About the exhibition:
Wednesday, March 31, 2010
About the exhibition:
Tuesday, March 30, 2010
There are different versions of this story. This one is Francis Kong's version.
Jim just tried to hide in the back. 'My, what great plants, trees, and flowers you have grown,' said the CEO. 'Today one of you will be appointed the next CEO!'
Plant goodness and you reap friends.
Plant humility and reap greatness
Plant perseverance and reap contentment
Plant consideration and reap perspective
Plant hard work and reap success
Plant forgiveness and reap reconciliation
Plant faith in GOD and reap a harvest.
Sunday, March 28, 2010
MARK ANDY GARCIA
In his fourth one-man show, titled Permanent, Mark Andy Garcia draws inspiration from personal trials and tribulations, particularly those involving his family, with whom he is especially close. At 25, he has managed to turn deeply-seated grief and wrath into works of art. In an untitled piece, Jeena Rani Marquez-Manaois writes, Garcia “disembodies his rage and bewilderment” over his sister’s decision to leave home “by creating a seven-foot beast expelled from a human figure.” In “Raquel and My Heart,” Garcia depicts a female figure slicing a human heart with a Macbethan dagger, an interpretation of his sister’s possible misgivings about his apparent but misunderstood apathy. In “My Mother,” Garcia paints his mother as a quiet embodiment of his grief, putting her in the most miserable place on earth. As an artist, he breaks free from realist conventions, but perseveres in achieving authentic emotions. While Garcia exercises control in creating the figure in “Walk with a Knife,” as if the figure is moving, he confidently allows spontaneity to take over in the painting. Then, in “Whisper,” where a riveting image of a skeletal and semi-demonic being is whispering to a male figure, Garcia acknowledges the more macabre aspects of his humanity in the context of chronicling his reaction to his sister’s elopement. Still, he takes comfort in his faith. In “Black Sea,” he expresses his need for God’s guidance to overcome difficult periods in his life. His solitary image appears in “Self-Portrait,” now as a persona that has moved beyond the rage of his untitled painting and deliberately distanced from others’ perceptions and judgment.
Garcia is also encouraged by Vincent Van Gogh’s example, paying homage to him in two works, namely, “Sunflowers” and “With Van Gogh.” In the midst of his family’s ordeals, he read Van Gogh’s letters, learning from the artist’s profound understanding of art and the artist’s life.
BALISI, TORRES, AND ZICARELLI
"MODERN LIFE IS RUBBISH"
Artists Allan Balisi, Costantino Zicarelli, and Tatong Recheta Torres challenge each one’s creativity as they play the surrealist game, “exquisite corpse,” in Modern Life is Rubbish, their latest collaborative exhibit together at West Gallery. The game calls for each collaborator to add words or images to the composition in sequence without looking at each other’s images. “We used elements and themes that we worked on in our previous solo and group shows,” says Zicarelli. “We wanted to do something different, and didn’t want to do a usual three-person group show. We wanted our ideas to explore [similar] paths, just to see how far they would go.”
“It was our first time to do something like this, so it really felt different,” adds Zicarelli. “We had to draw or paint blindly. We didn’t have any idea as to how the finished work would look like. That’s why we gave it the title, Modern Life is Rubbish. It had sort of this yin-yang element to it. Just like our drawings, we had some bad ones and really good ones, but we all trashed them in one paper.”
Saturday, March 27, 2010
You are all invited to the
launching of the
FIRST SEMI-ANNUAL THEMATIC ART COMPETITION
Contest Theme for 2010: Mother and Child
to be held on Sunday, March 28,2010 , 6:00 o'clock pm
Ground Floor, Chateau Verde Building,
Valle Verde 1(corner Atis and Kaimito Streets),
Gate 2 ,C-5 ,
Copies of the Entry forms will be available after the program.
Tuesday, March 23, 2010
Open Studio: Patricia Eustaquio/ Maria Taniguchi
March 25, Thursday,
Patricia Eustaquio and Maria Taniguchi take art away from the gallery, and into the studio. On March 25, Thursday, from 1-9pm, Eustaquio and Taniguchi open their workspaces to the public, allowing a first-hand encounter of Taniguchi’s drawings and installations, and Eustaquio’s exploration of memory through painting and sculpture.
From works in progress to completed projects, Open Studio : Patricia Eustaquio/ Maria Taniguchi spotlights the artistic process and the space where all art takes form. With conversations between artist and audience, between work and viewer to complement the scene, the backroom is finally up front and center.
Open Studio : Patricia Eustaquio/ Maria Taniguchi is by appointment only. RSVP. Call 8160044, or email firstname.lastname@example.org . Specific details will be disclosed then.
Friday, March 19, 2010
Title of Exhibit: Blurreality
Exhibitors: Hot Pan de Sayn art group with members Chica Alinell, Sharry Bobadilla, Steph Chan and Joan Tee
Exhibit Duration: March 20, 2010 – March 30, 2010
Venue: Sigwada Gallery, Oroquieta St., Sta. Cruz, Manila
The exhibit Blurreality is Hot Pan de Sayn’s first ever art exhibit after graduating from college in 2005. This exhibit will feature HPds members’ paintings, sculptures and illustrations which mirror their feelings, thoughts and emotions over the past years. The paintings are in mixed media and sculptures are done in wire works.
The term Blurreality means things that you see are not necessarily what they seem. It also refers to a state where dreams and reality combine, and it is impossible to separate the two. It is where ideals are met and broken at the same time. Blurreality can be a fantasy that came to life or a life lived in fantasy. Each artwork is an individual expression of discovery and self-exploration. Some are whimsically illogical, some bizarre, even comedic. Each piece holds a deeply personal meaning hidden beneath a seemingly nonsense aesthetic.
