Message
It gives me great pleasure to introduce you to the captivating world of Josephine Turalba. I have been following her professional career ever since we fi rst met in 2011 at the bucolic Art Omi artist residency program in Hudson Valley, New York. Since that time, she has developed in manifold directions, her art informed by keen insight born out of an increasingly global art practice, and scholarly engagement. She is, in my opinion, one of the country’s leading contemporary visual artists whose work deserves wider public attention. She holds a significant place in local art practice, constantly pioneering innovative approaches that challenge conventional boundaries. Her work seamlessly integrates various mediums, including sculpture, installation, and interactive elements, creating immersive experiences that resonate deeply with audiences.
Click.Share.Tag, a work that Turalba fi rst unveiled at the Cultural Center of the Philippines (CCP) in 2015, is a mesmerizing exploration of the intersection between digital culture and human connection, inviting viewers to contemplate the profound impact of technology on our
lives. This monumental collage installation consists of ten panels - each one of such quality that they stand on their own as unique works of art - shows the complexities of identity, communication, and social interaction in the digital age, offering poignant reflections on the ways in which technology shapes our perceptions and relationships. Through this thought-provoking magnum opus, she invites viewers to question the evolving nature of human connection in an increasingly digitized world.
Click.Share.Tag encompasses Turalba’s visionary talent and unwavering dedication to her craft. I invite you to step into her multifaceted world and embark on a journey of introspection, as her evocative pieces ignite conversations and inspire contemplation on the ever-changing landscape of contemporary existence.
Ramon E.S. Lerma Chairman & Chief Specialist
Click.Share.Tag. is a large wall hanging made entirely of leather cutouts. This project explores image-making within recent experiences of places as transient spaces within an attention-deficit culture. Without the number of hours each day extending, information through various media channels now comes to us in hoards, leaving some with the experience of the ‘overwhelmed.’ Some struggle to keep longer spans of attention and focus. Everything is quick and quicker, a sliver of this and a shard of that, causing mental fragmentation, sometimes reflected in unfi nished sentences during casual conversations. We now need to process information at an astounding rate. To compensate for this, we develop technological human extensions like online up-to-the-minute databases synchronized across all devices to aid us in fi ltering information and simultaneously providing us additional memory so that our human brain’s RAM (random access memory) may be freed up to be ‘present’ at a certain moment.
Virtual lives sometimes seem more real than physical lives. Many have become more social online and through the web than in face-to-face encounters. How do we fi gure out how technology impacts our lives? Sometimes, it feels like we are run by the need to check up on our devices rather than
allow them to work for us. How often do we feel we need to check our messages on our mobile phones? Every 10 minutes? Every beep, note, or ring?
Click.Share.Tag. provided me with a brief moment of relief from the overwhelming feeling of fragmentation and brought a sense of wholeness to my experience. However, I don’t want the viewer to just observe the image but to actively participate in its creation. By standing in front of the photographer and looking at the entire scene behind him, they can reflect on what they see and imagine scenes of their own lived experiences. The image of a person taking a selfie in the background highlights the importance of participation and contemplation in our fragmented lives.
While the pandemic briefly a fforded us a reprieve, allowing for introspection and recentering, the post-COVID landscape beckons us back into the frenetic pace of modern life. Reflecting on my own experiences traversing continents and cultures, from Boston to Turkey to Manila, Click.Share.Tag. serves as a poignant reminder of the constant flux of our existence and the enduring quest for balance amidst the chaos of our times.
Josephine Turalba is a transdisciplinary artist based between Manila, Boston, and Antwerp. Her work explores issues of divide and convergence within a volatile geopolitical world order. Her nomadic relation to various forms of media, including performance, installation, experimental video, tapestry, photography, and painting, allows her to delve into her obsessions with sociopolitical narratives, myths, and personal histories.
Turalba exhibited at the 2016 London Biennale, European Cultural Center, concurrent with the 56th Venice Biennale, 12th Cairo Biennale, Arter Space Istanbul, Cultural Center of the Philippines, VII Tashkent Biennale of Contemporary Art Uzbekistan, Metropolitan Museum Manila, and M1 Singapore Fringe Festival.
