Silverlens is thrilled to participate in Art Week Tokyo for the first time, as part of AWT Focus, a curated section led by Mami Kataoka, director of Mori Art Museum, featuring the works of Poklong Anading, Taloi Havini, and Yee I-Lann. AWT Focus, entitled Earth, Wind, and Fire: Visions of the Future from Asia will be held at the Okura Museum of Art as part of Art Week Tokyo from 5 to 10 November 2024.

Poklong Anading presents anonymity (2006 – 2011), one of the more iconic conceptual photographs of the past decade. This iteration employs the use of lightboxes, extending the involvement of light beyond the photograph. The anonymity series was previously exhibited as part of the 2023 Thailand Biennale in Chiang Rai, Thailand and the Jimei x Arles International Photography Festival in Xiamen, China. 

Taloi Havini created Reclamation (2020) collaboratively with her Hakö clan members. Underlying the wall-bound sculptures are questions about the ways in which we relate within temporal spaces; how borders are defined and claimed as well as the value of impermanence and embodied knowledge over fixed historical understandings. Havini is the winner of the Artes Mundi 10 prize, the UK’s leading biennial exhibition and international contemporary art prize.

Yee I-Lann works with Sulu Sea Bajaos and Sabah Keningau interior weavers, reworking the humble tikar (woven mat) into a practice that has become a platform for circular economies and community preservation. A familiar object to those in the Southeast Asian region, the mat is a portal to story-telling and a way to discover and unroll other knowledges. For Art Week Tokyo, Yee presents Mata Mimpi (The Eye of a Dream) (2023). Her major mid-career retrospective Yee I-Lann: Mansau-Ansau opens at Singapore Art Museum on the same day as Art Basel Miami Beach where she will be part of Silverlens’ duo presentation alongside Geraldine Javier. Yee is the winner of the 12th Enku Grand Award, awarded by the Gifu Prefecture of Japan. 

Art Week Tokyo will run from 5 to 10 November 2024 across museums and art spaces in Tokyo, Japan, with AWT Focus in Okura Museum of Art.

Poklong Anading (b. 1975, Manila, Philippines; lives and works in Manila) works with a wide range of mediums and is acclaimed for his pieces that investigate photography and travel. Fascinated with the process of creation and permutation, Anading explores different mediums to engage with a range of sociopolitical and environmental questions. Having begun his career as a painter, he is not driven by an overt agenda, but prefers to let his mind wander, thinking with and through his materials as they undergo their transformations. He frequently uses found objects and discarded materials that lead him to investigate notions of worth and value, and to explore what it means for art to exist inside and beyond capitalist production. 

Anading has completed residencies with Big Sky Mind, Manila, Philippines (2003 to 2004), Common Room, Bandung, Indonesia (2008), Bangkok University Gallery, Thailand (2013), Selasar Sunaryo Art Space, Bandung, Indonesia (2013), Philippine Art Residency Program - Alliance Francaise de Manille in Cite Internationale des Arts, Paris, Centre Intermondes, La Rochelle in France (2014) and das weisse haus, Vienna Austria (2018). He had solo exhibitions in Galerie Zimmermann Kratochwill, Graz, Austria (2010 and 2012), Taro Nasu in Japan and Athr Gallery in Jeddah (2016), 1335MABINI in Manila, Philippines (2013, 2015 and 2017). He has been included in notable group exhibitions such as: Gwangju Biennial, South Korea (2002 and 2012), No Country: Contemporary Art for South and Southeast Asia, the first exhibition of the Guggenheim UBS Map Global Art Initiative in New York, Hong Kong and Singapore (2013 to 2014), 5th Asian Art Biennial: Artist Making Movement, National Taiwan Museum of Fine Arts, Taiwan (2015), The Shadow Never Lies, Minsheng Art Museum, Shanghai, Afterwork, Para Site, Hong Kong, China and in the Architecture Biennale for the 15th International Architecture Exhibition, Philippine Pavilion: Muhon: Traces of an Adolescent City at Palazzo Mora, Venice, Italy (2016), Constellations, Photographs in Dialogue, SFMOMA, California, USA (2021) and Living Pictures: Photography in Southeast Asia at National Gallery Singapore (2022).