As part of this exhibit, the exhibitors will be conducting a free arts and crafts workshop for kids ages 3-7. The workshop is entitled “I Just Want to be Funny Today”. In this activity, the children will be taught how to make mask-type artworks, encouraging them to decorate it whatever they want to be that day. The objective of this activity is to promote creativity in kids, and instilling in them the “I can” attitude. I Just Want to be Funny Today lets the children be what they want to be for the whole duration of the workshop, whether that want to be a banana, a cupcake, a super hero, etc. Art materials for the workshop will be provided by the Hot Pan de Sayn art group.
Hot Pan de Sayn wants to tackle different issues using their art. For their first exhibit, they start by expressing what’s deep within their hearts and minds. They feel that they must dwell on this subject first, so that they can venture into deeper issues and subjects like social issues, more complex art, etc. The group’s vision is to promote the appreciation of art in their everyday lives, and the best way to do that is to start off by working from within themselves, and then giving out to the society.
Romantic Kill is the artists’way of presenting people’s fanciful preoccupation with love—for someone or something: a love or desire that pushes people to deprive or destroy their own or others’ feelings, emotions or beings.
In de Guzman’s paintings, he depicts love, hope and pain by capturing moments in the lives of people when they were either with great hope, with so much love, in deep pain or in grave fear, before or after their lives’ tragedy.
Meanwhile, Sanchez’ works on mirrors depict humans’ silent desire to end what they have loved but which has eventually turned to be disturbing for them—time, relationships and even violence as portrayed in his installation of small chromed soldiers.
“Romantic Kill” is third two-man show by the De Guzman and Sanchez. Both are home-grown artists of Angono, Rizal.
We Hope to see you all there!!
Exhibit Runs until April 10, 2010.
100 Scout De Guia St. (nr. Tomas Morato), Kamuning Quezon City PHILIPPINES 1103
 441 1267 +63917 606 3222
Wednesday, March 17, 2010
An exhibition of new drawings by Romeo Lee and Victor Balanon
Opening on March 19 2010, 6:00 p.m.
Exhibition runs from March 29 until April 23 2010
Warehouse 12 A La Fuerza Plaza Compound
2241 Don Chino Roces Avenue Makati City Philippines 1200
+ 63 02 3927797 09228006927 email@example.com
Meaning to be Modern
A Selection from the Paulino Que Collection
March 6- 30, 2010
Finale Art File
Unprecedented in its magnitude and scale, “Meaning to Be Modern,” organized by Finale Art File (Warehouse 17, La Fuerza Compound, Gate 1, 2241 Pasong Tamo, Makati City), presents 80 works of 36 Filipino masters which are part of the Paulino Que collection. Showing a variety of styles, visions and techniques, the works collective evoke the Filipino soul in its post-colonial context, influencing succeeding generations of artists and setting the course of the Philippine visual arts. The masters are comprised of National Artists, emigre artists, abstractionists and figurative artists.
The masters are: Lee Aguinaldo, Frederico Aguilar Alcuaz, Juan Arellano, Lyd Arguilla, Jess Ayco, Constancio Bernardo, Victorio Edades, J. Elizalde Navarro, Ramon Estella, Carlos Francisco, Venancio Igarta, Jose Joya, Ang Kiukok, Cesar Legaspi, Diosdado Lorenzo, Arturo Luz, Anita Magsaysay-Ho, Mauro Malang Santos, Vicente Manansala, H. R. Ocampo, Galo Ocampo, Alfonso Ossorio, Victor Oteyza, Rod. Paras-Perez, Jose Pardo, Ricarte Puruganan, Rodolfo Ragodon, Cenon Rivera, Helen Roces Guerrero, Manuel Rodriguez, Nena Saguil, Juvenal Sanso, Romeo Tabuena, Macario Vitalis, Hugo Yonzon Jr. and Fernando Zobel.
This is the second collaboration between Finale Art File and Paulino Que after the success of "Figuring the Times," a showcase of emerging artists held last year.
Show is open to the public from 10am to 7pm, Monday to Saturday, March 6 to 30, 2010.
Tuesday, March 16, 2010
5-30 March 2010
Charisma Lico, Jan Eldric Fellizar, Marie Juliebeth Monge, Lynard Pastorpide, Miguel Manaois, Frances Ira Vidal, Miguel Bade, Rommel Agravante, Camille Asuncion, Anna Leah Aldaba Ralph Barrientos,Kathleen Fallaria, Alee Garibay, Mylene Lising, Clarisa Marie Rodriguez, Jose Luis Singson
BECOMING - appearance and essence of being
BECOMING is any process of change; any change involving realization of potentialities, as a movement from the lower level of potentiality to the higher level of actuality.
Becoming is an attitude towards time and change, it has a dynamic aspect of time called temporal becoming or passage. In the metaphysics of time, it understands passage or becoming and its relation to existence. Future and past events at a place, on this view, are no more less real than distant events at a time.
The now like the here is a function of one's perspective, one's position in the spacetime, and these positions are indicated by the line in the spacetime representing the history of spacetime locations of a particular object or person.
On this view, the future is still merely possible rather than actual; the past has become and is fully actual. If one thinks of the future as a branching structure of alternative possibilities (as the result, for instance, of free human choices or indeterministic quantum measurements), then one can think of the past and present as the trunk of that tree, growing as possibilities become actual in the present.
“BECOMING”, a collaborative art exhibition of young fine arts students still in their first year and second year levels from the University of Santo Tomas and University of the Philippines, provides an illuminating series of reflections on their relation between events, facts, and substances; their relations between a moment's being present with respect to a given perspective and a moment's simply being present.
