Monday 03 August
8pm GMT+1
Lilibeth Cuenca Rasmussen
(b.1970, Manila) is a multidisciplinary artist based in Copenhagen. Through her practice, Cuenca Ras[1]mussen navigates between different kinds of realities and ex[1]tremes, creating perfectly staged theatre performances, music videos and raw documentaries. Her work is based on a mixture of personal confessionals and political commitment, approaching issues such as identity, gender and social relations. In 2011 Cuenca Rasmussens participated in the Venice Biennale in the Danish pavilion with Afghan Hound. In 2012 she was awarded the Eckersberg Medal. Recent exhibitions include Hybridization (solo) Charlotte Fogh Gallery, Aarhus (2020); Seafocus Art Fair Singapore with The Drawing Room, Singapore Biennale, SAM, Sin[1]gapore (2020); Personal Structures,TIME SPACE EXISTENCE, Palazzo Mora, (GAA Foundation) Venice (2019); From here we stand- National Identity (solo), Horsens Art Museum, Denmark (2019).
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Si Lilibeth Cuenca Rasmussen (ipinanganak noong 1970 sa Maynila) ay isang manlilikha na may sari-saring disiplina na kasalukuyang nakabase sa Copenhagen. Ang kanyang trabaho ay base sa pinaghalong personal na pangungumpisal at pulitikal na kompromiso na sinapit ang mga isyu na gaya ng mga pagkakakilanlan, kasarian, at lahat ng ugnayang panlipunan. Sa pamamagitan ng kanyang kasanayan, naglalayag si Cuenca Rasmussen sa iba’t-ibang klaseng mga reyalidad at mga kasukdulan, at maingat na nililikha ang mga pagganap sa teatro, mga bidyo ng musika, at mga sariwang dokumentaryo. Noong 2011, isinama ni Cuenca Rasmussen ang kanyang Afghan Hound sa Venice Biennale sa Danish Pavilion. Noong 2012 ay ginawaran siya ng Eckersberg Medal. Kasama sa kanyang mga bagong pagtatanghal ng mga trabaho ang Paghahalo ng Lahi (solo) sa Charlotte Fogh Gallery, sa Aarhus, sa Seafocus Art Fair Singapore kasama ang Drawing Room, sa Singapore Biennale, at sa SAM, Singapore nitong 2020; Personal na Balangkas, PANAHON ESPASYO PAG-IRAL sa Palazzo Mora na may suporta ng GAA Foundation sa Venice noong 2019; Mula dito kami tatayo – Pambansang Pagkakakilanlan (solo) sa Horsens Art Museum sa Denmark noong 2019.
Monday 03 August
8pm GMT+1
Tuesday 04 August
8pm GMT+1 / Live for 24h
Lilibeth Cuenca Rasmussen
Pagsaksi kay Pilar
2001
Documentary video
Nakitira ng tatlong araw ang manlilikha sa bahay ng kanyang Lola Pilar sa isang pook ng mga dukha sa Manila. Ang kanilang pagtitipon sa maliit at masikip na tahanan ay nagpalabas sa makapangyarihang mga emosyon na nagaganap sa dalawang babae na may nag-uumpukang sistema ng halaga.
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Lilibeth Cuenca Rasmussen
Seeing Pilar
2001
Documentary video
For three days the artist stays at her grandmother Pilar’s place in a ghetto in Manila. Brought together inside the small and claustrophobic home, the powerful emotions transpiring between two women of conflicting value systems come to the fore.
