Tuesday, August 10, 2010



“Sining Pasig:Bagong Pananaw”
Pasig Art Club
NCCA Gallery
633 Gen Luna St.Intramuros, Manila
August 5-28 2010

On August 5-28, the NCCA Gallery in Intramuros will exhibit “Sining Pasig: Bagong Pananaw.” By the Pasig Art Club.
Having the city of old glory, the setting for this club’s latest collection is fitting as the art club that is behind the exhibit is indeed an institution in itself.

The Pasig Art club is one of the oldest and most respected collectives in our country. Established a little over 50 years ago, it has carved a name for itself as being a society of artists dedicated to the excellence of art in tandem with enriching their community and promoting the local treasures which many of them find as being the root of their inspiration. Pasig Art Club had its humble beginnings as informal sketching trips with the fathers of modern Philippine art such as Fernando Amorsolo, Botong Francisco, Guillermo Tolentino, and others all convening at Ambrosio Morales’, who was a professor of sculpture at UP at the time. Eventually, it ended up turning into more regulated meetings. Thus, on July 28, 1957, at the famous Bahay na Tisa, the Pasig Art Club was born.

The Pasig Art Club has been the home of many respected and celebrated artists. However, more than that it brings artists together. The regular drawing and sketching sessions are instrumental as they continuously hone their craft whilst exploring new frontiers of their creative reservoirs. The healthy creative atmosphere that it creates among the members makes an even more prolific group. The Pasig Art Club ever since its creation has always been innovative and pioneering in their own right. In fact, it has been said that they were the first ones to hold a public art exhibit among South East Asian countries. Since then it has continuously produced art exhibits that have delighted the followers of its many exceptional members.

The members of the Pasig Art Club are artists that are diverse and varied in their disciplines of the visual arts. Despite the differences they have managed to be successful in their collective vision of excellence in continuously promoting the legacy and standard that the Pasig Art Club has been recognized for.

Although experiencing a lull during the 80s and 90s due to the retirement and change of profession of the older members, it has managed to be reborn to get back to its former active state. During that time those that were taking hold of the club were artists that grew up seeing the beauty and nostalgia of the fellowship which the earlier generations were part of. With the new generation and fresh crop of artists, the annual art exhibits were reinstated and the advocacy of the conservation of cultural heritage along with drawing and sketching sessions were aggressively pursued. Having been established for many years, the Pasig art club has nonetheless remained relevant to the issues and social concerns of its time. Along with the changing faces of our country, it has evolved into becoming a society of artists that welcomes the new while respecting the tradition of the old.

The upcoming exhibit at the gallery of the National Commission for Culture and the Arts is an opportunity for the people to revel in the works of the talented and distinguished members. “Bagong Pananaw” contains the works of four generations of members. The differences given of their respective eras, their particular subjects and mediums bring about a very unique collection that is colorful and filled with the texture and depth of diversity.

Sining Pasig :Bagong Pananaw

“Sining Pasig: Bagong Pananaw” is set to offer a collection of art works that are varied and diverse in their subjects and mediums yet all aesthetically astounding.

Backed by the time honored institution, Pasig Art Club’s exhibit will be a showcase of the talent and craftsmanship that the collective has been known to have continuously cultivated over the past years.

The artists who will be exhibiting include the members of the club. One such member is, Teresita Dimanlig-Torda. With a foundation in art deeply rooted in Pasig, she was heavily influenced by her uncle, Nemesio Dimanlig Jr, who has the distinction of being the lone philatelic designer during his time and co-founder of PAC. She was influenced as well by her brother Ace who is a landscape architect and former club president. The Pasig River in the exhibit reveals her inspired thinking and observations and creative renditions in watercolor.

Another artist that will be included is Alex Gonzales. A well-traveled seaman in the mid 80’s and 90’s Alex Gonzales’ experience formed a unique personal repertoire that also has an effect on his art. With his distinctive subject and style of brushwork and color on canvas, he is inclined towards making a connection between other art forms as well such as poetry, music and other such forms of literature.

Julius Dimanlig will also be exhibiting. A spokesperson for our current social weather through his artwork, Julius Dimanlig is the grandson of philatelic designer Nemesio Dimanlig. Favoring installations using photographs, pigments and other such materials his work with mixed media doubles as an invitation to rediscover our surrounding complex environment through his eyes by seeing the issue pertaining to our social landscapes in a new light.

Elwin De Jesus’ works will be included as well. Utilizing oil, she is particularly drawn to figures and portraits, but also with those of a deeper, meaningful quality. An example is “The White Cat,” which is her take on issues of gender and feminism.

Also part of the show is Lhen Perez-Cruzat’s works. A skillful observer of our very own humanity, she is moved to the canvas by the beauty of facial expression, body movements, shapes and curves. It is this celebration of life that moves her to create with her favored medium of pastel.

Among others, Lionel De Jesus will be featuring pieces. Favoring oils, he has a wide range of subject matters. In using monochromatic colors however, he is able to effectively convey a sense of calmness and security.

