stephanie syjuco




> Money Factory (An Economic Reality Game)
> Empire Gardens
> Hecho en Cuba (Made in Cuba)
> Artificial Currencies
> Dazzle Camouflage at Workshop Residence
> Public Pedagogy
> Market Forces
> American Rubble (Lancaster Avenue)
> The Fabricators (Tbilisi Edition)
> This is Not the Berlin Wall
> Dirty Works
> Copystand Books (Kronika Edition)
> Dazzle Camouflage Projects
> Cascadian Pattern Collapse
> Modern Ruins (Popular Cannibals)
> Re-Mediation Lab
> Afghanicraftistan
> Empire/Other
> Ultimate Fabrication Challenge (Fauxrijuana)
> The Precariat (Material Witnesses)
> Cargo Cults: Object Agents
> Neutral Displays (Small Dilemmas)
> Ultimate Vision (Dazzle Camouflage)
> Ornament and Crime (Villa Savoye)
> Speculative Propositions
> Excess Capital
> FREE TEXTS: An Open Source Reading Room
> The International Orange Commemorative Store (A Proposition)
> Phantoms (H_RT F D_RKN_SS)
> Pattern Migration
> Shadowshop
> Learning to Love You (All)
> Particulate Matter: Things, Thingys, Thingies
> notMOMA
> COPYSTAND: An Autonomous Manufacturing Zone
> Custom Transitional Utility Object (Morris Mover)
> Temporal Aggregate (Borrowed Beuys)
> Anti-Factory Bristol
> Towards a New Theory of Color Reading
> The Berlin Wall
> Counterfeit Crochet Project (Critique of a Political Economy)

Black Markets 
Self Constructions 








Pages 1-3 of the mockup using the "Philippine Guardian" edition

All the pages (16 total) of the mockup using the "Philippine Guardian" edition

newspaper rack mockup

Towards a New Theory of Color Reading (El Dia, Houston Forward Times, Manila Headline)

Four-color newspapers printed in edition of 2000 each. Part of the solo exhibition "Stephanie Syjuco: Total Fabrications" at the Contemporary Arts Museum Houston, 12/12/08 - 2/22/09. Curated by Meredith Goldsmith.

Color-blocked Bauhaus-style newspapers were printed and available free to gallery visitors. The layouts and formats were taken from three local Houston ethnic-based journals: El Dia (Spanish-Language), the Houston Forward Times (African-American), and the Manila Headline (Filipino-American). and produced during the final week of the 2008 U.S. Presidential Election -- a pivotal political moment which chose the first African-American president. As a racially politicized arena in which an American population was interrogating the place of "color" and ethnic politics, this work abstracted the content of each publication, creating a new visual fomat of reduced perceptual color for viewers to attempt to "read."

Three bulletin boards served as a way to display all the pages at once.

Color breakdown:

black=newspaper info,




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