Their works are notes of passages if one will assume to think of qualitative change – the acquisition and loss of presentness when viewed as second-order event in the history of first-order event. It is worth noting that on this view, these young aspiring artists in a given present, will present a tendency for debates in the future. For now are backdrop for introducing relations to temporal precedence and alternative accounts of becoming, perhaps their primacy or immediacy of experience in understanding and perception of time. Distinguishably, in one form or another, it is worth examining a bit more closely what tries to define a notion of becoming as time will discover how they assume to evolve as essences of their existence in the years to come.
BECOMING opens on 5 March 2010, 5PM at the NCCA Gallery, for details please contact Mimi Santos at (632) 527-2192 or email us at firstname.lastname@example.org. The gallery is located at G/F NCCA Building, 633 Gen. Luna St. Intramuros, Manila, Philippines. Gallery Hours: Mondays - Fridays 9:00 AM-5:00 PM; Saturdays and other Holidays – by Appointment
Artis Corpus Gallery would like to invite you to view the Picasso-Art Cabinet Initiated Art Events at the Picasso, located at 119 L. P. Leviste Street, Salcedo Village, Makati City. For its second art program, Picasso and Art Cabinet are featuring the following artists:
NORLITO MEIMBAN: from his MOTION Exhibition @ the Ground and Fifth Floors
KRIS JAN GAVINO: from his PARADIGM Exhibition @ the Second Floor
CAMILLE DE LA ROSA: from her AENIGMA Exhibition @ the Third Floor Gallery
ANTHONY PANUGAO: from his APOKALYPSIS Exhibition @ Sixth to Ninth Floors
Other Artists featured during this second art program for the Picasso are: Bryan Quesada (Video Art Projections at the 2/F White Wall) Lexigius Calyp and Egai Fernandez at the Ground Floor Lobby.
The exhibitions open for viewing from 18 March till 16 May 2010.
We hope to see you there. Thank you very much.
Enrico J. L. Manlapaz, President and Curator, Artis Corpus Gallery
Monday, March 15, 2010
The Art Interview - 20th International Online Artist Competition is a quarterly, international, juried exhibition of paintings, drawings and sculptures in any medium. It is open to all living artists worldwide aged 16 and up. Participation in the Art Interview Biennale Exhibition and a total of 17,000 Euro in cash may be awarded each quarter to all winners. First place winners receive up to 10,000 Euro plus a featured interview in Art Interview Online Magazine.
The competition is run completely over the Internet, which eliminates the need for you to send slides or arrange for physical transportation of your artworks. Gain international recognition for your artwork and be interviewed along with the world's top artists, curators and gallery owners in Art Interview Online Magazine.
CALL FOR ARTISTS: DEADLINE: 31 March 2009
Read more information on the competition and how to enter it!
Sunday, March 14, 2010
I am writing to inform you of the Foundation’s upcoming Connecting Civil Society meeting (2-3 October 2010, Brussels) on the occasion of the 8th ASEM (Asia-Europe Meeting) Summit and to request you to disseminate the Call for workshop proposals (attached) among your networks.
Recognising the importance of bridging civil societies in Asia and Europe, ASEF will bring together representatives from various civil society groups in both regions to discuss issues of mutual concern, including arts and culture. The two-day meeting will comprise plenary sessions and thematic workshops, wherein participants will discuss current trends and events defining Asia-Europe dialogue and forecast emerging trends that could define future ASEM priorities.
The Asia-Europe Foundation will then convey the outcome of this consultation to the governments at the 8th ASEM Summit (4-5 October 2010, Brussels). As you are aware, ASEF was established by the ASEM process (the main multilateral channel for communication and dialogue between Asia and Europe since 1996) and remains its only physical institution.
Issues in arts and culture will form the focus of one of the workshops at Connecting Civil Society. We are presently inviting applications from interested organisations in Asia and Europe to host the Art and Culture Workshop around the following theme:
Cultural globalisation is altering our notions of identity as well as our social values. How can arts and culture play a positive role in this changing socio-political environment? How should cultural policies in Asia and Europe address the new challenges of a multicultural and market-oriented society?
Selected host organisations will be expected to prepare the intellectual work for the workshop in consultation with ASEF and in accordance with ASEF guidelines. ASEF will organise the venue and handle logistics in Brussels for the workshop. Complete details of the event and the workshop application form are enclosed as attachments. Deadline for applications is 02 April 2010.
For background information on Connecting Civil Society 2004, visit http://www.asef.org/index.php?id=299&option=com_project&task=view and http://www.casaasia.es/ccs/main.html. We request you to kindly disseminate this information through your networks and assist us in reaching interested organisations.
If you require any clarifications or have any questions, please let me know. My co-ordinates are enclosed below.
Anupama SEKHAR (Ms) Project Executive, Cultural Exchange Asia-Europe Foundation (ASEF)
31 Heng Mui Keng Terrace, Singapore 119595
DID: +(65) 6874 9712 Fax: 00 65 6872 1207 E-mail: email@example.com
March 17, 2010, Wednesday
POSTLOCAL: Painting was born out of an answer to a question asked nine months ago in Japan. Curator Isa Lorenzo was in Tokyo completing a Japan Foundation art residency, and in her time alone (and away), looked back at the Filipino local art community and wondered: “What do we look like?” Perhaps bouncing from her surrounding environment, where the group takes primacy over the individual, and identity takes root from the collective, Lorenzo thought about the Filipino contemporary art community’s self-image and realized “We don’t know [it] yet. Time will tell and I do know that it is being built.”
Drawing from this, Lorenzo thought of POSTLOCAL, a show, minimal in quantity, yet with effects, wide and deep. Selected artists come together for a group show, yet this time, the artists don't know each other; group shows in Manila are usually a roster of friends. This time it’s not about the affinities or friendships, but about the work as extensions of the artists that come together. Generally unfamiliar with each other’s histories and processes, isolated practice metamorphosing into shared experience is the premise of this show.