Angelo Domingo will be paying a tribute to the “trance of unwanted experiences,” with oil and charcoal. His work is a very personal experience. More than an art piece, his work “Pendulums of Unwanted Memories,” is a cathartic piece of letting go of the traumas of the past and looking to new horizons of freedom.

Mary Jane de Jesus’ work will be present too. Finding a deep connection with nature, most of her art works are inspired by the very beauty of her surroundings. It is this deep appreciation for the environmental matters that end up becoming her subject that she believes takes the observer to a “freedom of serenity.”

In addition is Tupe Peralta’s piece. Brimming with refreshing optimism, this passionate advocate for the environment and freelance artist finds most of his inspiration from the charming innocence of children’s books illustrations and nature. With his unique medium of colored paper cut-outs, the playful quality of his style also helps give the audiences a more positive upbeat feeling after seeing his artwork.

Horace “Ace” Dimanlig will also be exhibiting. As an artist and architect he is dedicated to quality of every design which he makes. Working mostly with pen and ink, he also explores other techniques as well as mixed media. Through his artwork, he is able to bring to new light the breathtaking beauty that is our culture and nature, as well as those he has observed from his travels.

Jun Montifar works will be part of the show. Currently the club’s president, he has worked as a graphic artist, art director and advertising photographer before becoming a full time painter. Though normally using oil in his works, he is also dabbling into wood carving. In a very organic creative process, he decided not to make the wood into whatever shape he wanted it to be, but to make it into the best shape that it already is by letting it take on its natural form.

Pyt Santos is also involved. Having been an artist that explored the many mediums and subjects over the long and respectable career in advertising that he has forged for himself, a trademark of his brilliance can be found specifically in the element of form in his artwork. With subjects varying from those with an environmental quality to human figures and then to still life as well, collectively his artwork is so heartfelt and sincere that they are all the pulsating representations of existence.

Manolo Lozada will be featured as well. A man of many talents and varied interests, he is into painting, drawing, print making, sculpture and music; being one of the voice talents in the CCP group of artists. His charcoal and pencil rendition echo his training in the New York School of Visual Arts and the Brooklyn Museum of Art.

Finally, included also is Alfred Morales. His oil paintings are recognized with several awards in the local art competitions. Featuring sculptures in adobe stones, he is able to manipulate the delicacy of the material. Without doubt his adobe stone sculptures reflect the talent and genius he got from his late grandfather Professor Ambrosio Morales of the University of the Philippines School of Fine Arts and founder of the Pasig Art Club.

The exhibit is curated by Jonathan Olazo.

“Sining Pasig: Bagong Pananaw,” opens at the NCCA Gallery on August 5 at the NCCA Gallery, 633 Gen Luna St. Intramuros Manila. For inquiries please contact Ethel Buluran or Mimi Santos at (632) 527-2192 or email us at or visit our website at



Monday, August 9, 2010


Eastern Europe Under Spotlight on Art Restitution
August 02, 2010

BUDAPEST, Hungary — A tug-of-war in the United States over who owns a huge art trove seized by Hungary’s Nazi henchmen is the most prominent example of disputed restitution policies in formerly communist eastern Europe — but by no means the only one.

Heirs of Jewish banker Baron Mor Lipot Herzog filed suit last week against the Hungarian government in U.S. District Court in Washington. They also are suing several state-owned museums to try to recover the works.

But uncounted other works and collections hanging on museum walls in Bucharest, Belgrade or Budapest also were once the property of Jews, who were coerced into handing them over by Germany’s Nazi allies or simply abandoned them as they fled for their lives.

Other examples of the expropriated art are unlikely to be as valuable as the works claimed by the Herzog heirs — which includes El Grecos, van Dycks, Velazquez and Monets and is estimated to be worth more than $100 million.

But collectively, the paintings, sculptures and other objets d’art scattered across Russia, the former Soviet bloc and other previously communist European nations may exceed that amount.

Nobody knows — because in most cases there are either no reliable records of how the museums came to ownership, or no laws governing restitution. In some cases both are lacking.

A paper presented last year at a Prague conference reviewing the restitution records of dozens of countries endorsing the return of Jewish property found some fault with most European nations on the issue. But it gave the worst grades to Russia, the Soviet Union’s former European republics, and those of the now dissolved communist Yugoslavia.

Of the 18 countries in this category, the overview — drawn up by the Claims Conference and the World Jewish Restitution Organization — found that only the Czech Republic and Slovakia had both enacted restitution laws governing art and were conducting provenance research.

It named Belarus, Bosnia, Bulgaria, Estonia, Hungary, Latvia, Lithuania, Macedonia, Poland, Romania, Serbia, Slovenia and Ukraine as countries that did not “appear to have made significant progress” in implementing 1998 commitments. Such responsibilities include establishing the origin of suspicious art works, developing legal processes for restoration and proactively seeking out Jewish heirs of such works.

Before the Holocaust, Jews owned property in Europe worth between $10 billion and $15 billion at the time, according to a 2007 study by economist Sidney Zabludoff.

