Pio Abad

Bio

Pio Abad (b. 1983, Manila, Philippines; lives and works in London, England) examines the personal and political entanglements of and within objects. Through a wide- ranging practice encompassing drawing, painting, textiles, installation, and text, Abad mines repressed historical events and offers counternarratives to draw out threads of complicity between incidents, ideologies, and people. Deeply informed by unfolding events in the Philippines, his work emanates from a personal family chronicle woven into the nation’s story.

Abad’s solo exhibitions include Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Manila (2022); Kiss the Hand You Cannot Bite, Kadist, San Francisco (2019); Splendour, Oakville Galleries, Ontario (2019); Notes on Decomposition, Centre for Contemporary Arts, Glasgow (2016); 1975 – 2015, 4A Centre for Contemporary Asian Art, Sydney and Some Are Smarter Than Others, Gasworks, London (2014). Recent group exhibition include In Our Veins Flow Ink and Fire, 5th Kochi-Muziris Biennial, Kerala (2022); Is it morning for you yet?, The 58th Carnegie International, Pittsburgh (2022); Things Entangling, Museum of Contemporary Art, Tokyo (2020); Phantom Limb, Jameel Arts Centre, Dubai (2019); To Make Wrong/Right/Now, 2nd Honolulu Biennial, Hawaii (2019); Imagined Nations/ Modern Utopias, 12th Gwangju Biennial, Korea (2018). Forthcoming exhibitions include: Small World, 13th Taipei Biennial (2023) and Pio Abad: To Those Sitting in Darkness at the Ashmolean Museum, Oxford in February 2024. His artworks are held in collections around the world including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai’i State Art Museum, Honolulu; Singapore Art Museum; Kadist, Paris/San Francisco and Art Jameel, Dubai.

He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has recently co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila and Spike Island, Bristol. He also co-edited the publication Pacita Abad: A Million Things to Say in 2021.

Pio Abad (b. 1983, Manila, Philippines; lives and works in London, England) examines the personal and political entanglements of and within objects. Through a wide- ranging practice encompassing drawing, painting, textiles, installation, and text, Abad mines repressed historical events and offers counternarratives to draw out threads of complicity between incidents, ideologies, and people. Deeply informed by unfolding events in the Philippines, his work emanates from a personal family chronicle woven into the nation’s story.

Abad’s solo exhibitions include Fear of Freedom Makes Us See Ghosts, Ateneo Art Gallery, Manila (2022); Kiss the Hand You Cannot Bite, Kadist, San Francisco (2019); Splendour, Oakville Galleries, Ontario (2019); Notes on Decomposition, Centre for Contemporary Arts, Glasgow (2016); 1975 – 2015, 4A Centre for Contemporary Asian Art, Sydney and Some Are Smarter Than Others, Gasworks, London (2014). Recent group exhibition include In Our Veins Flow Ink and Fire, 5th Kochi-Muziris Biennial, Kerala (2022); Is it morning for you yet?, The 58th Carnegie International, Pittsburgh (2022); Things Entangling, Museum of Contemporary Art, Tokyo (2020); Phantom Limb, Jameel Arts Centre, Dubai (2019); To Make Wrong/Right/Now, 2nd Honolulu Biennial, Hawaii (2019); Imagined Nations/ Modern Utopias, 12th Gwangju Biennial, Korea (2018). Forthcoming exhibitions include: Small World, 13th Taipei Biennial (2023) and Pio Abad: To Those Sitting in Darkness at the Ashmolean Museum, Oxford in February 2024. His artworks are held in collections around the world including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai’i State Art Museum, Honolulu; Singapore Art Museum; Kadist, Paris/San Francisco and Art Jameel, Dubai.

He is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has recently co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila and Spike Island, Bristol. He also co-edited the publication Pacita Abad: A Million Things to Say in 2021.

Selected Works

Selected Works

Inquire about Pio Abad
Notes on Decomposition (Lot 157)
2021
7094
1
ink and gouache on paper
23.39h x 16.54w in • 59.40h x 42w cm (each)
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Notes on Decomposition (Lot 394)
2021
7092
1
Ink and gouache on heritage woodfree paper
23.39h x 16.54w in • 59.4h x 42w cm (diptych) (each) (unframed) 24.21h x 17.44w in • 61.5h x 44.30w cm (diptych) (each) (framed)
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Notes on Decomposition No. 14
2019
7093
1
ink on Heritage Woodfree Paper
31.50h x 15.75w in • 80h x 40w cm
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Oh! Oh! Oh! (A Universal History of Iniquity)
2019
858
1
installation
variable dimensions
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Every Tool is a Weapon if You Hold it Right I
2013
861
1
acid dye print on silk twill
39.37 X 39.37 on • 100 x 100 cm
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Malakas at Maganda
2014
864
1
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Some Are Smarter Than Others
Gasworks
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Thirty-eight pieces of royal silverware…
2014
865
1
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Some Are Smarter Than Others
Gasworks
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A Short History of Decay VI
2015
866
1
ink on paper
54.02h x 40w in • 137.20h x 101.60w cm
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Not a Shield, but a Weapon
2016
868
1
180 black purses
291.34h x 263.78w x 9.84d in • 740h x 670w x 25d cm
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Notes on Decomposition I
2016
869
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ink on heritage woodfree paper
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Every Tool is a Weapon if You Hold it Right XL
2017
870
1
unique acid dye print on hand-stitched silk twill
39.37h x 39.37w in • 100h x 100w cm
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Decoy I
2014
871
1
CCTV camera, shells
variable dimensions
-1
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COUNTERNARRATIVES IX
2017
872
1
unique acid dye print on hand-stitched silk twill
39.37h x 78.74w in • 100h x 200w cm
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Every Tool Is A Weapon If You Hold It Right XLI
2018
873
1
unique acid dye print on hand-stitched silk twill
100h x 100w cm • 39.37h x 39.37w in
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Kiss the Hand You Cannot Bite
2019
874
1
installation
-1
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Kadist
Details

Selected Exhibitions

Selected Press

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