Wednesday 05 & Thursday 06 August
Vanessa Scully
(1982) is an Australian artist and filmmaker based in London, working with film, video and archives. Scully has a socially engaged, pluralistic approach to filmmaking working with time and space to explore marginalised narratives related to labor, environment and indigenous knowledge. Most recent projects explore her mixed-race heritage as a person of colour, which include: Decolonizing Marisa (2019), The Mail Order Bride (2018), Marisa 4.0 (2018), Maid in Mayfair (2017), A-Z Filipino Exports (2015). Scully is also a community filmmaker and programmer, supporting groups with activist films and campaigns, including videos with The Voice of Domestic Workers for various campaign including ‘Save Jennifer Delquez’ (2017) and ‘Reverse Tied Visa’ (2017). Scully graduated with an MA in Experimental Film from Kingston School and Art (2019), BA in Fine Arts from Chelsea College of Art (2012) Diploma in Visual Art at TAFE (2003) and a Certificate III in Community Radio Broadcasting from Community Broadcasting Association Australia (2004). She is a recipient of a Developing your Creative Practice Grant (2019), funded by the Arts Council of England for international research in the Philippines.
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Si Vanessa Scully
(1982) ay isang Australyana na manlilikha at filmmaker na nakabase sa London, at ang kanyang trabaho ay naka-angkla sa pelikula, bidyo, at arkibos. Ang pamamaraan ni Scully sa pagpepelikula ay pluralistiko at nakatali sa lipunan. Nagtatrabaho siya sa panahon at espasyo na sinisiyasat ang mga salaysay na nasa gilid na kaugnay sa paggawa, sa kalikasan, at sa katutubong dunong. Ang kanyang mga proyekto kamakailan lang ay sinisiyasat ang kanyang halo-halong lahi bilang isang tao na may kulay. Kasama nito ang Pag-decolonize kay Marisa noong 2019; Ang Mail-Order Bride at ang Marisa 4.0 noong 2018; ang Katulong sa Mayfair noong 2017; at ang Mga Iniluwas na mga Pinoy mula A hanggang Z noong 2015. Si Scully ay isa ring filmmaker at programmer na nakabase sa komunidad. Sinusuportahan niya ang mga grupo na may mga pelikula at mga kampanya ng pakikibaka, kasali ang pagsuporta sa Ang Boses ng mga Domestic Workers na may iba’t-ibang kampanya na kasama ang ‘Iligtas si Jennifer Delquez’ at ‘Visa na Saliwa ang Pagkatali’ noong 2017. Nagtapos si Scully ng MA sa Eksperimental na Pelikula mula sa Kingston School of Art noong 2019, BA sa Fine Arts mula sa Chelsea College of Art noong 2012, at nagkamit ng Diploma sa Sining Biswal sa TAFE noong 2003 at Certificate III sa Community Radio Broadcasting mula sa Community Broadcasting Association ng Australia noong 2004.
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Wednesday 05 & Thursday 06 August
Vanessa Scully
Buhok na Maitim. Mga Utong na Kayumanggi. Mga Labi na Lila.
2020
mga gif
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Vanessa Scully
Black Hair. Brown Nipples. Purple Lips.
2020
GIFs
New work by artist filmmaker Vanessa Scully shares difficult experiences of living in a coloured body, through a series of 21 text-based gifs, designed for social media platforms. Scully confronts the language used to describe and classify ‘Asians’, highlighting a problematic history of terminology perpetuating hate and difference. In an effort to rebalance historical records, Scully collaborates with Filipino sex workers to establish equally comparable terms used to describe and classify ‘Whites’. This work takes its departure point from the slang ‘Gook’. A term coined by the American military to describe a ‘low-class prostitute’, during the Philippine-American War in the late 1800’s.
A history of Ethnic Monitoring (Being BAME other)
Before I was BAME other…
Before I was BAME other I was unplanned with a white father, who called me ‘yellow’
Before I was BAME other I was a child with a brown mother, who called herself ‘black’
Before I was BAME other I was a child with brown skin, who other children called ‘boat person’
Before I was BAME other I was a child with black hair, who other girls called ‘pocahontas’
Before I was BAME other I was a child with shaved pubes, who other boys called ‘baldie’
Before I was BAME other I was a runaway with pink hair, who other adults called ‘space cadet’
Now that I am BAME other I have a new name you can call me by…
Saturday 08 August
9am to 5pm (12-1 break) GMT+1
Rhine Bernardino
is an artist, curator and researcher with a background in filmmaking. She is the first Filipino artist with an MA Fine Art degree (Sculpture) from the Royal College of Art, for which she was awarded the highly-regarded Abraaj-RCA Innovation Scholarship. Rhine has curated and exhibited her artwork internationally especially in Europe and Asia including public commissions such as Nine Elms on the South Bank. Rhine has been invited to take part in several international art residencies and programmes most recently as part of the Australia Arts Council’s Future Leaders Programme and Office of Contemporary Art (OCA) Norway’s International Visitors Programme. She’s been doing an extensive field research, creating a mapping of art collectives, alternative spaces and community-based projects across the globe. A big part of it is oriented towards creating a model of holistic living on waters guided by the knowledge of indigenous peoples.
