奥沙苏豪将举办《Pyramid》，这是菲律宾艺术家 Bea Camacho 与 Maria Taniguchi的第一个合作展。

受后现代主义评论家波德里亚(Jean Baudrillard)于1990年发表有关美学说所影响，《Pyramid》突显了艺术家，就像金字塔底部及塔顶的重量之商榷，交涉内容的重量和被非物质化的无重资料彼此之间的矛盾，以及探索透过图像引发观赏者对灵性及永恒之物的凭弔。

艺术家Camacho的纸上艺术品是来自「存在主义之父」沙特(Jean Paul Sartre)的著作《The Imaginary》。他选择此篇幅是基于当中言及有关人的理性及想像的特质。发行于1940年，沙特著力研讨人对某物件之联繫关键在于意图并非物件之本性。从此理念中，Camacho拆解所选篇章，并按字母排列成段。排版上按字母排列成段的常规解除了于文字的意义.。文字瞬间顿时演变成实体图像，基于图像没有明确的分段，观者得到解脱，与所有情感脱绝。Camacho强调她喜欢个人记忆的取捨及叙述。并尝试剔除过份丰富的主观情感，取用科学化的方法加以分析非实质的複杂事情。

「Untitled Mirrors」，艺术家Taniguchi用喷枪在画面上涂上灰色，决意隐藏长方图形。形式表达与俄罗斯至上主义者利西斯基(El Lissitzky)相似。四套双连作诉说著艺术家特显特显了隐闭形状与背景之间的视觉张力，从中让观者联想道一个由碎片与电脑数据组成的世界。Taniguchi希望艺术品会是一件物体而非件平面作品。如以上主义者主张反朴归真多于改革变奏，抽象对于Taniguchi来说是

分解图像成符号: 如果用一面镜子映照世界，我们会发现事实并非如肉眼所见。就如影片《Matrix》中当Neo触摸镜子只会发现现实与虚幻世界之间一道隐藏的边界。Taniguchi就是有这种难于理解的特质。实体透过非物质化的过程产生变化，将观众安置于似是而非的环境当中，为寻找作品意义的延伸，埋下伏线。

关于艺术家

艺术家Bea Camacho生于菲律宾马尼拉，2005年毕业于哈佛大学艺术环境学系，现居及工作于美国波士顿及菲律宾马尼拉。她的首个个人艺术展已于2006年跟多个组织合作，并作国际巡迴展出。当中包括：2010年在英国伦敦Tate Modern举行「No Soul For Sale」、2010年柏林Freies Museum举行的「Bastards of Misrepresentation: Doing Time on Filipino Time」、2010年在韩国仁川Hangaram Museum和釜山EoGun Museum of Photography举行的「Emerging Wave 」、 2010年马尼拉Manila Contemporary举行的「Unnamable」、2009年在马来西亚吉隆坡Valentine Willie Fine Arts举行的Cartographical Lure 、以及于2009年在美国得州奥斯汀Okay Mountain Gallery举行的「Bayanihan」。

艺术家Maria Taniguchi生于菲律宾的杜马格特，现工作及居于英国伦敦及菲律宾马尼拉。2007年她毕业于菲律宾大学雕塑艺术学系，并于2009年在伦敦Goldsmiths College取得纯艺术硕士学位，她亦是2009至2010年度LUX艺术家协作计划的成员。Taniguchi的首个个人艺术展已于2003年在马尼拉Green Papaya Art Projects举行的 New Domestic Animals期后并在马尼拉举行必三个个人展。其他参与展览包括：2010年在英国伦敦Tate Modern举行「No Soul For Sale」、2010年瑞士Cully市Mini Kunsthalle Marcel Duchamp举行的There is fire on the lake、2010年于澳洲墨尔本Next Wave Festival 2010举行的「Screening」、2009年南韩首尔Brain Factory举行的Flexible Aura (with Supercream)、2008年奥沙观塘及奥沙新加坡举行的FUTURAMANILA 、以及2008年于美国三藩市Yerba Buena Center for the Arts举行的Galleon Trade, Bay Area Now 5m。

Osage Soho presents Pyramid, the first collaboration between Philippine artists Bea Camacho and Maria Taniguchi.  The two artists, both originally from the Philippines, are now living and working in Boston and London respectively.