Most was taken and never returned or paid for, translating into a missing $115 billion to $175 billion in current prices, the study said. Initially, many Western European governments paid restitution for only a fraction of the stolen assets, while Eastern European countries in the Soviet bloc paid almost nothing at all, it said.

“There were Jewish people of substance in these various countries who owned art,” notes Judah Best, a Washington lawyer and a commissioner of the Smithsonian American Art Museum in Washington. “They either bargained their art away to escape, or they never escaped.”

Part of the reason for the lack of transparency in the East may be decades of scant attention to the region during its time on the other side of the Iron Curtain.

With the international focus on them, Germany and Austria have long enacted — and enforced — laws regulating returns of art looted by the Nazis. Many other West European nations have followed suit or are in the process of doing so.

But most nations in the former Soviet bloc are lagging.

Restitution was not an issue while communists ruled. The Soviet Union raided Germany and other enemy territory for art troves in the dying days of World War II — and thus indirectly looted tremendous amounts of art confiscated by the Nazis from the Jews. To date, there is no record of any such pirated art being directly returned by the Kremlin to Jewish heirs.

In contrast wartime culprits Germany and Austria had no choice but to bow to international pressure for restitution.

Since 1996, when Austria auctioned off unclaimed looted artworks for the benefit of the Jewish community, the nation’s museums have handed back about 13,000 objects, according to the overview presented at last year’s Prague conference. However, some settlements came only after years of litigation in foreign courts.

Russia enacted legislation in 1998 and in 2000 purporting to allow claims. But it “has returned nothing to Holocaust victims since the passage of the law, although it sold some family items to the Rothschild Family,” said Charles A. Goldstein, counsel of the Commission for Art Recovery.

“Compare this to Austria, which is making a systematic search of its state collections and is returning stolen items when they are discovered even without request,” he said.

The Hungarian government had a terse response Friday to the suit filed three days earlier in U.S. District Court by the Herzog heirs after more than two decades of legal maneuvering — simply noting that a high Hungarian court had ruled in its favor on ownership.

But critics argue that court’s decision was flawed and reflects concerted government efforts to hold on to art of questionable provenance.

“The Hungarian experience may be described as a total and concerted effort by successive governments to keep the looted art in their museums,” Agnes Peresztegi, European director of the Commission for Art Recovery, said in a 2008 report.

In contrast, she noted, the government is “very active in making claims for art displaced from Hungary during World War II” but loses interest in pursuing such claims when asked to return repatriated art to the heirs of Jewish owners.

“Hungary has never faced its past and has never bothered to establish a historical commission to examine Hungary’s war time activities,” she argued, alluding to the atrocities committed by Hungary’s Nazi henchmen before the Soviets marched in.

Associated Press writers Karel Janicek in Prague and Mark Lavie and Amy Teibel in Jerusalem contributed to this report.
© 2010 YellowBrix, Inc.


The project for the Parish which is the renovation of the Altar has for its theme: “BIYAYA KO ALAY KO KAY SAN PEDRO” Initiated by Msgr. Ramon C. Tiama , Parish Priest of St. Peter, the said undertaking is made possible through Parish Finance Council in coordination with the Parish Pastoral Council Due recognition is given to the Calauagueños here and abroad for sharing their time, talent and treasure for the project. The paintings of the altar which depict the life of St. Peter can be credited to Mr. Paul Dimalanta, a native of Calauag who has distinguished himself in the field of Arts. He is ably assisted by Mr. Mark Anthony Manuel & Mr. Dominador Laroza.

Saturday, August 7, 2010



- Registration is available immediately both online and by downloading the postal application form and posting to the address as listed. Registration must include the correct fee.
- Usernames and passwords will be sent to all registered entrants from June 2010. Upon receipt entrants will be able to upload their artwork through the website. Postal entries can be sent to us immediately.
- All entries and submissions should be received no later than 31 August 2010. Entries received after this date will be invalid.
- Shortlisted artists will be sent emailed notification of the judges’ choices by 10 September 2010.
- Shortlisted works must be with Art of Giving by 16 September, London location (this will be notified to successful applicants on 10 September 2010).
- Art of Giving (UK) Ltd. reserves the right to reject any shortlisted work received later than 16 September 2010.
- The ten finalists from each category will be notified on 23 September 2010.
- Finalists will be exhibiting their work at the Saatchi Gallery event on 7-9 October 2010, and must be available to attend the Art of Giving Exhibition Private Preview at the Saatchi Gallery on 7 October 2010.

- £20 per submitted artwork (maximum of 5 submissions per entrant)

- Refunds will be given at the discretion of the Art of Giving management and may be subject to administration costs.

