ALAY 12

Philippine visual artists affiliated with Boston and Pinto Gallery will showcase Alay 12, which opens on 12 December 2009 at Boston Gallery in Cubao, Quezon City.

Alay is an annual group exhibition by artists who have exhibited at the Boston Art Gallery and Pinto Gallery. In past years, it has been a “year-ender” exhibition, capping the gallery's roster of shows. This year marks its 12-year anniversary as an art event.

More than 60 painters and sculptors will showcase their works in Alay 12. Among the artists are:

Allan Alcantara, Tyago Almario, Joel Alonday, John Paul Antido, Plet Bolipata, Elmer Borlongan, Lawrence Borsoto, Froilan Calayag, Joey Cobcobo, Marika Constantino, Ninel Constantino, Marina Cruz, Noel Soler Cuizon, Edrick Daniel, Igan D’Bayan, Joey De Castro, Alfredo Esquillo, Dexter Fernandez, Dennis Fortozo, Pedro Garcia, Manny Garibay, Sarah Geneblazo, Sandra Gfeller, Dennis Gonzales, Darwin Gonzales, Guerrero Habulan, Mark Justiniani, Erwin Leaño, Tony Leaño, Stephanie Lopez, Joy Mallari, Neil Manalo, Joven Mansit, Keiye Miranda, Ferdinand Montemayor, Jason Montinola, Bon Mujeres, Andy Orencio, Jim Orencio, Vincent Padilla, Raffy Pagarigan, Anthony Palomo, Neil Pasilan, Elmer Roslin ,Kirby Roxas, Henry Royales, Ryan Rubio, Jaypee Samson, Jerson Samson, Pam Yan Santos, Victor Santos, Noel Solis, Tammy Tan, Cj Tañedo, Rodel Tapaya, Alex Tee, Juanito Torres,Tatong Racheta Torres, Wire Tuazon, Anna Varona, Cris Villanueva, Costantino Zicarelli

According to gallery curator Ruel Caasi, last year's exhibition, Alay 11 promoted the establishment of the Silangan Contemporary Art Museum. The museum aims to maintain and preserve a collection of significant Philippine artworks from 1986 to 2010.

Alay 12 opens on December 12 (Saturday), 6:30 pm at Boston Gallery, at #72 Boston Street, Cubao, Quezon City. For inquiries, please contact the gallery at tel. no.7229205.

BLAME THE SAVAGES

It is not hard to disapprove when all around there are bomb threats, corruption, massacres, natural disasters or even sex scandals. The whole world has long been in a dire mess and so we have our advocacies, movements, forums to fuss about it. We humans, as we think ourselves to existence, are naturally critical about all things else.

In this era, wars are constantly waged by service providers, product suppliers and such. Their artilleries boast of glossy packaging, massive billboards, bright television commercials and fully-furnished stores. Everything is pleasing and machine-made at a dizzying pace to please greedy consumers. Failing to be blinded by all the sparkles, Francis Commeyne remembers where all these started. His Takataks are artworks that reject the highly materialistic world today and revive the old ways of simple trades on the streets. With this, he also taps on old traditions that are tarnished by new technology. The artworks remind very well of the Dada period of ready-made objects. Francis assembles them inside the takataks, much like box art, and creates unified meaning with multiple elements. The works rest on the thin line between art and life as he incorporates personal objects and ideas.

Raymond Carlos, on the other hand, dismisses tradition. His realistic paintings force the audiences to zero in on social issues that hamper themselves. His works are highly provocative and graphic, and lean much on real human problems. With his paintings, he decapitates what notion of taboo the society has. What we see here is pure human, no rights or wrongs. It is a self-indulgent approach to life. Upon seeing Raymond’s work, our very initial response is to recoil due to the boldness of his work. What the paintings aim for is to free the audience of that initial response, that moment of self-censorship, and see the world without expectations or limits.

