In her captivating solo debut in the Philippines, artist Stephanie Syjuco presents “Inherent Vice,” an exhibition that reimagines the past through the lens of the Manila Chronicle’s forgotten photo archives. The show, held at the Silverlens Gallery in Manila, coincides with a period of intense reassessment of the nation’s identity and history, making Syjuco’s work particularly timely and relevant.
For years, Syjuco has meticulously explored American institutional archives, examining how photography shapes our understanding of history and citizenship. This practice finds a new dimension in “Inherent Vice,” where she delves into the Lopez Museum and Library’s trove of images from the defunct Manila Chronicle, uncovering photographs unseen by the public for over five decades. These images—capturing everything from the elegance of lavish homes and vibrant social gatherings to the stark realities of sugarcane farming and student protests against a backdrop of police armed with rattan shields—paint a vivid portrait of the Philippines in the 1960s, culminating in the imposition of Martial Law in 1972.
Syjuco’s innovative approach involves rephotographing these archival images, highlighting the marks, labels, and editor’s notes that bear witness to the passage of time. This contrasts sharply with her previous works involving colonial photographs, where she deliberately concealed subjects of oppression. This shift in technique underscores the nuanced approach Syjuco takes when engaging with different historical contexts.
In an exclusive interview with Vogue Philippines, Syjuco discusses the evolution of her artistic practice, moving from sculpture to photography. She explains her spatial thinking, a hallmark of her sculptural background that influences her approach to photography, leading to immersive installations and large-scale prints that transcend the traditional confines of a framed photograph.
Syjuco’s work resonates with the photographic scholar Ariella Aïsha Azoulay’s call to “unlearn imperialism.” She describes her methodology as “talking back to the archive,” a form of resistance that challenges the dominant narratives embedded within institutional collections. Her experiences with the Smithsonian National Museum of American History, where she found a skewed representation of Filipinos primarily through the lens of US military records and ethnographic surveys, further fueled this approach. By rephotographing and visually interrupting these archival images, Syjuco reclaims agency and counters the imperial gaze.
The artist contrasts her experiences working with Western archives, heavily influenced by the colonial gaze, with her work on the Manila Chronicle archives. She celebrates the richer, more comprehensive portrayal of the Philippines and its people present in the Lopez Museum collection, moving beyond the limitations imposed by colonial perspectives. The discovery of the Manila Chronicle’s ‘photo morgue’—thousands of undigitized photographs, many never published—became a turning point, offering a uniquely intimate glimpse into the pre-Martial Law era.
Syjuco’s dual identity as a Filipino-American adds another layer of complexity to her work. Born in Manila just two years after Martial Law’s declaration, she possesses no personal memory of that time. However, this outsider perspective allows her to engage with the archival material as primary source material, facilitating a fresh interpretation of events. She actively sought feedback from Filipinos who lived through Martial Law, ensuring her work is both insightful and respectful, avoiding the pitfalls of a potentially superficial or insensitive presentation of history.
The exhibition isn’t solely about political upheaval; it also showcases the cultural and lifestyle aspects of the era. By juxtaposing images of political protests with those of fashion, social events, and daily life, Syjuco provides a multi-faceted portrayal of the Philippines on the brink of immense change. This holistic approach allows for a deeper understanding of the context and the complexities of the time. The careful curation of the exhibition, including the inclusion of a display from the Lopez Conservation Labs, further emphasizes the importance of preserving and safeguarding history for future generations.
“Inherent Vice” is more than a historical exhibition; it’s an invitation to reflect on collective memory, trauma, and the ongoing process of constructing national identity. Syjuco’s work compels viewers to confront the past, not just as a series of events, but as a living, evolving narrative, open to multiple interpretations and ongoing conversations.