- There are three categories: Painting & Drawing, Photography and Sculpture.
- Mixed media will be accepted within the painting and drawing category.
- The work submitted must either be new or preferably created within the last 3 years.
- All works other than sculptures must be suitably framed and ready for hanging.
- Must be the original work of the artist named on the registration form.
- Age limit is 16 years and above.
- There is no geographical limitation for applicants.
- Works will be accepted from other countries; however, overseas applicants must be aware that they will need to cover all costs including being responsible for delivering and collecting work at their expense, travel costs to and from locations and insurance cover. Art of Giving will not be responsible or liable for any damages caused, or travel related elements.
- There are two stages for shortlisted work. The first stage will be announced on 10 September and the 10 finalists from each category will be announced on 23 September 2010, each of which will exhibit at the Art of Giving Saatchi Gallery event on 7-9 October 2010.
- Shortlisted applicants must deliver the same work as the originally submitted digital image.
- Other than sculptures, the art work must not be larger than 250 cms x 350 cms (including the frame, where relevant) and must not protrude more than 20 cms from the wall.
- Art of Giving will not be liable for any loss or damage incurred to the artist's image(s),
sculpture(s) or artwork(s) at any point, both before or during selection process and if shortlisted or selected for the exhibition at the Saatchi Gallery.
- Artists are strongly advised to take out insurance to cover their work in transit, throughout the judging periods, all shipping costs to and from the gallery. and for the return following close of the exhibition and/or online gallery selling period. Artists are advised to arrange insurance for their work in transit, using correct packing procedures.
- If selected for the exhibition, the artist agrees to the reproduction of their work (at no cost) in association with the exhibition and Art of Giving website (including publicity, press, website and any printed materials) and that the artists work will be available for sale on the Art of Giving website in line with the standard Art of Giving commission structure.
- Art of Giving reserves the right to reproduce shortlisted artwork (at no cost) relating to merchandising.
- Artists must list the requested sale price of their work on the submission form. The price of work by shortlisted artists will be shown on the Art of Giving website and relevant printed material.
- Finalists will be exhibiting their work at the Saatchi Gallery event on 7-9 October 2010, and must be available to attend the Art of Giving Exhibition Private Preview at the Saatchi Gallery on 7 October 2010.

- Submitted images must be saved in JPEG format and no larger than 2 MB.
- Each image must be titled in the following format: First Name, Last Name, Telephone, Address, Title, Size, Medium, Category and accompanied with artist CV and statement.
- Images must be clear and saved in as large a format as possible to allow judges to view clearly on a large screen.
- By post, images must be on a CD (not DVD) and high resolution photograph. Please write your name, contact telephone number and submission number on the CD.
- The image(s) and completed submission form(s) must be submitted online through the Artist Login (May 2010) or by sending a CD, clearly labelled with title, contact details, submission number(s) and sent to the following address:

Art of Giving (UK)
27 Old Gloucester Street

- Art of Giving reserves the right to reject work not accurately represented by the submitted artwork images.
- Incomplete applications or unreadable CDs cannot be considered and entry fees are non-refundable.
- CDs will not be returned.
- Images submitted in the wrong format, incorrectly sized or obviously distorted will not be accepted.

- Terry O’Neill, Christian Furr and Vic Reeves will be heading up the Judging Panel and will make the final decisions; however, there will also be a selection committee comprising established painters, photographers, sculptors and architects who will be assisting with the judging process.

- Final shortlisted work exhibited at the Saatchi Gallery will be for sale, unless agreed otherwise with the artist before the event.
- Shortlisted work will also be available for sale via the online gallery, if not sold at the Art of Giving Exhibition at the Saatchi Gallery, until a sale of the work has been made or through sales of limited editions of the original piece.
- Proceeds from the sale at the exhibition on 7-9 October 2010 will be split with 50% to the artist and the remaining percentage being divided between the charities being supported at the Art of Giving event in October 2010 with a 10% administration charge to Art of Giving (UK) Ltd.

Important dates
31 August 2010
Closing date for entry submissions
10 September 2010
Shortlist announced
23 September 2010
Finalists announced
7-9 October 2010
Finalists to exhibit at the Saatchi Gallery


Exhibition at Alliance Française de Manille
“Origin ”
by Roedil “Joe” Geraldo, Israel “Noi” Gonzales, & Mark Valenzuela

The Visayan terracotta artists are back at Alliance Française (AFM) Total Gallery. After their successful exhibition at AFM in June 2008, Bacolod-based Joe Geraldo and Israel “Noi” Gonzales are joined by Dumaguete sculptor Mark Valenzuela in an exhibition of new works in terracotta and mixed media entitled “Gingikanan” (“Origins”).

The exhibition explores the myriad possibilities and potentials of clay, with the artists expressing their joy and affinity with something spiritual that comes from working with a medium that is part of the earth, a material that is eternal and pure.

This exhibition considers the idea of looking back. It reflects on where we have come from and how our origins shape and inform our lives.

Gingikanan is a Hiligaynon word (ginikanan in Cebuano) which means roots or origin. The concept of origin means more than simply the place where we were born. Instead, it refers more broadly to our roots; to the people, experiences, and places that form our early life.

Each person can interpret this exhibition differently, because each person brings with them their own history, memories, and feelings about where they came from. We all have different ways of looking back and we all feel differently about our roots. For some, looking back provides a sense of connectedness and belonging, while others may feel loss or alienation. But for all of us, our roots are a part of who we are and as such continue to be of importance to our lives.

