).

The mats will be installed in a loose grid, 3 pieces high by 3 pieces wide, on the central wall. The table represents administrative power and control — colonial, patriarchal, federal, and state power. They are the antithesis of the non-hierarchical, community-based, open platform of the tikar. Tikar/Meja forms a message from the people on the mat directed to the people at the table. The table can be rolled up, essentially “eaten” by the mat. Like a game of rock-paper-scissors, the paper-like object (the mat) actually has more power than the object that is typically seen as being stronger (the table).

“Traditionally in the Southeast Asia region, all communities sat on mats on the ground; had a tradition of making mats. The tikar, or mat, for me, is intrinsically feminist, representing a communal, egalitarian power that comes from old knowledges, heritage, and culture,” says Yee I-Lann.

Patricia Perez Eustaquio: History is a Jungle

At Frieze Seoul, Patricia Perez Eustaquio will be presenting her show, History is a Jungle, featuring a collection of spears made of foliage exhibited alongside the tapestry An Unraveling (Conversation Among Ruins, After Francisco). This exhibition, described by Perez Eustaquio as a tangle of drawing, painting, tapestry, and objects, is an exploration of things and our relationship to them. According to the artist, we exist in an empire of things. Historically, the desire to obtain things has dominated our pursuits and has led humans to travel all across the world in search of obtaining more objects. But this quest is not without consequence. In the case of Philippine colonial history, this dominance led to, for example, the destruction of natural resources such as cutting down hardwood forests to create galleons for the Manila-Acapulco trade route. In her works, Perez Eustaquio aims to tease apart the questions that arise from the complex histories of objects and their creation. 

Perez Eustaquio's work which she describes as a "jungle of odds and ends" questions established notions of art and history vis-a-vis the colonial history of the Philippines through the pictorial and material narratives of the tapestry and objects.

“I have always found it more interesting to smash together different forms and flavors of art, to see what kind of statements and equations such juxtapositions would spawn,” says Patricia Perez Eustaquio.

Pow Martinez

At Frieze Seoul, Pow Martinez is showing new paintings that blend the mundanities of his everyday studio life on the banks of the notorious-for-flooding Marikina River with elements of pop culture. From films to music to famous imagery in art history, Martinez uses sights and sounds that resonate with him as starting points for his paintings. Just like his previous works, Martinez paints the world as he sees it, creating wildly expressionist visual treats. He continues to explore societal roles and consumption in contemporary culture. At Frieze Seoul, the artist shows paintings that poke fun at the exoticization of tribal cultures, usually by the “West.” Martinez explores primitivism alongside imagined tribal roles and their consumption in contemporary culture with a tongue-in-cheek, satirical edge.

Contemporary artists Frank Callaghan, Chati Coronel, Gregory Halili, and Gina Osterloh will also be part of the Frieze Viewing Room, together with our onsite presentation of The Sea and The Jungle by Patricia Perez Eustaquio, Pow Martinez, and Yee I-Lann.

Installation Views

The Sea and The Jungle

Pow Martinez
civilization
2022
9289
2
acrylic on canvas
30.25h x 24w in • 76.84h x 60.96w cm
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Pow Martinez
lo and behold
2022
9287
2
acrylic on canvas
36h x 36w in • 91.44h x 91.44w cm
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Pow Martinez
domestic life
2022
9288
2
acrylic on canvas
47.25h x 36.50 in • 120.02h x 92.71 cm
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Patricia Perez Eustaquio
An Unraveling (Conversation Among Ruins, After Francisco)
2019
9284
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digitally woven tapestry in cotton and wool
114.17h x 96.06w in • 290h x 244w cm
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Patricia Perez Eustaquio
History is a Jungle
2022
9286
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bamboo, rattan, wood, plastic leaves, pineapple fiber, wire, acrylic
variable dimensions
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Patricia Perez Eustaquio
After Babaylan
2022
9281
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graphite on paper
39.76h x 31.89w in • 101h x 81w cm (unframed)
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40.94h x 32.87w in • 104h x 83.50 cm (framed)
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Yee I-Lann
Tikar/Meja 12
2018-2019
9269
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
38.19h x 46.85w in • 97h x 119w cm
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Yee I-Lann
Tikar/Meja 16
2018-2019
9270
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant

45.67 x 45.67 in • 116h x 166w cm
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Yee I-Lann
Tikar/Meja 26
2018-2019
9271
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
35.83h x 43.31w in • 91h x 110w cm
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Yee I-Lann
Tikar/Meja 28
2018-2019
9272
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
34.65 x 44.09 in • 88h x 112w cm
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Yee I-Lann
Tikar/Meja 29
2018-2019
9273
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
29.92h x 41.73 in •76h x 106 cm
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Yee I-Lann
Tikar/Meja 32
2018-2019
9274
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
35.43h x 47.64 in • 90h x 121w cm
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Yee I-Lann
Tikar/Meja 33
2018-2019
9275
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
35.04h x 42.52w in • 89h x 108w cm
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Yee I-Lann
Tikar/Meja 34
2018-2019
9276
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
38.19 x 47.24w in • 97h x 120w cm
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Yee I-Lann
Tikar/Meja 40
2018-2019
9277
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
35.83h x 55.12 in • 91h x 140w cm
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Tikar/Meja 42
2018-2019
9278
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
38.98h x 47.24w in • 99h x 120w cm
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Yee I-Lann
Tikar/Meja 43
2018-2019
9279
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
35.43h x 46.06w in • 90h x 117w cm
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Yee I-Lann
Tikar/Meja 49
2018-2019
9280
2
Bajau Sama DiLaut Pandanus weave with commercial chemical dye and matt sealant
29.13h x 42.52w in • 74h x 108w cm
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Frieze Viewing Room

Gregory Halili
Searching Sanctuary III
2020
9295
2
oil on capiz shell
3.10h x 2.20w in • 7.87h x 5.59w cm
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Gregory Halili
Gaia
2020
9294
2
oil on capiz shell
2.13h x 3.98w in • 5.40h x 10.10w cm
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Chati Coronel
Inner Constellation: 5:30PM
2021
9290
2
acrylic on canvas
60h x 84w in • 152.40h x 213.36w cm
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Gina Osterloh
i am image
2020
9293
2
archival pigment print mounted on Dibond aluminum
43h x 56.50w in • 109.22h x 143.51w cm
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Gina Osterloh
Obliterate
2020
9292
2
archival pigment print
31h x 22w in • 78.74h x 55.88w cm
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Frank Callaghan
First Light 01
2018
9291
2
inkjet
24h x 32w in • 60.96h x 81.28w cm
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