The resistance to the critical denigration of painting is what this exhibition proposes. By the use of technological and reproductive medium, the notions of uniqueness/reproducibility as in painting with the aid of computers, projectors, printers and scanners, as well as the use of emails to disseminate images from faraway places within seconds. And by locating painting within a historical tradition that is dependent on a practice that is community based and that is reactive to societal discourse (which is mural painting and tattooing) while also being expediently affinitive to other practices.
For this exhibition at Manila Contemporary I have invited artist friends from different places in the world to participate as well as friends from my neck of the woods to further understand painting in an ahistorical arena to allow us to better conceptualize its function within a logical structure and to locate its historical development in a “pluralist” artworld. (Manuel Ocampo)