Art Basel Miami Beach 2024
Geraldine Javier & Yee I-Lann
Booth N1, Miami Beach Convention Center, Miami Beach
About
Silverlens is pleased to announce its participation in Art Basel Miami Beach 2024 from December 4-8, 2024, with a duo presentation of Yee I-Lann and Geraldine Javier in the Nova sector. United by their use of craft, both artists engage with their communities to create works that resonate with their perspectives on the anthropocene—with the belief in collective effort at the heart of each respective practice.
Yee I-Lann is a leading contemporary artist recognized for her photomedia-based practice and communally-woven mats. For 30 years, her digital photo collages have delved into the evolving intersection of power, colonialism, and neo-colonialism in Southeast Asia with acuity and wit, shedding light on the influence of historical memory in social experiences. Often centering counter-narratives or ‘histories from below,’ she recently began collaborative work with sea-based and land-based weaving communities in Sabah, Malaysia. Yee’s major mid-career retrospective, Yee I-Lann: Mansau-Ansau, opens at the Singapore Art Museum on December 4, 2024 – the same day as Art Basel Miami Beach — before traveling to the Thun Art Museum in Switzerland.
Silverlens’ presentation will include Yee’s reimagination of the tikar, a woven mat and familiar domestic object in Southeast Asia. In the text-based Karaoke series, Yee and the collaborating community of weavers created a quasi-digital font, equating the pixel to woven units. Using this font, Yee composes a found poem by piecing together lyrics from Malaysian karaoke favorites: English-language songs from artists like Frank Sinatra and Queen to Ben King and Vanilla Ice. The widespread influence of these “classic” Western songs reflects the enduring legacy of colonization in Southeast Asia; Yee juxtaposes this history of violence with the shared joy of music. Meanwhile, Yee’s “emoji” mats teem with a whirling, polychromatic array of contemporary emojis. For these mats, Yee weaves in found plastic to create the icons, calling attention to the plastic waste emergency suffocating the seas and landfills. Yee’s presentation precedes a solo exhibition at Silverlens New York in 2026, her second solo show after she inaugurated the gallery in 2022.
A renowned artist in the Philippines, Geraldine Javier cultivates flora species through which she explores humankind’s inextricable interrelationship between the natural and civilized worlds. For Art Basel Miami Beach, Silverlens will present a new textile installation. With these works, the artist reimagines power dynamics, collective memory, and societal narratives. As an artist-farmer, Javier cultivates hundreds of plant species on her organic farm, a site that generates employment and training opportunities for her local community members. She incorporates this flora into natural dye experiments, a technique she calls “eco-printing,” to create monoprints on textile and paper, overlaid with handcraft and embroidery.
The presentation highlights The Story of Plants Without Us, a five-panel installation composed of eco-printed tapestry in which Javier utilized teak, starlike talisay leaves, and castor oil plants (which are poisonous if consumed). Layered with intricate embroidery, each panel illustrates a narrative that connects evolution, humanity, and the natural world. The first highlights Godzilla, the fictional reptilian monster, as well as the comet which wiped out the dinosaurs; the second features a Torii Gate, representing new beginnings and life after humans; and the three background textiles portray a mycorrhizal root network, depicting the symbiotic relationship and connection between individual plants and fungi. Her newest encaustic painting is a portrait of Rachel Carson: an American marine biologist, writer, and conservationist whose work inspired global awareness of environmental issues. A closer look at the painting reveals the written formula “CH2-CHX” which symbolizes plastic, reflecting on Carson’s enduring influence on the ongoing conversation about humanity’s impact on nature. Javier’s feature at Art Basel Miami Beach comes in anticipation of her participation in the Helsinki Biennial 2025. In 2026, she will have a solo show at Silverlens New York, marking her first US solo exhibition.
Art Basel Miami Beach will run from December 4 to 8, 2024 at the Miami Beach Convention Center.
Geraldine Javier (b. 1970 in Makati City, Philippines; lives and works in Batangas, Philippines) is one of the Philippines’ most important and collected contemporary artists. With a Nursing degree from the University of the Philippines that included a top rank in the licensure exams, she took a second university degree in Fine Arts, and pursued an art practice. Since 1995, she has held more than 30 solo exhibitions in the Philippines, Malaysia, South Korea, Singapore, Germany, and China. From 1999 to 2003 she was a member of the Surrounded By Water collective.
Much of her early work was in collage form, but it was with paintings that she established her reputation as an inventive artist. These were characterized by either melancholy or wit: death and childhood were frequent subject matters. By 2008, she was making fabric works with the paintings and combining them in installations; exhibitions were a mixture of paintings, installations and objects. Paintings would often have collaged elements, notably preserved beetles and butterflies. In 2013, she moved south from Manila to the countryside in the district of Batangas. Her work increasingly dealt with our relationship with nature. Current projects often involve the participation of the women in the community where she lives. In 2019 she exhibited at the Havana Biennial. Around this time, she began exploring two new forms of painting: palimpsestic and encaustic, with use of blowtorch. In 2025, Javier will participate in the Helsinki Biennial taking place from June 8 to September 21 on Vallisaari Island, Esplanadi Park, and at the HAM Helsinki Art Museum.
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);Yee I-Lann: Until We Hug Again, CHAT (Centre for Heritage, Arts & Textile); Hong Kong (2021); At the Roof of the Mouth, Silverlens New York (2022); and TIKAR/MEJA/PLASTIK, Berkeley Art Museum & Pacific Film Archive, California, United States (2024); Yee I-Lann: Mansau-Ansau, Singapore Art Museum, Singapore (forthcoming 2024). 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); The Part in the Story Where Our Accumulating Dust Becomes a Mountain, Seoul Museum of Art (SeMA), Korea (2023); Unravel: The Power and Politics of Textiles in Art, Barbican, London, UK and Stedelijk Museum Amsterdam, Netherlands (2024); and The Spirits of Maritime Crossing, Bangkok Art Foundation, a Collateral Event of the 60th International Art Exhibition of La Biennale di Venezia, Venice, Italy (2024). Yee, alongside weavers Roziah Binti Jalalid and Julitah Kulinting, won the ANTEPRIMA x CHAT Contemporary Textile Art Prize 2024.
Installation Views
Works
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
with weaving by: Aisyah binti Ebrahim, Aldi bt Eggak, Aline bt Annerati, Alisya bt Radumar, Alisyah binti Ebrahim, Daiyan bt Roven, Darwisa bt Omar, Dayang bt Tularan, Dela bt Annerati, Ela bt Ramli, Elha bt Tikki, Kinnuhong Gundasali, Kuluk Belasani, Kuoh Enjahali, Laila bt Kundar, Leleng bt Jamil, Lokkop Sumuhang, Noraidah (Budi) Jabarah, Rosma bt Enyang, Roziah bt Jalalid, Sabiana bt Gundasali, Sanah Belasani, Shima bt Manan, Tasya bt Tularan with Henry Tenyu Baynes, Sue Chong-Hartley and Venice Foo Chau Xhien
Made in collaboration with sea-based Sabahan, Malaysian weavers, Yee I-Lann’s TIKAR/EMOJI/PLASTIK mats incorporate plastic waste collected from the beaches of Omadal Island and Kampung Kolopis in Sabah to depict a whirling, polychromatic array of emojis against a backdrop of heritage weave motifs. For Yee, emojis provide a shared language that requires no unpacking or translation, coming as close as we have to a universal tongue. Simultaneously, by using plastic litter to create the icons, the artist calls attention to the plastic waste emergency suffocating global seas and landfills.