With a pocket full of satire, shaggy-dog stories, puns, parody, mockery, sarcasm and a list of airy jokes, Mark Sanchez creates a series of collages on paper. Humor is seen as shallow and futile. However, taking a second look, we see that jokes are often an attack on social flaws we have as humans. Mark provides you that second look. He gives you a chance to become the analytical you you wanted to be. His paintings allow you to see the alternate paths you can take beyond the mere chortle, to an exploration of arbitrary connotations. Here we can see that language is broken apart.However, the simplicity of Manu Farol’s works let you expand into the complexities of meaning and also their arbitrary experience. In most cases, we are apt to defining artworks in comprehensible language. Manu emphasizes on the recognition of the experience rather than defining a complete understanding. We can contrast this with language’s limitation in defining perceptual experience (understanding is achieved through language). Art can exist out of language.

Catalina Africa plays with ideas like time and space. Out of these banal systems (ethics and rules that have been established way back in time, for example) we are dancing in, Catalina finds away to break away from the austerity of it all. Catalina uses photographs and video installation to capture her mischievous practices. At times, she photographs flowers to juggle the transient quality and the durability of a photo. Her video explores the structure of language. The video loop delineates the divide between irrationality and order.

Cian Dayrit’s figures are grotesque and bold, awkward in linear quality. They debunk all sense of morality that was painstakingly established by philosophers, prophets, rabbis, and scholars. The usage of ancient icons, symbols, signs and myths from Greece, Egypt and even from our local Bukidnon and manipulation of these sacred images, defiling them in their juxtaposition, had given the works their edge. He creates his own world of orgies and massacres.

Media is one of the greatest inventions of the preceding century. Thus rose celebrities, pop icons, and rock stars, all venerated by masses. These people have their lives dictated by the media; we all see them through television, magazines, and tabloids. We trustingly nod to every gossip and rumors there are -- too bad for those who are depreciated by the media. Eunice Lacaste’s defacement of her own paintings attempts to reprimand this kind of gullible acceptance of distorted information. In Eunice’s painting, the linear defacement are well-researched and in accordance to the underlying image as opposed to the misinformed and negative remarks of the tabloids. The artist channels this antagonism into a positive decoration of otherwise adverse portraits.

Blame the Savages is a group exhibition of seven artists questioning everything; our tradition, our lives, our system, ourselves. The artists here refuse to be ignorant and acceptant of the invasion of the media, the government, the big shot imports, the gods, the truth. All these sum up into a mixture of varied contemporary mediums, grounds, approaches, thinking talking back to age old earth.
The exhibit "Blame the Savages" runs from 15 December – 10 January 2010 at the NCCA Gallery located at G/F NCCA Building 633 Gen. Luna St. Intramuros Manila. For details please contact Ethel Buluran at (632) 5272192 or email

GYEONGGI CREATION CENTER RESIDENCY PROGRAM

Gyeonggi Creation Center Residency Program: Call for Submissions
Submission Deadline: 31 Dec 2009

Gyeonggi Creation Center (CCC)’s Studio Program consists of a creative residency for artists and a research residency for theorists and curators. GCC will provide a strong backbone for an active and meaningful creative work and research through various programs such as mentoring program, lecture, seminar and workshop. The outcome of the residencies will be presented in the form of exhibition, performance, open studio and publication. Participants of the residency program will be offered fully equipped workshops and laboratories for a range of genres of art in addition to art studios and accommodation.

GCC is searching for artists to take part in its 2010 Residency Studio Program.

Session: March 2010 - February 2011
• Long term residency (1 year): 8 - 10 artists, curators or theorists.
• Short term residency (from 1 to 6 months): 30 - 40 artists, curators or theorists.

Programs
• Creative Residency Program: Artists in visual and media arts.
• Research Residency Program: Curators, Art Theorists, and writers.

Eligibility
• Domestic and foreign artists in visual and media arts, curators, art theorists, and writers.
• No limitation of age, nationality, or gender.
• Artists who will able to participate during their own residency session.

GCC Provides
• Private Studio and Living quarters.
• Stipend (500,000/month) for living expenses.
• Airfare for foreign residents.

Materials for application
• Application form (Download here).
• CV or resumé.
• A project description of intended activity during the residency.
• Work samples (CD/DVD) : maximum 20 images or 5 minutes of video.
• Copy of passport or I.D Certificate.

Application can be posted to:
Gyeonggi Creation Center
400-3 Seongam-dong, Danwon-gu, Ansan-si, Gyeonggi-do, South Korea
Please note: Applications must be postmarked by December 31, 2009.

