Traversing Borders
Museum MACAN presents the first-ever museum survey exhibition by Isabel and Alfredo Aquilizan.
Written by Maia San Diego
June 22, 2023
Isabel and Alfredo Aquilizan (b. Philippines, 1965 and 1962), Here, There, and Everywhere (In-habit: Project Another Country) (2018), Cardboard and metal installation.
Isabel and Alfredo Aquilizan work with migrant communities, and their practice suggests a continuous movement of ideas. As of writing, the artists are preparing for their upcoming first-ever museum survey exhibition titled Somewhere, Elsewhere, Nowhere, to be held in Museum MACAN in Jakarta, Indonesia from June 24 to August 10, 2023. Major works will be included in the exhibition including those from their Left Wing Project series and a new piece commissioned by the museum.
Isabel and Alfredo Aquilizan. Image courtesy of Museum MACAN, Jakarta.
Partners in life, in art, and everything in between—the contemporary Filipino artists speak of open-endedness and community in their art practice. The artists say there is an endless questioning, a constant movement, a continuous push. Going beyond the themes of identity towards belonging and learning, the Aquilizans’ works begin to erase boundaries by creating a new community. A sense of repurposing, much like their repurposed materials, is implied. There is a continuous transition that takes place amid the blurring of boundaries and creating new communities and spaces.
Isabel and Alfredo Aquilizan (b. Philippines, 1965 and 1962), Here, There, and Everywhere (In-habit: Project Another Country) (2018), Cardboard and metal installation.
Somewhere, Elsewhere, Nowhere is a project that engages communities. It delves into one’s relationship with place. The included works describe places, the sense of belongingness, and how there may be spaces where one does not fit in. It is a notable exhibition in the context of the artists’ movement between the Philippines and Australia and the experiences of migrant communities abroad.
The use of ordinary materials may resonate with the audience. It gives a sense of humility to the idea of art—which is often placed on a pedestal, forming a disconnect between viewer and object. We have diverse experiences with the various objects we use on a daily basis. Whether it be flipflops or toothbrushes, the audience will form different associations with the materials used in the installation pieces, creating multiple layers of narratives. This sense of accessibility allows an open exchange between the artists, the community they collaborate with, and the audience.
The Aquilizans’ commissioned work is part of their series titled Belok Kiri Jalan Terus (when translated, it means “turn left to go straight”). The project originated from their time in Yogyakarta and engages the audience through the hearing senses with the audio recording of bird sounds. It is a piece that the artists have been contemplating for some time and have been looking for the right opportunity to continue. Museum MACAN is commissioning a one-to-one scale model of an airplane wing made of teak bird cages. Touching on the idea of confinement and freedom, viewers can look forward to an immersive experience.
A number of works to be exhibited are more than a decade old. Logistically, the team behind the project had to coordinate to recreate the pieces with the participation of communities. Given the site-specific nature of the pieces, the works speak of the narratives of people who have contributed objects for the works. Collected from various sources, the mundane objects refer to the histories of their previous owners.
Isabel and Alfredo Aquilizan (b. Philippines, 1965 and 1962), Wings Baanan Series – Baby Wings (2021), Hand forged metal, wood.
The Aquilizans’ body of work spans a practice that delves into themes of home, family, human movement and journeys, and how these relate to identity. While working on serious themes, Museum MACAN curator Aaron Seeto observed the humor projected onto the works and how the Aquilizans work with a lighthearted openness.
The idea of working together and sharing tasks is always part of our life as Filipinos and Southeast Asians, noted the Aquilizans. The communal aspect of their works, the “created moments,” are what matter most. The artworks themselves are a documentation of shared memories.
Isabel and Alfredo Aquilizan (b. Philippines, 1965 and 1962), Wings Baanan Series – Baby Wings (2021), Hand forged metal, wood.
Community-based work for the Aquilizans has evolved, folding in the transmission of knowledge and transfer of skills. The trajectory adds another layer of meaning to their community-based practice. The Aquilizans place value not just in their partnership and their relationship with institutions, but also in their connection with artisans and the general public. The nature of their whole process of production is centered around the idea of sharing.
Culled from the Aquilizans’ personal journeys as Filipino immigrants, the uncertainty of circumstances adds color to their artistic practice. The development of their works in terms of material and themes narrate how their lives also develop. Allowing ideas to incubate in foreign spaces introduces new perspectives to their practice. Engaging with the audience and sharing and transmitting knowledge is what it’s all about.
The experience of the Filipino immigrant is not one without challenges. These obstacles, however, are met with determination and creativity. “What’s the whole point of doing these things if you don’t have these challenges?” they ask. The speed bumps are what make life interesting. It becomes a learned skill to make do with what you have and to adjust to your current circumstances. These projects do not come easy, but Isabel and Alfredo Aquilizan thrive in challenges.
“Adapt, and adopt,” they say.
