Friday, April 30, 2010
Wednesday, April 28, 2010
24th ASIAN INTERNATIONAL ART EXHIBITION HOMECOMING EXHIBITION
From National Art Gallery, Malaysia to Indigo Gallery at Bencab Museum in Benguet
The Philippine Delegation to the 24th Asian International Art Exhibition (AIAE) brings to the Philippines in a homecoming show, the Philippine participation to the November 2009 AIAE exhibition at the National Gallery, Malaysia in Kuala Lumpur.
The AIAE, initiated in 1985 by Korea, Taiwan and Japan has grown into a full blown annual art event in the Asia Region. Now participated in by over fourteen member countries taking turns in hosting the event, the AIAE has become a vital venue for artists' convergence in a dynamic gathering highlighted by an exhibition that promotes the diverse contemporary expression of Asian art and engenders its strong assertions. It has become a most anticipated occasion for exchange between and engagement among artists in the region. What began as a collective effort of independent art groups across Asian countries has developed into a barometer of current artistic directions in the region.
The Philippine Committee, a member since 1992, has hosted the 11th AIAE at the Metropolitan Museum of Manila and the 20th AIAE at the Ayala Museum. With its commitment to bring the Philippine participation included in the Asian exhibition to Filipino audiences, every year it organizes a homecoming exhibition.
As the organizers aspire to have a farther reach, the works by the participating artists to the 24th AIAE, Ambie Abaño, Pandy Aviado, Ben Cabrera, Rosscapili, Araceli Limcaco-Dans, Joy Mallari, Ramon Orlina, Susan Fetalvero-Roces, Anna Varona will be on exhibit at the Indigo Gallery of the BenCab Museum. Apart from the works showcased in Kuala Lumpur exhibition, each artist is including another work to complete the collection.
The exhibit opens on May 1, 2010, Saturday at 4 in the afternoon. Exhbit runs until June 1
Indigo Gallery of the Bencab Museum is located at Km 6 Asin Road, Tadiangan, Tuba, Benguet. Museum hours are from 9 in the morning to 6 in the evening, Tuesdays to Saturdays. For more information, contact (+6374) 442-7165, or email museumbencab@ gmail.com or check out the website www.bencabmuseum. org
Tuesday, April 27, 2010
MACHINAS
MACHINAS
First Solo Exhibit by Brendale Asinas Tadeo
NOVA GALLERY Manila, The Carlos Oppen Cojuangco Foundation, Rogue Media, and Art Cabinet Philippines proudly presents MACHINAS, a solo exhibit of mixed media works by contemporary visual artist Brendale Asinas Tadeo. The exhibit is curated by Ma. Victoria T. Herrera.
The Latin term machinas is often linked with the theatrical device deux ex machinas. Literally “god out of a machine,” it refers to the introduction of a person or an event that provides a sudden or unexpected solution to a problem. For Brendale, however, the role of machines is not unexpected or contrived, at least for the subjects he chose to represent.
Brendale is the first scholar of Art on the Verge, a scholarship program by Rogue Magazine and Art Cabinet Philippines to encourage the artistic development of emerging visual artists from ages 21 to 35 years old, to advance the development of Philippine contemporary visual art to an international level, and to promote Philippine contemporary art and visual artists to the public audience.
Born and raised in the town of San Antonio, Zambales, Brendale grew up learning the value of a good day’s work. Like the buses, jeepneys, bicycles, and tricyles that surround him everyday, he captures the human body as an instrument, a hardworking machine. Vehicles, even the simple pushcart or kariton, are painstakingly saved up for, built, and nurtured, by the bodies of those who operate them. The scenes could not be placed simply from “everyday” as the dripped patterns and textured background triggers a dreamlike setting.
In the Machinas series, Brendale plays on the level of personification that links the vehicle and the human body as one machine. He illustrates the stories of people and their interconnectedness with the machines that help sustain their lives. Layering images of the body and its innards with the machine, he refers to the sustenance they provide each other.
The people linked with these machines are no strangers. They are friends and relations he grew up with. Mana-mana series is a family album of sorts. He begins the series with two women peddling food from flat baskets (bilao) resting on their heads, both surviving from the strength of their own laboring bodies. These square format paintings depict how each family has treasured their old reliable machines like an heirloom. These are passed on to children until they could no longer bear the load of work that sustained a generation before.
Machinas runs from April 29 to May 21, 2010 at NOVA Gallery Manila, Warehouse 10 A, 2241 La Fuerza Compound, Pasong Tamo, Makati. For more information on the exhibit, kindly contact 392 7797 and cocartprojectastrid @gmail.com. NOVA GALLERY Manila is open from 11 am to 7 pm, Tuesdays to Saturdays.
Photo credits: Elmer Borlongan
BARO/BALASANG
Hilario presents images of the Eternal Child in Baro/Balasang at Art Informal
Contemporary sculptor Riel Jaramillo Hilario presents Baro/Balasang, an exhibit of wood sculptures on the theme of the Eternal Child at Art Informal to open on April 29, Thursday. The title is Ilocano for boy/girl and the show collectively refers to the artist’s take on the archetype of the Puer Aeternus and Puella Aeterna - The Eternal Child of Jungian psychology. For the artist the archetype is an operative part of the psyche that contains a complex of ideas and feelings that pertain to the essence of childhood - innocence, pure freedom and unbounded consciousness sans the confinements of the idea of self. In its heart is the energy of perpetual youth: a realm of pure possibility and the fullness of being. Hilario explores this concept with the production of playful pieces with the majority of the works revolving around a reinterpretation of the 1914 classic The Little Prince written by the French pilot Antoine de St. Exupery.
The artist says that the works in Baro/balasang “represent a channeling of the eternal child as a spirit of creativity and possibility, where each work stakes a simple truth that we can be made to remember that we are not as blasé as we think: at heart we are still seeking a way back to our own small planet in the sky.”
Hilario studied santo-making in Ilocos Sur in 1994, and later took painting and art history at the University of the Philippines. He returned to working on wood sculptures in 2002 and was a participating artist to the National Commission for Culture and the Arts traveling exhibit, Sungdu-an 3: Making the Local in 2003. Baro/balasang is the artist’s ninth solo exhibition.
Baro/Balasang runs from April 29 to May 16, 2010. For inquiries please visit www.artinformal.com or call 7258518. Art Informal is at 277 Connecticut St. East Greenhills Mandaluyong City.
Monday, April 26, 2010
RECENT WORKS
Stevesantos
"Recent Works"
About the Exhibition
Steve Santos, in his latest exhibit, veers away from focusing on a singular subject or concept, opting to concentrate his creative energy on urban landscapes in acrylic. “It allows me to show patterns and the composition of a city or a location’s specific geographic area, its environment and its social patterns,” says Santos, making sure that his works come out the same way as he envisioned them the first time. The result is a collection that reflects Santos’s confidence in his skills and unique quality in letting colors and lines seamlessly form their own rhythm in the composition. As most people hurriedly go about their daily routines, Santos pauses as his brushes breathe life into the surroundings that often go unnoticed.
PICTURES AT THE EXHIBITION
Pandy Aviado
"Pictures @ the Exhibition"
About the Exhibition
Artist Pandy Aviado considers his pieces as “works in progress” until they are sold. For his latest exhibit, titled Pictures @ the Exhibition (Homage to Mussorgsky), he is presenting artworks that were refined over time with layers and layers of paint. The title of the exhibit is based on the musical piece Aviado was listening to while working on the said pieces. “Most of the images are from my works in the 80s and 90s. The initial image is a print from an etching. Through the years, I paint over them until they end up as a painting,” explains Aviado. The result is a collection that is meant to be seen primarily in an assemblage or in an intimate space of a collector. Having done a similar exhibit at Utterly Gallery in Singapore two years ago, Aviado noted the big impact of seeing the works assembled together. To him, this exhibit’s piece de resistance is “Gemini Rising,” which was earlier featured in a book and in an exhibition at the GSIS Museum last year, titled Pitik-Bulag. Poet Mesandel Virtusio Arguelles, who interpreted Aviado’s work at the exhibition, was struck by the balance of the images in the mixed media painting: “It was this balance that I wanted to capture and approximate…”
RADIANCE
Cid Reyes
"Radiance"
About the Exhibition
Cid Reyes showcases his recent abstract paintings with the collective title Radiance which opens tomorrow April 27 at West Gallery, Mary Santos Artcade, 48 West Avenue, Quezon City.
An avowed abstractionist, Reyes, who is also one of the country’s respected art critics, explores the interaction between light and a highly activated surface. This is Reyes 16th solo exhibition.
Sunday, April 25, 2010
ASIA NOW: CALL FOR PARTICIPATION
Asia now: exploring design culture
Call for participation
Following the success of last year's 'kitchen ecology' exhibition, designboom and dwell on design are collaborating for the second time with 'asia now', a show which will explore asia's design culture.
Asia is a treasure trove of cross-cultural interchanges and the exhibition 'asia now' centers around rising talent in this quickly changing environment.’ Asia now' will take you on a visual journey through inspirational, contrasting iconography and innovative design solutions of the orient.
Curated by designboom, the exhibition will be shown in Los Angeles at the 'dwell on design' fair, June 25 -27, 2010.
'asia now' is taking into account the contemporary material culture of 11 countries
- China
- India
- Indonesia
- iran
- Japan
- Korea
- Malaysia
- Philippines
- Singapore
- Taiwan
- Thailand
is a non profit project, we welcome all suggestions and feedback here
Enroll now
Call for participation open now!
Do you wish to exhibit your work with us?
Please send us photos of products or prototypes - of what you would like to show in this exhibition. We expect to receive several hundred applications, which will be collected and reviewed by designboom. We have a limited capacity of pieces that can be shown, selection is sure to be tough...
Your work and your contact details will be featured in the exhibition, in our online preview and in the report of the exhibition. Along with your participation in the exhibition we offer you the possibility of providing us with your own press material which will be made readily available at the show.
Email your submissions here
Subject line: 'asia-now'.
