Leo Abaya is a visual artist, commercial director and the award-winning production designer for José Rizal, Kubrador and Muro-Ami. As an artist, he has held a number of solo shows. These include his first solo show, Bliss, at the West Gallery in SM Mega Art Walk in 1997; Corpora Immobilia, a large installation work at the Corredor Gallery at the UP College of Fine Arts in July 2003; Figures and Grounds at the Pinto Art Gallery in Antipolo in April 2005; and Tropical, Baroque at the Utterly Art Gallery in Singapore in June 2008. Among his awards and recognition are the Juror’s Prize in the AAP Art Competition in 1993; Best Production Design for Muro-Ami at the Metro Manila Film Festival in 1999; Best Production Design a Faculty Fellowship Grant for Overseas Postgraduate Studies from the University of the Philippines in 2003; shortlisted, one of two finalists for Best Book Design for Ani: The Life and Art of Hermogena Borja Lungay in the Manila Critics Circle National Book Awards in 2007; and Best Production Design for Kubrador at the Gawad Urian in 2007.
Georgina Luisa O. Jocson
Gina holds a Bachelor of Arts in Interdisciplinary Studies (Honorable Mention) from the Ateneo de Manila University (Philippines) and a Master of Arts in Asian Art Histories from LASALLE College of the Arts (Singapore). She is the curator of “NOT ANOTHER MOTHER AND CHILD,” a multi-media exhibit featuring 13 Negrense women artists, on show from March 28 to May 15, 2019 at the main gallery of the new Orange Project Bacolod (formerly Gallery Orange). Most recently, she was the curator of “UNREFINING SUGARLANDIA,” the inaugural contemporary art exhibit composed of 23 Negrense artists, which ran from September 1, 2018 to February 28, 2019 at the newly renovated Negros Museum in Bacolod City. She is also a consultant to Orange Project Bacolod. Her research interests are Philippine contemporary art, focusing on art from Negros and the Visayas region; curatorship; and art center management and programming. Her master’s thesis on the Negrense artist collective, Black Artists in Asia, and its impact on the art landscapes of Negros Occidental and the Visayas, has been accessioned into the collections of the National Library of Singapore, the Rizal Library of the Ateneo de Manila University, the Cultural Center of the Philippines Library, and the Filipinas Heritage Library. After finishing her masters, she worked for a time as a curatorial assistant at the National Art Gallery, Singapore. Gina has lived in Manila, Jakarta, Singapore, and more recently, in Prague, where she was project manager and curator of the exhibit “A Celebration of Philippine Art and Culture” held in Brno, Czech Republic, under the auspices of the Philippine Embassy in Prague.
Iola Lenzi is a Singapore-based historian, curator, critic, and educator of Southeast Asian art. Also trained in law, her research interests include art’s negotiation with power, and transnational comparisons of politically and socially-engaged art practices in Southeast Asia and beyond. Selected curatorial projects include Concept Context Contestation art and the collective in Southeast Asia, BACC Bangkok, travelling (2013-2019); La Vidéo Engagée d’Asie du Sud Est, Grand Palais, Paris (2015); The Roving Eye-contemporary art from Southeast Asia, ARTER/Koc Foundation, Istanbul (2014); Negotiating Home History and Nation: two decades of contemporary art in Southeast Asia 1991-2011, Singapore Art Museum (2011); and Masterpieces: Southeast Asian digital art, Samsung Projects (2012-2016). Lenzi serves as adjunct-lecturer in the Masters of Asian Art Histories Programme, Lasalle College-Goldsmiths, Singapore, where she teaches “Society and Politics in Asian Art”. She publishes prolifically, is the author/editor of four research anthologies on Southeast Asian contemporary art, and the author of Museums of Southeast Asia (2004). In 2018, she was the co-convener of Art and Action: contemporary art and discourse in Southeast Asia, Lasalle College of the Arts, Singapore. She is the co-founder and curatorial director of Fondation Laroche Jacquelin, France, that runs Southeast Asian contemporary artists’ residencies in the summer months.
Angel Velasco Shaw
Angel Velasco Shaw is a media artist, educator, curator, and cultural organizer living in Manila and New York City. Her experimental documentaries—Inherited Memories, When Absence Becomes Presence, Motherload (co-produced with performance artist, Josephine Turalba), The Momentary Enemy, Umbilical Cord, Asian Boys, Nailed and Balikbayan/Return to Home have screened in American, European, and Asian film festivals, museums, galleries, and schools. Some of these works are in the archive collections of the Metropolitan Museum of Manila, Cinematheque Suisse Schweizer Filmarchiv, Casa Asia, and the Museum of Modern Art. She is currently an Associate Professor in the School of Arts and Sciences/Communication Arts Department, and the Founding Director of the Institute for Heritage, Culture and the Arts (IHCA) at Philippine Women’s University, founded in 2014. She has curated and produced several visual art and film exhibitions, and cross-cultural exchange projects such as “The Inverted Telescope”, “Markets of Resistance”, “Women as (Mythical) Hero”, “Vestiges of War”, and co-curated “Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War”, to name a few. Shaw co-edited the anthology Vestiges of War: The Philippine-American War and the Aftermath of An Imperial Dream: 1899-1999 with Luis H. Francia (New York University Press, 2002) and self-published Silent Stories (1985). She was a recipient of a 100 Most Influential Filipina Women in the U.S. “Innovators & Thought Leaders” award by Filipina Women’s Network in 2011. The Markets of Resistance anthology is forthcoming (Bughaw, Ateneo de Manila University Press, 2019). Velasco Shaw is currently working on curating the “Not Visual Noise” group photography-based exhibition which will be on view in Ateneo Art Gallery from November 24, 2019 – March 29, 2020.
Dr. Ming Turner
Dr. Ming Turner received her PhD in Art History and Theory at Loughborough University, with research interest in postcolonial and feminist theories. Her previous curatorial projects include Taiwan Digital Art Pulse Stream Plan: Body, Gender, Technology (2010-11), held at Digital Art Center Taipei; 0&1: Cyberspace and the Myth of Gender (2010), staged at the 501 Contemporary Art Centre, Chongqing, China; Simply Screen: Inbetweeners of Asia (2009), held at Tranzfabrik, Berlin and The Bhavan, London. She publishes widely internationally, including Women’s Studies in the West (Beijing: China Renmin University Press, 2011), Gender and Women’s Leadership (London: Sage, 2010), n.paradoxa (2010, 2012) and The International Journal of the Arts in Society (2009). She is a regular contributor to Artist Magazine in Taiwan and is currently curating a major show for the Museum of Contemporary Art Taipei, scheduled for late 2013. She lectures Critical and Contextual Studies at De Montfort University.