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Si Rhine Bernardino
ay isang manlilikha, curator, at tagapagsaliksik na may karanasan sa pagpepelikula. Siya ang kauna-unahang manlilikhang Pilipino na may MA Fine Art degree sa iskultura sa Royal College of Art, kung saan siya ay ginawaran ng itinuturing na mataas na Abraaj-RCA Innovation Scholarship. Si Rhine ay nakapag-curate na at nakapagtanghal ng kaniyang trabaho sa iba’t ibang parte ng mundo lalo na sa Europa at Asya. Kasama nito ang mga komisyon ng mga pampublikong trabaho katulad ng sa Nine Elms sa South Bank. Inanyayahan na si Rhine na sumali sa ilang internasyonal na art residencies at mga programa ng sining. Nitong bago lang ay naging parte siya sa Programa Para Sa Mga Pinuno ng Hinaharap ng Arts Council ng Australia at sa Programa Para Sa Mga Internasyonal na mga Bisita ng Office of Contemporary Art (OCA) ng Norway. Siya’y malawak na nananaliksik sa larangan at lumilikha ng pag-karta sa mga kolektibo ng sining, alternatibo na mga espasyo at mga proyektong nakabase sa mga komunidad sa iba’t-ibang parte ng mundo. Malaking parte nito ay nakatuon sa paggawa ng mga modelo ng holistikong pamumuhay sa katubigan na ginagabayan ng katutubong dunong. Mahal ni Rhine ang pagsasayaw, mga puno, at ang karagatan.
Saturday 08 August
9am to 5pm (12-1 break) GMT+1
Rhine Bernardino
Ang Mamatay Nang Dahil Sa’yo / Ang Magdusa at Mamatay para sa Theemonyo
Aktwal at Mahabang Pagtatanghal
2020
Itinatampok ng Pambansang Awit ng Pilipinas ang diwang makabayan na umaabot hanggang sa pag-aalay ng sariling buhay para sa bayan. Ito ay idinidiin sa huling linya ng himno: “ang mamatay nang dahil sa’yo”, na isinalin galing sa bersyon ng mga Amerikano na “magdusa at mamatay ang mga anak na lalake para sa atin” o sadyang mamatay para sa bansa. Para sa aking live durational performance galing sa alas-nuwebe ng umaga hanggang sa alas singko ng hapon ay paulit-paulit kong ipapatugtog ang kanta habang ginagawa ko ang aking nagpapatuloy na trabaho na The Earth Died Screaming While I Was Sewing, kung saan ako ay nanahi ng isang tuloy-tuloy na toilet paper na ang gamit na hibla ay ang aking buhok. Sinimulan ko itong trabaho na ito noong 2016 bilang parte ng About 7000 installation, isang kontrobersyal na pigura na nakakabit sa ‘gyera kontra droga’ ng Pilipinas, na ngayoy naging About 30,000–na buhay, pagkamatay, mga tao.⠀
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Rhine Bernardino
To Suffer and Die for Theemonyo
2020
Live Durational Performance
The Philippine National Anthem highlights the essence of patriotism to the extent of sacrificing one’s life for the country. This is strongly emphasised on the hymn’s last line: “ang mamatay nang dahil sa’yo” translated during the American regime’s version as “for us, thy sons to suffer and die” or just simply to die for the country. For her live durational performance (9am-5pm), the artist will play the song on repeat juxtaposed to her ongoing work ‘The Earth Died Screaming While I Was Sewing’, wherein she sews a continuous thread of toilet paper with her own hair. She started this work in 2016 as part of “About 7000” installation, a controversial figure attached to the Philippines’ ‘war on drugs’ which has now transitioned to “About 30,000” – lives, deaths, people.
