Gerome Soriano

22/03/2020

New vid work
Manila Mania March 2020

https://bit.ly/manilamaniamarch

22/10/2019

09/07/2019

Went around cebu

09/07/2019

.gallery

11/06/2019

.mx .mx with
・・・
The 2nd screening of the 7th edition will be held in thanks to a collaboration between curator Miret Rodríguez and 👁✨ please save the date and join!

22/04/2019

New video work “Gagamba Spider Fighting Battle Royale”

05/04/2019

Life continues, and some mornings, weary of the noise, discouraged by the prospect of the interminable work to keep after, sickened also by the madness of the world that leaps at you from the newspaper, finally convinced that I will not be equal to it and that I will disappoint everyone—all I want to do is sit down and wait for evening. This is what I feel like, and sometimes I yield to it.
- Albert Camus "Letter to P.B." in Lyrical and Critical Essays (1970)

04/04/2019

Daly: In a sense, would you say that the age of biogenetics/cyberspace is the age of philosophy?
Žižek: Yes, and the age of philosophy in the sense again that we are confronted more and more often with philosophical problems at an everyday level. It is not that you withdraw from daily life into a world of philosophical contemplation. On the contrary, you cannot find your way around daily life itself without answering certain philosophical questions. It is a unique time when everyone is, in a way, forced to be some kind of philosopher.
Conversations with Žižek by Slavoj Žižek and Glyn Daly (Cambridge: Polity Press, 2004), p. 54

03/04/2019

There is a somewhat analogous situation with regard to the heterosexual seduction procedure in our Politically Correct times: the two sets, the set of PC behaviour and the set of seduction, do not actually intersect anywhere; that is, there is no seduction which is not in a way an "incorrect" intrusion or harassment — at some point, one has to expose oneself and "make a pass." So does this mean that every seduction is incorrect harassment through and through? No, and that is the catch: when you make a pass, you expose yourself to the Other (the potential partner), and she decides retroactively, by her reaction, whether what you have just done was harassment or a successful act of seduction — and there is no way to tell in advance what her reaction will be. This is why assertive women often despise "weak" men — because they fear to expose themselves, to take the necessary risk. And perhaps this is even more true in our PC times: are not PC prohibitions rules which, in one way or another, are to be violated in the seduction process? Is not the seducer’s art to accomplish this violation properly — so that afterwards, by its acceptance, its harassing aspect will be retroactively cancelled?
-Slavoj Zizek

30/03/2019

Fake tamiya mini 4wd/ palanggana/ gachapon/ suklay/ susi

29/03/2019

Fake tamiya mni 4wd
Palanggana
Suklay

26/03/2019

.mx with
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First selected works! Thanks everyone for the patience. We'd love to see you around in the case you are in MX City. -Memorial, 12’24”, 2016, Ukraine by Alexander Isaenko
-The Place where there are Betel nut, 5'31", 2016, JP/Taiwan by Mikio Saito -Speculations, 19’38”, 2016, Netherlands by Arjen de Leeuw
-Cutting Path, 4’ 01”, 2018, México & Sweeden by Cyntia Botello
-How to turn your bed into an office, 2’ 10”, 2017, Tel Aviv by Eden Mitsenmacher (In collaboration Rebecca Tritschler)
-Santa María, 14’ 00”, 2018, Italia by Emanuele Dainotti
-Santa Teresa, 12’ 00”, 2016 Italia by Emanuele Dainotti
-Post Memory from a Lost Country, 4' 33", 2017, Irlanda by Emma Zukovič
-In the House of Mantegna, 6'39", 2017, Verona, Italia by Michele Manzini
-Dirty Electric Fan, 5'16", 2016, Taiwan by Mikio Saito
-The Circle of Life, 3'30", 2016, Serbia by Milan Zulic
-The Caller" AKA "EL NADAHA", 9' 30", 2017, Cairo, Egypt by Muhammad Taymour
-Lagunas Mentales, 3' 30", 2018, México / Ecatepec by Sergio Valdivia
-The Arrival of a Train at Thalwil Station, 8'28", 2018, Switzerland by Silvana & Andreas Weber
-Ramusiana, 4'10", 2017, France by Stefano Miraglia -Context, 3’ 55”, 2017, France by Stéphane Billot
-PARTY, 1'10'', 2018, France by Stéphane Billot
-A mi vecino del departamento 1, 7’ 34”, Buenos Aires, Argentina by Valentina Henriquez Ortiz (Chile) y Pablo Salvador Boido
-Bottom Aspirations Ep. 03- Leftovers, 1'45'', 2017, USA/France by Zach Hill
-Circles, 7' 26", 2017, Manila, Philippines by Gerome Soriano
-Get IN the Car, 1' 59", 2018, Texas, USA by Bug Davidson
-Notes on Failure, 1' 55", 2017, Texas, USA by Bug Davidson
-GRAFFITI, 1'00",2018, Italy by Rick Niebe
-Commonly Used Video Formats, 5' 59", 2018, Sweden by Felice Hapetzeder
-Identity Parade, 4' 00", 2017, Spain by Gerard Freixes Ribera
-Reminiscência Intransiente, 27", 2013, Brasil
-Jello, 1’ 20”, 2016, USA/MX, Allegra Hangen
-Reverso, 1’ 27”, 2018, Mérida, Yucatán, México by Ignacio Merino Argaez
-So So Sweet (A WhatsApp Forecast), 1'00", 2018, by Alejandra Morote Peralta
-In the Kitchen: Three, 2' 02", 2017, USA, Janaye Brown