Emails should not exceed 3 MB
(.jpg, .gif, psd, pdf, doc files accepted)
dwell on design is a three day festival of modern design in LA, featuring exhibitions, a design conference, home tours and special events. http://www.dwellondesign.com
Call for participation
Following the success of last year's 'kitchen ecology' exhibition, designboom and dwell on design are collaborating for the second time with 'asia now', a show which will explore asia's design culture.
Asia is a treasure trove of cross-cultural interchanges and the exhibition 'asia now' centers around rising talent in this quickly changing environment.’ Asia now' will take you on a visual journey through inspirational, contrasting iconography and innovative design solutions of the orient.
Curated by designboom, the exhibition will be shown in Los Angeles at the 'dwell on design' fair, June 25 -27, 2010.
'asia now' is taking into account the contemporary material culture of 11 countries
- China
- India
- Indonesia
- iran
- Japan
- Korea
- Malaysia
- Philippines
- Singapore
- Taiwan
- Thailand
is a non profit project, we welcome all suggestions and feedback here
Enroll now
Call for participation open now!
Do you wish to exhibit your work with us?
Please send us photos of products or prototypes - of what you would like to show in this exhibition. We expect to receive several hundred applications, which will be collected and reviewed by designboom. We have a limited capacity of pieces that can be shown, selection is sure to be tough...
Your work and your contact details will be featured in the exhibition, in our online preview and in the report of the exhibition. Along with your participation in the exhibition we offer you the possibility of providing us with your own press material which will be made readily available at the show.
Email your submissions here
Subject line: 'asia-now'.
Emails should not exceed 3 MB
(.jpg, .gif, psd, pdf, doc files accepted)
dwell on design is a three day festival of modern design in LA, featuring exhibitions, a design conference, home tours and special events. http://www.dwellondesign.com
Saturday, April 24, 2010
ETERNAL DAMN NATION
Eternal Damn Nation casts the net over the Sisyphean enterprise of national progress. This three-part exhibition of the Anting-Anting group magnifies the overall betrayal of a nation promised a history of things - freedom (Heaven), land (Earth) - and ending up with a struggle against being condemned to an actual history of unfulfilled promises (Hell).
It is therefore timely that Eternal Damn Nation, coincides with the 2010 elections. Where else is the focal point of issues of nationhood and societal change but in the body governing a nation? In the masquerade of popular jingles, solipsistic debates and black propaganda, hell is another false miracle inclined to backfire on its believers, hell is not knowing where the country's new leaders will direct the course of history. And with Eternal Damn Nation, Anting-Anting echoes many others who are hell bent on steering the nation off the hell-bound path.
Grim as the themes of the works could be, they do not necessarily point to an end of the world. Instead they speak of the suffering and punishment present in our locus, as if "hell is empty and all the devils are here". The works of Anting-Anting are mostly directly referent, given that they are portraying a visual landscape of the times. They work with obvious metaphors in order to drive straight into the heart of power relationships inherent in electorial politics. Symbols of personal weaknesses and suffering are summed up to make connections to agencies of power, which are portrayed directly (portraits of national leaders, heroes and government offices).
This form of political action transforms personal problems into political problems. And this particular collective, Anting-Anting, provides a key to test political theory. This three-part exhibition that culminates in Eternal Damn Nation (both the exhibition and the collaborative mural) is Anting-Anting's political struggle. Hell bent on questioning why the nation is burning in fires tended by itself, Anting-Anting continues to stress for a collective solution that would put an end to a chaos akin to the self-regenerative Lernaean Hydra.
Contact Details:
For inquiries, please call (63 2) 844-7328 or email: info@manilacontemporary.com.
Thursday, April 22, 2010
SIGNOS: SIGNS, STREAMS AND SIGNALS
These are weeks that bring us on the brink of change. Whether this transition translates into transformation is hardly the question anymore. Elections are deemed as another exercise in a conflux of signs and signifiers, wherein we gesture a functional democracy through a process of campaigns, equal opportunity and symbols of the individual’s power to decide. It is both a gamble and a game: to take hold of these names, numbers and be able to place them in positions and domains.
SIGNOS signifies portents and omens: images and manifestations of what is to come. What could take place as one may imagine or wish for through symbols of specific constructs. On the brink of passage, or afloat in stasis, these are signs that could just be telling us what to think, what to do, and where to go.
Galerie Anna co-presents with slash/art artists’ initiatives the group exhibit “SIGNOS: Signs, Streams and Signals” featuring new works in various media by Con Cabrera, Buen Calubayan, Joey Cobcobo, Marika B. Constantino, Don Djerassi Dalmacio, Karen Ocampo Flores, Lotsu Manes, Emil Mercado, J Pacena II, Mervin Pimentel, Christina Quisumbing Ramilo, Iggy Rodriguez, Kirby Roxas, Don M. Salubayba, Mark Salvatus, Art Sanchez, Mimi Tecson, Teta Tulay, Wesley Valenzuela and Kalye Collective (Dennis Atienza, Robert Besana, Alvin Cristobal, Alfredo Esquillo, Kirby Roxas and Archie Ruga). SIGNOS also features live art performances by Jef Carnay, Kaye O’ Yek and Jepren Solis on its opening night.
The exhibit opens at the Megamall Art Center on April 23, 2010 at 6:00pm and will be on view daily mall hours until May 9, 2010.
For particulars, contact Galerie Anna at 632.4702511 / 632.5679483.
Email galerieanna.events@yahoo.com or visit www.galerieanna.com
CALL - FOR - ENTRIES : SEOUL DESIGN FAIR 2010
C A L L - F O R - E N T R I E S
SEOUL DESIGN FAIR 2010
Together with designboom promotes an international design competition. Participation is open to applicants from every country in the world, to professionals, students, and design-enthusiasts. Free registration required.
Seoul International Design Competition 2010 is hosted by Seoul Metropolitan Government and organized by Seoul Design Foundation in collaboration with Designboom.
01 - The subject of the international competition is design for all future technology and daily living. The motto of Seoul International Design Competition 2010 envisions the realization of an egalitarian society and human values through design proposals that are easy, convenient, and pleasant to use. Especially in the environment of a contemporary city, as well as product and space, the importance of communication is rapidly increasing (most of it is based on digital technology), and design can bring convenience, safety, equality and pleasure to citizens through establishing a new order between components constituting a city.
The ‘design for all’ objective is made to increase the efforts and the pursuit of design production that can be shared by all, removing emotional and physical barriers by becoming an universal communicative social solution.
02 - Categories including anything that is designed for public spaces, facilities, and visual information and outcomes and products which deal with or publicize the urban problems, or promote Seoul outwardly.
03 – Awards
The total prize money of seoul design competition 2010 amounts to USD 26,000 *** certification and prize money awarded by the mayor of Seoul Metropolitan Government and special benefits for those who are awarded with golden and silver haechi prizes (within 3,000 USD for individual/team including grants for overseas training for Korean winners and invitation to the awards ceremony in Seoul for international winners).
- golden haechi prize: one winner, USD 10,000 – certification
- silver haechi prize: three winners, USD 2,000 - certification for each
- bronze haechi prize: five winners, USD 1,000 - certification for each
- iron haechi prize: max. ten winners, USD 500 - certification for each
- honorable mention: within two hundred people, certification for each
- people's choice award: twenty winners, certification for each
The winning submissions will be exhibited during the exhibition period of Seoul Design Fair 2010 from September 17 to October 7, 2010. The award ceremony of Seoul Design Fair 2010 will take place on October 7, 2010 at Jamsil Sports Complex in Seoul Metropolitan City, Republic of South Korea. And as always designboom will publish an exhaustive results report.
***prize and prize money the award winners shall abide by the tax law of their countries. In case an award winner is of korean nationality, the tax shall be exempted according to article 18 of enactment decree of the income tax act. Any postal charges for certifications and catalogue shall be paid by the award winners.
04 – The jury will be composed of international professional designers and members of the organization. Currently under construction.
05 - Design criteria
Projects should be original and not be currently in serial production. Projects will be disqualified, if been awarded from other competitions or awards.
The designs entries may not be marked with any form of identification (name, logo...). Entries will be disqualified under these terms. it is important that you keep your design(s) confidential. Please don't send them to print or digital publications until the results of the competition are published. The jury will award designs and concepts which are innovative in terms of their formal / technological aspects as well as their social relevance. Please don't send in vague concepts, but go a step further. It’s not the idea which is the art, it's more the way somebody handles the idea that makes art.
06 – Registration deadline
Application registration will be accepted until July 13th, 2010.
Deadline: 17:00 GMT
07 - RegistrationRegistration is open now, please fill in the form. Teams register with one name only- when submitting works you should add all team member’s names.
register here
SEOUL DESIGN FAIR 2010
http://sdf.seoul.go.kr
SEOUL DESIGN FAIR 2010
Together with designboom promotes an international design competition. Participation is open to applicants from every country in the world, to professionals, students, and design-enthusiasts. Free registration required.
Seoul International Design Competition 2010 is hosted by Seoul Metropolitan Government and organized by Seoul Design Foundation in collaboration with Designboom.
01 - The subject of the international competition is design for all future technology and daily living. The motto of Seoul International Design Competition 2010 envisions the realization of an egalitarian society and human values through design proposals that are easy, convenient, and pleasant to use. Especially in the environment of a contemporary city, as well as product and space, the importance of communication is rapidly increasing (most of it is based on digital technology), and design can bring convenience, safety, equality and pleasure to citizens through establishing a new order between components constituting a city.
The ‘design for all’ objective is made to increase the efforts and the pursuit of design production that can be shared by all, removing emotional and physical barriers by becoming an universal communicative social solution.
02 - Categories including anything that is designed for public spaces, facilities, and visual information and outcomes and products which deal with or publicize the urban problems, or promote Seoul outwardly.
03 – Awards
The total prize money of seoul design competition 2010 amounts to USD 26,000 *** certification and prize money awarded by the mayor of Seoul Metropolitan Government and special benefits for those who are awarded with golden and silver haechi prizes (within 3,000 USD for individual/team including grants for overseas training for Korean winners and invitation to the awards ceremony in Seoul for international winners).