For more information, please contact:
Gyeonggi Creation Center
Phone: 82.32.890.4820/ 4823/4825
Email: gcc.infomail@ gmail.com
Website: www.gyeonggicreatio ncenter.org

WILD

FILIPINO COMIC BOOK ARTISTS UNITE FOR HEROIC CAUSE

Filipino comic book artists unite for heroic cause
By John Geddes, USA TODAY

Comic book artist Whilce Portacio is a man on a mission. Actually, he's a man on several missions.

As one of the co-founders of Image Comics and a participating creator in the Image United comic-book series, Portacio has a schedule filled with daily artistic duties and deadlines. He is one of the most well-known and sought-after artists in the comics industry today. He's successful, has a wonderful family, and loves the work that he does. Portacio, however, is compelled these days by a higher calling.

Whilce Portacio was born and currently resides in the Philippines. He is immensely proud of his Filipino heritage and is delighted to talk in lengthy detail about the country, its history, and — most importantly to him — its people; specifically, its artistic community. Within this community, Portacio has, at various stages of his career, been a student, teacher, mentor, pioneer, and now, benefactor.

Portacio has two parallel missions: one, to establish the first professional network of Filipino artists and two, to activate this network for charitable causes. The network's main goal is to unite Filipino artists in order to gain recognition within the creative industries while, at the same time, creating career paths for future generations of art professionals.

In order to advance careers, Portacio insists, roots have to be planted and a legacy of respect has to be established. That respect begins with taking care of influential yet under-recognized Filipino artists of the past. Many of these artists were at the top of their fields in the '60s, '70s and '80s but are now living without insurance, sick, poverty-stricken, and in homes that were ravaged by floods in 2008 and 2009.

"This whole thing started from a charity effort that (Image co-founder) Marc Silvestri and I were involved in for an event called KomiKon back in October," Portacio explains. "Marc and I did a jam (collaborative drawing) for a charity auction. The money that was raised went directly to flood relief in the Philippines."

The event had a profound impact on the artist. "It got the gears clicking in my mind and I thought to myself, why can't we get all the veteran and current Filipino artists together to do things like this on a regular basis?"

Portacio is spearheading the development of this network. He sees it as a necessity if the Philippines ever wants to put itself on the map as being the significant hotbed for artistic talent that it is. "There are professional Filipino artists working in almost every creative industry, from movies to gaming to comics to graphic design. And I'm not just talking at the hands-on production level but really high up in major studios and corporations."

All too often, he contends, once many of these talented individuals find success, they don't feel a need to provide support for younger artists back in the Philippines who might want to follow in their footsteps.

"Nearly every time a Filipino artist makes it at the professional level, he or she feels like they've just re-created the wheel. We're an isolated country; one that's been conquered many times by empires and nations throughout history. I don't want to call it a defeatist attitude, but for whatever reason, there's a tendency in our professional psyche that says you have to leave the Philippines if you want to be successful on the world stage. That produces a brain-drain, so to speak, and leads to talented Filipino artists leaving without establishing a legacy of success for future artists to look up to. I want to change that cycle; change that perception."

Portacio believes it's high time that the creative core of the Philippines came together to provide inspiration to future artists while showing respect and care to past generations. The network, he believes, will help on both of these fronts.

"These older artists are too often forgotten. After reaching the pinnacle of their careers, being as popular as rock stars, they fall from the spotlight. Their talents aren't demanded any longer. That's not to say their work has diminished at all, it's just that times and styles change. These great artists fade into obscurity."

The charity portion of the network will help these artists live more comfortable lives.

"We're working on an event right now called Renaissance. It's a charity auction that's going to be held on Jan. 9 that will provide money to some of these artists who have fallen on tough times. I got the top Filipino artists together to create pieces for this auction. Their mission was to create a Filipino superhero. I told them, 'You're world-class artists, make a character that kids in the Philippines can look up to, can be inspired by.' I want these kids to see artists creating heroes that look like them and that live and interact in local places that they recognize. It's a key part of establishing that sense of history, pride and legacy. If we can do that while providing support for artists in need, then we're accomplishing two worthy goals at the same time."

Portacio would ultimately like to use the network to set up an artistic academy where the older and contemporary artists can teach rising generations.