Gingikanan may also refer to parents or forebears. As we grow older, the familial attachments of childhood change; relationships with our parents and family may become more distant, or may end due to loss or other circumstances. As such, in looking back, we might also reflect on the role of our parents/grandparents/ancestors in our lives and the extent to which they have shaped us. How much of our forebears exist within us? How much of them do we carry with us?

Gingikanan is not simply a nostalgic remembrance of the past. Rather, this exhibition considers that the past exists within us; that our origins hold continued importance to our lives; and that to a great extent our roots inform our present-day and future existence.

The show “Origin” by Roedil “Joe” Geraldo, Israel “Noi” Gonzales, & Mark Valenzuela opens at the Alliance Française Total Gallery on Tuesday, August 3, 2010, with cocktails at 6:30 pm to 9 pm. It will be on exhibit until Thursday, August 26, 2010. For high resolution images of the artworks and more details about the exhibit, kindly contact Mr. Earl Parco (AFM Cultural Officer) at 895 7441 / 895 7585 or email You may visit the AFM website at

Alliance Française de Manille is located at 209 Nicanor Garcia St. formerly Reposo St.) Bel-Air 2, Makati City.
Gallery days and hours:
Monday to Thursday, 9am to 6pm; Friday, 9am to 5pm; Saturday, 9am to 5pm;
and closed on Sundays and Holidays.

Friday, August 6, 2010


Art publication
Deadline: August 31, 2010
Title: Aesthetica Creative Works Competition
Awards: 3 winners, 1 from each category, will win £500 each plus other prizes. Winners & finalists will be published in the Creative Works Annual.
Eligibility: Now in its third year, the Aesthetica Creative Works Competition is dedicated to celebrating and championing creative talent across the disciplines. There are three categories to the competition: Artwork & Photography, Poetry and Short Fiction. For more information about guidelines please visit the website.
Fees: £10 per entry (2 images, 2 poems or 2 short stories). No limit to number of entries.
E-mail: Bryony Byrne
Phone: 0044 (0) 1904 479168

Creative Works Competition
The Aesthetica Creative Works Competition is internationally recognised for identifying new artists and writers and bringing them to international attention. Previous finalists have achieved success and recognition with accolades including: writing commissions from Channel 4, selection to represent Australia in the Florence Biennale, exhibitions at DACS (London), John Martin Gallery (London), Flores Fine Art Gallery (New York), inclusion in the International Drawing Competition exhibition (Poland) and the National Geographic International Photographic exhibition. The Aesthetica Creative Works Competition represents the scope of creative activity today, and provides an opportunity for both new and established artists to nurture their reputations on an international scale.

The categories
There are three categories: Artwork & Photography, Fiction and Poetry.

There will be three winners. One from each category. Each winner will receive £500. Winners will be published in the Aesthetica Creative Works Annual. Winners will receive a complimentary copy of the Aesthetica Creative Works Annual.

Finalists will be published in the Aesthetica Creative Works Annual. Finalists will receive a complimentary copy of the Aesthetica Creative Works Annual. Deadline for submissions is 31 August 2010. All winners will be notified by 31 October 2010 and the Aesthetica Creative Works Annual will be published 1 December 2010. What are you waiting for? Send us your creative works today! Click here to see a copy of last year's Creative Works Annual. Click here to see the winners and finalists of last year's competiton. Click here to see the Frequently Asked Questions page.

The competition is open to anyone in the world. Creative works should be written in English. Please inform us if your work has been published elsewhere. You may submit more than once.

Terms & Conditions
A £10 entry/administration fee is required to enter the Aesthetica Creative Works Competition. We reserve the right to be selective; just because you submit you will not automatically be published. Deadline for submissions is 31 August 2010. You will be notified of the results by 31 October 2010, please do not contact us beforehand.



Thursday, August 5, 2010


Art Fair San Francisco
Affordable contemporary fine art by emerging and established artists

Art Fair San Francisco presents a unique and exciting new concept for a contemporary fine art fair. This three day event features most categories of contemporary fine art, 2 and 3 dimensional painting, photography, digital art, sculptures, glass art, fountains, landscape sculpture, and for the first time at a major art fair, located in a separate area, artistic erotica.

The producer, Peter Keresztury, also an artist, sculptor and photographer, has a mission for Art Fair SF; to bring contemporary fine art from today's emerging young talent, as well as established artists, all under one roof. This will provide an opportunity for you to meet and converse with artists and gallery owners and to purchase affordable contemporary fine art for collecting, investing, or interior decorating. Art Fair SF is for the art savvy collector and the first time buyer.

To keep within the concept of an affordable contemporary fine art fair, the price range will be $100 - $7500 with the emphasis being under $3500.