- golden haechi prize: one winner, USD 10,000 – certification
- silver haechi prize: three winners, USD 2,000 - certification for each
- bronze haechi prize: five winners, USD 1,000 - certification for each
- iron haechi prize: max. ten winners, USD 500 - certification for each
- honorable mention: within two hundred people, certification for each
- people's choice award: twenty winners, certification for each
The winning submissions will be exhibited during the exhibition period of Seoul Design Fair 2010 from September 17 to October 7, 2010. The award ceremony of Seoul Design Fair 2010 will take place on October 7, 2010 at Jamsil Sports Complex in Seoul Metropolitan City, Republic of South Korea. And as always designboom will publish an exhaustive results report.
***prize and prize money the award winners shall abide by the tax law of their countries. In case an award winner is of korean nationality, the tax shall be exempted according to article 18 of enactment decree of the income tax act. Any postal charges for certifications and catalogue shall be paid by the award winners.
04 – The jury will be composed of international professional designers and members of the organization. Currently under construction.
05 - Design criteria
Projects should be original and not be currently in serial production. Projects will be disqualified, if been awarded from other competitions or awards.
The designs entries may not be marked with any form of identification (name, logo...). Entries will be disqualified under these terms. it is important that you keep your design(s) confidential. Please don't send them to print or digital publications until the results of the competition are published. The jury will award designs and concepts which are innovative in terms of their formal / technological aspects as well as their social relevance. Please don't send in vague concepts, but go a step further. It’s not the idea which is the art, it's more the way somebody handles the idea that makes art.
06 – Registration deadline
Application registration will be accepted until July 13th, 2010.
Deadline: 17:00 GMT
07 - RegistrationRegistration is open now, please fill in the form. Teams register with one name only- when submitting works you should add all team member’s names.
register here
SEOUL DESIGN FAIR 2010
http://sdf.seoul.go.kr
Wednesday, April 21, 2010
PANANAW 7 BOOK LAUNCH
Now on its 14th year, Pananaw, Philippine Journal of Visual Arts releases its 7th volume focusing on art and its publics. The event auspiciously runs alongside the opening of New York-based artist Imelda Cajipe Endaya's exhibition, Traces at Vargas Museum at the University of the Philippines in Diliman, Quezon City April 23, 2010, 4 p.m. Cajipe Endaya was Pananaw's very first volume editor when she was still serving in the National Commission for Culture and the Arts Committee on Visual Arts. This latest volume in the bi-annual book series sees through an initiative launched in 1996 by volunteer artists, writers, and cultural workers in response to the felt need for an independently produced venue for critical discourse and documentation of current developments in Philippine contemporary visual arts from Luzon, Visayas, Mindanao, and the NCR. The series attempts to address the dearth in contextual and interdisciplinary texts that cast critical eyes on contemporary art practice keenly attuned to burning questions related to art history, the mapping and negotiating of Filipino artistic agency, and the interfaces of art and living.
With its focus on the creation and encountering of art within the public sphere, Pananaw 7 brings together a diverse mix of writing from Patrick Flores, Robert Paulino, Joselina Cruz, Radel Paredes, Kelly Ramos-Palaganas, Alice Guillermo, Tessa Guazon, Lisa Ito, Yael Buencamino, and Lourd de Veyra. It situates the various essays taking on questions of engagement, the sites and spaces permeated by art, murals, public art projects, and artists and the market, amidst collated artists' manifestos and a two-year exhibition survey which has become a Pananaw staple over the years. Pananaw 7 also marks the series's more decisive move toward reaching a broader set of readers online. Through http://www.pananaw. sining.net/ audience- access, visitors will find audio-visual and hyperlinked access to a Pananaw-sponsored roundtable on new media practice and attendant issues. The volume, edited by Eileen Legaspi-Ramirez, also includes a forum on museum education. It is designed by musician-visual artist, Datu Arellano. As a long term project, the Pananaw series hopes to equip both key and peripheral art agents in becoming more actively informed and judicious participants in the way Philippine art is framed and received across platforms and across natural and political boundaries. In its eventual restructuring of its web presence, it aims to allow even more audiences to engage interactivelyand access the journal series's content beyond the books' static two-dimensional print pages. The Pananaw site intends to eventually allow various publics to access otherwise rare material such as artists' videos, conversations between artists and critics, and documentation of performance art and other time-based practices.
Cajipe Endaya launches the digital book, Stitching Paint into Collage on the same evening as the Pananaw 7 launch and exhibit opening. Both publications will be available at a special price for guests present at Vargas Museum on April 23.
With its focus on the creation and encountering of art within the public sphere, Pananaw 7 brings together a diverse mix of writing from Patrick Flores, Robert Paulino, Joselina Cruz, Radel Paredes, Kelly Ramos-Palaganas, Alice Guillermo, Tessa Guazon, Lisa Ito, Yael Buencamino, and Lourd de Veyra. It situates the various essays taking on questions of engagement, the sites and spaces permeated by art, murals, public art projects, and artists and the market, amidst collated artists' manifestos and a two-year exhibition survey which has become a Pananaw staple over the years. Pananaw 7 also marks the series's more decisive move toward reaching a broader set of readers online. Through http://www.pananaw. sining.net/ audience- access, visitors will find audio-visual and hyperlinked access to a Pananaw-sponsored roundtable on new media practice and attendant issues. The volume, edited by Eileen Legaspi-Ramirez, also includes a forum on museum education. It is designed by musician-visual artist, Datu Arellano. As a long term project, the Pananaw series hopes to equip both key and peripheral art agents in becoming more actively informed and judicious participants in the way Philippine art is framed and received across platforms and across natural and political boundaries. In its eventual restructuring of its web presence, it aims to allow even more audiences to engage interactivelyand access the journal series's content beyond the books' static two-dimensional print pages. The Pananaw site intends to eventually allow various publics to access otherwise rare material such as artists' videos, conversations between artists and critics, and documentation of performance art and other time-based practices.
Cajipe Endaya launches the digital book, Stitching Paint into Collage on the same evening as the Pananaw 7 launch and exhibit opening. Both publications will be available at a special price for guests present at Vargas Museum on April 23.
Tuesday, April 20, 2010
BULONG FROM WITHIN: MOTIFS, INVOCATIONS AND INCANTATIONS
Jun-Jun Sta.Ana will be showing 25 pieces at his one man show opening on Friday, April 23, 2010. On view will be works on paper, canvas, and habotai silk, and will run until May 31, 2010.
A self-taught artist, he is represented in the Philippines by Avellana Art Gallery, and has shown in the Philippines, US, and Russia. Based in Chicago IL, he is a member of the Coalition Gallery of the Chicago Artists Coalition, and has been actively showing around the country.
He is also known for his unconventional portraits, in which he repeats the images of the subject as a design element to create a larger image portraying, defining, or referencing the person.
"Bulong From Within: Motifs, Invocations and Incantations". Opening reception on April 23, 2010 at the 2nd Floor Gallery of the Center On Halsted, from 6:30 pm - 9:30 pm.
3656 North Halsted Street, Chicago, IL 60657
773-472-6469
A self-taught artist, he is represented in the Philippines by Avellana Art Gallery, and has shown in the Philippines, US, and Russia. Based in Chicago IL, he is a member of the Coalition Gallery of the Chicago Artists Coalition, and has been actively showing around the country.
He is also known for his unconventional portraits, in which he repeats the images of the subject as a design element to create a larger image portraying, defining, or referencing the person.
"Bulong From Within: Motifs, Invocations and Incantations". Opening reception on April 23, 2010 at the 2nd Floor Gallery of the Center On Halsted, from 6:30 pm - 9:30 pm.
3656 North Halsted Street, Chicago, IL 60657
773-472-6469
Monday, April 19, 2010
METROBANK FOUNDATION ART COMPETITION NOW ON
Metrobank Foundation, Inc. is inviting all talented and aspiring painters and sculptors to join the 2010 Metrobank Art and Design Excellence (MADE) National Competition, open to artists 18 to 35 years old. Now on its 26th year, MADE continues to recognize excellence among the country’s pool of young and talented painters and sculptors.
Mr. Aniceto Sobrepeña, President of the Metrobank Foundation, Inc., said that “MADE carries on its commitment to provide a venue for Filipino talents to strive for excellence, to engage the arts and design community to social responsibility, and to empower artists and designers to pursue their aspirations.”
Entries to the open theme Painting Competition should either be acrylic or oil paint on canvas or watermedia on paper. Paintings should not be smaller than 18 x 24 inches and should not exceed 36 x 48 inches, exclusive of frame.
Sculptors may submit their masterpieces not exceeding 40 kilos in weight and a volumetric size of 4,096 inches, excluding base. Base size should not exceed 2 inches in width. The sculpture competition is also open theme and entries may consist of one or a combination of resin, fiberglass, glass, metal, wood, stone (concrete), or fired clay (terracotta or stoneware).
Deadline for submission of entries for NCR and nearby Luzon participants is on May 7 and 8 at the Metrobank Foundation Office located at the 15th floor Metrobank Plaza, Sen. Gil Puyat Avenue, Makati City. Provincial participants may submit their entries to the nearest Metrobank branch in their respective areas on or before May 4. Interested parties can call the Metrobank Foundation at 898.8856 for more information. Entry forms are available in select Metrobank branches or download at http://www.mbfoundation.org.ph/.
Winners will receive a cash prize of Php 200,000 for the grand prize, Php 170,000 for the second prize, and Php 150,000 for the third and special prize, as well as the recognition bestowed for the exemplary display of artistic talent, and intellect.
MADE is an annual competition which aims to recognize budding artists in the fields of painting, sculpture, architecture and interior design, as well as to launch and enhance their careers. The pioneering art competition of the Metrobank Foundation which started in 1984, MADE lists the names of now established up-and-coming masters such as Bobby Feleo, Elmer Borlongan, Mark Justiniani, Ferdinand Doctolero, Alwin Reamillo, Noёll El Farrol, and Gabby Barredo in its roster of winners. MADE celebrated its 25th anniversary last year with the theme “Celebrating creativity.”