"The charity work is a helping hand, it's a short-term fix. I like to look at the long-term, though. I want to give these older artists who have all of this skill and knowledge an opportunity to pass on what they know to the kids. I want the modern-day guys to come back and show kids how to make it in today's creative industries. As teachers, they can provide direction. As mentors, they can provide inspiration."

There's a message that Portacio hopes this professional artists' network will provide to future Filipino artists. "These artists don't have to move away to make it big. The proven talent of today and tomorrow exists here in the Philippines."

If the network is successful, Whilce Portacio will surely be seen by artists in the Philippines as the comic-book creator who became a real-life superhero.

http://www.usatoday.com/life/comics/2009-12-14-filipino-artists-unite_N.htm

MS PAINT

BAKAS

Bakás: Limampung Taon ng Malikhaing Paglilimbag (Fifty Years of Printmaking)
26 November, Thursday, 5 pm Bulwagang Juan Luna (Main Gallery), 3/F
Cultural Center of the Philippines

to be preceded by the book Manuel Rodriguez, Sr. Into the Threshold
at 4pm at the same venue


BAKÁS Traces the Path of Philippine Contemporary Printmaking

The Philippine Association of Printmakers (PAP) celebrates its 40th Anniversary with Bakás: Limampung Taon ng Malikhaing Paglilimbag (Fifty Years of Printmaking) at the Cultural Center of the Philippines. The exhibit opens on 26 November, Thursday, 5 pm at the Bulwagang Juan Luna (Main Gallery), 3/F Main Theater Building.

The art of fine printmaking has drawn the interest of local artists since the 1950s. But it was not until the 1960s that training was made available to young artists through the efforts of Manuel Rodriguez Sr.. In 1969, the PAP was formed with most of his students and himself as founding members.

Printmaking may not attract as many followers as the art of painting but it continues to sustain a constant group of committed practitioners and advocates who have established their reputation in this fine art medium. Through workshops and lectures, PAP members have encouraged veteran and young artists to explore printmaking using traditional and experimental methods. Current PAP officers conceived of this anniversary event to give recognition to artists within and outside the PAP who have supported and promoted its cause.

The exhibit begins with a brief historical overview marking highlights in printmaking practice and the growth of the PAP. The main part focuses on the different printmaking techniques done in the four basic printing methods namely serigraphy, relief, intaglio, and planographic process. In each section works by artists across decades will reveal the range of styles and creativity that can be achieved through technical variations and experimentations.

Selected works from the CCP print collection serves as the core of the exhibition. By itself, it is already a significant gathering of works. Other works are loaned from artists, institutional and private collections. Featured works include those by national artists Vicente Manansala, Cesar Legaspi, Jerry Elizalde Navarro, Arturo Luz and Bencab, and past PAP officials Adiel Arevalo, Ivy Avellana-Cosio, Brenda Fajardo, Imelda Cajipe-Endaya, Romulo Olazo, Pandy Aviado, Fil dela Cruz, and Raul Isidro. The exhibit will also feature artists who are not strictly practitioners in this art form but have incorporated printmaking techniques and concepts with different mediums, e.g., painting and sculpture, thus creating hybrid and mixed media works. These include Roberto Chabet, Gerry Tan, Raymundo Albano, and Fernando Modesto. Altogether, the exhibit will feature over eighty artists representing different periods, generations, and styles.

The opening will be preceded by the book launch of Manuel Rodiguez, Sr.: Into the Threshold at 4 pm in the same venue. Mr. Rodriguez will be among the honored guests during the opening event. This exhibit is organized in cooperation with the Cultural Center of the Philippines and the National Commission for Culture and the Arts.

Bakás: Fifty Years of Printmaking will be on view until 30 January 2010.

AMERICA’S SECOND-CLASS VETERANS

VISUAL FUSION

VISUAL FUSION AT SM ART CENTER
by Celso Pepito

Seven artists with different mode of expressions, pursuing art on different styles and understanding life in their fields of experiences will come together with an art exhibit entitled Visual Fusion at SM Art Center on December 5,2009 at 6:00 o'clock in the evening. The opportunity to be united in one show is to create a sense of unity even in diverse mode of artistry. It also hopes to showcase the gradual transformation of Cebu's art -from its conservative vein into understanding the need to evolve, experiment and create a contemporary artistic revolution. Above all, it aims at giving the art loving public the chance to participate in molding a society with utmost artistic understanding.

