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DLSU Arts Congress Conference Proceedings

Abstract

The practice of anik-anik culture remains relevant and prominent among Filipinos, especially among Gen Z. Decorating, collecting, and preserving miscellaneous items as an extension of one’s identity and memory exemplifies the Filipino maximalist aesthetic. In context, Filipinos are naturally inclined to be maximalists, driven by the desire to connect and the tendency to fill empty spaces, hence the aesthetic of Filipino maximalism. Usually, this is evidenced in, but not limited to, consumption and fashion practices. Correspondingly, its current practices have also sparked discussions about the effects of consumerism and the dilution of the origins of anik-anik, which is deeply rooted in Philippine history and the principle of Horror vacui. Thus, viewing this through the lens of Critical Theory, using Lukács’ concept of reification and Marx’s commodity fetishism, anik-anik culture can be seen as commodified and exploited by capitalism. Hermeneutical content analysis suggests that the continued presence of this phenomenon eventually leads to a recurring, unstable cycle of consumption-based identity, in which consumers continually purchase objects as the basis for their identity, which in turn positions objects as mediators for people’s identity and social relations. This puts meaning-making into question, whether it is authentic or, arguably, commodified by capitalism. Ultimately, findings from said analysis will be represented through the art installation “Phantoms of the Self,” a space for viewers to immerse themselves and prompt a reflection on one’s consumption practices and perspective.

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