Art Fair San Francisco
Affordable contemporary fine art by emerging and established artists
November 19 – 21, 2010
Show Hours
Friday Preview Party 5pm – 9pm
Saturday 10am – 6pm
Sunday 11am – 5pm
Show Location
Concourse Exhibition Center
635 8th Street (at Brannan)
San Francisco, CA 94103
Ticket Sales
Preview Party Admission and Two Day Pass
– $60 at the door or
– $50 for advanced ticket sale
General Admission $10
Advanced Ticket Sales
To purchase your tickets in advance
please email us at:
For More Information
Contact Peter Keresztury



Wise Man from the West

An exhibition celebrating the 4th Centenary
of the death of P. Matteo Ricci, SJ,
a wise man from the West.
an apostle to the East
bridging science and evangelization,
Christian religion and Chinese culture
in friendship, humility, service and faith,
for God's greater glory.

29 July to 29 October 2010
SHP Alternative Contemporary Art Studio,
Sacred Heart Parish,
242 D. Jakosalem St., Cebu City

The work of evangelization, of making Christians, should be carried on both in Peking and in the provinces… following the methods of pacific penetration and cultural adaptation. Europeanism is to be shunned. Contact with Europeans, specifically with the Portugese in Maca, should be reduced to a minimum. Strive to make good Christians rather than multitudes of indifferent Christians… Eventually when we have a goodly number of Christians, then perhaps it would not be impossible to present some memorial to the Emperor asking that the right of Christians to practice their religion be accorded, inasmuch as is not contrary to the laws of China. Our Lord will make known and discover to us little by little the appropriate means for bringing about in this matter His holy will.

-Matteo Ricci, in his diary regarding his explicit missionary directives.

Wednesday, August 4, 2010



Vidal "Undo" Alcoseba, Jr
8th Solo Exhibition

This benefit show is the artist's personal exploration
of the life and loss at Junquera Street, Cebu.

August 5 to 16, 2010
856 G Gallery
856 A.S. Fortuna Street,
Banilad, Mandaue City 6014
Cebu, Philippines
(6332) 416.1946
(6332) 344.3039

Living the Life
By Ritchie Landis Doner Quijano

Perhaps there is no other Cebuano artist who like Vidal Alcoseba Jr. has done it all. For this he epitomizes the ultimate realities of an artist’s life. He’s the guy who’s done that, been there and doing it again. A vicious cycle for the longest time. Fondly called Undo by his many friends. Undo in his life and career has seen and experienced both the good life and the untoward. Both the sweet and the unpleasant are equally a part of his becoming.His skills is of no question. He can easily succeed, so he did. At times he stumbles and struggles again. The man is a many splendored thing. And perhaps it is his long experience including the ups and downs of his life that makes him stronger and immune and numb to all things that may kill him. As a long time painter he eats art for breakfast. His blood, sweat & tears comes oozing with art. These physical elements can very well be the medium his artworks are composed. He belongs to a family of artists hence, art like blood runs in his veins. Now we may never can tell whether his life imitates art or vice-versa. He is the embodiment of a polar extreme life and so is his art. He’s been thru sickness & health. And thru near death. What else then can a man like Undo fear. None I suppose. For his latest solo exhibition at the Gabriela Gallery, Undo will unprecedentedly present on canvas his impressions, recollections, vision and to a larger extent the life he immersed in Junquera, a popular red light district in the city. In the locality notoriously known as the hub for prostitution and drugs, Undo bravely explores it’s countless corners and joints where cold beer and alcohol is served, he’s also made the rounds to the labyrinth-like passage-ways, trails and escape routes known only to the inhabitants of the area. Undo is a familiar face to the locals whom they treat like an honorary resident. He knows not just the dreaded strip of Junquera but the entire planetarium of Kamagayan like the palm of his hand.

All these will be interpreted maybe not literally but in the way the artist’s eyes sees art among the chaos of the shanties and over-population and among the graceful parade of young women illuminated by fog lamps who are about to be taken for an outing. Though not all that happens here are shameful. Amidst the noisy crowd hovering over videoke, the stand-by’s, pedestrians, vendors, parking boys, the prostitutes in waiting with their pimps and Mamasangs (handlers), you will see as well slices of innocence. Children are at play while at the very heart of kamagayan is a chapel. Sin meets innocence. Here only the strong survives much similar to the art world. Life goes on and Undo is our firsthand witness and tour guide. Where there’s signs of life, artists tends to gravitate towards it and makes their own propositions. This red light district is a living microcosm of globalization because foreigners are also frequent visitors to this place. Undos’s exhibit is a vibrant and dazzling nightscape. It will be so much different from his previous showings. This can pass as his most honest undertaking because the most honest and sincere painting is a picture that is experienced by by the artist.


Salute! Homage to the Masters’ at Metro Gallery

Contemporary artists; Tyago Almario, Julio Jose Austria, Jojo Barja, Lawrence Borsoto, EJ Cabangon, Bjorn Calleja, Ronald Caringal, Salvador Ching, Buds Convocar, Grace Corpuz, Jigger Cruz, Don Dalmacio, Parker Encisa, Pedro Garcia, Carlo Gernale, Vladimir Grutas, Renato Habulan, Joselito Jandayan, May Jandayan, Jon Jaylo, Jojo Lofranco, Jason Montinola, Carlo Ongchangco, Mervin Pimentel, Elmer Roslin, Rovi Saligumba, Aner Sebastian, Robert Shook, CJ Tanedo, Kadin Tiu and Clairelynn Uy in this celebration of form, color and passion in SALUT! HOMAGE TO THE MASTERS.

