Strike Stickers
Strike Stickers
Strike Stickers
Strike Stickers
Strike Stickers
Strike Stickers
Strike Stickers
Strike Stickers

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Fernando Sánchez Castillo

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Globe Steel Susan Quimpo (1400×933)

Strike Stickers, 2018

The project is based on the photographs by Susan F. Quimpo from 1984. In them we can see the atmosphere of the longest strike in the history of the Philippines. In 1984, workers at Globe Steel in Rizal began a struggle that ended four years later, growing into an extreme case of labor resistance. In a desperately pacific manner, they lay face down in groups before the trucks that attempted to enter or leave the plant. Stones on the path of a progress linked with slavery and secular hunger.

The tag has the aim of commemorating this tenacious and impassible struggle, in which bodies are sacrificed before the god of profit of rampant capitalism. A viral image from the memory of the history of human and workers’ rights, this time in a peaceful and radical manner, like the workers’ gesture, that can be fixed in the most unlikely places.

Fernando Sánchez Castillo (Madrid, 1970) trained at the Instituto de Estética Contemporánea of the Autonomous University of Madrid and at the École nationale supérieure des Beaux-Arts (ENSBA) in Paris. He also had a residency at the Rijksakademie in Amsterdam.

Sánchez Castillo develops a multi-angle critique of the monumental discourse in which he disarticulates its agencies of power and representation. His work is an attempt to rewrite History’s accounts or at least to make us more aware of its complexities and traces, showing that it—History—is constructed from many positions of power.

Recent exhibition projects include the solo shows Tlatelolco Winter Games, Kunstraum Innsbruck, 2016; Hoy también hizo un día soleado, Sala Siqueiros, SAPS, Mexico City, 2016; Introduction of the Stone of Madness, Design Museum Den Bosch, 2016; and Más allá, CA2M Centro de Arte Dos de Mayo, Madrid, 2015.

Recent group shows include the Shanghai Biennale, 2018; 1st Riga Biennial; The Human Condition, Ekaterina Cultural Foundation, Moscow, 2017; Manifesta 11, Zurich, 2016; Hacking Habitat, Niet Normaal, Utrecht, 2016; From Here to Eternity, Biennial Gherdeina, 2016; Do Disturb, Palais de Tokyo, Paris, 2015; and Made in China, Albertinum, Dresden, 2015.

His next projects are the solo shows Renau Archive, Institut Valencià d’Art Modern (IVAM), and Ashes and Bricks, Shchusev State Museum of Architecture, Moscow, 2019. Forthcoming group shows include Sobre la marcha, Madrid 1st Biennale, and Useless: Art Machines for Thinking, Seeing, and Dreaming, The Bronx Museum of the Arts.

This publication is commissioned by the Embassy of Spain in the Philippines in conjunction with the Spanish Cooperation through the Spanish Agency for International Development Cooperation (AECID). The views expressed herein are the sole responsibility of the authors and do not necessarily reflect the views of the AECID nor of the Embassy.

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Embassy of Spain in the Philippines

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Metro Manila, Philippines

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