Marking the start of POSTLOCAL is a painting show with Anna Varona, Nona Garcia and Bruihn. Interacting only through their works, the three turn ‘group show’ in on its head, thus allowing their work to be complete extensions of themselves. With familiarization and connection through the paintings, the pieces become the basis of a community built.
Anna Varona, a classically trained painter from the Art Student’s League in New York, makes a return to painting after several years of sculpture practice in Manila. She does so with classically painted, transparent colors building on each other, reaching a tonality reminiscent of mid-20th century Technicolor, spread on a brimming basket of contemporary allegorical subtexts. In her latest suite, the female is both trophy and heroine.
In one half of the diptych Death of the Brown Phenomenon, the female bust of a popular Filipino actor hangs as a taxidermist’s creation—a mounted trophy. Is this a conquest from a hunt or spoils from a botched surgical operation? In another piece, a female hand extends out from a suitcase, gestalt from the woman standing by. Is this a flirting gesture or a half-hearted grasp? Romance Wizard on the other hand, recalls Michelangelo’s glorious Creation at the Sistine Chapel; yet the reach is not of God for Man, but of the Male Customer for his Mail-Order Bride. If the Renaissance masters had seen Varona’s work 500 years ago, they would have deduced insanity, but at the same time, have recognized the style. Indeed, they would have agreed with Varona: “The classical style yields such beautiful results”.
Nona Garcia, a painter’s painter, with palettes and details that are both monochromatic and fine, comes to the show with measures on ‘white on white’. “White is difficult, a little color added, can make or break the tonal range”, Garcia volunteers.
Garcia bases her work on depiction of actual photographs, with white as the ‘coloring’ agent to the theme, highlighting or diminishing absence or presence. In White, Blank, she paints a portrait of an albino dressed in white; and in White, Empty, “an empty shelf found inside a hospital room that withstood the damages caused by the flood, its white walls and wooden planes tarnished from its submersion”, Garcia describes. It is with the natural qualities of each subject – the hue of each shadow, each stain from the block of wood, and each blemish from a patch of skin- Garcia explains, are what give vibrancy to a canvass and theme seemingly empty and monotonous. In transforming photograph into painting, Garcia found the hidden aspects of white.
Bruihn rounds up the exhibition with his Little Red Riding Hood. As a story, the symbolism is obvious: the little girl alone in the forest, the predatory male figure stalking her, the old lady eaten, and red signifying innocence lost. Only in Bruihn’s version, the cape reveals the forest, a forest that is internal. What to do when the fear of wandering too far from home is actually a fear of discovering the true self?
Bruihn is a slow artist, in the sense that he takes his time, and is deliberate and gentle with his pieces. He is a bit of a recluse, a bit of a rogue, and an artist who goes by a single name, Bruihn- a double entendre referring to a big brown bear as well as to the contraction of words by which he is familiarly known. The name extends the allegory to the artist’s own identity not belonging to any hegemonic art structure other than simply his own.
POSTLOCAL is about the interaction between the pieces- the classic and Technicolor, ‘the white on white’, and Little Red Riding Hood- with the underlying independence of each artist from each other. Like pieces to a puzzle, Varona, Garcia, and Bruihn speak the same language. Taken separately, the works are but pages of an artist’s book; taken together, the works speak volumes, rich in detail and exchange. What is revealed is what is common to the work, albeit very different in style, palette, and stroke.
Notes by Isa Lorenzo, with Nona Garcia excerpts by Cocoy Lumbao, Edited by Bea Davila
POSTLOCAL: Painting curated by Isa Lorenzo with Anna Varona Nona Garcia and Bruihn opens simultaneously with Dear Sweet Filthy World by Patricia Eustaquio at the Silverlens Gallery; and A Country Road. A Tree. by Jet Pascua at 20Square.
SLab and Isa Lorenzo would like to thank Paulino and Hetty Que, Cocoy Lumbao, Jeremy Guiab, and Rachel Rillo.
Image: Anna Varona, Romance Wizard, 2010
Saturday, March 13, 2010
Nine Filipina artists provide a distinctive reflection of what is natural to them-- the essential; what they find to be their own seeds of inspiration, letting them germinate in the process of birthing visual expressions on canvas, in sculpture, and the proliferation of their chosen art objects.
Pioneering abstractionist Charito Bitanga, Dean Emeritus of the Philippine Women’s University, leads this pack with her fragile yet compelling works on glass, as UP Fine Arts professor Yasmin Almonte puts forth her female-empowered expressionist paintings. Jemina’s multihued abstracts sing in counterpoint to Camille dela Rosa’s surreal anatomical explorations and Paola Germar’s cross-sectional deviations. Mitch Garcia, installation and performance artist, extends her paintings beyond live action, as sculptor Mervy Pueblo tames stone, metal and acrylic paint to create cerebral and elemental depictions. LJ Ablola and Jeona Zoleta compare and contrast strength and disempowerment, congestion and relief in their portrayal of glaring human/woman idiosyncrasies.
It did not take nine months to induce Womb Vox: 9 Filipina Artists, but it did take nine individuals of differing art career phases to combine their talents in creating this evocative selection of artworks. Womb Vox: 9 Filipina Artists will be housed within the nurturing walls of Kaida Gallery in celebration of International Women’s Month. The viewing public may now immerse themselves in the multi-colored pulsating energies and varied brush-beats of these artists, and maybe even sense the muffled whispers of their primordial sanctuary in contemporary art.