Entry Forms
Download the 2010 MPAS nomination form here.
(Adobe Acrobat Document 1.07Mb)
Download the 2010 MADE entry form for Architecture here.
(Adobe Acrobat Document 1617kb)
Download the 2010 MADE entry form for Sculpture here.
(Adobe Acrobat Document 2536kb)
Download the 2010 MADE entry form for Painting here.
(Adobe Acrobat Document 2532kb)
Download the 2010 MADE Affidavit for Architecture and Interior Design here.
(Adobe Acrobat Document 163kb)
Download the 2010 MADE Affidavit for Painting and Sculpture here.
(Adobe Acrobat Document 28kb)
Mr. Aniceto Sobrepeña, President of the Metrobank Foundation, Inc., said that “MADE carries on its commitment to provide a venue for Filipino talents to strive for excellence, to engage the arts and design community to social responsibility, and to empower artists and designers to pursue their aspirations.”
Entries to the open theme Painting Competition should either be acrylic or oil paint on canvas or watermedia on paper. Paintings should not be smaller than 18 x 24 inches and should not exceed 36 x 48 inches, exclusive of frame.
Sculptors may submit their masterpieces not exceeding 40 kilos in weight and a volumetric size of 4,096 inches, excluding base. Base size should not exceed 2 inches in width. The sculpture competition is also open theme and entries may consist of one or a combination of resin, fiberglass, glass, metal, wood, stone (concrete), or fired clay (terracotta or stoneware).
Deadline for submission of entries for NCR and nearby Luzon participants is on May 7 and 8 at the Metrobank Foundation Office located at the 15th floor Metrobank Plaza, Sen. Gil Puyat Avenue, Makati City. Provincial participants may submit their entries to the nearest Metrobank branch in their respective areas on or before May 4. Interested parties can call the Metrobank Foundation at 898.8856 for more information. Entry forms are available in select Metrobank branches or download at http://www.mbfoundation.org.ph/.
Winners will receive a cash prize of Php 200,000 for the grand prize, Php 170,000 for the second prize, and Php 150,000 for the third and special prize, as well as the recognition bestowed for the exemplary display of artistic talent, and intellect.
MADE is an annual competition which aims to recognize budding artists in the fields of painting, sculpture, architecture and interior design, as well as to launch and enhance their careers. The pioneering art competition of the Metrobank Foundation which started in 1984, MADE lists the names of now established up-and-coming masters such as Bobby Feleo, Elmer Borlongan, Mark Justiniani, Ferdinand Doctolero, Alwin Reamillo, Noёll El Farrol, and Gabby Barredo in its roster of winners. MADE celebrated its 25th anniversary last year with the theme “Celebrating creativity.”
Entry Forms
Download the 2010 MPAS nomination form here.
(Adobe Acrobat Document 1.07Mb)
Download the 2010 MADE entry form for Architecture here.
(Adobe Acrobat Document 1617kb)
Download the 2010 MADE entry form for Sculpture here.
(Adobe Acrobat Document 2536kb)
Download the 2010 MADE entry form for Painting here.
(Adobe Acrobat Document 2532kb)
Download the 2010 MADE Affidavit for Architecture and Interior Design here.
(Adobe Acrobat Document 163kb)
Download the 2010 MADE Affidavit for Painting and Sculpture here.
(Adobe Acrobat Document 28kb)
Sunday, April 18, 2010
BUNTONG HININGA
Buntong Hininga by Leslie de Chavez
April 21, 2010, Wednesday
6-9 pm
For the first time in seven years, Leslie De Chavez releases his frustration and disappointment in the Philippines' history of struggle and shortcoming in the Philippines… and this time with a big and loud sigh.
Philippine socio-politics has been the keystone of De Chavez's art since 2002, and he expresses it without words or sound, but with images and colors that blare out very strong ideas and resonating emotions. This show,entitled Buntong Hininga, realizes (what he feels is) the Filipino reply to socio-political reality: the collective sigh. De Chavez describes it as “for the most time, the immediate or probably the only thing we can do” when faced with such dim situations.
It is without coincidence that De Chavez’s work comes at a most fitting time. With election fever on its final and most crucial course, De Chavez fills the three exhibition spaces of Silverlens Gallery with paintings, installations and video projections with themes only too familiar to the Filipino people. With the cancers born from colonization, poverty and disorder firmly embedded in society, Filipinos are more than aware of the corrupted state of Philippine socio-politics.
Using symbolism, set within his characteristic quiet, dark and ghoulish backdrop, De Chavez creates a narrative that is critical, but is also searching. In the painting, Front Acts, De Chavez fills the large canvass with allegorical references – from the words ‘Bahala na (So be it)’ spelled out with pieces of bone sprawled on the floor for the world to see, to the hypocrisy of a man who covers his face from the smoke he himself is emitting; from a priest, whose head is a beach ball, holding a faceless Sto. Niño to a man with earphones that have bound him in the wrists.
With ideas of “self-preservation, spiritual decay, dissatisfaction, corruption, and culture of impunity”, Buntong Hininga reminds Filipinos of the inspiration Philippine social and political history never provided, and gives a glimpse of the possible future. We sigh at what is, and mourn for ‘what could be’.
While Buntong Hininga is De Chavez’s “breathe-out of accumulated sentiments, experiences, disappointments, observations and imaginations about [Filipino] contemporary life and its imperfections”, it is at the same time, De Chavez’s plea.
De Chavez aims to create productivity and possibility where Philippine socio-politics remains wanting. Buntong Hininga is to stir up various emotions and opinions, and be an “opportunity to re-think [past and present]”. And above all, one should wonder if one can do more than just sigh.
Buntong Hininga by Leslie De Chavez opens on April 21,2010 at Silverlens Gallery SLab.
Words: Bea Davila, Image: Leslie de Chavez, Front Acts, 2010
April 21, 2010, Wednesday
6-9 pm
For the first time in seven years, Leslie De Chavez releases his frustration and disappointment in the Philippines' history of struggle and shortcoming in the Philippines… and this time with a big and loud sigh.
Philippine socio-politics has been the keystone of De Chavez's art since 2002, and he expresses it without words or sound, but with images and colors that blare out very strong ideas and resonating emotions. This show,entitled Buntong Hininga, realizes (what he feels is) the Filipino reply to socio-political reality: the collective sigh. De Chavez describes it as “for the most time, the immediate or probably the only thing we can do” when faced with such dim situations.
It is without coincidence that De Chavez’s work comes at a most fitting time. With election fever on its final and most crucial course, De Chavez fills the three exhibition spaces of Silverlens Gallery with paintings, installations and video projections with themes only too familiar to the Filipino people. With the cancers born from colonization, poverty and disorder firmly embedded in society, Filipinos are more than aware of the corrupted state of Philippine socio-politics.
Using symbolism, set within his characteristic quiet, dark and ghoulish backdrop, De Chavez creates a narrative that is critical, but is also searching. In the painting, Front Acts, De Chavez fills the large canvass with allegorical references – from the words ‘Bahala na (So be it)’ spelled out with pieces of bone sprawled on the floor for the world to see, to the hypocrisy of a man who covers his face from the smoke he himself is emitting; from a priest, whose head is a beach ball, holding a faceless Sto. Niño to a man with earphones that have bound him in the wrists.
With ideas of “self-preservation, spiritual decay, dissatisfaction, corruption, and culture of impunity”, Buntong Hininga reminds Filipinos of the inspiration Philippine social and political history never provided, and gives a glimpse of the possible future. We sigh at what is, and mourn for ‘what could be’.
While Buntong Hininga is De Chavez’s “breathe-out of accumulated sentiments, experiences, disappointments, observations and imaginations about [Filipino] contemporary life and its imperfections”, it is at the same time, De Chavez’s plea.
De Chavez aims to create productivity and possibility where Philippine socio-politics remains wanting. Buntong Hininga is to stir up various emotions and opinions, and be an “opportunity to re-think [past and present]”. And above all, one should wonder if one can do more than just sigh.
Buntong Hininga by Leslie De Chavez opens on April 21,2010 at Silverlens Gallery SLab.
Words: Bea Davila, Image: Leslie de Chavez, Front Acts, 2010
Friday, April 16, 2010
Thursday, April 15, 2010
2010 GSIS ART COMPETITION
The Government Service Insurance System (GSIS) is inviting Filipino artists to join the 2010 GSIS Art Competition. This year’s competition has an open theme. The artist is encouraged to explore his best in presenting and conceptualizing his art entry. It is through this competition that we hope to view and produce diverse interpretations of what’s inside an artist’s mind. From the previous two (2) categories, this year, we have added the Sculpture Category in order to invite more artists to participate.
Official entry forms are available in all GSIS offices (Headquarters, regional Offices and Satellite Office) and other offices and galleries starting February 22, 2010.
SUBMISSION: APRIL 17, 2010
8am - 4pm only
GSIS MUSEUM
Official entry forms are available in all GSIS offices (Headquarters, regional Offices and Satellite Office) and other offices and galleries starting February 22, 2010.
SUBMISSION: APRIL 17, 2010
8am - 4pm only
GSIS MUSEUM
ARCHITECTON
Architecton
April 16 – April 28, 2010
Exhibit Opening
April 15, Thursday, 6 p.m.
Philippine Russia International Development Enterprise is honored to invite you to an exhibit of architectural works by its Russian partner, ARCHITECTON. The show opens on April 15, Thursday, at 6 p.m.
The eponymously titled exhibit features modern architecture by the Russian architectural firm. Through photographs, albums, and monographs, the show highlights Architecton’s timeless, glorious, and imaginative design and approach over the past decade.
Architecton is organized with the support of the Embassy of the Philippines in the Russian Federation, the Embassy of the Russian Federation in the Philippines, Philippine Russia International Development Enterprise, Philippine International Trading Corporation, and Yuchengco Museum.
Architecton will be on view at the Yuchengco Museum for only two weeks, from April 16 to April 28. The museum is located at RCBC Plaza, corner Ayala & Sen. Gil J. Puyat Avenues, Makati City.