Taloi Havini (b, 1981, Arawa, Autonomous Region of Bougainville, Papua New Guinea; lives and works in Brisbane, Australia) is an interdisciplinary artist working across media from sculpture, photography, moving image, installation, and sound. A descendant from the Nakas clan of the Hakö (Haku) people of northeastern Buka, her research practice is shaped by her matrilineal ties to her land in Bougainville and studies surrounding Indigenous Knowledge Systems and museum collections. 

Havini creates immersive and site-specific experiences, often reflecting on ideas of transmission, mapping and representation. She continues to work collaboratively on cultural heritage projects with communities in Bougainville. 

Havini’s artwork is held in public and private collections including TBA21–Academy, Sharjah Art Foundation, Art Gallery of New South Wales, Queensland Art Gallery | Gallery of Modern Art (QAGOMA), National Gallery of Victoria and KADIST, San Francisco, CA, USA. She has participated in numerous solo and group exhibitions exhibiting with Artspace, Sydney; Palais de Tokyo, Paris; Sharjah Biennial 13, UAE; 3rd Aichi Triennial, Nagoya; 8th & 9th Asia Pacific Triennial of Contemporary Art, QAGOMA, Brisbane; TBA21’s Ocean Space, Venezia; Barbican Centre, London; Auckland Art Gallery Toi o Tāmaki, New Zealand; the Honolulu Biennial, Hawaii; and Artes Mundi 10, Wales.

Yee I-Lann (b. 1971, Kota Kinabalu, Sabah, Malaysia; lives and works in Kota Kinabalu) is a leading contemporary artist recognized for her predominantly photomedia-based practice. With acuity and wit, her digital photo collages delve into the evolving intersection of power, colonialism, and neo-colonialism in Southeast Asia, shedding light on the influence of historical memory in social experiences. Often centering on counter-narratives or ‘histories from below,’ she has recently begun collaborative work with sea-based and land-based communities, as well as indigenous mediums in Sabah, Malaysia. 

Yee has exhibited widely in museums in Asia, Europe, Australia, and the United States, with notable retrospectives including Fluid World, a 2011 survey of her major works at Adelaide’s Contemporary Art Centre of South Australia; and Yee I-Lann: 2005-2016 in 2016 at the Ayala Museum in Manila, the Philippines. Selected recent solo exhibitions include: ZIGAZIG ah!, Silverlens, Manila, Philippines (2019); Yee I-Lann & Collaborators: Borneo Heart, Sabah International Convention Centre, Kota Kinabalu, Malaysia (2021) and Yee I-Lann: Until We Hug Again, CHAT (Centre for Heritage, Arts & Textile), Hong Kong (2021), and At the Roof of the Mouth, Silverlens New York (2022). In 2023, she worked with RogueArt and six spaces in the city to mount the project Borneo Heart in Kuala Lumpur, with support from Silverlens. 

Among her selected group exhibitions are the Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery/Gallery of Modern Art, Brisbane, Australia (1999, 2021); Jakarta Biennale, Jakarta, Indonesia (2015); Yinchuan Biennale, Yinchuan, China (2016); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, The National Art Center and Mori Art Museum, Tokyo, Japan (2017); Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung City, Taiwan (2019); STILL ALIVE: Aichi Triennale, Aichi, Japan (2022); the 17th Istanbul Biennial, Istanbul, Turkey (2022); Soft and Weak Like Water: The 14th Gwangju Biennale, Gwangju, South Korea (2023); NGV Triennial, Victoria, Australia (2023); and The Spirits of Maritime Crossing, Venice, Italy (2024).