Part appropriation, part unabashed admiration, pure creative vision— thirty-one Filipino artists present their reevaluation of visual culture through the conception of pieces that evoke the different movements and isms of art. Tracing inspiration from masters Buonarotti to Bacon to Bose, Hidalgo to Wyeth and Warhol, individual artistic styles produce a montage of paintings that salute, cheer and give a toast to the stirring explorations and infinite experimentations of art-making.

The audience is led to a discovery of old images transformed into intertextualized renderings on canvas. Renaissance images are deconstructed and given the modern bent, pop art injected with local color and relevance, abstracted bands of meandering splashes and squiggles are recreated to map out the much-revered artistic journey of beauty, surreality, psychosis and lucidity. As each exhibiting artist draws from historical stimuli and combines it with his or her proficiency in manipulating oils, acrylics and other media, influences and intuitive skills are blended into surprising variations that appeal both to perceptual experience and meaning. The intention is to honor not only the legacy of masters past, but also to venerate the privilege of creating distinct artworks that serve as interpretations of life as we know it at present.

The Metro Gallery is located at 455 P. Guevarra St., San Juan City, Metro Manila.For inquiries, call 726-6543, SMS 0917-8115399, e-mail or

Tuesday, August 3, 2010


ManilArt10 just closed yesterday. It really was quite a glorious experience. In those four days of our current lives, there were more viewers than what you would have expected and counted in your booth as visitors in a regular gallery for almost a year, including guests in opening events and participants in artist talks.

Every so often, there would be favorites in an exhibition. But none would really notice them except when you actually stay and observe people come in and leave your booth. I am referring to this one painting which I particularly, curiously, and serendipitously positioned right smack in the center of the Artis Corpus booth C17.

John Marin’s “Fidelity,” in my judgment, is the most photographed work in the Artis Corpus booth [I am not saying “fair”] at the ManilArt10 fair. A little something about my association with the artist would reveal why this became so. I totally believe that an artist speaks through his canvasses, and charm must have been the reason (the only reason). John Marin is a nineteen year old third (or fourth) year student of Fine Arts at the Technological University of the Philippines. [Now please hesitate to ask me why an “applied science” university is offering Fine Arts. That would be another story.]

I met this absolutely charming teenager [pardon the slight pun here] sometime August of last year when I was planning for the Rosa Negra exhibition for September of last year. He came with a nice piece [which may even have been a plate of sorts in school] entitled “Singkit-Singkitan” which I immediately fell in love with. I said “Let’s put it in the show!” But then I asked “Why?” He said that the piece sort of precludes the current trend to “Asianify” Philippine Art. “Uh-huh,” I said.

I did not sell that piece during that exhibition which opened on 21 September and closed on 26 September, the day of that bastard typhoon named Ondoy. Yet, I bought it, because I really liked it. In February 2010, I included it in the art auction of the Asian Cultural Council of the Philippines. It was an instant favorite, though on silent bid, thanks to the organizers. Its starting bid of Php15,000 rose to Php37,000 in a span of one hour, as bidders silently crept near it and wrote their silent bids on a card beside the painting.

I happily informed John that his buyers fought hard for his painting. Who would resist such a cute image of a girl stretching her eyelids to the point of slightly blinding herself in the process?

Then came an exhibition which I mounted in my new venue, the Inner Room of Sining Kamalig in Gateway Mall. Here in the exhibition Hot Air Balloon, I asked the six featured artists, John Marin included, what they thought would be the statement of the show. Some remarked “Nagpapa-cute lang kami!” Although, upon stretching one’s imagination, they all wanted to say that after all “When we are all gone, nothing would remain!” Well, that is what contemporary youth is all made of. Perhaps seriously serious about existentialism or simply exhausting excess hot air in their brains.

Then came ManilArt10. John Marin brought in two works, “Fidelity” and “Talk Show on Mute” (his Metrobank entry unceremoniously discarded by the sponsors but rabidly bought three days after I opened my exhibition Ani). So, I was left with just “Fidelity” to present for John Marin in the “Philippines’ most prestigious contemporary art fair to date.”

And why did this painting become the most viewed and the most photographed in the booth. For several reasons: It is Asian (I hope.) since it features a sassy Korean girl virtually disrobed by the artist in his own state of ecstatic stupor. It is a black-and-white painting splashed with the most pleasant colors of red and gold. The invented dress partially covering the body reminds us of a highly stylized baro’t saya perhaps in the Gilda Cordero-Fernando tradition. The lacework on the baro reminds me of the see-through blouses of the turn of the 20th century fashion. The saya is just a fleeting floral pattern floating on a virtual space devoid of any possible actual material cloth. [I am beginning to love the verbal rhythm of this essay.]

