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Abstract
The essay traces certain contexts of the allegorical impulse in Philippine image making and art, specifically as it marks the self-consciousness of the maker of image and art to render time, place, and event legible. It conceives of it as an aesthetic of migration, prefiguring an elsewhere that is aspired to as well as a phantasm of affinity that describes a present condition. The allegorical, therefore, bears the desire to belong to the world, referencing both the critique of coloniality as well as the possibility of transcending it at the very moment of revealing its ethical failure.