Womb Vox: 9 Filipina Artists will be on display from March 14 to April 2, 2010. Reception starts at 5:30 pm. Kaida Gallery is located at 26 Scout Torillo St., Brgy. Sacred Heart, Quezon City. For more details, please contact +632-414-4777 and +63928-505-7285 or email aidahysg@yahoo. com.
Through the FCCP scholarship, these artists were granted not only with assistance in their tuition fee and art materials but most importantly with the opportunity to pursue a passion that will harness their talents and potentials as Filipino artists.
Today, most of the FCCP scholars are already pursuing careers in the creative field as photographers, graphic designers and artists in advertising companies. On the other hand, the graduating students are just as passionate to make their contribution in the Philippine creative industry and make a bright mark in the field of fine arts.
The scholars who will exhibit their works in the exhibit are: Romano Gerald Rago, Jenny Jasmin Lacay, Dave Lopez, Eleazar Perez, Chico Jansen Javier, Marinela Poso and Floyd Alcantara.
The exhibit will be mounted at Sining Kamalig, 4th level, Gateway Mall, Araneta Center, Cubao, QC. on March 15, 2010, 6 pm.
Friday, March 12, 2010
Attached is a letter from Susan Baik, part-owner of the AndrewShire Gallery in Los Angeles where the two paintings were exhibited last year as part of a three-man exhibition.
The letter details the circumstances of the disappearance of the two paintings while under the care of FedEx. From the looks of it, Susan is now certain that it is a case of theft.
We are sending out this alert to warn you not to purchase these paintings if offered to you & to please let us know immediately if you hear anything about these paintings.
Please forward this email to anyone else who you think might come across these paintings.
Thank you for your kind attention & cooperation,
I cannot even start to tell you how genuinely sorry and mortified I am to be writing you this letter.
After two weeks of back and forth, I finally received notification from Fed Ex, instructing AndrewShire Gallery to formally proceed with a claim against the company, since they had failed to locate the two paintings that were shipped via Fed Ex from the Gallery in Los Angeles, to Singapore.
The irony of course is that Fed Ex picked up the paintings, carefully wrapped and package-sealed in a tube, at the Gallery in Los Angeles on February 26, and delivered an empty tube to me in Singapore on March 8, with the cover having been carefully sawn off, but with my address and details clearly stamped on the tube.
I have already filed a police report in Singapore, and it is my earnest hope that their investigation will reveal the details that Fed Ex is withholding from me –
1. How is it that an empty tube passes muster with customs in Singapore without a record?
2. If the tube was picked up from the Gallery with its cover sawn off, clearly empty, would not Fed Ex in Los Angeles have recorded the incident, and probably refuse to ship the item?
3. If an empty tube arrived in Singapore with its top sawn off, but with my address clearly on the tube, why did the local agents not contact me at all?
4. Further, did the empty tube not trigger any concerns on the part of the local agents with regards to potential theft?
5. Why does Fed Ex refuse to share with me the results of their ostensibly having studied their surveillance tapes at their Singapore warehouse, the names of the individuals who would have potentially handled the tube, and their internal correspondence on the case?
As frustrated and angry as I am at the turn of events, and despite the hours of anguished “how’s” and “why’s” I have subjected myself to, I have to now accept that the paintings have been stolen – not just misplaced.
1. The Gallery has filed a claim with Fed Ex in Los Angeles as they instructed us to.
2. I continue to follow-up, daily, with the police in Singapore, and will keep you updated on any information they share with me with regards to their investigations.
3. I am seriously exploring our legal options, both in Los Angeles as well as in Singapore.
4. I have sent out formal notifications to the local and international auction houses informing them about the theft, together with a clear description and images of the two paintings, and have requested them to please keep an eye open for any suspicious activity.
5. We have informed our insurance company of the incident, and the sequence of events, and I will keep you updated on their investigations, and any decision they make on our claim.
I would also like to send out to your collectors, a copy of this letter, making them aware of the stolen paintings.
Ben, the paintings were lost on our watch, and I feel absolutely terrible. In all the years that we have shipped art across continents, we have never had something like this happen to us. Fed Ex has always been entirely reliable with their collection and delivery schedules, and the risk of blatant theft from a secured facility, honestly, never seriously crossed our minds.
From the bottom of my heart, I am truly so sorry.
I look forward to talking to you soon,
March 17, 2010, Wednesday
It’s been three years since Jet Pascua's last solo exhibition in Manila. This March, he returns to the Philippine art scene, armed with perspectives enriched by global experiences - from his Fine Arts education and residency in Norway, to his numerous exhibitions in Oslo, Berlin, and his adopted hometown of Tromsø.
On his return, Pascua zeroes in on drawings, choosing to momentarily set aside his characteristic video and performance art. For his latest work, entitled A Country Road. A Tree, Pascua’s graphite drawings on wood (some of which with acrylic paint to ‘color’ the image), meets the classic play, Waiting for Godot.
Pascua’s drawings absorb the atmosphere of the play’s opening scene where two men wait at a country road, at a tree for someone called Godot. Unsure of everything else except the road with a tree, the two men wait mindlessly, endlessly. Like Samuel Beckett’s play, Pascua’s exhibit is about repetition and question. A Country Road. A Tree. finds thematic symmetry with the two men’s decision to pass time by making nothing as something that needs to be done; thus finding themselves in a world that repeats itself.
Pascua explains drawing as a kind of performance, “repeating a certain movement, a stroke, hundreds or thousands of times until a desired outcome is achieved”. Turning nothing (strokes) into something (image), however controlled, is also filled with questions of whether the cycle has an end. Does it end because the act has been achieved and the point made, or does it end because “ I am too tired to continue”, Pascua wonders.
