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The strategy of this exhibition to discover “immanent geogra phies” is carried out in the contestations that unravel in (real) spaces\, counter-sites\, social landscape and travelling topographies in the works o f Kidlat De Guia\, RJ Fernandez\, Lilibeth Cuenca Rasmussen and Emmanuel Sa ntos. The artists lay the land through the photographic format and appropri ately so as these lens – equipment and practice – might as well be equivale nt to Michel Foucalt’s mirror as a virtual point that is both utopic and he terotopia. Geography\, in this sense\, is neither merely actual nor imagine d. It is identifiable\, sure\, yet it is placeless as well. The landscape t he four artists maps is an inherited one\, surrounded by mythic and real pr ojections on existing spaces. As these images are not framed as documen tary\, they end up opening these spaces as heterotopias where they are “at once absolutely real\, connected with all the space that surrounds [th em] and absolutely unreal” (Michel Foucault 1967). In that sense the do cumentations have now provided a function wherein instead we are urged to look at our position in the set of relations implicit around the space in which the images reflect on.

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The Itogon mountain ranges in North ern Philippines for example present a privileged standpoint suggested by RJ Fernandez. The situation surrounding this work traces a mining industry or iginally rooted in the indigenous people’s socio-political system. From 199 5 when the government granted full ownership of mining investments to forei gn companies\, that very system that sustained the Ibaloy and Kankana-ey tr ibes turned the province\, which symbolized their community\, inside out. H aving left with the consequences\, the populace – now squatters in their ow n land – forges on and scavenges the remains. The pictorial device employed by Fernandez in Moving Mountains navigates around this fragile ch ronicle of dystopia\, lifting into it a terrain segregated from the confine s of the industrial development we experience. Identifying it\, we are caug ht in the residues of a terrorized beauty that is inaccessible because that particular postulate which filters such history deviates from any encounte r possible of an area that shifts according to its unresolved and projected ideals.

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In terms of existing spaces that straddle between the sphe res of being absolutely hidden and being generally accessible (but often te nd to be more of the former)\, Lilibeth Cuenca Rasmussen offers a microcosm of the social landscape in Afghanistan. As a project for the Danish Pavili on in the 2011 Venice Biennale\, Rasmussen gives voices to four personaliti es that reflect the development of new gender constructions resulting from the inviolable oppositions that delineate spaces in Afghan society. This on going Afghan Hound project contains this photographic series with the images being focused on the symbolism of the named society’s apocryphal conditions through an extreme exaggeration of hair. From hair’s reference to hidden sexualities in contemporary Afghan culture\, she consequently pos its a new form of representing the whole social geography in general by cha llenging the western frame on the Arab world that is often reductive due to the exclusions imposed on by that community itself.

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From these ten uous degrees of accessibility Emmanuel Santos sets\, within particular buco lic places\, several spaces that visibly juxtapose the fictional variable o f the astronaut amidst the effervescent idylls of real locations. Secon d Earth is a stage that foreshadows projected directions of the presen t into the future\, which is one of current alienation to the natural world alongside the idea of reconnecting to it. In this placeless plane\, what i s allowed is the counteraction on the positions we occupy and the emancipat ory performance that banks on the potential fot a better organization of so ciety and everyday life.

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Kidlat De Guia\, whose interest is centere d on the spaces falling through the cracks\, presents Sakadang Bakal (loosely translated as “Metal Sugarcane Worker”) – a series on the white elephants of the Sugarcane industry in Negros\, Visayas Philippines. These metal patchworks of a truck\, most of which are originally from the 1950’s \, carry with them the surplus of the trade as they are made to keep going like overgrown worlds. As much as they are not places per se\, they exist a s reserves of the terrain(s) of Negros across time. In their ramshackle sta te\, these trucks are insisted to last as generations reinforce them with s pare parts as with the historical crests and dips of the industry. This ser ies is surely a testament to time in a way they contain lands as well\, spa ces closed in on themselves that are given over to the ebb of the system\, and carrying with them what can be resurrected from time.

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Immanent in this exhibition speaks of inheritance not as a singular channel. While i t is about what was and what it has become\, immanence carries with it the unrealized\, and abortive hopes. The absolute set of relations and delineat ions would only be the surplus in which utopian residues for a new geograph y is shaped by what it can be and what it is desired to be.

DTEND:20130602 DTSTAMP:20140922T210905 DTSTART:20130503 GEO:1.2770282;103.8035136 LOCATION:The Drawing Room - Singapore\,Block 5 Lock Road #01-06 Gillman Bar racks \nSingapore \, 108933 SEQUENCE:0 SUMMARY:Immanent Geographies\, Kidlat de Guia\, R J Fernandez\, Lilibeth Cu enca Rasmussen\, Emmanuel Santos UID:273916 END:VEVENT BEGIN:VEVENT DTEND:20130503T200000 DTSTAMP:20140922T210905 DTSTART:20130503T180000 GEO:1.2770282;103.8035136 LOCATION:The Drawing Room - Singapore\,Block 5 Lock Road #01-06 Gillman Bar racks \nSingapore \, 108933 SEQUENCE:0 SUMMARY:Immanent Geographies\, Kidlat de Guia\, R J Fernandez\, Lilibeth Cu enca Rasmussen\, Emmanuel Santos UID:273917 END:VEVENT END:VCALENDAR