■ Artist’s talk by Diaz at London Gallery West, and post-screening Q&A at Regent Street Cinema
■ Conversation between Professors Lucia Nagib (film theorist, University of Reading) and Ashley Thompson (art historian, SOAS) on the relationship between Diaz’s films and third-world avant-garde legacies, and Southeast Asian cosmological and telluric practices
■ Discussion between Drs Tiago de Luca (film theorist, University of Warwick) and Dan Kidner (art curator, Kingston University, London) on the theoretical and curatorial value of slow cinema and the applicability or otherwise of the concept to Diaz’s films
■ Conversation between Chiara Marañón (MUBI film programmer) and Adam Roberts (film curator, A Nos Amours) on historical and contemporary experimentations with exhibiting durational moving image works
■ Conversation between award-winning Filipino contemporary artist Pio Abad and George Clark (exhibition co-curator) on Diaz’s films and Filipino politics and anti-colonial history
■ Eva Bentcheva (SOAS), ‘Reading Lav Diaz’s films through Philippine visual art history’
■ Graiwoot Chulphongsathorn (QMUL), ‘Lav Diaz: Suggestions for future studies from ecological perspective’
■ Michael Guarneri (Northumbria University), ‘Freedom is a long shot: Lav Diaz and the never-ending struggle of the “Native Intellectual”’
■ William Brown (University of Roehampton), ‘Evolution of a Filipino family and/as non-cinema’
■ Parichay Patra (independent scholar), ‘Jesus, Magdalene and the Filipino Judas: Lav Diaz and his “artless” epics’
■ Cristina Juan (SOAS), ‘Lav and the linambay: Catholic-animist aesthetics and the films of Lav Diaz’
■ Rebecca Shatwell (AV Festival), ‘As slow as possible: Lav Diaz at AV Festival’
■ May Adadol Ingawanij (University of Westminster), ‘Art, life and nation once again’
‘What can an artist do?’, Faire face/To face up: International Conference Lav Diaz, HEAD Geneva, 2019
‘Aesthetics of uncertainty’ (keynote), Ghosts and Spectres – Shadows of History exhibition and symposium, NTU Centre for Contemporary Art, Singapore, 2017
‘Contemporaneity and animistic cinematic practice: Lav Diaz, Araya Rasdjarmrearnsook, Apichatpong Weerasethakul’, What Time Is It?: Technologies of Life in the Contemporary conference, SARAI-CSDS and Raqs Media Collective, Delhi, 2017
‘Curation as moving image research method’, Curatorial Practice in Asia symposium and performance screening programme, Asian Culture Station, Chiang Mai, 2017
‘Art, life and nation once again’, Centre for Southeast Asia Studies, SOAS, 2017
‘Rear Window – Pelikula Pilipino (Filipino Films): Lav Diaz’, TeleSUR English, April 5, 2017
‘Emancipated cinema: A conversation with Lav Diaz’, MUBI Notebook Interview, April 20, 2017
‘Lav Diaz: “Art is a commitment to the beauty of the soul”’, Sight & Sound magazine online, May 18, 2017
| Creators | Ingawanij, M.A. |
|---|---|
| Description | 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 anticolonial 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. |
| Portfolio items | Lav Diaz: Journeys |
| Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship | |
| Long Walk to Life: the Films of Lav Diaz | |
| Year | 2017 |
| Publisher | University of Westminster |
| Web address (URL) | https://www.westminster.ac.uk/news-and-events/events/lav-diaz-journeys |
| Keywords | Lav Diaz, curation, spectatorship, world cinema |
| CREAM Portfolio | |
| Funder | Strategic Research Fund, University of Westminster |
| Digital Object Identifier (DOI) | https://doi.org/10.34737/qvw88 |