Reimagining history: How is Stephanie Syjuco breathing new life into archives?

Her work delves into the nuances of archival construction, revealing the voices it amplifies and those it silences. While much of her previous work has critiqued American colonial archives of the Philippines, including those held by institutions like the Smithsonian, this collection represents a Filipino-authored narrative, offering a self-determined account of Filipino history.

“This was different,” Syjuco says. “It wasn’t just a colonial narrative.” Embracing the inherent chaos and fragmentation of the archive, she uses it as a metaphor for the selective nature of historical memory.

The exhibit features images from the archive, each chosen to spark a dialogue between past and present. Syjuco’s manipulation of these prints—through cropping, layering, and hard cuts—enhances the energy of the original photographs. “What you’re seeing is not Photoshopped,” she asserts. By juxtaposing images of political unrest with serene cultural scenes, she invites viewers to question how history can obscure underlying tensions.

Related: From Russia, with love: How Mariinsky Ballet dancers enchanted audiences in Ballet Manila’s ‘Giselle’

During her talk, Syjuco credited the photojournalists whose work she reframed in her exhibition, emphasising the collective nature of their contributions. “It was very difficult to find attributions for photographers,” she noted, adding that many images lacked captions or identifiers. Despite this, she saw the absence of individual credit as an opportunity to highlight the collaborative effort behind the visual history of The Manila Chronicle. “It wasn’t about artistic individuality,” Syjuco explained, “but about creating the vision of this country.”

Syjuco also reflected on the ethical challenges she encountered while working with the archive. She chose to exclude specific images, particularly those related to political figures like Ferdinand and Imelda Marcos, that had been circulated widely in the past. “It’s a challenge,” she admitted, “How do you present images that everyone recognises but in a way that makes people think twice?” Her strategy was to layer and reposition these familiar images, forcing viewers to question their context and meaning.

A critical examination of colonialism, empire, and racialised narratives marks Syjuco’s broader career. As an Associate Professor of Sculpture at the University of California, Berkeley, and an artist whose work is displayed at prestigious institutions like The Museum of Modern Art in New York and The Smithsonian American Art Museum, she navigates the complexities of identity as a Filipina immigrant in America. Her art, deeply rooted in personal experience, raises important questions about history, power, and representation.

At Silverlens, Syjuco’s talk wasn’t just a discussion of an exhibition—it was an invitation to reimagine the archive as a living, breathing entity. She highlighted the importance of making these materials accessible, noting that the Lopez Museum’s library, though currently closed, remains open to researchers eager to explore this vast, untapped collection. 

In a world where so much of our past is relegated to dusty shelves and forgotten files, Stephanie Syjuco’s The Unruly Archive reignites history, demonstrating that it is never truly silent if you know where to look. Through her art, she challenges us to rethink how we document history, whose voices are heard, and how we can keep the past alive for future generations.

NOW READ

Women film workers fight back against sexual harassment in the Indian film industry

9Works Theatrical’s ‘Once on This Island’

5 things about Isabel Santos, the visual artist shaping contemporary culture through art