Sunday 09 August
2pm GMT+1
Pinoy’s Kitchen :
Activism, volunteerism and food are words that bind the group together. Even coming from different walks of life, they were destined to meet in Kanlungan (Filipino organisation) All participants are originally from the Philippines. Gender, personality and life paths have never been an issue for all the participants to bond and form friendship.
Niel Camilon, architect and proud member of LGBTQI+ community is from the province of Iloilo, Philippines. He migrated to the UK WITH his British husband. He volunteered delivering food to Filipino nurses that were affected by food panic-buying during the first stage of the pandemic in the UK. Cooking Filipino food is his outlet to alleviate the effect of homesickness.
Anna Caunceran, domestic worker and survivor of human trafficking in the UK. She is from Mindoro, Philippines and a mother of 4 children. Anna is one of the participants of the #statusnow4al (Regularisation of Undocumented in the UK) campaign and she’s fighting back to get her legal status here in the UK.
Helen Bulusan, chairperson of the Filipino women’s group Gabriela London. Her group advocates for women’s empowerment, gender equality and fights injustice in the Philippines. She is from the province of Antique and a mother of 3 children.
Phoebe Dimacali, chairperson of the Filipino Domestic Worker Association UK. Her organisation rescues and assists domestic workers that are victims of human trafficking and modern slavery in the UK. She’s a mother of 2 and from Bulacan.
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Kusinang Pinoy
Pakikibaka, pakikilahok, at pagkain ang mga katagang nagbubuklod sa grupo. Kahit nagmumula sa iba’t ibang landas ng buhay, nakatakda na magtagpo sila sa Kanlungan (Organisasyon ng mga Pilipino). Lahat ng kalahok ay likas mula sa bansang Pilipinas. Kasarian, katauhan, at ang pinapatunguhan ay hindi kailanman naging paksang hadlang upang makabuo ng pagsasama-sama at pagkakaibigan.
Helen Bulusan, tagapangulo ng organisasyong pangkababaihan ng Gabriela London. Ang kanyang pangkat ay nagsusulong ng kakayanan sa pag-unlad, patas na karapatan, at pagkamit ng hustisya para sa mga kababaihan sa Pilipinas. Siya ay nagmula sa probinsya ng Antique at isang ina sa tatlong mga anak.
Niel Camilon, arkitekto at miyembro ng komunidad ng LGBT, mula sa probinsya ng Iloilo ng bansang Pilipinas. Nangibang- bayan sa UK kapiling ang kanyang kabiyak. Nakilahok siya sa pagpapadala ng mga pagkain para sa mga Pilipinong manggagawa sa mga pagamutan na naapektuhan ng panic- buying noong nagsisimula pa lamang ang pandemya sa UK. Ang pagluluto ng pagkaing Pilipino ang kanyang naging paraan upang gumaan ang dinudulot na pakiramdam ng pagkalayo sa sariling bayan o homesickness.
Anna Caunceran, manggagawang pambahay o domestic worker na nakaligtas mula sa human trafficking sa UK. Nagmula sa probinsya ng Mindoro ng bansang Pilipinas, at isang ina sa apat na anak. Si Anna ay isa sa mga kabahagi ng kampanyang #statusnow4al
(Regularisation of Undocumented in the UK) at kasalukuyang lumalaban upang makamit ang kanyang legal na katayuan sa UK.
Phoebe Dimacali, tagapangulo ng Filipino Domestic Worker Association UK. Ang kanyang organisasyon ay sumasaklolo at tumutulong sa mga manggagawang pambahay o domestic worker na nabiktima ng human trafficking at pang-aalipin sa makabagong mundo o modern day slavery sa UK. Siya ay isang ina sa dalawang mga anak at nagmula siya sa Bulacan.
