EventsThe New Social Environment#1225

Imelda Cajipe Endaya: There is Still a Tomorrow, Mother

Featuring Cajipe Endaya, Eugenie Tsai, and CJ Salapare

Friday, May 9, 2025 1 p.m. Eastern / 10 a.m. Pacific

These free events are produced by The Brooklyn Rail.

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Artist Imelda Cajipe Endaya and curator Eugenie Tsai join curator and Rail contributor CJ Salapare for a conversation.

In this Talk

Visit There is Still a Tomorrow, Mother on view at Silverlens, New York through June 21, 2025 →

Imelda Cajipe Endaya

Photo by Silverlens

For five decades, Imelda Cajipe Endaya (b. 1949, Manila, Philippines) has devoted her artistic and activist practice to a broad spectrum of socio-political issues in the Philippines, including labor, migration, reproductive health, climate collapse, and more. She co-founded KASIBULAN in 1987, a feminist collective of women artists, with the intention of fostering grassroots change. In 2022, she was the subject of the retrospective Pagtutol at Pag-Asa (Refusal and Hope) at the Cultural Center of the Philippines. Her solo exhibition, There is Still a Tomorrow, Mother, curated by Eugenie Tsai, is on view at Silverlens New York from May 8–June 21, 2025.

Eugenie Tsai

Photo by Marco Giugliarelli

Eugenie Tsai is a curator and writer based in New York. After sixteen years, she recently stepped down from her position as the John and Barbara Vogelstein Senior Curator, Contemporary Art, at the Brooklyn Museum. During those years, she shaped the Contemporary collection and organized around forty loan and collection exhibitions. These include Oscar yi Hou: East of Sun, West of Moon (2022-23) and Kehinde Wiley: A New Republic (2015). Prior to joining the Brooklyn Museum, she organized Robert Smithson (2004) for MOCA LA. The exhibition, which traveled to the Dallas Museum and the Whitney Museum of American Art, received the International Art Critics first place award for best monographic show of 2005.

eugenie.tsai

CJ Salapare

CJ Salapare is a Research Associate at The Metropolitan Museum of Art. Prior to that, he was a Curatorial Assistant at The Whitney Museum of American Art where he worked on Edges of Ailey. His research spans the fields of Philippine diaspora, art historical method, and performance studies. He has contributed essays and interviews for Artists Space, FAR-NEAR, the Hammer Museum, the 2024 Venice Biennale, and the Whitney Museum of American Art. He received M.Phil degrees in art history and arts education from the University of Cambridge, and his BA in art history from Williams College.

We’d like to thank The Marion Boulton Kippy Stroud Foundation and Teiger Foundation for making these conversations possible, and for their support of our growing archive 🌈✨