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Exhibitions

It’s almost 2019, and what a year 2018 has been! Here’s a year in review:

Personal

I started the year decluttering my parents’ house, stopped needing a cane from a hip injury, went back to training in taekwondo again, made lots of new friends, and reconnected with old ones. My dad was diagnosed with a benign brain tumor and is back in Manila from treatment in New York. Apart from residency/fellowship travel (see below), I visited Lucerne (to see a friend), Bratislava, Berlin, Salzburg, and Bangkok (with extended family).

Research: Philippine jungles

I visited Cleopatra’s Needle Critical Habitat sponsored by Great Escapes Philippines and Centre for Sustainability PH.

Exhibitions: Manila, Germany, Dublin

The Sewer Soaperie and An Olfactory Portrait of the Amazon Rainforest were part of the Manila Biennale in February. The Ephemeral Marvels Perfume Store was part of “Victor Papanek: The Politics of Design” at the Vitra Design Museum in Germany in September, and was also part of Science Gallery Dublin’s In Case of Emergency exhibition which closed in February.

Projects, Residencies, Fellowships, Awards: Vienna, Beijing, Taipei

From April to June I did a visual arts residency with KulturKontakt Austria and the Austrian Federal Chancellery. I produced another body of work, Wild Science, which explores the role of science in society. There were fun collaborations, such as with Dr. Gerhard Heindl of the Schönbrunn Tiergarten for this piece, Der Tiergarten 1.0: Human Forces on the Animal Kingdom, and a photo shoot with some cool herpetologists and taxidermists at the Naturhistorisches Museum Wien (Natural History Museum, Vienna). I also produced Letters for Science and asked youth from Eferding, Austria to write letters to climate change deniers.

In Manila in September, we finished photo and video shoots of The Ephemeral Marvels Perfume Store and The Sewer Soaperie. I also started doing research for Wild Science on religion and beliefs in Quiapo, a part of Manila where Catholicism, Islam, and paganism intersect.

In Beijing in November for part 1 of the Crystal Ruth Bell Residency with China Residencies and Red Gate Gallery, I performed The Planetary Renewal Spa for the first time and did research for Future Feast. I’ll be back in March 2019 to finish the project.

I’m one of the ten inaugural SEAΔ fellows of the Mekong Cultural Hub and the British Council with part 1 held in Taipei in late November. We were divided into four groups, and mine will meet in Cambodia in May 2019 to execute our project. We will all be together to present the outcomes in Bangkok in June and reflect on the program in September.

I did the second Year for the Planet edition, focusing on my clothing choices.

The Apocalypse Project was shortlisted for Best Climate Solutions Award by Euro-Mediterranean Center on Climate Change (CMCC).

This year’s Ritual Card is a Sunset Wheel, based on the cyanometer used by Alexander von Humboldt.

Talks: From Mental Health to Art and Social Norms

I spoke about artists and mental health in Manila, and spoke about art, science and social norms at the Academy of Fine Arts in Vienna and in Crossboundaries Beijing.

Media

I’m one of ArtReview Asia’s Future Greats for their Summer issue and was featured in my alma mater, the SVA NYC’s Visual Arts Journal for the Fall issue. I wrote an article for Vienna-based contemporary art magazine Springerin, entitled “A Different Shape of Progress: Contemporary Art and Social Inclusion.” I was part of a podcast by America Adapts (Episode 78: Flooding, Climate Change, and Art).

If you have been part of my year at all, thank you very much for your support! Here’s to another productive year. May 2019 be full of new work, growth, relationships, and life!

—Catherine

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I’m honored to show “The Ephemeral Marvels Perfume Store” at the “Victor Papanek: The Politics of Design” exhibition at the Vitra Design Museum in Weil am Rhein, Germany, which shows from September 30, 2018 to March 10, 2019! I’m excited to be one of the contemporary designers and honored to have a small contribution to this fantastic exhibition for my work on climate change. Very humbled to be among some amazing people whose work I’ve learned from through the years. Deepest thanks to the curators and exhibition team!

