Afterword

Abstract

Artist Pepe Dayaw’s impetus is instructive in light of this volume’s content. His practice deems cooking ‘a process that occupies the immediate, the emergent and the local.’ For him it is a practice that provides ‘a meditative space for digesting and ruminating what is emerging.’ With this sentiment of converging as a framework for performative experiments, his art projects are events that center on cooking and how they convene ‘informal and oral settings’ such as eating together or meeting other people for drinks and how these constitute ‘potent spaces for generating particular kinds of knowledge.’ In Dayaw’s schema, hunger is one such kind of knowledge. In the issue, we read attentive gestures towards energies that tend to slip away in the ‘normative commitments’ of disciplines and ideologies, to include performance and gender that in the hands of less generous minds harden, even coarsen, into self-righteous advocacies or condense in echo chambers designated as areas of study.

Keywords:

• region
• Southeast Asia
• residual
• leftover
• cooking
• performative experiments

Notes on contributor

Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines (chair 1997–2003), and Curator of the Vargas Museum in Manila. His publications include Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He has been a Visiting Fellow at the National Gallery of Art (Washington D.C.) and an Asian Public Intellectuals Fellow. He was a grantee of the Asian Cultural Council and an Advisory Board member of the exhibition The Global Contemporary: Art Worlds After 1989 (Center for Art and Media, Karlsruhe) and member of the Guggenheim Museum’s Asian Art Council. With Joan Kee, he co-edited the Southeast Asia issue of Third Text (2011). He also convened the conference ‘Histories of Art History in Southeast Asia’ (Clark Institute and the University of the Philippines, 2013). He was a Guest Scholar of the Getty Research Institute. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015. He was also the Artistic Director of the Singapore Biennale in 2019.