To RSVP, please call the Yuchengco Museum at 889-1234 or e-mail at info@yuchengcomuseum.org.
April 16 – April 28, 2010
Exhibit Opening
April 15, Thursday, 6 p.m.
Philippine Russia International Development Enterprise is honored to invite you to an exhibit of architectural works by its Russian partner, ARCHITECTON. The show opens on April 15, Thursday, at 6 p.m.
The eponymously titled exhibit features modern architecture by the Russian architectural firm. Through photographs, albums, and monographs, the show highlights Architecton’s timeless, glorious, and imaginative design and approach over the past decade.
Architecton is organized with the support of the Embassy of the Philippines in the Russian Federation, the Embassy of the Russian Federation in the Philippines, Philippine Russia International Development Enterprise, Philippine International Trading Corporation, and Yuchengco Museum.
Architecton will be on view at the Yuchengco Museum for only two weeks, from April 16 to April 28. The museum is located at RCBC Plaza, corner Ayala & Sen. Gil J. Puyat Avenues, Makati City.
To RSVP, please call the Yuchengco Museum at 889-1234 or e-mail at info@yuchengcomuseum.org.
Wednesday, April 14, 2010
HITLER SKETCHES THAT FAILED TO SECURE HIS PLACE AT ART ACADEMY TO BE AUCTIONED
Drawings believed to be those that Adolf Hitler submitted in a failed attempt to gain entry into the Vienna Academy of Art are to be auctioned.
And a distinguished emeritus dean of art has studied them and said that today they would be considered only up to "moderate GCSE standard."
Some have speculated that Hitler's rejection from art college helped shape his character in later years.
He believed that it was a Jewish professor who had rejected his application to study at the academy.
The works consist of nudes, human figures, various objects and landscapes including buildings.
Most are dated 1908 - the year he was rejected by the academy for the second time and was not even permitted to sit the exam - and some are dated a year later that were added to his portfolio.
Hitler moved to Vienna as a young man in 1905 and lived a bohemian life, making small amounts of money by selling pictures he copied from postcards.
At one point he ended up in a hostel for the homeless and later he claimed it was in Vienna where the fires of his anti-Semitism were ignited.
Michael Liversidge, Emeritus Dean of Arts at Bristol University, where he has taught art history since 1970 and was head of department for 21 years, has studied the pictures.
He said: "Of course, remembering the Hitler diaries which turned out to be turkeys, one has to be careful though these do look authentic and presumably have been checked out as to their provenance.
"They look quite typical of an aspiring student hoping to get into art school - tentative and not very certain about his perspective when he's using pencil and pen, making basic errors by getting the top and the bottom of a candlestick wrong in relation to each other and so on.
"And he doesn't yet have much in the way of technical skill, but it's not so bad that one can't imagine him learning - especially when he's bolder with the charcoal or black chalk.
"But there's no latent genius here, and not much beyond a moderate GCSE. Probably if the artist was at school today you wouldn't encourage him to keep the subject up at A Level.
"So if they are part of a portfolio submitted with an application to study at a major European art academy, the selectors were right to reject him - they just don't suggest he was more than pretty marginal and mediocre for a potential art school entrant then or now.
"If they are what he sent in he definitely wouldn't have been worth interviewing for a place.
"Now, of course, they have an altogether different historical interest for us, but sadly that isn't one that has anything to do with art."
Richard Westwood-Brookes, who is selling the archive, said: "We know Hitler was twice turned down by the Vienna Academy of Art.
"The second time in 1908 he wasn't even invited to take the exam. These works make up a collection that he would have submitted.
"They are the type of pictures that a student would produce to show a range of techniques.
"Of course it is possible that Hitler's rejection from the Vienna Academy of Art was something that helped shape his character and turn him into the monster he became.
"It's the first time the pictures have come to light and can be seen by the general public.
"The vendor is an artist based on the continent and has had them for many, many years."
The 12 pictures are expected to sell for up to £6,000 each.
The sale at Mullock's auction house in Ludlow, Shropshire, takes place on April 16.
Adolf Hitler Art Collection Auction
http://www.telegrap h.co.uk/culture/ culturepicturega lleries/7512045/ Adolf-Hitler- art-to-be- auctioned. html
Picture: BNPS
And a distinguished emeritus dean of art has studied them and said that today they would be considered only up to "moderate GCSE standard."
Some have speculated that Hitler's rejection from art college helped shape his character in later years.
He believed that it was a Jewish professor who had rejected his application to study at the academy.
The works consist of nudes, human figures, various objects and landscapes including buildings.
Most are dated 1908 - the year he was rejected by the academy for the second time and was not even permitted to sit the exam - and some are dated a year later that were added to his portfolio.
Hitler moved to Vienna as a young man in 1905 and lived a bohemian life, making small amounts of money by selling pictures he copied from postcards.
At one point he ended up in a hostel for the homeless and later he claimed it was in Vienna where the fires of his anti-Semitism were ignited.
Michael Liversidge, Emeritus Dean of Arts at Bristol University, where he has taught art history since 1970 and was head of department for 21 years, has studied the pictures.
He said: "Of course, remembering the Hitler diaries which turned out to be turkeys, one has to be careful though these do look authentic and presumably have been checked out as to their provenance.
"They look quite typical of an aspiring student hoping to get into art school - tentative and not very certain about his perspective when he's using pencil and pen, making basic errors by getting the top and the bottom of a candlestick wrong in relation to each other and so on.
"And he doesn't yet have much in the way of technical skill, but it's not so bad that one can't imagine him learning - especially when he's bolder with the charcoal or black chalk.
"But there's no latent genius here, and not much beyond a moderate GCSE. Probably if the artist was at school today you wouldn't encourage him to keep the subject up at A Level.
"So if they are part of a portfolio submitted with an application to study at a major European art academy, the selectors were right to reject him - they just don't suggest he was more than pretty marginal and mediocre for a potential art school entrant then or now.
"If they are what he sent in he definitely wouldn't have been worth interviewing for a place.
"Now, of course, they have an altogether different historical interest for us, but sadly that isn't one that has anything to do with art."
Richard Westwood-Brookes, who is selling the archive, said: "We know Hitler was twice turned down by the Vienna Academy of Art.
"The second time in 1908 he wasn't even invited to take the exam. These works make up a collection that he would have submitted.
"They are the type of pictures that a student would produce to show a range of techniques.
"Of course it is possible that Hitler's rejection from the Vienna Academy of Art was something that helped shape his character and turn him into the monster he became.
"It's the first time the pictures have come to light and can be seen by the general public.
"The vendor is an artist based on the continent and has had them for many, many years."
The 12 pictures are expected to sell for up to £6,000 each.
The sale at Mullock's auction house in Ludlow, Shropshire, takes place on April 16.
Adolf Hitler Art Collection Auction
http://www.telegrap h.co.uk/culture/ culturepicturega lleries/7512045/ Adolf-Hitler- art-to-be- auctioned. html
Picture: BNPS
CAP STATEMENT ON GMA’S MIDNIGHT APPOINTMENTS
CAP statement on GMA's midnight appointments
The Concerned Artists of the Philippines lambasts Gloria Macapagal-Arroyo’s latest most outrageous and unconstitutional binge on midnight appointments, which includes the removal of the entire board of the CCP, as well as the National Historical Institute and the National Museum.
GMA’s shameless and habitual circumvention of constitutional procedures takes a new level with her recent en masse appointment and replacement of officials in critical executive positions. With three months left to her corrupt regime, GMA, with her complacence over the Supreme Court’s verdict allowing her to appoint the next chief justice, has perpetuated another round of unceremonious dismissals and appointments of officials in vital government, this time on an outstandingly large scale.
Despite the fact that it has been two weeks since the pre-election constitutional ban on midnight appointees, GMA placed five new members in the board of the CCP: Antonio S. Yap, Arsenio Lizaso, Gabriel Ma. J. Lopez, Paolo Ma. Diosdado Casurao y Granados, Carmen Navarro-Pedrosa, and Lutgardo “Gardy” Abad. It is hardly surprising to find out that all of the appointees are identified with Cecile Guidote-Alvarez, the Presidential Adviser on Culture and the Arts and one of the beneficiaries of Arroyo’s moribund patronage politics in last year’s National Artist Award fiasco.
Meanwhile, Arroyo also doled out occupied positions in the National Historical Institute and the National Museum as political favors to her supporters, supplanting the seated officials who found out about their ouster only days after the start of the ban on midnight appointments. No constitutional provision could justify such barefaced acts of corruption, not even the SC ruling which, albeit allowing her to appoint the chief justice in spite of the constitutional ban on midnight appointees, does not sanction her incursions in other executive bodies.
Indeed, it appears that GMA’s barefaced ignominies in the field of culture and arts—as well as in most aspects of national governance—has not reached its peak in her shady incursions during last year’s selection process of the National Artist Award awardees. The CAP reviles these brazen acts of abuse of power, which degrades symbolic institutions of the arts into mere cover-ups for the Arroyo administration’s extensive roster of crimes.
Arroyo’s insistence on her undemocratic midnight appointments clearly shows her attempts to secure her power at this point where her blood-filled regime is coming to its final strains. What other explanation can one garner in the face of Arroyo’s consistent depravity throughout her over-extended presidential term? It is incomprehensible that these non-transparent political maneuverings could be motivated by any nationalist or democratic vision. One needs only to look at the questionable processes by which she transforms governance into whitewashed tyranny to see that she is incapable of any such vision. Indeed, the Arroyo regime has been indelibly marked by the innumerable evils she has perpetuated, conveniently censored and sugarcoated precisely by such underhanded manipulations in the ranks of symbolic, authoritative bodies.
The CAP enjoins members of the Filipino community to unite against GMA’s last-ditch efforts at perpetuating her regime of corruption and violent repression. At this point, it is no wonder that GMA should attempt to defend her unlawful midnight appointments with her own appointee on the seat of the chief justice guarding her back. However, the CAP calls upon the people of the nation not to stay silent and be vigilant against such dastardly attempts at impinging upon our freedom and democracy.