Pascua’s life too mirrors this repetitive theme. Despite having lived in Norway for six years now, Pascua feels he is still on a journey, caught in a “virtual space of being neither here nor there”, still waiting to arrive at a supposed destination. And as if waiting for Godot himself, he wonders if he is “waiting for something that may not even come”. So while he waits, Pascua comes back to Manila, where his journey began, armed with his art- his country road, his tree – hoping that these are markers of his way forward.
Words: Bea Davila, Image: Jet Pascua, Yesterday. Same Place., 2010
Thursday, March 11, 2010
The National Museum opened in January 2010 an exhibition titled “Botong Francisco Coching: Telling Modern Time”, now on display at the 5th floor of the Museum of the Filipino People, National Museum (old Finance Building), T. Valencia Circle/Finance Road, Rizal Park, Manila.
The exhibition, curated by Dr. Patrick Flores, runs until the end of March 2010 and showcases the works of two masters, National Artist Carlos V. Francisco with his selected paintings, displayed back to back with comics illustrations of Francisco Coching.
As a collateral activity of the exhibition, on March 12 and 19, 2010, at 9:30 a.m. to 12:00 p.m., there will be lectures about the two contemporary artists. Alice Guillermo will speak on the first date while Robert Paulino and Solidad Reyes on the second, with Patrick Flores to discuss the curatorial component on both occasions. Both lectures will be conducted at the 4th floor, Tambunting Hall of the Museum of the Filipino People.
We would like to invite your fine arts students and faculty members to participate in both lectures. For confirmation or inquiries, please get in touch with Mr. Mel Lagartija or Ms. Rizza Salterio of the Museum Education Division at telefax no. 5270278. Please see attached file for the poster.
We look forward to seeing you at both lectures. Thank you.
Museum Education Division, National Museum
Telefax: (02) 527 0278
Dear Fellow Artists and Cultural Workers,
Warm greetings from Concerned Artists of the Philippines (CAP)!
"The abduction in Morong, Rizal province, last February 6 and continued illegal detention in Camp Capinpin, Tanay, in the same province, of 43 community health workers and professionals received widespread condemnation here and abroad. The denunciations escalated when the AFP leadership refused to promptly follow the stern order of the Supreme Court to show the 43 in open court." (from Joel Garduce)
We are currently continuing efforts to widen the campaign regarding the Morong 43 as the stakes of freeing them become higher. In accordance to this, CAP invites you to a discussion on the Morong 43 and the Free the 43 Campaign on March 13, 2010, 4pm at #1 Maaralin Street, Teacher's Village, Diliman. The speakers include, families of the arrested health workers to give their account, doctors and health workers, and lawyers that help the Morong 43.
Please do not hesitate to reply to this thread, email us at concerned_artists_ phil@yahoo. com or text/call us at 0929-6454102 for questions or confirmation.
As artists/cultural workers, we hope you are with us in our continuing efforts to guard the welfare of the people and our freedom amidst a regime that knows no boundaries in employing violence to suppress dissenting voices, especially as one of the victims of the Morong 43 is the wife of our fellow artist and former Dean of the College of Fine Arts in UP, Prof. Leonilo Doloricon.
Thank you very much and hope to see you there.
Concerned Artists of the Philippines
Wednesday, March 10, 2010
March 17, 2010, Wednesday
Patricia Eustaquio, continues her exploration of memory with Dear Sweet Filthy World, bridging Elvis Costello’s song of the same name with oil paintings, cardboard sculptures, and boats cut from felt and cast in epoxy resin. Through these objects, Eustaquio expresses memory as an idea, and memory as she made it.
Eustaquio describes memory as a puzzle that must be broken down to be put back together again; it is ideas taken from our surroundings that “become floating individual thoughts that we access and take separately” to make a whole. Dear Sweet Filthy World is Eustaquio’s ode to this conceptual process, so vulnerable and relative, and yet at the same time, it is her narrative “to convey the irony of our feeling towards reality, the realities in life, the world.”
Taking her cue from the song, Eustaquio composes the show as a letter, allowing sentimentality and nostalgia to play a part. Understanding how one’s recreation of the past is built on fragments, Eustaquio allows her own memory to express itself, however limited and isolated it may be. As a subtext to Dear Sweet Filthy World, Eustaquio writes an actual letter, where she takes on the persona of someone coming to grips with a terrible event she has not experienced. This mirrors her memory of the Typhoon Ondoy tragedy. Watching from Delft, where she was completing her art residency, Eustaquio’s memory, time and space interfering, had gaps to be filled.
In doing so, Eustaquio’s art and language took a turn towards reaction. Dear Sweet Filthy World accuses the world, and questions the sweet and the filthy in it. Eustaquio wonders: "is the world sweet because of nature, and filthy because of man; is it vice versa; or is it either-or?" However personal, Dear Sweet Filthy World is also a set of “puzzles that complete themselves in the viewer’s mind”. Taking various forms and meanings, Eustaquio’s work allows us all to voice our feelings to a world where man struggles to shape memory, and fights to make sense of the ironies of life.
As in her previous show, Death to the Major,Viva Minor, Eustaquio allows us to question “the beautiful and grotesque, lifting the veil and revealing the void that waits underneath”.*
Patricia Eustaquio was awarded the CCP Thirteen Artists Award and the Ateneo Art Award in 2009, and will be part of the Art Omi Residency in New York in June.
*From Cross my heart and hope to die by Donna Miranda in Patricia Eustaquio’s catalogue (Silverlens Gallery)
Words: Bea Davila, Image: Patricia Eustaquio, Dear Sweet Filthy World II, 2010
I am Thelma Gecolea, Public Affairs Officer of the Delegation of the European Union to the Philippines (the diplomatic representation of the European Union in the Philippines). I got your contact details from the NCCA.
