The Shock of the Familiar
3 Person Exhibit by: Bong Bellosillo, Mitch Garcia and Ian Madrigal
Opens Tuesday March 31, Exhibit runs until April 13, 2009
@ Galerie Astra 2/f LRI Design Plaza
210 Nicanor Garcia St., Bel-Air II, Makati City
History had ended or "vanished" with the spread of globalization this end should not be understood as the culmination of history's progress, but as the collapse of the very idea of historical progress. The end was not caused by one ideology's victory over the other, but the disappearance of the utopian visions that both the political Right and Left shared. Giving further evidence of his opposition toward Marxist visions of global communism and liberal visions of global civil society the ends they hoped for had always been illusions.
“The simulacrum is never that which conceals the truth ...it is the truth which conceals that there is none. The simulacrum is true.”
“The transition from signs which dissimulate something to signs which dissimulate that there is nothing, marks the decisive turning point. The first implies a theology of truth and secrecy (to which the notion of ideology still belongs). The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgment to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.”
–Jean luc Baudrillard
Simulacra and Simulation
Form, design, and function: making a social or political statement through artistic presentation. Art and social issues have always gone hand-in-hand, from Egyptian hieroglyphics to the Bauhaus to graffiti. The ocular and emotional impact made by Picasso's Guernica forces one to think about the horrors of war. Munch's The Scream, depicting despair and anxiety in 19thcentury Germany, is today a commercial icon used to sell sports drinks. In the latter half of the 20th century, the extreme revival of poster art branched into record album covers, and the debate over whether popular art is really art, once again posed the questions: what is art, and what is its purpose?es art have, and should it have, a message? Perhaps one of its functions is to identify groups, group membership, and political or social attitudes shared by the group.
Membership of subculture groups, whose ideas and lifestyles are at variance with those of the dominant culture, is usually dominated by the young. For some it is fleeting and forms a rite of passage; others move through a series of subcultures, and some remain committed to one, long term. Belonging to a subculture can be liberating, offering, for example, certain freedoms in lifestyle, sexuality, and politics. By defining their own geographical, social, and sartorial boundaries, subcultures also provide a sense of belonging that is independent of the family. Subcultures express themselves through their own art, music, and dress. The subcultures of the latter half of the 20th century would most likely identify themselves as being outside of any norm.
The development of a modern society in which authentic social life has been replaced with its representation: "All that was once directly lived has become mere representation the history of social life can be understood as "the decline of being into having, and having into merely appearing. Spectacle defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images.
-Ian Madrigal
Reference: Publications -Jean luc Baudrillard; The Illusion of the End (1995), Simulacra and Simulation (1994), Guy Debord; Society of Spectacle(2005), Bill Graham Presents: The Art of the Fillmore 1966-1971 (1999)(EMP), Amy de la Haye & Cathie Dingwall, Surfers, Soulies, Skniheads & Skaters: Subculture Styles From the Forties to the Nineties (1999)(EMP), Ted Polhemus, Street Style (1994), James Stark, PUNK ‘77 (1999) (EMP), Michael Walsh, Graffiti (1996)(EMP), Billy Vera, Peter Blecha, Jim Fricke, Adam Woog, Eric Weisbard, Michael Gonzales, EMP-Crossroads (2000)(EMP). Internet – wikipedia en.wikipedia. org, www.emplive. org, Experience Music Project’s interactive Website, where the museum’s Digital Collection is available as a resource for further exploration and research. http://www.wwar. com/ World Wide Arts Resources, www.artlex.com A lexicon of art terms and definitions.
3 Person Exhibit by: Bong Bellosillo, Mitch Garcia and Ian Madrigal
Opens Tuesday March 31, Exhibit runs until April 13, 2009
@ Galerie Astra 2/f LRI Design Plaza
210 Nicanor Garcia St., Bel-Air II, Makati City
History had ended or "vanished" with the spread of globalization this end should not be understood as the culmination of history's progress, but as the collapse of the very idea of historical progress. The end was not caused by one ideology's victory over the other, but the disappearance of the utopian visions that both the political Right and Left shared. Giving further evidence of his opposition toward Marxist visions of global communism and liberal visions of global civil society the ends they hoped for had always been illusions.
“The simulacrum is never that which conceals the truth ...it is the truth which conceals that there is none. The simulacrum is true.”
“The transition from signs which dissimulate something to signs which dissimulate that there is nothing, marks the decisive turning point. The first implies a theology of truth and secrecy (to which the notion of ideology still belongs). The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgment to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.”
–Jean luc Baudrillard
Simulacra and Simulation
Form, design, and function: making a social or political statement through artistic presentation. Art and social issues have always gone hand-in-hand, from Egyptian hieroglyphics to the Bauhaus to graffiti. The ocular and emotional impact made by Picasso's Guernica forces one to think about the horrors of war. Munch's The Scream, depicting despair and anxiety in 19thcentury Germany, is today a commercial icon used to sell sports drinks. In the latter half of the 20th century, the extreme revival of poster art branched into record album covers, and the debate over whether popular art is really art, once again posed the questions: what is art, and what is its purpose?es art have, and should it have, a message? Perhaps one of its functions is to identify groups, group membership, and political or social attitudes shared by the group.
Membership of subculture groups, whose ideas and lifestyles are at variance with those of the dominant culture, is usually dominated by the young. For some it is fleeting and forms a rite of passage; others move through a series of subcultures, and some remain committed to one, long term. Belonging to a subculture can be liberating, offering, for example, certain freedoms in lifestyle, sexuality, and politics. By defining their own geographical, social, and sartorial boundaries, subcultures also provide a sense of belonging that is independent of the family. Subcultures express themselves through their own art, music, and dress. The subcultures of the latter half of the 20th century would most likely identify themselves as being outside of any norm.
The development of a modern society in which authentic social life has been replaced with its representation: "All that was once directly lived has become mere representation the history of social life can be understood as "the decline of being into having, and having into merely appearing. Spectacle defines the system that is a confluence of advanced capitalism, the mass media, and the types of governments who favor those phenomena. The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images.
-Ian Madrigal
Reference: Publications -Jean luc Baudrillard; The Illusion of the End (1995), Simulacra and Simulation (1994), Guy Debord; Society of Spectacle(2005), Bill Graham Presents: The Art of the Fillmore 1966-1971 (1999)(EMP), Amy de la Haye & Cathie Dingwall, Surfers, Soulies, Skniheads & Skaters: Subculture Styles From the Forties to the Nineties (1999)(EMP), Ted Polhemus, Street Style (1994), James Stark, PUNK ‘77 (1999) (EMP), Michael Walsh, Graffiti (1996)(EMP), Billy Vera, Peter Blecha, Jim Fricke, Adam Woog, Eric Weisbard, Michael Gonzales, EMP-Crossroads (2000)(EMP). Internet – wikipedia en.wikipedia. org, www.emplive. org, Experience Music Project’s interactive Website, where the museum’s Digital Collection is available as a resource for further exploration and research. http://www.wwar. com/ World Wide Arts Resources, www.artlex.com A lexicon of art terms and definitions.
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