mirjamdalire

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THEIR FACES COVERED (2017)

Drawings by Mirjam Dalire

Text by Christian Tablazon

Published by The Cabinet https://thesewondrouspolyps.wordpress.com/ https://www.facebook.com/technologiesoftheself/ Printed in Dumaguete in an edition of 20

First edition “there faces covered” is an assemblage of phrases and sentences lifted from Roland Barthes’s Camera Lucida: Reflections on Photography (1981; translation by Richard Howard). It was originally shown at the second edition of The Wrong–New Digital Art Biennale in 2015 as part of the single-channel video What Is a Day?. The text in its current form first appeared as one of the poems in the series To see you on Kritika Kultura 27 in 2016.

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2012 Was An Inside Job By NoSTrAdAmUs_420 It’s 2006, you’ve read a chainmail from a random email address, written next to a gif of a rose floating on water: “THE END OF THE WORLD. Send this to 20 people and you will be saved on the next coming of Jesus Christ.” Flash forward to 2016, your mom’s first day on Facebook: She clicks a link of an article with the face of a dog with mange telling everyone that it’s the next coming of Jesus Christ. It automatically sends it to you and the other 35 people on her friends list. And the chain continues… This is satirical work about how people react to new developments, hype, and fake news revolving around the Internet. I used the role-playing simulation game Second Life as a starting point, utilizing it as a site to procure virtual soil samples to introduce to real world. I imagine one of the samples growing new life on earth and breaking the fourth wall to interact with the planet. It involves you, your mom and her Facebook account.

Watch the video here.

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Tubod At Night

March, 2019

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LISTEN HERE

Buyag 

2018

Mirjam Dalire

A sound recording of me mumbling “tabi”, a superstitious practice of excusing oneself when intruding a space believed to be inhabited by ghosts. The piece was recorded in the haunted Silliman University's Watch Tower, built during the American occupation of the Philippines. And as the ghosts of the past still haunt the present, I carefully intrude the Makiling Botanic Gardens with this piece.

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This piece was a part of FIELDNOTES Curated by Para://Site Projects and Nomina Nuda

Curated by Para://Site Projects and NN, this exhibition comprises installations at the Makiling Botanic Gardens (MBG) that regard naturalist discourse as inherently implicated in cultural regimes, and examine how the regulated space and ecosystems of the facility, similar programs with scientific underpinnings, and other governmental and epistemological forms of containment, have always responded to the interests and values of the day. The participating artists were asked to respond to the national botanic garden as both prompt and site of exhibition, and conceive the said facility along the lines of the so-called nation project and other apparatuses of the State. FIELDNOTES is an invitation to view the history, constitution, and persistence of the national botanic garden as inevitably and inextricably political, and consider the intimate affair between natural history and (epistemic) violence, and the entanglement of nature with culture, history, and politics. Instituted in 1963 in Los Baños, Laguna through the Republic Act 3523 and launched to the general public in 1965, the MBG is a 300-hectare natural forest reserve on the northeastern slope of Mt. Makiling that possesses enormous biological diversity and genetic resources, being home to a variety of tropical flora and fauna, both indigenous and exotic. The MBG is a natural museum containing living collections of many plants endemic to the archipelago, with more than 50% of the species present in the Philippines. The instatement of the national botanic garden and the curation of local natural environment and endemic life forms conveniently fit in the authoritarian scheme of the Marcoses to fabricate our so-called deep structures, and other than being a place for learning and source of pride in our indigenous natural wealth, the MBG also became a picturesque backdrop for and welcome site of bonding and recreation of the 'happy' and 'content' Filipino family of the New Society. Now past its heyday, the deteriorating facility houses remnants of those ‘glory’ days. Little examined save for research and studies in the fields of the life sciences, the national botanic garden is a remanent site of indices—both natural and artificial—to the overdeterminations that have accumulated over the decades, from its conception in 1910 by the American colonial government down to the present.

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https://virtualfieldrecordings.tumblr.com/

ONGOING PROJECT

Recordings from Second Life

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I collaborated with Davao-based artist Shievar Olegario for a video work that was part of Beta Operations’ New Media Installation

With artists:

Neil Kano Rms  RV Sanchez  Bugs Saavedra Ernest Diño  Mark Baretto Doktor Karayom Vic Cebedo Fidel  Julius Redillas Cmyka Flaime  Eskina jones 

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Heaven Is A Place On Earth 2018

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Cynic Karaoke

2017

Text based work on self irony and trivialities of life. While in the midst of character development we my find ourselves lost and confused on what we truly are and it creates a chaos in our heads.

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Swab samples from 6 different self help books, nutrient agar on disposable petri dish, and letters printed on special 200 gsm paper. 2017 This work is about Depression, Bacterias are known for being invisible but when cultured with agar, it surfaces. This work is personal as each petri dish and book identifies 6 people in my life with depression that I’ve encountered and opened up to me.

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A side project 

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OoOoOOoOoOo (2018)

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Promiseland Marketing, 2018

Installation with acrylic and sugar sachets on wood, found objects and looped sound. Dimensions variable

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She’s Dead, Mirjam Dalire, 2018

Computer set, Looped video with sound: 4 minutes 24 seconds

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