An excerpt from the VDM site:

With the exhibition »Victor Papanek: The Politics of Design«, running from 29 September 2018 to 10 March 2019, the Vitra Design Museum will present the first large retrospective focussing on the designer, author, and activist Victor J. Papanek (1923–1998). Papanek was one of the twentieth century’s most influential pioneers of a socially and ecologically oriented approach to design beginning in the 1960s. His key work, »Design for the Real World« (1971), remains the most widely read book about design ever published. In it, Papanek makes a plea for inclusion, social justice, and sustainability – themes of greater relevance for today’s design than ever before. The exhibition includes high-value exhibits such as drawings, objects, films, manuscripts, and prints, some of which have never before been presented. These are complemented by works of Papanek’s contemporaries from the 1960s to 1980s, including George Nelson, Richard Buckminster Fuller, Marshall McLuhan, or the radical design initiative »Global Tools«. Contemporary works from the areas of critical and social design provide insight into Papanek’s lasting impact.

»Victor Papanek: The Politics of Design« is organized into four sections offering an in-depth look at Papanek’s life and work. The exhibition begins with an introductory, large-format media installation presenting the designer’s ideas in a contemporary context and follows with a biographical overview tracing Papanek’s life from his escape from Europe to his international success. For the first time, organizers were able to draw upon materials of the Papanek estate held by the Papanek Foundation at the University of Applied Arts Vienna, which includes a number of documents that have never been exhibited, including notebooks, letters, furniture, pieces from Papanek’s collection of ethnological objects, as well as over thousands slides that the designer used for his lectures.

Two other sections focus on the main themes of Papanek’s work, including his fundamental criticism of consumerism and his engagement with social minorities, his commitment to the needs of what was then known as the »Third World«, ecology, sustainability, and »making« culture – creation and production using one’s own resources – which had its origins in the 1960s do-it-yourself movement. Visitors can also view a wealth of designs by Papanek, his students, and other collaborators, including those by the Danish designer Susanne Koefoed, who as a student of Papanek developed the first International Symbol of Access in 1968.

The exhibition is supplemented with around twenty carefully selected contemporary works that transport Papanek’s ideas into the twenty-first century by designers including Catherine Sarah Young, Forensic Architecture, Jim Chuchu, Tomás Saraceno, Gabriel Ann Maher, or the Brazilian collective Flui Coletivo and Questtonó. They, too, deal with complex themes such as global climate change, fluid gender identities, consumer behaviour, or the economic realities of migration, meaning they reflect the continuing resonance of the questions Papanek was already addressing in the 1960s. At the same time, they break out of the white, Western, and male-dominated world to which Papanek was bound despite all his efforts to the contrary.

»Victor Papanek: The Politics of Design« is thus both a retrospective as well as a themed exhibition. By focusing on Papanek the person, we can better understand a larger theme, namely the significance of design as a political tool. After all, what was revolutionary for Papanek’s time is now generally accepted: design is not only about giving form to something; it is a tool for political transformation that must consider social and ethical points of view. This is reflected by the fact that today’s debates over themes such as social design and design thinking draw upon Papanek’s ideas as a matter of course. The exhibition seeks to rediscover Papanek as a pioneer of these debates – and as one of design’s greatest forward thinkers – for the twenty-first century. At the same time, it examines how Papanek’s socially engaged design is changing our world today – as well as how it can make the world a better one.

The Ephemeral Marvels Perfume Store at the “Victor Papanek: The Politics of Design” opening. Image by Vitra Design Museum

More here.

 

Wild Science debuted at the group exhibition of the artists-in-residence supported by the Austrian Federal Chancellery and KulturKontakt Austria. Shown in the exhibition are Der Tiergarten 1.0: Human Forces in the Animal Kingdom, Scientific Method, The People’s Cabinet of Curiosities, Letters for Science, and Poetic Microscopy. The show runs from June 11 to 21 at the exhibition hall of the Chancellery at Concordiaplatz in Vienna, Austria.

 

The Apocalypse Project‘s Sewer Soaperie and An Olfactory Portrait of the Amazon Rainforest are exhibited in the first Manila Biennale in the walled city of Intramuros. The theme, “Open City,” refers to Intramuros as the origin of Manila’s culture. It is a tribute to the walled city’s beginnings as a port for the Galleon Trade, a time when Intramuros opened itself up to the world and welcomed new ideas, products and people.