With the 2010 elections coming and GMA scrambling for the last vestiges of her political cachet, we must rise up and move to show that the Filipinos will not condone any further persistence of Arroyo’s totalitarian manipulations. The tyrannical choreographies must end here, now.
NO TO STATE REPRESSION!
STOP GLORIA MACAPAGAL-ARROYO’S EVIL REGIME!
The Concerned Artists of the Philippines lambasts Gloria Macapagal-Arroyo’s latest most outrageous and unconstitutional binge on midnight appointments, which includes the removal of the entire board of the CCP, as well as the National Historical Institute and the National Museum.
GMA’s shameless and habitual circumvention of constitutional procedures takes a new level with her recent en masse appointment and replacement of officials in critical executive positions. With three months left to her corrupt regime, GMA, with her complacence over the Supreme Court’s verdict allowing her to appoint the next chief justice, has perpetuated another round of unceremonious dismissals and appointments of officials in vital government, this time on an outstandingly large scale.
Despite the fact that it has been two weeks since the pre-election constitutional ban on midnight appointees, GMA placed five new members in the board of the CCP: Antonio S. Yap, Arsenio Lizaso, Gabriel Ma. J. Lopez, Paolo Ma. Diosdado Casurao y Granados, Carmen Navarro-Pedrosa, and Lutgardo “Gardy” Abad. It is hardly surprising to find out that all of the appointees are identified with Cecile Guidote-Alvarez, the Presidential Adviser on Culture and the Arts and one of the beneficiaries of Arroyo’s moribund patronage politics in last year’s National Artist Award fiasco.
Meanwhile, Arroyo also doled out occupied positions in the National Historical Institute and the National Museum as political favors to her supporters, supplanting the seated officials who found out about their ouster only days after the start of the ban on midnight appointments. No constitutional provision could justify such barefaced acts of corruption, not even the SC ruling which, albeit allowing her to appoint the chief justice in spite of the constitutional ban on midnight appointees, does not sanction her incursions in other executive bodies.
Indeed, it appears that GMA’s barefaced ignominies in the field of culture and arts—as well as in most aspects of national governance—has not reached its peak in her shady incursions during last year’s selection process of the National Artist Award awardees. The CAP reviles these brazen acts of abuse of power, which degrades symbolic institutions of the arts into mere cover-ups for the Arroyo administration’s extensive roster of crimes.
Arroyo’s insistence on her undemocratic midnight appointments clearly shows her attempts to secure her power at this point where her blood-filled regime is coming to its final strains. What other explanation can one garner in the face of Arroyo’s consistent depravity throughout her over-extended presidential term? It is incomprehensible that these non-transparent political maneuverings could be motivated by any nationalist or democratic vision. One needs only to look at the questionable processes by which she transforms governance into whitewashed tyranny to see that she is incapable of any such vision. Indeed, the Arroyo regime has been indelibly marked by the innumerable evils she has perpetuated, conveniently censored and sugarcoated precisely by such underhanded manipulations in the ranks of symbolic, authoritative bodies.
The CAP enjoins members of the Filipino community to unite against GMA’s last-ditch efforts at perpetuating her regime of corruption and violent repression. At this point, it is no wonder that GMA should attempt to defend her unlawful midnight appointments with her own appointee on the seat of the chief justice guarding her back. However, the CAP calls upon the people of the nation not to stay silent and be vigilant against such dastardly attempts at impinging upon our freedom and democracy.
With the 2010 elections coming and GMA scrambling for the last vestiges of her political cachet, we must rise up and move to show that the Filipinos will not condone any further persistence of Arroyo’s totalitarian manipulations. The tyrannical choreographies must end here, now.
NO TO STATE REPRESSION!
STOP GLORIA MACAPAGAL-ARROYO’S EVIL REGIME!
Tuesday, April 13, 2010
SIO ON CANVAS
Abstractionist artist Sio Montera takes an opposite direction with small-scale paintings in this exhibition of texture, gesture, and color, titled “Sio on Canvas”. The artist shows the breadth of his skill in non-figurative paintings as his new collection reflects a conspicuous blend of personal encounters, technique, and intuition.
Recent travels, the election fever, fatherhood, debt, life and death, recur and take symbolic meaning in the expressionist, compact paintings. The artist has succeeded in creating a space where reflection – here, a stand in for memory – can face primary experience. Sio Montera demonstrates his versatility by choosing to work on a limited surface in comparison to the often oversize canvases of previous exhibitions.
A different sensibility also prevails in Montera’s new art works. Here he still wrestles with seemingly uncontrollable forces but in works like Sighting of Anubis (2010) and Mornings After (2010), the size factor has allowed the artist to slow down and attend to the nuances of gesture. ‘Sio on Canvas’ the exhibit is being presented by Canvas Bistro Bar Gallery located at the 2nd Level, The Terraces, Ayala Center Cebu. The show will formally open on April 14 and runs until May 16, 2010. Canvas Bistro Bar Gallery specializes in Australian cuisine and is open daily from 10am to 9pm. For inquiries call 032-2330446 or email canvasbbg@yahoo.com.ph
Recent travels, the election fever, fatherhood, debt, life and death, recur and take symbolic meaning in the expressionist, compact paintings. The artist has succeeded in creating a space where reflection – here, a stand in for memory – can face primary experience. Sio Montera demonstrates his versatility by choosing to work on a limited surface in comparison to the often oversize canvases of previous exhibitions.
A different sensibility also prevails in Montera’s new art works. Here he still wrestles with seemingly uncontrollable forces but in works like Sighting of Anubis (2010) and Mornings After (2010), the size factor has allowed the artist to slow down and attend to the nuances of gesture. ‘Sio on Canvas’ the exhibit is being presented by Canvas Bistro Bar Gallery located at the 2nd Level, The Terraces, Ayala Center Cebu. The show will formally open on April 14 and runs until May 16, 2010. Canvas Bistro Bar Gallery specializes in Australian cuisine and is open daily from 10am to 9pm. For inquiries call 032-2330446 or email canvasbbg@yahoo.com.ph
MIXED SIGNALS
About the exhibition:
Perhaps arising from his history in sculpture and assemblages, Juan Alcazaren’s paintings take place against a backdrop of shadowy three-dimesional forms, some decipherable, others mercurially evolving. With a bent towards the mechanical and the scientific, Mixed Signals continues Juan’s fascination for television test patterns, but with a greater emphasis now on colour. As he puts it, “I’m nostalgic for how technology of the pre-digital past was so much more tactile and prone to generating beautiful accidents. I love the way that even the faintest and fuzziest TV images still engage me.”
About the artist:
Juan Alcazaren (b.1960, Quezon City) graduated from the University of the Philippines (UP) with a Bachelor in Landscape Architecture in 1983. He lectured in the UP College of Fine Arts from 1993-1995, and was an animator / director of his own company from 1989-1997. His video ‘Vexations’ won second prize in the Gawad CCP (Cultural Centre of the Philippines) for Video in 1996, and has been exhibited in several international film and video festivals. He has a Juror’s Choice award for sculpture in the Art Association of the Philippines’ Annual Competition in 1993, and in 2000, was awarded the Thirteen Artists Award by the CCP. He has exhibited extensively in the Philippines, and also in Singapore and Spain. Mixed Signals is his 22nd solo show and first overseas.
Perhaps arising from his history in sculpture and assemblages, Juan Alcazaren’s paintings take place against a backdrop of shadowy three-dimesional forms, some decipherable, others mercurially evolving. With a bent towards the mechanical and the scientific, Mixed Signals continues Juan’s fascination for television test patterns, but with a greater emphasis now on colour. As he puts it, “I’m nostalgic for how technology of the pre-digital past was so much more tactile and prone to generating beautiful accidents. I love the way that even the faintest and fuzziest TV images still engage me.”
About the artist:
Juan Alcazaren (b.1960, Quezon City) graduated from the University of the Philippines (UP) with a Bachelor in Landscape Architecture in 1983. He lectured in the UP College of Fine Arts from 1993-1995, and was an animator / director of his own company from 1989-1997. His video ‘Vexations’ won second prize in the Gawad CCP (Cultural Centre of the Philippines) for Video in 1996, and has been exhibited in several international film and video festivals. He has a Juror’s Choice award for sculpture in the Art Association of the Philippines’ Annual Competition in 1993, and in 2000, was awarded the Thirteen Artists Award by the CCP. He has exhibited extensively in the Philippines, and also in Singapore and Spain. Mixed Signals is his 22nd solo show and first overseas.
Monday, April 12, 2010
FULL CIRCLE
Full Circle: Creativity Moving Through Generations at Yuchengco Museum
The Yuchengco Museum highlights Tsinoy artists and designers through a special exhibit titled Full Circle: Creativity Moving Through Generations, which opens at the museum on April 13, Tuesday, at 6:30 p.m. Full Circle brings together five families of Sino-Filipino artists whose works highlight the flow of creativity from one generation to the next. The exhibit will be on view until June 30.
Does creativity run in the family? Is a paintbrush, pencil, or pen somehow imprinted in a clan’s genes? Or is it a matter of elders passing on their trade or inspiring their children? Full Circle presents the creative expressions of an older generation of Filipino-Chinese artists and designers juxtaposed against the creations of their sons and daughters. The show illustrates common themes, and each artist’s individual style. The exhibit also examines the artists’ works within the context of their era and their personal pursuits, but linked through family ties and philosophies of artmaking and designing.
The paintings of first Filipina modernist Anita Magsaysay Ho from the Yuchengco Museum collection will be paired off with drawings by her daughter, Doris Ho, and paintings by Anita’s son, Robert Alexander Ho. Acclaimed Cebu furniture designer Betty Cobonpue pioneered the use of natural materials for furniture, which her son, Kenneth Cobonpue, now brings to the design capitals of the world, with his cutting-edge, minimalist, and organic shapes. Salvacion Lim Higgins or Slim was “the” fashion designer who reigned supreme in ‘50s to ‘80s high society. Her couture shares the exoticism, exuberance, and colors of cross-cultural influences of the paintings of her son, Mark Lewis Higgins.
