This September 21, it is more important than ever to commemorate the anniversary of the declaration of martial law in the Philippines. The Marcos dynasty is back in power at Malacanang after a fraudulent election that used an aggressive disinformation campaign. These revisionist tactics were spread through social media platforms to depict the Marcos Sr. dictatorship as the “golden era” of Philippine prosperity. In reality, under Martial Law, the Filipino people suffered rampant human rights violations, theft of land and state resources, forced migration and attacks on civil liberties. It is vital to resist this historical revisionism, to defend the truth and to honor the over 100,000 victims of atrocities led by the US-backed Marcos regime. We should also remember that the conditions of martial law inspired the Filipino people to take action, to rise up in the name of People Power and oust Marcos Sr. In this pivotal moment, it is crucial to be vigilant against the dangerous legacy of repression marked by the return of the Marcos dynasty, and recognize our responsibility to continue the struggle for justice, accountability and genuine freedom in the face of ongoing political repression. Never forget, never again!
Title: Pasalubong #9 (Labor Export Version)
By Carol Anne McChrystal, in collaboration with Milagros McChrsytal, Fe Pangan and Helen Manalac
Year: 2021
Medium: Packing Tape, Sharpie on Cardboard, Grommets
Dimensions: Approx. 34" x 68" (4 by 8 of the artist's feet)
About: Pasalubong #9 is made using the materials of balikbayan boxes that were addressed to important places in my family’s past and present by my mom and two of my titas. Filipinos working abroad fill balikbayan boxes with basic needs goods as well as pasalubong or gifts and send them back home to their family that’s left behind—each worker is allowed to send a certain number of boxes back tax-free. I won’t go too deep into how these boxes become a tool through which the Philippine government spins narratives about how OFWs are the heroes of the nation, because there are entire books/articles/dissertations written on this topic. However, speaking from my own experience, and seemingly throughout the diaspora (at least in the States), these boxes have become synonymous with Filipino identity in a funny way: you can buy tote bags, t-shirts, prints, and other merchandise that bear images of these boxes. This image of a shared history, shared experience and shared trauma becomes a representation of reclaimed pride in Filipino identity. And while that is definitely important, it’s also important not to romanticize the idea of the balikbayan box. Because at the root of this phenomena are decades of forced family separations and willful economic underdevelopment of the country through the implementation of neoliberal policies by the puppet-dictator Marcos I and continued by each and every Philippine government since (I’m talking here specifically about Labor Export Policy). Working on this piece really forced me to articulate for myself the role played by neoliberal policies in my work with traditional crafting, as well how these policies are responsible for pivotal moments in my family’s migration story. The dominant narrative that my family had to make incredible sacrifices to go to Europe and America for “a better life” or to give subsequent generations more opportunities isn’t even half of it.
ABOUT THE ARTIST:
Carol Anne McChrystal is an artist and cultural worker with roots in the island nations of the Philippines and Ireland. Her sculptures have been exhibited at Mata Gallery, Avenue 50 Studios, and Phase Gallery, and internationally at Galleria Duemila (Manila) and Horse & Pony, (Berlin). She has participated in several residency programs, including Skowhegan School of Painting and Sculpture, Sitka Center for Art & Ecology, and The Burren College of Art. Her arts writing has been published on platforms like Art Practical, and her work with the collaborative duo Nightmare City has been written about in publications such as ArtForum and Modern Painters. In 2021, she was a recipient of the Mozaik Foundation Ecosystem X, an award which recognizes artists using contemporary art as a medium for social change. Carol Anne received her MFA from California College of the Arts, and she is currently based on unceded Tongva land where she also organizes with GABRIELA, the anti-imperialist Filipino women’s group.