Image credit: Manila Biennale

The Sewer Soaperie consists of soaps made from different points in the cycle of oil in human consumption, from palm oil to used oil to raw sewage and fatbergs, to highlight the effects of our impact on cities. Support for this project was given by Arts Collaboratory, Ministry of Culture of Colombia, and Medellín-based arts organizations Platohedro and Casa Tres Patios, where I did a residency in 2016.

This edition of An Olfactory Portrait of the Amazon Rainforest features scents based on the travel narratives of 19th century explorers of the Amazon, where naturalists such as Alfred Russell Wallace and Alexander von Humboldt encountered this ecosystem for the first time, which relates to the “openness” theme of the biennale. Visitors are allowed to smell these scents and inhale the stories of how these explorers encountered the Amazon. On the wall is text that features the passage of the books where I based these scents from. This project was inspired by my residency in the Amazon in 2017, with the support of LABVERDE and the INPA National Institute of Amazonian Research.

Manila, Medellín, and Manaus are cities that are similar in their colonial history, richness of culture and stories, and vulnerabilities to climate change, which the works highlight. It’s been great fun to bring these together for this historic biennale as well as be reminded of my enriching residency experiences in South America, of which the Philippines share very similar characteristics.

The Sewer Soaperie and An Olfactory Portrait of the Amazon Rainforest

This edition of An Olfactory Portrait of the Amazon Rainforest interprets the olfactory memories of 19th century explorers into scent, based on their travel narratives

The installation can be viewed at the biennale lounge. Image credit: Manila Biennale

Manila Biennale 2018 is led by Executive Director Carlos P. Celdran, and this installation is curated by Alice Sarmiento. Thank you!

Image credits: Photos 1-4 by Studio Catherine Sarah Young, 5-7 by Manila Biennale

June 26-29, 2017, Kampala, Uganda—We presented Child’s Play: Climate Change through the Eyes of Children, at the 11th Community-Based Adaptation Conference hosted by the International Institute for Environment and Development (IIED). It was fantastic to wrap up my art residency with Plan International. I’m really grateful to have presented the works by the children from all three of my workshops in Indonesia, Thailand, and the Philippines.

Some of the paper architecture made by children and youth from the Future Resilient Communities workshop

 

The Climatoscopes, Child’s Play edition

 

For this edition of The Climatoscope, I didn’t do the photos—the kids did! What are places in your communities that need to adapt to climate change?

 

The Ephemeral Marvels Perfume Store! This time, the kids made their own perfumes. I reproduced them from the recipes they gave me at the end of the workshops.

 

Storm Globes shows kids’ sculptures of things in their communities that are vulnerable to climate change.

 

Deepest thanks to Kimberly Junmookda, Plan International (especially the Indonesia, Thailand, and Philippines offices!), and the Federal Ministry for Nature Conservation, Building and Nuclear Safety Germany (BMUB).

Barcelona, Spain—From June 20-22, I was in Barcelona, Spain (one of my second homes where I attended art school, hurray!) as The Apocalypse Project is a finalist for the Cultural Innovation International Prize in CCCB. The theme of this year’s biennial prize is climate change.

There were 10 finalists from all over the world, though strangely I was the only one from Asia and I think the one based outside of the EU. How curious. But in any case, I was really grateful to be a part of it; a lot of my best friends are in Barcelona and I haven’t seen them in 7 years. How fast time flies!

On June 20, we had a workshop to explain our proposals and then we had to give a public presentation.

CCCB Cultural Innovation International Prize

Metaphors and storytelling

We had a bilingual workshop, which was mainly for me and James, from the UK

The Apocalypse Project: It’s More Fun in the Anthropocene

With some of my best friends whom I haven’t seen!

When your friends are with you, this talk was a breeze

Taekwondo besties!

My proposal, “The Apocalypse Project: It’s More Fun in the Anthropocene,” was runner-up to the prize. I’m very happy to be a part of this, and to speak about four years of collaborations in Barcelona, one of my “home cities” where my views on interdisciplinary art and science first took root. I’m glad to have seen my friends again—I rarely travel for tourism because of the carbon—so this was a very meaningful trip! Onwards and upwards!