Over the past seven years, Abad’s work has engaged, both directly and obliquely, with the cultural legacy of the kleptocrat Ferdinand Marcos, who ruled the Philippines with an iron fist from 1965 to 1986. Themes of mythmaking, collective memory, and amnesia are explored in this exhibition without dogma.
For One on One in AAP’s July/August issue, Pio Abad discusses his interest in the life and career of Filipino-American minimalist Leo Valledor. Though Valledor witnessed seminal postwar cultural moments in the United States, his practice has largely been neglected. “An ongoing choreography of omission and retrieval has defined art history. Yet I kept wondering how someone ever-present at such defining moments could be forgotten,” Abad writes
Filipino artists showcase works at one of Europe’s top contemporary art museums
On June 21, Palais de Tokyo in Paris, one of the largest and most sought after museums dedicated to contemporary art, opened its newest exhibit “City Prince/sses,” featuring 50 artists, creators, experimenters, musicians, and designers among others, from Dhaka, Lagos, Mexico City, Tehran, and Manila — capital cities of “third world countries” that have also become synonymous with chaotic and complex urban spaces. Filipinos included are Dina Gadia, Pow Martinez, Ha.Mü, Dex Fernandez, Urban Decay Planning, Leeroy New, Timmy Harn, and Rasel Trinidad (Doktor Karayom).
Artist Pio Abad’s memorials against historical revisionism
Kiss the Hand You Cannot Bite is a newly commissioned body of work that draws from multiple histories of exile, resistance, and displacement from the ’70s and ’80s that brought Filipinos to California.