.jpg?w=1)
拍品专文
Within the boundaries of institutional critique surrounding the artist; the work; and space is the audience. Filipino painter Annie Cabigting turns the tables and puts the phenomenon of the engagement of a 'viewer' as the subject.
Let's observe the practice of 'looking'. Annie Cabigting examines the visual culture of art practice through the gaze, power, and semiotics of a viewing body. Our visual language habitually considers a white gallery, a frame, or canvas with paint, as a structure in processing a work of art. As the viewing body encountering the work, do we at all recognize our own contribution within the completion of a particular experience of an exhibition? The level of engagement between artist, artwork, and viewer is put into focus. The placement of the body encountering the work is recognized.
Stepping back from the structural frame of the art world, Annie Cabigting recognizes the importance of engagement and processing. Well known for the self-reflective nature and conceptual frameworks of her paintings (in relation to the vernacular of contemporary art practice). Her previous bodies of work on monochrome are more cerebral, while this particular series deliberately has colour as if to signify engagement within consideration of the participation of the viewer as the work manifests its presence on a particular space and encounter.
Institutional critique has explored various positions in the contemporary art world, either within the criticism of a governing body, or the deconstruction of a patriarchal hand. When does the critique from an audience come to play? It happens every day, by the hour and second of our viewing experience, within consideration of our own bodies, and the bodies next to ours, by the passing time put on to centre view. In Annie Cabigting's paintings, the everyday is monumentalized.
- Lian Ladia, 2013.
Let's observe the practice of 'looking'. Annie Cabigting examines the visual culture of art practice through the gaze, power, and semiotics of a viewing body. Our visual language habitually considers a white gallery, a frame, or canvas with paint, as a structure in processing a work of art. As the viewing body encountering the work, do we at all recognize our own contribution within the completion of a particular experience of an exhibition? The level of engagement between artist, artwork, and viewer is put into focus. The placement of the body encountering the work is recognized.
Stepping back from the structural frame of the art world, Annie Cabigting recognizes the importance of engagement and processing. Well known for the self-reflective nature and conceptual frameworks of her paintings (in relation to the vernacular of contemporary art practice). Her previous bodies of work on monochrome are more cerebral, while this particular series deliberately has colour as if to signify engagement within consideration of the participation of the viewer as the work manifests its presence on a particular space and encounter.
Institutional critique has explored various positions in the contemporary art world, either within the criticism of a governing body, or the deconstruction of a patriarchal hand. When does the critique from an audience come to play? It happens every day, by the hour and second of our viewing experience, within consideration of our own bodies, and the bodies next to ours, by the passing time put on to centre view. In Annie Cabigting's paintings, the everyday is monumentalized.
- Lian Ladia, 2013.