The Second Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia, 1996 : Report

Sanggawa, a collective of primarily five young artists - Elmer Borlongan, Karen Flores, Mark Justiniani, Joy Mallari and Frederico Sievert - was represented by two major works: Palo-Sebo and Sinning in the rain. Sanggawa's collectively-produced murals present a trenchant social commentary on contemporary Philippine politicians, media stars and religious figures. These works focus on topics that explore Philippine history, politics and its various idiosyncrasies. The artists state: Sanggawa is more inclined towards popular forms. It seeks to address a Filipino audience which has grown wary of politics. Its work talks about the dilemmas of Pinoy [Filipino] life without taking away the local colour and flavour, and more importantly the humour. . . The murals intend to hold up a mirror to Philippine society, asking the people to confront and laugh at their demigods, that they may discover their real voice from within. The Sanggawa collective has mastered a remarkable working method, harnessing traditional Filipino virtues of cooperation and consensus for developing and implementing their designs. · SINGAPORE Suzann Victor originally established her reputation in Singapore with her vigorous and innovative painting. Since 1 992 she has been focusing on installation art. Her installation , Tintoretto's Risen Christ, Arresting Lazy Susan, incorporates a transparent gown, hair and other elements that refer to female l ife and experience. This project expands on conceptions of the collective female body as expressed in her previous works. The artist says: I have used human hair, which is part of the human body, to address and state itself - its bodily seepages. Red glass has been fragmented to be recomposed i nto female reproductive organs as well as sites of intensity. The hair has been de-culturalised and dyed red . Suzann Victor is currently completing an Honours degree i n Fine Arts at the University of Western Sydney, Nepean. 19