Currently Director of Arts-Based Research Center at the Philippine Women’s University, formerly Dean of the PWU School of Fine Arts and Design; and Research Fellow at the MIT Future Heritage Lab and MIT Program for Arts, Culture and Technology, she holds an Advanced Master in Research from Sint-Lucas Antwerpen, KdG Belgium and an MFA in New Media from Transart Institute, validated by Donau Universität Krems, Austria.
josephineturalba.art Fb.com/JosephineTuralbaStudio @josephineturalba
PANEL 1
Graffiti
on Brownstones
LEATHER, RIVETS, GROMMETS, WAXED THREAD
133 X 166 CM (52 1/4 X 65 1/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
In the heart of Back Bay, Boston, the brownstones were more than just buildings to me. They were the backdrop to my bustling life, as my paths often led me to the lively streets of Cambridge, where I engaged as a research fellow at the MIT Future Heritage Lab. Within the confi nes of those brownstone walls, I stumbled upon unexpected treasures – gra ffiti adorning the surfaces, each telling its own unique story. Among them, a mesmerizing mural caught my eye, portraying cars seemingly in free fall, a surreal yet captivating sight that breathed life into the space and echoed the city’s vibrant energy. In the mix of old-world charm and modernity, these brownstones became a sanctuary in the midst of the urban chaos. From the cobblestone streets to the quaint cafes, every corner held a memory waiting to unfold. The gra ffiti in the other parts of the city served as a poignant reminder of the creativity and diversity within our urban community, making every moment uniquely memorable.
Rooftops of Contemplation
LEATHER, RIVETS, GROMMETS, WAXED THREAD
150 X 192 CM (59 X 75 1/2 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Rooftops of Contemplation is a journey that intertwines my personal experiences with the diverse tapestry of cultural and spiritual exploration. As I wandered through the cities I visited, I found myself drawn to the nostalgia of classic architecture, such as an old-style church with towering spires reaching towards the heavens; the beloved Nation Theater; and the timeless traditional mosque. My attention was also drawn to the fi gures that populated the scenes like a silhouette of a Turkish lady peering out from the window, one engrossed in taking a selfie, while another a serious photographer. Their presence echoed my own moments of introspection and connection in the bustling city streets.
Against this backdrop, my reflections deepened, shaped by the intersections of faith and culture that I encountered along the way. From my Catholic upbringing to my encounters with Islam during my travels, each experience added layers to my understanding of the universal quest for meaning and belonging.
PANEL 3
Tambay sa Bubong
LEATHER, RIVETS, GROMMETS, WAXED THREAD
130 X 203 CM (51 X 80 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Tambay sa Bubong offers a glimpse into the vibrant tapestry of life atop Manila’s rooftops, where every corner tells a story of resilience, community, and the ever-changing landscape of the bustling metropolis. Amidst a kaleidoscope of tattered and colorful roofs of Tondo, birds soar overhead. The neighborhood’s charm contrasts the sleek condo buildings rising in the distance, a testament to the city’s ongoing transformation. The ubiquitous GI (galvanized iron) sheet serves as a reminder of impermanence and the resilience of the Filipino spirit. I remember how GI sheet roofs were blown away by strong typhoons in June. A lone fi gure sits calmly, observing ephemerality and perceived permanence in buildings unfolding before him. Their stillness amidst the chaos prompts a reflection on the fleeting nature of existence and its beauty in the present moment. Tambay sa Bubong invites the viewer to pause, linger, and reflect on the beauty and impermanence of the world around us.
PANEL 4
What You See and Don’t Want to See
LEATHER, RIVETS, GROMMETS, WAXED THREAD
120 X 175 CM (47 1/4 X 68 3/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
What You See and Don’t Want to See delves into the complex relationship between perception and reality. The image of the lady, her eyes masked, invites contemplation on the complexities of sight – what we choose to acknowledge and what we intentionally ignore. It’s a reflection on the selective nature of perception, where the messy laundry strewn outside symbolizes the chaotic and unpredictable aspects of life that we may prefer to overlook. The viewer is drawn into a world of contrasts and contradictions. The vibrant cityscape of Manila unfolding a diverse architectural landscape and socioeconomic conditions.
Analysis Paralysis
LEATHER, RIVETS, GROMMETS, WAXED THREAD
128 X 165 CM (50 1/4 X 65 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Analysis Paralysis immerses viewers in the intricate web of modern urban life, where the cacophony of choices and the relentless flow of information can lead to a state of mental stagnation. The artwork paints a vivid picture of a man traversing through a cityscape, his fi gure a stark silhouette against the backdrop of towering condos. The man metamorphoses into a surreal superhero, his cape billowing behind him as he leaps from window to window. Each window represents a new opportunity for growth and change. Among the urban hustle and bustle, a group of friends gathers, engaging in deep conversation and introspection. Their dialogue resembles a therapy session as they dissect their lives and seek understanding within the chaos. The subtle change of signage from a Dental Clinic to a Mental Clinic underscores the shift from physical to emotional well-being, emphasizing the importance of mental health in our modern society.
