Christian Tenefrancia Illi



About

Selected Works:

THE DROP (2025)

REVERSED DUNK (2023)

SOIL-BEINGS: Lamánlupa (2024/25)

Flat Works or Untitled Material Studies: 갯벌 (2025)

Field Notes on (Structural) Silence:
Or, How to Camouflage with Colours (2025)

TINIKLING.EXE / TERROR or 3/4 (2022)

Renegotiations in Self-Determination: Being In-Between (2020)

Choreographies of Labo(u)r (2020)

Something of Substance / In the End (2020)

《 Mashed Potato 》 (2020)

LUDWIG VAN — BTHVN: Hommage à Mauricio Kagel (2020)

FRAGMENTS OF IDENTITY in the postcolonial PHILIPPINES — DIPLOMA (2017/18)

« Ceci n'est pas l'Afrique » ; 𝔅𝔢𝔯𝔱𝔥𝔬𝔩𝔡 ℑ𝔩𝔩𝔦 (2002) -- Tropical Malady (2017/18)

花樣年華 — IN THE MOOD FOR LOVE (2017)

St. Luke’s — Medical Center (2017)

SELF-CRITICISM — 自己批判 (2017)

They Are Slaughtering Us Like Animals / Kinakatay nila kami parang mga hayop / 他们像屠宰动物一样屠杀我们 — 自己批判 (2016)

COURAGE & INTEGRITY (2015)

L i ñ a g e s (2015)

HERDING ISLANDS, RATS & THE ANTHROPOCENE — Planting ≠ Rice (2015)

P E R D U — À la recherche du temps perdu (2015)

Noli me tángere; อันล่วงละเมิดมิได้ {TOUCH ME NOT} (2015)

南華早報 — SOUTH CHINA MORNING POST: The Nine-Dash Line (2013—ongoing)

P Á R Á S Ï T É — A Great Orgy (2013)

CHAU CHAT: Le Début — X.Y. op. 39 (2010)



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Field Notes on (Structural) Silence: Or, How to Camouflage with Colours

Structured in four chapters—each addressing colour and structure, impact and repetition, and irreversibility—the work offers a layered recording of the transformations of land, the sedimentation of labor, and the silent traces of resistance specific to the region of Sinan.

Rather than progressing through narrative or visual continuity, the four chapters of <Field Notes on (Structural) Silence: Or, How to Camouflage with Colours> unfold through sensory rhythms and spatial frequencies that prompt bodily responses in the viewer. Each video functions as both an autonomous and interlinked field, gradually altering the visitor’s modes of attention—through shifts in gaze, sound vibrations, and tonal fluctuations in light. As a result, viewers are drawn less to visual meaning and more to the tactile logic of rhythm, as the entire space begins to operate as a kind of “sensory climate.”


(2025)