Lav Diaz: Journeys.
This is a multicomponent output comprising: an exhibition of six films by Filipino independent filmmaker Lav Diaz, running from nearly four hours to nine hours; two single-authored journal articles. Ingawanij’s project develops a de-westernising curatorial method and concepts for grasping the radical implication of Diaz’s oeuvre, the expressive and temporal forms of his films, and the historical contexts and legacies shaping his mode of artistic practice. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qvw88
- Type
- T - Other
- DOI
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- Location
- Lav Diaz: Journeys exhibition: gallery installation of a rotating programme of six films of extended duration by Diaz, film theatrical screening, conversation series, symposium, January 27 – March 12, 2017 . Further details in portfolio.
- Brief description of type
- Other: Multicomponent
- Open access status
- Out of scope for open access requirements
- Month
- January
- Year
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Lav Diaz: Journeys (2017) deploys the university arts spaces (London Gallery West, Regent Street Cinema), as differentiated from film festival or highly commercial film venues, to adapt the migratory model of exhibiting radical films and artists’ moving image. Ingawanij and collaborators created a hybrid space, a pop-up cinema and Southeast Asian curatorial space, to present Diaz’s works, accompanied by public programmes and an archival theatrical presentation. Underpinning the curatorial method is an understanding of histories and practices of artistic and participatory agency in contexts of fragile and at-risk arts infrastructure, and attentiveness to the legacy of artistic and cultural vanguardism in the Philippines. Ingawanij’s curation also draws inspiration from Southeast Asian genealogies of performative practices, informality as curatorial praxis, and spectatorial participation and experience. Her first article explores the aesthetic and political forms of Diaz’s long films. The second analyses the vexed exhibition history of Diaz’s long films, critically highlighting the tensions shaped by the persistence of the western modernist paradigm of art film spectatorship in advocating the value of global contemporary art or radical films, especially through the idea of “slow cinema”.
The project generated multiple insights into the values and potentiality of Diaz’s films: ambiguities of anti-colonial nationalist legacies in contemporary artistic praxis; sociality of durational forms and spectatorial labour routed through specific regional and/or national genealogies; porosity of film curation and participatory spectatorship.
- Author contribution statement
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- Non-English
- No
- English abstract
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