Sunday 09 August
2pm GMT+1
Cooking session
Kusinang Pinoy
Ang putahe at pagluluto
Mga sahog o sangkap: 1 1/2 lbs tinadtad na tiyan ng baboy; 1 1/2 lbs pakpak ng manok; 4 pirasong tuyong dahol ng laurel; 1 kutsarita ng buong paminta; 1 buong bawang na tinadtad ng pino; 6 kutsarang sukang puti; 1/2 cup toyo; 2 kutsarita ng asukal na pula; 3 kutsarang mantika; 1 kutsarang atsuete
Ang Adobo ay may sari-saring salin o bersyon alinsunod sa iba’t ibang rehiyon. Ang aming natatanging adobo na aming iniluto ay tinatawag na CPA. May namumukod tanging pagkamangha ang mga Pilipino sa pagbubuod ng mga kataga at ang mga paulit-ulit na salita. Sa unang pagtingin, mawawaring katamaran ang pag-uulit ng mga salita o pantig sa wikang Pilipino, ngunit kung susuriin, ito ay maaaring maituring na gawaing may talino. Sa kadahilanang mbis na magbuo ng mga bagong kataga na pasikot-sikot at kasing haba ng Great Wall of China at literal na makapigil-hininga, ang mga Pilipino ay may sapat na angking galing sa mga salita na tumutumbas sa paraan ng pananalita na hindi kinakailangan pang huminga sa bawat pagbigkas.
Ang kahulugan ng CPA ay Chicken and Pork Adobo. Isa lamang ito sa mga halimbawang pagsasalin o interepretasyon ng karaniwang putaheng Pilipino, pero ang salin o bersyon na ito ay may sangkap na Atsuete (anato) na tanyag sa isla ng Panay, kung saan nagmula sina Helen and Niel. Bagaman hindi gaanong naiiba sa pangkaraniwang adobo na gawa sa manok o baboy, ang salin o bersyon na ito ay may karampatang mga pagitan sa oras ng pagluluto, sari-saring sangkap pampalasa, at may natatanging Ilonggo twist.
Ang pagluluto ay naging maaliwalas na pagsasama-sama at may kaakibat na magaan na kuwentuhan, may sapat na kagalakan na kapiling ang isa’t isa habang pinag-uusapan ang papel na ginagampanan ng bawat isa sa komunidad ng mga Pilipino, lalo sa panahon ng pandemya. Ang pagbabahagi ng mga salaysay at karanasan habang naghahanda ng putahe na may alaala ng bawat Pilipino ay alaala na rin ng pakiramdam ng isang tahanan.
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Pinoy’s Kitchen
The dish and the cooking session
INGREDIENTS : 1 1/2 lbs pork belly chopped;; 1 1/2 lbs chicken wings; 4 pieces dried bay leaves; 1 teaspoons whole peppercorn; 1 head garlic crushed and chopped; 6 tablespoons vinegar white; 1/2 cup soy sauce; 2 teaspoons brown sugar; 3 tablespoons cooking oil; 1 tablespoon Anato(Aswete) seed in tea tong infuser
Adobo has many regional variations. The specific adobo we cooked is called CPA. Filipinos seem to have a fascination with taking the tersest of words and then reiterating them. What may appear to be a lackadaisical approach to linguistic innovation is, in fact, a stroke of genius. Instead of crafting words as long and winding as the Great Wall of China and as breathtaking (literally), the Filipino has brilliantly construed a jargon of words concise enough to be spoken without having to surface for air every few seconds.
CPA means chicken and pork adobo. It is just one of the common interpretations of our quintessential Filipino stew but the version is with Anato (Aswete) seeds which is popular on Panay Island, where Helen and Niel are from. This version isn’t much different from the typical adobo made from chicken or pork, except for this version has varied cooking times, different seasoning and is with a popular Ilonggo twist.
The cooking session was light-hearted, casual, without a script, just enjoying each other’s company and talking about everyone’s role in the Filipino community, especially during the pandemic. Sharing stories and experience whilst preparing one of the most nostalgic dishes that makes it feel like home.