Traces of the painterly creativity of superb magical realist Agustin Goy find expression in the paintings of his daughter, Anna Mari Goy, and in the illustrations and graphics of his daughter, Abi Goy. The Syjuco artist family, headed by conceptual artist, poet, and critic Cesare Syjuco (who was active in the alternative art scene of the ‘70s and ‘80s) and his equally expressive wife, performance artist Jean Marie Syjuco, bring forth a new generation of creatives. Daugthers Michelline and Beatrix—both visual artists—and Maxine, a poet, join their parents.
Full Circle highlights a younger generation of artists taking inspiration from an older generation, with traces of either conformity or negation.
Full Circle: Creativity Moving Through Generations will run until June 30 at the Yuchengco Museum at RCBC Plaza. The museum is located at the corner of Ayala and Sen. Gil J. Puyat Avenues in Makati City. Museum hours are from Monday to Saturday, from10 a.m. to 6 p.m. For more information, call 889-1234 or visit www.yuchengcomuseum.org.
The Yuchengco Museum highlights Tsinoy artists and designers through a special exhibit titled Full Circle: Creativity Moving Through Generations, which opens at the museum on April 13, Tuesday, at 6:30 p.m. Full Circle brings together five families of Sino-Filipino artists whose works highlight the flow of creativity from one generation to the next. The exhibit will be on view until June 30.
Does creativity run in the family? Is a paintbrush, pencil, or pen somehow imprinted in a clan’s genes? Or is it a matter of elders passing on their trade or inspiring their children? Full Circle presents the creative expressions of an older generation of Filipino-Chinese artists and designers juxtaposed against the creations of their sons and daughters. The show illustrates common themes, and each artist’s individual style. The exhibit also examines the artists’ works within the context of their era and their personal pursuits, but linked through family ties and philosophies of artmaking and designing.
The paintings of first Filipina modernist Anita Magsaysay Ho from the Yuchengco Museum collection will be paired off with drawings by her daughter, Doris Ho, and paintings by Anita’s son, Robert Alexander Ho. Acclaimed Cebu furniture designer Betty Cobonpue pioneered the use of natural materials for furniture, which her son, Kenneth Cobonpue, now brings to the design capitals of the world, with his cutting-edge, minimalist, and organic shapes. Salvacion Lim Higgins or Slim was “the” fashion designer who reigned supreme in ‘50s to ‘80s high society. Her couture shares the exoticism, exuberance, and colors of cross-cultural influences of the paintings of her son, Mark Lewis Higgins.
Traces of the painterly creativity of superb magical realist Agustin Goy find expression in the paintings of his daughter, Anna Mari Goy, and in the illustrations and graphics of his daughter, Abi Goy. The Syjuco artist family, headed by conceptual artist, poet, and critic Cesare Syjuco (who was active in the alternative art scene of the ‘70s and ‘80s) and his equally expressive wife, performance artist Jean Marie Syjuco, bring forth a new generation of creatives. Daugthers Michelline and Beatrix—both visual artists—and Maxine, a poet, join their parents.
Full Circle highlights a younger generation of artists taking inspiration from an older generation, with traces of either conformity or negation.
Full Circle: Creativity Moving Through Generations will run until June 30 at the Yuchengco Museum at RCBC Plaza. The museum is located at the corner of Ayala and Sen. Gil J. Puyat Avenues in Makati City. Museum hours are from Monday to Saturday, from10 a.m. to 6 p.m. For more information, call 889-1234 or visit www.yuchengcomuseum.org.
HOT AIR BALLOON
ARTIS CORPUS IN SINING KAMALIG
Artis Corpus Gallery presents the first of a series of exhibitions at the Inner Room of Sining Kamalig: an art gallery, located at the Oasis Side of Level 4, the Gateway Mall, Araneta Center, Quezon City. Entitled Hot Air Balloon, the group show features the following artists predicted to create substantial marks on the Philippine Visual Arts Scene: Kevin Cerda, Ivan Elpa, Jacob Lindo, John Marin, Gene Paul Martin, and Erick Villarruz. The theme of the show revolves around the idea of traversing traditional boundaries of present day realities and parallel universes, into a world where paradigm shifts occur naturally, and where mind fantasies supersede visual perceptions. Sining Kamalig opens 10am to 9pm daily. For more information, please contact Enrico Manlapaz, exhibition curator, at 0920-9537426.
The public is invited to the opening at 6:00 pm on Monday 12 April 2010. The show runs till 5 May 2010.
Inner Room of Sining Kamalig: an art gallery, Oasis Side of Level 4, The Gateway Mall, Araneta Center, Cubao, Quezon City artiscorpusgallery@yahoo.com enricojlmanlapaz@yahoo.com.ph Mobile 0920-9537426
Sunday, April 11, 2010
RESTY TICA : ONE ON ONE
Print graphic artist and award-winning painter Resty Tica mounts One on One, an exhibition of works combining traditional mixed media techniques with archival giclee printing. Opening on Tuesday, April 13, 2010 at the newly opened Galerie OneWorkshop in LRI Design Plaza, the collection comprises the first one-man show of this abstract artist, whose work employs the use of both brush and stylus.
Tica's playful pieces, which range in size from a foot-and-a-half to six feet tall, attract at first sight as abstract expressionist frolics with a pinch of pop art. After the initial impact, the viewer finds each print or painting inviting him to take a closer, lingering look at the strokes, shapes and swirls, occasionally interspersed with odd bits of text. The collection's overall effect is powerful yet understated, able to draw a viewer in and take him on a visual joyride across each mounted surface.
No stranger to the gallery scene or the winner's podium, Tica has participated in several noteworthy group exhibitions. His numerous achievements include the Grand Prize of the PLDT-DPC Telephone Directory Cover Art Competition, the Artist of the Year Award of the TUP Fine Arts Gawad Pagkilala sa Sining, and finalist honours at the Shell National Art Competition, and the MADE Awards. When not in the studio or art gallery, Tica is a graphic artist for ABS-CBN.
One on One by Resty Tica runs until April 27, 2010 at Galerie OneWorkshop, Suite 324, LRI Design Plaza, Nicanor Garcia Street (Reposo), Bel-Air II, Makati City. Gallery hours are from 10am to 7pm daily except Sundays. For inquiries, call 836-8799, e-mail inquiry@owg.cc, or visit www.owgcc.
Tica's playful pieces, which range in size from a foot-and-a-half to six feet tall, attract at first sight as abstract expressionist frolics with a pinch of pop art. After the initial impact, the viewer finds each print or painting inviting him to take a closer, lingering look at the strokes, shapes and swirls, occasionally interspersed with odd bits of text. The collection's overall effect is powerful yet understated, able to draw a viewer in and take him on a visual joyride across each mounted surface.
No stranger to the gallery scene or the winner's podium, Tica has participated in several noteworthy group exhibitions. His numerous achievements include the Grand Prize of the PLDT-DPC Telephone Directory Cover Art Competition, the Artist of the Year Award of the TUP Fine Arts Gawad Pagkilala sa Sining, and finalist honours at the Shell National Art Competition, and the MADE Awards. When not in the studio or art gallery, Tica is a graphic artist for ABS-CBN.
One on One by Resty Tica runs until April 27, 2010 at Galerie OneWorkshop, Suite 324, LRI Design Plaza, Nicanor Garcia Street (Reposo), Bel-Air II, Makati City. Gallery hours are from 10am to 7pm daily except Sundays. For inquiries, call 836-8799, e-mail inquiry@owg.cc, or visit www.owgcc.
Saturday, April 10, 2010
PENUMBRA │ DIALOGO
RENE CUVOS
"PENUMBRA"
White Hall
April 11 ~ 29, 2010
In Penumbra, on display in the White Hall of Kaida Gallery, Rene Cuvos employs contemporary hyperrealism in a series of visual takes on the imprint of invisible balances in human relationships, space and ubiquity. Known for his fine, realistic and delicate rendering of whimsical images, Cuvos presents personas identified by the shadows they cast, whether real or imaginary, which reflect their true selves. As a whole, the collection dwells subtly on social commentary, presenting a recurring character in various guises replete with illusions brought on by smoke and mirrors intended to warp public perception.
A portion of the exhibition is dedicated solely to Cuvos’ studies. The presence of these studies serve as chronology in examination, as the artist’s expressive details of his subjects function on their own as narratives which dramatize the characters in varied pretexts. Having awareness of these drawings’ relationship to the larger whole, their collective simplicity amplify the mundane objects, events and images autonomously. In Cuvos’ paintings, where negative space make up most of the world, there is a dialogue that exists in the interstices.
Noell EL Farol curates the show.
"PENUMBRA"
White Hall
April 11 ~ 29, 2010
In Penumbra, on display in the White Hall of Kaida Gallery, Rene Cuvos employs contemporary hyperrealism in a series of visual takes on the imprint of invisible balances in human relationships, space and ubiquity. Known for his fine, realistic and delicate rendering of whimsical images, Cuvos presents personas identified by the shadows they cast, whether real or imaginary, which reflect their true selves. As a whole, the collection dwells subtly on social commentary, presenting a recurring character in various guises replete with illusions brought on by smoke and mirrors intended to warp public perception.
A portion of the exhibition is dedicated solely to Cuvos’ studies. The presence of these studies serve as chronology in examination, as the artist’s expressive details of his subjects function on their own as narratives which dramatize the characters in varied pretexts. Having awareness of these drawings’ relationship to the larger whole, their collective simplicity amplify the mundane objects, events and images autonomously. In Cuvos’ paintings, where negative space make up most of the world, there is a dialogue that exists in the interstices.
Noell EL Farol curates the show.
