Artists: Felix Resureccion-Hidalgo (1853-1913), Megan Michalak and Giuliana Racco
Collections: The Philippine Journal of Science, Annual Reports of the Director of the Bureau of Science Philippine Islands, National Museum of the Philippines
In the frame of Exposition at Lopez Museum & Library, Lightning Studies: (CTCCCs) presents PASÁ PASÂ, a curatorial study on translation in transition through artistic projects produced in two different time frames in Spain, archival materials on scientific and health reports in the early American period in the Philippines, and collaborative production/management across systems of the institutional and their corresponding infrastructures of showing. PASÁ PASÂ is a critical layout for contemplating the production of ‘public good’ shared between the vectors of the artistic, the scientific, and the civil. PASÁ PASÂ can be read through two presentations: as etiologies of bruising, and as being bruised all over despite good conditions, where ‘fictive polemical’, institutional critique, and histories of artwork are used as transitional devices to imagine alternative methods for gathering and organizing knowledges.
The streams of PASÁ PASÂ start with the politics of ventilation and sanitation as reflected in the practice of conservation and the technological in a museological space. The scale of collaboration of anthropology and ethnography within the ideological engineering of public good through the terms of health and hygiene is exposed in a collection of photographs from the Philippine Journal of Science and the Annual Reports of the Director of the Bureau of Science Philippine Islands. The charts PASÁ PASÂ (Bruised all over) and PASÂ (Bruising) essay a new linguistic device of translating the civility of a former colonial subject into the liberal terrain of an imperial power. Around the museum rotunda with a closed vitrine at the center, the circulation of air guides the viewers in the vexed relationship of preservation across bodies, contexts, and horizons. PASÁ PASÂ terminates with a fumigated specimen of a poisonous plant known to have curative potential, enacting a political and ideological indeterminacy and agency in a landscape for the rhetoric of growth and progress.
Lightning Studies: Centre for the Translation of Constraints, Conflicts and Contaminations (CTCCCs) is an imagined, virtual, and fleeting institution for relational translation. The centrality of forming a speculative institution serves two purposes: as a reference for undoing the overdetermined proposition of the so-called pedagogical models, which could position translation as a critical method and praxis of pedagogy; and as a vector of exploring partially visible modes of organization, such as co-production of discursive elements, conceptual histories, and incidental alternatives through the interpellation and injunction of texts and images. Fictionializing European Enlightenment’s and capitalist modernity’s transformation, it traces the archaeology of turns and omissions in translation, then archives the ongoing and futural translations of artistic impulses to configure a constellation of discourses.
The first iteration of Lightning Studies: Centre for the Translation of Constraints, Conflicts and Contaminations (CTCCCs) was realized through the Encura Curatorial Research Residency at Hangar in Barcelona in February 2016.
Lightning Studies: (CTCCCs) presents PASÁ PASÂ is part of EXPOSITION, a group exhibition curated by Dorothea Garing. EXPOSITION runs from September 1 to December 23, 2016.