May I seek your kind assistance in forwarding to your contacts (art educators, artists and art enthusiasts) about our art assemblage contest "Europe Ko To" which we are holding in partnership with the Cultural Center of the Philippines and Philppine Women's University.
I look forward to your favourable consideration of this request.
Tuesday, March 9, 2010
Sunday, March 7, 2010
Official entry forms are available in all GSIS offices (Headquarters, regional Offices and Satellite Office) and other offices and galleries starting February 22, 2010.
Please read all the mechanics, rules and regulations carefully. The GSIS shall be strict in the implementation of the guidelines set. Entries could be disqualified for technical reasons.
CATEGORIES & ENTRY REQUIREMENTS
1. There will be three (3) categories for this year’s competition:
I. Representational (any style, realistic, stylized (distorted figure), representational cubism, etc)
II. Non-representational (abstract) i.e. purely non-representational, no-recognizable figures and objects.
2. The competition is open to all Filipino artists age 18 years old (by April 17, 2010) and above. Participants can submit one entry per category. Therefore, each participant can submit one entry for representational, one entry for non-representational and one entry for sculpture. There is no participation fee.
3. The theme is open.
4. For the painting categories, the required size is 3 feet x 4 feet (horizontal or vertical excluding frame) with 10 kilos allowable maximum weight (including frame).
4.1 All entries must be ready for hanging (museum wrap or box type is allowed)
4.2 The medium acceptable is only oil on canvas, acrylic on canvas or watercolor. Entry using collage, decoupage, assemblage or use of non-pigment based materials like paper, board, plastic metal, etc. is not allowed. The entry must hang on a wall to qualify. Appropriate support, and/or equivalent devices should be provided to ensure the proper hanging of the artwork (ready for hanging). [For watercolor entries, any watercolor paper is allowed except Illustration Board]
5. For sculpture, the maximum size requirements are as follows: Height: 72 inches, Width: 36 inches and Depth: 48 inches
5.1 Maximum weight for the entries should not exceed 300 kilos.
5.2 Entries must be done in the generally accepted medium for sculpture such as Metal (steel, brass, copper, aluminum, et al); Hardwood (narra, mahogany, yakal, et al); Stone (marble, alabaster, granite, limestone, et al); Terracotta or stoneware (porcelain, ceramic, et al); Resin and other durable sculpture media.
6. The entry must be dated not earlier than 2010 must be his/her original work, and must not have been exhibited before nor revised nor awarded a prize in another contest.
7. The entry painting or sculpture must be signed but must be covered with masking tape prior to submission, to conceal the artist’s identity. It must also be properly labeled at the back, indicating the following: Artist (Name, Address, and Contact Numbers) Title of the work, Medium, Size, Year and Price.
8. All participants must be responsible for their entries. The GSIS shall not undertake any pick-up or transportation of any artwork to or from any point of origin. Wet paintings and sculptures will not be accepted.
9. Entries must be submitted at the GSIS Museum located at the GSIS Main Office, Financial Center, Reclamation Area, Pasay City (CCP Complex â€“ Diosdado. Macapagal Ave) on April 17, 2010 (Saturday) from 8:00 a.m. until 4:00 p.m. only.
10 Entries submitted before or after the stated date and time shall not be accepted. Mail forwarders coming from the provinces should be advised by the participants themselves that the entry will only be accepted on the said submission date. Participants from the provinces are also encouraged to group together so that bringing or shipping their entries to Pasay City will be cheaper.
11. During the submission, the entry must have the following:
A) Completely filled-up and signed official entry form with one (1) 1 x 1 ID colored picture.
B) Photocopy of ONE valid ID (for age verification). The only acceptable IDs include: Current School ID, PRC License, Drive’s License, Official Company ID, copy of Passport, Postal ID, SSS ID, GSIS-E-card, Senior Citizen’s ID, Voter’s ID, NBI/Police Clearance, AAP Membership ID.
C) 5” x 7” colored photo of the work with the following information written at the back: Artist (Name, Address, and Contact Numbers) Title of the work, Medium, Size, Year and Price.
D) Notarized affidavit of the ENTRY FORM certifying originality of entry and subscription to the rules and regulations of the competition.
Note: Application and entries will not be accepted without the above-mentioned requirements
JUDGING, PRIZES AND AWARDING DATE
13. Announcement and awarding of winners will be held at the GSIS Theater. The date for the awarding of winners will be announced later.
14. Cash Awards for the winners in each of the three (3) categories
1st Prize - P 300,000.00
2nd Prize - 200,000.00
3rd Prize - 100,000.00
ALL PRIZES ARE SUBJECT TO 20% TAX PER GOVERNMENT RULING
15. All Prize Winning entries will automatically become properties of the GSIS and will be included in the GSIS Art Collection.
16. Judges may decide not to award prizes if the entries do not meet certain artistic and competition requirements. All decisions of the board of judges shall be final.
17. The GSIS Museum reserves the right to use the name and photo of the artist and his/her entry for free in any broadcast, or print medium. The artist also grants GSIS the right to exhibit the entries as deemed fit. DUE TO LIMITED SPACE, NOT ALL ENTRIES WILL BE EXHIBITED. The GSIS reserves the right to decide which of the entries will be displayed during the competition exhibition. LIKEWISE, THE GSIS RESERVES THE RIGHT TO DECIDE WHICH OF THE ENTRIES WILL BE INCLUDED IN THE CATALOGUE OF ENTRIES.
18. All entries on display should not be sold or taken out from the museum within the duration of the exhibit. The artist is responsible in dealing with the prospective buyer(s)
19. All possible care will be taken for the entries submitted. However, THE GSIS MUSEUM ASSUMES NO RESPONSIBILITY FOR ANY LOSS OR DAMAGE TO THE ENTRIES BEFORE, DURING AND/OR AFTER THE COMPETITION.
