Sa kabila ng tabing lamang sa panahong ito / Waiting Just Behind the Curtain of This Age

In Sa kabila ng tabing lamang sa panahong ito / Waiting just behind the curtain of this age, the featured exhibition of the Philippine Pavilion at the 60th Venice Art Biennale, artist Mark Salvatus “plays with the possibility of dreaming,” where the title of the exhibition, taken from a correspondence of Filipino revolutionary Hermano Puli to his followers, implies that their dreams are just behind the curtain; a threshold to be crossed. The exhibition features a newly commissioned single-channel video exploring the mountain's influence on Lucban musicians since the 1950s, alongside a series of fiberglass rock sculptures. Salvatus has honed a distinctive approach to his artistic practice, which he aptly terms "Salvage Projects." Through this methodology, he delves into the concept of instability, offering reflections on our contemporary world. Utilizing found objects, he crafts works that evoke tension, introspection, and stimulate dialogue. He has presented his artworks in various exhibitions worldwide, including Manila's UP Vargas Museum and the Museum of Contemporary Art and Design. He's also participated in the Venice Architecture Biennale in 2016 and art festivals such as the Singapore Biennale. Salvatus has had residencies in notable institutions like the Asia Culture Center in Gwangju and has received awards like the 13 Artists Award from the Cultural Center of the Philippines. In 2012, he co-founded 98B COLLABoratory and later initiated Load na Dito in 2016, both platforms for creative collaboration and research in Manila. His contribution to the Venice Biennale encapsulates his multidisciplinary approach, bridging urbanism, migration, and cultural identity. The featured exhibition of the Philippine Pavilion, offers an exploration of the complexities surrounding Mount Banahaw and Lucban, his hometown, as well as inviting viewers on a journey through the intersections of tradition, modernity, and collective memory. As an art critic, historian and curator, research plays a vital role in Quijon’s practice, which is oftentimes the first step of his process. He values understanding artists’ practices deeply and aims to support them in realizing their visions. He is particularly interested in expanding the idea of Southeast Asia globally, exploring overlaps with other regions like Latin America and reconsidering the significance of materials in art-making. Navigating the complexities of representing Southeast Asia globally, Carlos focuses on creating supportive infrastructures for artists to thrive. He builds relationships with artists by understanding their practices and providing the necessary support for their projects, fostering trust and collaboration along the way. Quijon is the C-MAP Fellow for Southeast and East Asia at the Museum of Modern Art in New York. He was a fellow of the research platform Modern Art Histories in and across Africa, South and Southeast Asia (MAHASSA), convened by the Getty Foundation’s Connecting Art Histories project. He has written exhibition reviews for publications such as e-flux, Frieze and Artforum. His work is featured in several books and journals covering a wide range of topics in art history and criticism. Additionally, he has undertaken research residencies and fellowships at international institutions, including the Museum of Modern and Contemporary Art in Seoul and the Transcuratorial Academy in Berlin and Mumbai. He was a curatorial resident at the International Studio and Curatorial Program in New York (funded by the Asian Cultural Council) in 2023 and the Singapore Art Museum in 2024. He has curated exhibitions in Hong Kong, Seoul, Singapore, Manila and Busan. Commissioner: National Commission for Culture and the Arts (NCCA), in partnership with the Department of Foreign Affairs (DFA) and the Office of Senate President Pro Tempore Loren Legarda Curator: Carlos Quijon, Jr.

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Arsenale

Venice, NY