PANEL 6
Mr. ShotQuic
LEATHER, RIVETS, GROMMETS, WAXED THREAD
130 X 200 CM (51 X 78 3/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Mr. ShotQuic serves as a whimsical homage to the patchwork of modern life, inspired by the memory of Mr. Quickie, a shoe repair store in Manila. In this playful transformation, the familiar shoe/boot in the signage is rotated to resemble a gun, capturing the urgency and demand for quick solutions in our rapidly evolving world. Similarly, the transformation of “Western Union” into “We Uturn Union” reflects the ever-changing landscape of our society, where adaptation is key to survival. A signage humorously altered to read “DEEZ NUTS SPA MASSAGE.” This quirky name refers to the independent presidential candidate during Obama’s election campaign, with “Deez Nuts” becoming widely circulated internet memes. It’s a playful nod to the absurdity and humor found in politics.
Against the urban backdrop, a blue building catches the eye, its presence contrasting with the bustling surroundings. Here, in the heart of the chaos, a lone fi gure sleeps on the streets of Istanbul. Is he the embodiment of ShotQuic? His presence serves as a poignant reminder of the diverse range of people encountered while traveling, each with their own story to tell.
Waiting For Your Ride
LEATHER, RIVETS, GROMMETS, WAXED THREAD
125 X 256 CM (49 X 100 3/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Waiting For Your Ride invites viewers into quiet anticipation in the lively cityscape. At the sides of the composition stands a horse beneath an umbrella and a pedicab driver, patiently awaiting their riders, a poignant symbol of timeless patience. The scene comes alive with a riot of colors and bright signages reminiscent of the dynamic energy of city life. Tangled wires crisscross overhead, the continuation of the car-falling-down gra ffiti injects a touch of surrealism, hinting at a dreamlike quality within the urban hustle. This work invites viewers to immerse themselves in the bustling energy of the cityscape while reflecting on the universal experience of waiting, a timeless reminder of the transient beauty found amidst the tumult of modern life.
PANEL 8
The Plaza Game
LEATHER, RIVETS, GROMMETS, WAXED THREAD
120 X 200 CM (47 1/4 X 78 3/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
The Plaza Game vividly captures the bustling energy of urban life as children play freely in the streets. Against a backdrop of colorful street scenes, the children’s playful antics take center stage. The bright orange barricade provides a striking contrast against the dynamic cityscape, while umbrellas dot the scene, offering respite from the sun. In the center, two boys engage in a spirited football game, their laughter echoing through the streets.
The Plaza Game invites viewers to immerse themselves in the lively atmosphere of city life, where the streets serve as playgrounds and every corner holds the promise of adventure. Through this artwork, we are reminded of the resilience and creativity of children, who fi nd joy and excitement in even the most ordinary surroundings.
PANEL 9
Mang Nick’s Dirty Cream
LEATHER, RIVETS, GROMMETS, WAXED THREAD
132 X 280 CM (51 X 110 1/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Mang Nick’s Dirty Ice Cream serves as a nostalgic ode to a cherished childhood memory. Mang Nick used to come around my street selling “dirty” (homemade) ice cream. I have fond recollections of my younger days spent savoring cheese and ube-fl avored dirty ice cream, which are set next to memories of my leisurely walks with my daughter in Boston.
At the heart of the composition stands a towering fi gure of a man-rooster adorned with chicken feet. This whimsical creation was inspired by discussions with a friend about the amusing antics of men trying to impress women. This playful image adds a touch of humor to the nostalgic reverie. Amidst the reminiscences, the number 13, my father’s favorite, adorns a traditional kalesa, a horse-drawn carriage emblematic of simpler times. The clip-clop of the horse’s hooves takes us back to an era of cobblestone streets and cherished memories, evoking feelings of warmth and nostalgia.
PANEL 10
Look Through My Lens
LEATHER, RIVETS, GROMMETS, WAXED THREAD
79 X 78 CM (31 X 30 3/4 IN)
Exhibition:
2024 Salcedo Private View, Salcedo Auctions, Makati, Philippines
2016 Tin-aw Gallery, Makati City, Philippines
2015 Bulwagang Carlos V. Francisco (Little Theater), Cultural Center of the Philippines
Look Through My Lens captures a photographer in the midst of his craft, but the focus transcends the immediate scene. Instead, viewers are encouraged to step into the photographer’s perspective and see the world through his eyes. The composition invites a sense of immersion, as if viewers are standing alongside the photographer, witnessing the unfolding narrative behind him fi rsthand.
At its core, Look Through My Lens celebrates seeing and capturing moments, emphasizing the interconnectedness between the photographer, the viewer, and the world around them. It underscores the power of perspective and invites exploration of the beauty found in experiencing life through di fferent lenses.
