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The emergence of the art fair as a validating institution and its effects on art-making deserve a conversation beyond how much was sold and how many people went. Artist Lyra Garcellano, whose practice spans about 20 years, remembers a time when artists had to eke out their own spaces. The 鈥渆xhibition economy,鈥 as she calls it, looked different: there were no art fairs and galleries paid scant attention to fresh graduates, favoring established masters instead. Contemporary art in the Philippines wasn鈥檛 the sexy thing that it is today. The art fair as a prevailing form of distribution, circulation, and education has 鈥渋ts own harsh effects鈥 said Ms. Garcellano, who knows of what she speaks since she has participated in Metro Manila’s two major art fairs: ALT Philippines and Art Fair Philippines.
In this episode, Ms. Garcellano and 大象传媒 associate editor Sam L. Marcelo hash out the consequences of a market-driven approach to art-making.
Recorded on Jan. 8 and 14 at the 大象传媒 Studio. Produced by Nina M. Diaz, Paolo L. Lopez, and Sam L. Marcelo.
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