21. ALL NONE WINNING ENTRIES MUST BE RETRIEVED BY THE PARTICIPANTS OR THEIR DESIGNATED REPRESENTATIVES STARTING JULY 1 UNTIL AUGUST 28, 2010 ONLY. UNCLAIMED ARTWORKS AFTER THIS DATE WILL BE DISPOSED BY THE GSIS MUSEUM ACCORDINGLY.
22. Officers of AAP and other individual artists tapped to assist the GSIS are not allowed to participate in the said competition.
Thursday, March 4, 2010
The talk hopes to clarify the concept and give an overview of abstract art. Abstract art is considered the most characteristic form of 20th century art. It is rooted in the reaction towards traditional concepts of art, particularly art as imitation of nature. Its distinct tendencies and the premise behind abstract art have helped create a new reality for perception. Examples from Philippine art on exhibit will be discussed.
Mary Ann Josette E. Pernia graduated from UP Diliman’s Humanities program. She is currently education programmes consultant at the Lopez Memorial Museum and Library and teaches literature, humanities and Philippine Arts subjects at UP Manila.
Gallery hours are Mondays – Fridays from 10:00 am – 7:00 pm and Saturdays from 10:00 am – 5:00 pm. The Picasso Boutique Serviced Residences is at 119 Leviste Street, Salcedo Village, Makati City.
For additional information:
Art Cabinet Philippines
The exhibition will run until March 12, 2010.
For more information please visit www.blanc.ph call/sms +63920.9276436
"These Are Days" will feature the works of
A Lenten Art Project
February 17 to April 4, 2010
Jason K. Dy, SJ
Sacred Heart Parish
242 D. Jakosalem St., Cebu City
Twisted steel twined with aluminum wires
and plastic tubings with concrete debris
are salvaged skeletal frames of a shattered shrine
re-fabricated into sculptures of devotion
wrapped with wires insulated
with the colors of passion, death and pure love
to tell the narrative of fourteen stations
of agony and exaltation,
temptation and obedience,
condemnation and conversion,
betrayal and compassion,
suffering and sacrifice,
crucifixion and expiation,
death and resurrection
enthroned on solid concrete block of faith.
Monday, March 1, 2010
By Dave Lock Jr. and JCrisanto Martinez
Sigwada Gallery, an emerging alternative art venue, proudly presents an exhibition of the works of four upcoming visual artists. Titled “Oroquieta,” the exhibition features the works of Burog Alvarado, Indigo Narra, Wayan Narra and Dee Sarno.
Opening on March 2, 2010 at 6:00 p.m. and continuing until March 17, 2010, “Oroquieta” is a compelling journey that travels through the conjunctions, contradictions and convolutions of the cultural terrain that has endured seasons and systems. If we are to illustrate the contours of a preface of the contemporary arts in the street called Oroquieta in Sta. Cruz, Manila, we foreground the enduring careers of some artists/artisans/craftsmen who can best serve not so much as archetypes, but as criterion and exemplification of broader propensities in the aesthetics of the Oroquieta Street.
The images of Burog Alvarado rendered in pen and ink drawings come as negra-blanca, illustrative of the thin line that traverses the maximalist elements of chaos in his drawings and the integral calm meditation that engulfs the artist at work. Alvarado is in full control of the medium, with the lines and illustrations forcing themselves straight from the domain of his ideas. His series contains a central apparition reminiscent to the infamous Santisima Dela Muerta, and the image of the Virgin Mary, as Oroquieta is made popular for its merchandise of hand-carved icons. Burog retains his personal identity through the incorporation of the elements that he usually employs within his masterpieces: skulls, guns, and monstrous, alien-like creatures swarming around the four corners of his work much like the tattoos that inhabit his skin.
Dee Sarno is a young rising artist who plays with his fondness of piercing and tattooing incorporates it with his flesh-colored bone-like reliefs, causing a highly-detailed representation of penetrated dots into his resin medium. Sarno examined the symbols that lay in the path that sprouted as Oroquieta Street. Relic-like, Sarno’s pieces detailed a personal interpretation of the symbiosis of land, locality and communion creating artworks which are visually more than epidermal and are very much calcified like a skeletal fragment hardened by a solid pack of osteocytes. And it is in this unique style of presentation and representation that Sarno as visual artist successfully expresses his identity, flesh-colored bone-like. Perhaps it is natural, emanating from his inherent sense of art. Perhaps because it is pure.
The pictographs of the past become visible in the rendition of the “common tao” in the figurative expression of the portraits by Indigo Narra and Wayan Narra. Evoking a sense of nostalgia, the images in the canvases of the Narra brothers are dark, solitary figures with deep, penetrating gazes that attempt to catch the viewer’s eyes. These are the figures that are hungry to converse and wanting to tell their stories. Yet beyond the nostalgia, the Narra brothers rendered their artworks in mixed media over canvas. Thickly impastoed, the paintings convey the continuing development of a race-moment-milieu were the dominating sepia-based color palette run in contrast/complement with the modern medium and mode of execution. This transference is substantiated by the integration of socio-cultural-political concepts by the artists in their artworks, deepening the conversation between the viewer and the impastoed figures on the canvases by an interrelation of the common desire of both audience and these figures in the continued wanting for change and development/improvement.
The achievements that can be gained from and in Oroquieta are for those who are adept of seizing the opportunity, to research, view, listen, hear, taste, feel, read and comprehend its history, to examine its meaning, and redirect them proactively and positively in a medium of expression. Oroquieta must continue to procreate so as to give birth to artists and works of art. It shall endure interpretation and reinterpretation just as its reality has been upheld with the tinge of tradition, history and purpose both from within and beyond.