BENJIE CABANGIS
NOELL EL FAROL
MARC MALTO
DIALOGO:CABANGIS, EL FAROL AND MALTO
GreyWall
April 11 ~ 29, 2010
Simultaneously, Kaida Gallery’s Grey Wall offers fresh contemporary works in Dialogo: Cabangis, EL Farol and Malto, an exhibition of non-representational paintings by re-known abstractionist Benjie Cabangis with mixed media works by Noëll EL Farol and a diptych by Marc Malto. As artists and art educators, this trio of individuals let their recent works speak for themselves, with each other, and with the viewer. Cabangis reveals fluidity in abstraction contained in replicated linear grids as EL Farol explores archeological impressions that incorporate the versatility of glass frits and powdered pigment with acrylic paint. Marc Malto defines virtual space with disembodied figurations in familiar interiors imbued with mysterious elements. As a form of auxiliary dialogue, Bobby Feleo interacts with these artists’ works by executing the exhibition design. The title also suggests an approach towards the pieces from the physical angle of relation that the viewer engages in, artists and audiences alike.
NOELL EL FAROL
MARC MALTO
DIALOGO:CABANGIS, EL FAROL AND MALTO
GreyWall
April 11 ~ 29, 2010
Simultaneously, Kaida Gallery’s Grey Wall offers fresh contemporary works in Dialogo: Cabangis, EL Farol and Malto, an exhibition of non-representational paintings by re-known abstractionist Benjie Cabangis with mixed media works by Noëll EL Farol and a diptych by Marc Malto. As artists and art educators, this trio of individuals let their recent works speak for themselves, with each other, and with the viewer. Cabangis reveals fluidity in abstraction contained in replicated linear grids as EL Farol explores archeological impressions that incorporate the versatility of glass frits and powdered pigment with acrylic paint. Marc Malto defines virtual space with disembodied figurations in familiar interiors imbued with mysterious elements. As a form of auxiliary dialogue, Bobby Feleo interacts with these artists’ works by executing the exhibition design. The title also suggests an approach towards the pieces from the physical angle of relation that the viewer engages in, artists and audiences alike.
Friday, April 9, 2010
HUBOG
Hubog—meaning form, bent or curved in Filipino; intoxicated or drunk in Cebuano and arid in Hiligaynon—depicts space-occupiers inhabiting the local sidewalks, streets, waters as well as the minds, hearts and bellies of an everyday Juan or Maria.
Sculptural works by Pete Jimenez, Gerry Leonardo, Anna Varona, Alma Quinto, Julie Lluch, Renato Ong and Juan Sajid Imao highlights the sumptuous, the ecological, the grief-stricken, the interconnectivity of dichotomous cultures rendered in brass/copper wires, resin/fiberglass, polyurethane foam as well as old glass buoys, automobile steel bars and a gasoline tank as found objects—all of which coalesces into one distinct hubog or form we perceive as Life.
Sculptural works by Pete Jimenez, Gerry Leonardo, Anna Varona, Alma Quinto, Julie Lluch, Renato Ong and Juan Sajid Imao highlights the sumptuous, the ecological, the grief-stricken, the interconnectivity of dichotomous cultures rendered in brass/copper wires, resin/fiberglass, polyurethane foam as well as old glass buoys, automobile steel bars and a gasoline tank as found objects—all of which coalesces into one distinct hubog or form we perceive as Life.
Thursday, April 8, 2010
REMIX SANTIAGO BOSE
REMIX SANTIAGO BOSE
Opening Reception: April 9, 6:00 p.m.
For all those who missed the Remix show at the Yuchengco Museum, the Santiago Bose estate and Tin-aw Art Gallery invite you to view the works of contemporary artists and writers in reaction to Santiago Bose’s Anting-Anting renderings. Poetry reading by Lorely Trinidad and other writers open the show.
The show is in support of the development of the Bose artist residency program in Baguio.
Tin-aw Art Gallery is at the Upper G/F Somerset Olympia Makati, Makati Ave. cor. Sto. Tomas St., Makati City info@tin-aw.com / Tel: +632.892.7522
Opening Reception: April 9, 6:00 p.m.
For all those who missed the Remix show at the Yuchengco Museum, the Santiago Bose estate and Tin-aw Art Gallery invite you to view the works of contemporary artists and writers in reaction to Santiago Bose’s Anting-Anting renderings. Poetry reading by Lorely Trinidad and other writers open the show.
The show is in support of the development of the Bose artist residency program in Baguio.
Tin-aw Art Gallery is at the Upper G/F Somerset Olympia Makati, Makati Ave. cor. Sto. Tomas St., Makati City info@tin-aw.com / Tel: +632.892.7522
Wednesday, April 7, 2010
CAVE OF THE GODS
CAVE OF THE GODS
(The art exhibition is dedicated to my grandparents Candido, Isidora, Landis & Rosa)
The artist as a modern-day caveman tries to relearn, regain, relive, revisit, refigures and revision an old culture and an old religion. He tries to rediscover as well a primordial need to seek an understanding onto his role in humanity as God’s creature; hence, he makes an exposition into the realm of the Gods. As a being created in his Creator’s own image, he nurtures this gift by following in the footstep to create via the artistic expressions of painting and sculpture. Man becomes a creator himself, a tool and an artifier of the Gods. Art is a personal conviction just like everyone’s choice of faith.
The artist believes first and foremost that artists should have faith as well in their art. Using God’s gift of freewill the artist used the free rein of this imagination to revision imagery.
The artist has always been fascinated with history, culture and religion so he anchors his artworks on these field of knowledge and interest. The process he used in most of his paintings is non-objective abstraction while the sculptures are figurative but contemporary in methods. Most sculptures are made with found objects and formed into identifiable art objects. Some broken and defaced sacred statuaries were rescued from being lost forever then presented. A kind of exposition into rescue archeology by the artist to preserve the neglected.
Finally, the artist understands that the contemporary church like contemporary art is presently undergoing evolution. The artist as a conscious member of the church answers by staging this show as a proposition of how evolution and change can take place.
ARTIST’S STATEMENT by RITCHIE QUIJANO
(The art exhibition is dedicated to my grandparents Candido, Isidora, Landis & Rosa)
The artist as a modern-day caveman tries to relearn, regain, relive, revisit, refigures and revision an old culture and an old religion. He tries to rediscover as well a primordial need to seek an understanding onto his role in humanity as God’s creature; hence, he makes an exposition into the realm of the Gods. As a being created in his Creator’s own image, he nurtures this gift by following in the footstep to create via the artistic expressions of painting and sculpture. Man becomes a creator himself, a tool and an artifier of the Gods. Art is a personal conviction just like everyone’s choice of faith.
The artist believes first and foremost that artists should have faith as well in their art. Using God’s gift of freewill the artist used the free rein of this imagination to revision imagery.
The artist has always been fascinated with history, culture and religion so he anchors his artworks on these field of knowledge and interest. The process he used in most of his paintings is non-objective abstraction while the sculptures are figurative but contemporary in methods. Most sculptures are made with found objects and formed into identifiable art objects. Some broken and defaced sacred statuaries were rescued from being lost forever then presented. A kind of exposition into rescue archeology by the artist to preserve the neglected.
Finally, the artist understands that the contemporary church like contemporary art is presently undergoing evolution. The artist as a conscious member of the church answers by staging this show as a proposition of how evolution and change can take place.
ARTIST’S STATEMENT by RITCHIE QUIJANO
Tuesday, April 6, 2010
YOUTUBIA
YOUtubia has usurped Utopia. YOUTubia is group therapy that might offer contamination. Three batches of artmakers, from the convenors of Social Realism to new tribes of prolific independents are roped in for an exhibit that hazily tries to pin down a hint or workable residue of the present, or even its latest rewind/replay.
YOUTubia
New Works, Effigies and Videoke
Finale Art File
April 8 to May 2, 2010
YOUtubia has new paintings, drawings, effigies, installation, digital prints, video, and even videoke.
Its 12 culprits are the usual suspects plus some fresh beauties:
Pablo Baensantos
Tatong Recheta Torres
Renato Habulan
Costantino Zicarelli
Antipas Delotavo
Mideo M Cruz
Leonilo Doloricon
Christina Quisumbing Ramilo
Iggy Rodriguez
Buen Calubayan
Jose Tence Ruiz
J Pacena
It is patched together by Jose Tence Ruiz.
YOUTubia opens Thursday April 8 at Finale Art File and runs until May 2, 2010. There are no ribbons to cut on April 8, but the beer kegs will be chilled by 6 pm. Finale Art File is at Warehouse 17, La Fuerza Compound, Gate 1, 2241 Pasong Tamo, Makati City, Philippines. Gallery Hours are Monday to Saturday, 10 am to 7 pm. Landlines are (632) 813 2310 and 812 5034.
Monday, April 5, 2010
INTERNATIONAL IZNIR ART BIENNIAL
Dear Artists and Artlovers,
Gallery Seba is pleased to announce the International Izmir Art Biennial, which will bring artists around the world and their works together on May 4-11, 2011, in
We will be honored to see the artists of your gallery as a part of International Izmir Art Biennial, in which we aim to leverage the power of art to bring different cultures together and provide people with contrasting values a common ground for sharing.
For artists who want to take place in International Izmır Art Biennial with their works of visual arts, necessary documents for pre application are listed below. Pre applications must be submitted both digitally and printed. Deadline for pre application is May 30th, 2010. Printed documents must have arrived to the addresses given below until this date. Following the end of the pre application period, the artists selected by the biennial committee will be provided with the terms of contract, detailed information on participation fees, shipping and other issues. The results of the selection will also be announced on our website.
General Director
Seba UGURTAN
Documents for Pre Application
Via E-Mail
- A photograph of the artist.
- 3 images of artist's original artwork. Images must be no smaller than 1600 pixels wide in the long side.
- Biography: 150 words maximum, in English and Turkish if possible.
- Contact information: Address, phone number, e-mail, fax.
Postal Mail
- 4 passport photos of the artist (4,5x6 cm)
- Printed images of artist's 3 original artworks (13x18 cm).
- Digital images of artist's 3 original artworks: minimum 300dpi resolution, print quality, burned on a CD.
- Biography (150 words maximum, in English and Turkish if possible).
- Contact information (Address, phone number, e-mail, fax).
Contact
Addres: Mithatpasa Caddesi No: 464/A 35280 Asansor/Izmir/Turkey
Phone: +90 232 445 33 40 - Fax: +90 232 445 33 40
E-Mail: biennial@galleryseba.com
Web: www.bienalizmir.org - www.galleryseba.com
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