Inspired by the late French post-modern theorist Jean Baudrillard’s theory on simulation central for the 1990’s discussion on aesthetics, Pyramid sheds light on how these artists negotiate with the weight of the content [the base of the pyramid] and the weightlessness of dematerialized information [the zenith of the pyramid], and explores whether we can still resurrect something spiritual and eternal with image making.

For Camacho, her works on paper extract actual pages taken from The Imaginary, a book written by the father of existentialism Jean Paul Sartre. This particular text by Sartre was chosen because it describes the nature of human consciousness and imagination. First published in 1940, Sartre argues that our association of an object is based solely on our own intention and has nothing to do with the object itself. Appropriating this logic, Camacho strips selected pages from the book and arranges the letters of each paragraph alphabetically. We see typesets of orderly letters in an orderly manner that have been inhibited from any textual meaning. By improvising this performative act, the text is duly transformed into images, and for our inability to determine whether they are parts or a whole, this leaves us with a sense of void free from any emotional nuances. Camacho claims: “I am interested in a personal narrative and the idea of memory, absence and loss that come from personal experience, but I try to veer away from an over-sentimental representation towards an analytical and perhaps scientific approach. I see it as rationalization of intangible complexities.”

For Untitled Mirrors, Taniguchi uses spray paint to cover the paper that is painted in grey with sections of the paper concealed with predetermined rectangular shapes. This somewhat resembles the posters by Russian suprematist El Lissitzky. Shown as four sets of diptych, the artist upstages a visual tension between muted shapes versus a backdrop with white splashes of paint to draw the association of a universe composed of fragments and bytes. Taniguchi desires the artwork to be seen as an object instead of a two dimensional artwork.  If we hold the mirrors towards the world, what we see are no longer objects, like in the film Matrix when Neo touches the mirror only to find out that he arrives at a threshold concealing another world altogether. The uncanny quality is what Taniguchi gets at. By exposing the process of dematerialization where everything is transitory, it leaves the audience at a conduit of total familiarity coupled with utmost strangeness, and meaning is not derived by what it is but by where it is going next.

ABOUT THE ARTISTS

Bea Camacho (b. 1983, Manila, the Philippines) graduated from Harvard University in Visual and Environmental Studies in 2005 and currently lives and works in Boston, USA and Manila, the Philippines. She had her first solo show in 2006 and has participated in several group shows internationally including No Soul For Sale at Tate Modern, London (2010), Bastards of Misrepresentation: Doing Time on Filipino Time at Freies Museum, Berlin (2010), Emerging Wave at Hangaram Museum, Incheon and EoGun Museum of Photography, Busan, Korea (2010), Unnamable at Manila Contemporary, Manila (2010), Cartographical Lure at Valentine Willie Fine Arts, Kuala Lumpur, Malaysia (2009) and Bayanihan, Okay Mountain Gallery, Austin TX, USA (2009).

Maria Taniguchi (b. 1981, Dumaguete City, the Philippines) currently lives and works in London, UK and Manila, the Philippines. In 2007, she graduated from University of the Philippines with a BFA in Sculpture, then went on to gain a MAF in Art Practice from Goldsmiths College, London in 2009 and was part of the LUX Associate Artists Programme between 2009 and 2010. Taniguchi had her first solo show back in 2003 with New Domestic Animals with Green Papaya Art Projects in Manila and went on to have three more in Manila. She has also participated in several group shows internationally including No Soul for Sale at Tate Modern, London (2010), There is fire on the lake at Mini Kunsthalle Marcel Duchamp, Cully, Switzerland (2010), Screening, Next Wave Festival 2010 in Melbourne Australia (2010), Flexible Aura (with Supercream) at Brain Factory, Seoul, South Korea (2009), FUTURAMANILA at Osage Gallery Singapore and Kwun Tong (2008) and Galleon Trade, Bay Area Now 5m at Yerba Buena Center for the Arts, San Francisco, USA (2008).