By our count (my assistant Harpy Valerio’s included), some 1,000 photographs of the work were probably taken with or without its fans during the four-day fair. Lucky buyer: he now has a very popular work.

And for those who wanted to buy it but were late and hesitating, and did not have a chance to, here is another piece featured in one of the fair’s tarpaulins: John Marin’s “Blow.” You may still view it in our Gateway gallery. HaHa!

Written by Enrico J. L. Manlapaz of Artis Corpus Gallery, 2 August 2010, for ArtePinas.


“All the pieces have the potential to be sold- but the auctioneer was so "LOUSY". Honestly I could have done a better job. When he knows a little bit about the artist, he will give a positive comment, but if he doesn't have an idea about the artist even if the artist is a multi-awarded one, he doesn't even care to read his/her profile. Instead he gives a negative comment. I pity the ones whom he dismissed with his sweeping comment- "Maybe not this day". Where did they get this a**hole? He doesn't know how to give due respect the artists. I hope this message will reach him and the organizers and also the one responsible in getting this lousy auctioneer. I'm going to stand by this comment and I know I have all the support of the artists whom he disrespected.”

- from “ManilArt 10 Participant”

So many emails of so many reactions about this matter.
Artepinas opens its forum for exchanges of viewpoints relevant to this.
The shout-out box awaits your reactions.
If necessary, an online poll for opinions and reactions
has already been programmed and is on stand-by for uploading.

Monday, August 2, 2010


By Jonathan Sy
President, Bonafide Art Galleries Organization

When I was thirteen, at the ultra-conservative St. Jude Catholic School, we wanted to do something new, something revolutionary, something earth-shaking. We ended up forming a gang called, unbelievably, the New Nazis (no relation to the ultra-rightist group). Our goal was to overthrow the existing crop of academically gifted but boring leaders of our batch and replace them with dynamic leaders of our own. I wrote a paper convincing classmates to shun the present line of officers and elect our suggested set. Upon headcount, we found only 7 out of the total 120 in our batch sympathetic to our cause. So we decided to trash the whole idea and just play and have fun together as a group instead. We turned out to be more successful on this track producing some of the most exciting, colorful and unforgettable days of our early teens.

Fast forward to November of 2007, I got a call from my old friend, the late Sid Hildawa, poet and visual artist who also happened to be the Director for Visual Arts at the Cultural center of the Philippines as well as the Chairman of the National Commission on Culture and the Arts National Committee on Art Galleries. “Jon, very few people are attending the meetings here at the NCCA. Why don’t ou invite your gallery-owner friends and ask them to attend our meetings? Who knows, you might even come up with a good project that we could possibly fund.” Here was a man I deeply respected whom I hadn’t spoke to for a decade suddenly asking me to participate in something significant for the visual arts. How could I say no? so with that one call, I was thirteen once more.

I reached out t6o everyone In knew in the business and started talking frantically about doing an exhibit together as one group in what many people thought was a very fragmented art scene. I suggested we do this for the sake of unity, and was pleasantly surprised when this was welcomed by many. I have to come up with a distinct name for an association of art galleries that members could be proud of. Something with a good recall but at the same time simple, meaningful, and yet striking. Something that would boldly speak of the group’s intentions. I quickly realized that, although calling it the New Nazis was obviously out of the question, the word “new” had a great ring and promise to it. That’s when the word BAGO came in – Bonafide Art Galleries Association. Wow, it sounded like a dream come true! Not too shabby if I should say so myself. So by September 2008 we first opened the first ever joint exhibition of 22 art galleries entitled “BAGO State of Art” Show at the SM Megamall Art Center. The reception was tremendous. It was the first time I saw more than 500 people at a single art opening. It inspired me to push through with an ever bigger exhibition no matter what.

One month later, we submitted a project proposal to the NCCA for ManilArt 09 which was to be the 1st Philippine International Art Fair (ManilArt). Thankfully the Committee on Art Galleries headed by Lyn Yusi of Galerie Y with her panel of members, most notably Amy Loste of Gallery Nine, Noli Romero of Renaissance, Monette Alvarez then of Gallery Genesis and Jack Teotico of Galerie Joaquin, all lobbied in favor of BAGO getting a grant to organize and put up ManilArt. And that’s exactly what BAGO did. Last year, ManilArt 09 was held at the NBC Tent and turned out to be the biggest art event in Philippine history where 40 art galleries joined hands in showcasing their best exhibition, 300 artists where represented, 500 artworks were displayed and 5,000 visitors flocked to witness the country’s first ever international art fair.

Sadly, Sid Hildawa passed away in March of 2008 and didn’t get the chance to see, much less get involved in, ManilArt. He would have made it ten times better. But the seed he planted in me and the rest of BAGO continues to grow. Today, ManilArt is double of what it was last year and I am confident that it will keep on growing exponentially if only we remember, despite all the inherent troubles of organizing such a huge event, to just have fun along the way in our short lives as custodians of Philippine visual arts.









About This Blog









































  © Blogger template Brownium by 2009

Back to TOP