The following text is taken from Front Magazine, vol. VII, no. 4, p. 8, March/April 1996:
Hosted by Hank Bull.
Early in March a major exhibition opens at University of California at Irvine devoted to contemporary art from the Philippines. Since many of the artists involved are living in different countries, the show is also international. This paradox hits home in Vancouver, a city on its own nomadic journey.
Both Santiago Bose (see Artist-in-Residence) and Lani Maestro are included in the U.C. Irvine exhibition. Maestro’s spare and elegant installations have consistently and articulately addressed the complexity of issues around the social and cultural construction of identity. The particular circumstances of immigration, the “post-colonial” legacy of the Philippines, political oppression, family, and place, as well as a sophisticated formal vocabulary and an art historical genealogy traced back in minimalism, conceptual art and craft traditions, are all invoked in Maestro’s work as a means through which the politics of difference and location, the questioning of power relations, and the possibility of meaningful social change, can be explored as an ongoing, dialogic process.
Lani Maestro is based in Montreal, teaches in the Graduate Fine Arts Program at Concordia University and is the founder and co-editor of Harbour Magazine. She has show in the 1995 Havana Biennale and the 1996b Artists Today exhibition in Yokohama, and was recently the subject of a solo survey show at Art in General in New York.
Marilou Esguerra teaches painting at Simon Fraser University’s School of Contemporary Arts, is on the production team of FRONT Magazine and recently graduated from Western Front Multi-Media. A talented singer as well as a painter, her work now employs computer multimedia as a tool to explore cultural memory and diasporic subjectivity.