Artists who will be participating the exhibit are: Seb Chua, Fr. Jason Dy, SJ, Denis Montera, Celso Duazo Pepito, Lito N. Pepito, Ritchie Landis Quijano and Jose Brillo Villaver.

Seb Chua- is the man behind the success of Art Asia Gallery in SM Megamall in Mandaluyong City. His rich experiences in the business world had not only helps him established an authentic gallery business but also opened up opportunity for him to develop his fascination with the arts. Seb has devoted his time in the creation of his unique sculptural pieces, mostly laden with positive values, represented by images that truly reflect the Filipinos' way of life. His fondness with Mother and Child as the central theme of his sculptural creation has bore him not only artistic acceptance but also recognition from the UNICEF.

Truly, an artist with much passion, Seb also paints in the direction of Abstract Expressionism. He promised to donate whatever amount he can raise for the exhibit to the Kaabay Youth Club.

Fr. Jason Dy- is a Jesuit priest. Though busy with his responsibility in the Sacred Heart Parish, he still finds time to visualized whatever artistic ideas that will crop upon his mind. His works offer a sense of mystery, perhaps because it shows no direct visual message for others but with it are meanings that needed to be digested. His arts are not made to be visually feasted but to be intellectually appreciated. He finds importance to simple things that deemed garbage to the judgment of others and loves to collect objects that can reinforce his means of expression. His visual presentation will somehow give the public another way of seeing things in relation to what really art is.

Denis" Sio" Montera- is one of the most active practitioner of Modern Art. Bold, brave and confident, Sio never wavers in his chosen field of expression not minding the difficulty of injecting new ideas in Philippine art. Using Abstract Expressionism as the carrier of his artistic ideals, he continues to experiment and innovate. His art is not only founded on vibrant colors , implored on bold brush strokes and exploited in random splashes but also exhibits unique textures that contributed to its artistic rarity. He is presently teaching Fine Arts in the University of the Philippines Cebu College and shares his artistic knowledge to his students in an effort to contribute to Cebu's artistic revolution.

Celso Duazo Pepito has painted in the direction of Impressionism- Realism for more than a decade in his artistic practice. Though he found it difficult to evolve, he finally shifted to his style in Cubism in 1994. He believes that, "Art is not Only about beauty but goes beyond it."Thus he creates arts that brings with it his ideals and aspiration as a Filipino, as a father and as a believer of his Creator. His art speaks of his love for country, focusing most of his works on the positive values of being a Filipino. Born as a Catholic, he also values the importance religion in relation to knowing the importance of God in ones life. His concern for the Filipino family has also encourages him to use it as the theme of his mode of expression.

Lito Pepito is born and raised in Cebu but now based himself in Davao City. His entry into world of art was not a matter of luck but a matter of choice. His decision to abandon his well paying job as a medical sales representative did not at first exhibited positive reactions from his peers, however his artistic constancy had in the end generated appreciation rather than criticism from his detractors. Surrounded by the rich flora and fauna in Davao City, Lito has first concentrated on painting flowers especially orchids. His works are mostly collected by people who not only appreciates flowers but also gives values to his artistic pursuit. Looking for a more substantial artistic expression. he slowly shifted to his brand of Cubism focusing most of his subjects on human figures.

Jose Brillo Villaver has traveled on many roads of opportunity before finally finding the garage of his artistry. He first involved himself in construction business, tried his luck in interior designing and experiments on other aspects of life. A bit feed up in these fields, he decided to go back to painting where he finds more freedom and more room for his creativity. His accumulated experiences have been positively contributing to his discovery of a kind of artistic style that suit his temperament and expression. His art reflects mostly of his observation of the tenacity of the Filipino people in matters to addressing their ups and down in life. Villaver paints in a semi- Cubism style exploiting on the brilliancy of colors and introduces a variety of textures.

Ritchie Landis Quijano is an artist, sculptor and writer rolled into one. He is a kind of person that finds no deterrent with regards to the visualization of his creativity. His wider understanding on arts has enables him to express himself in varied style but finds satisfaction in Abstract Expressionism. His art reflects a deeper sense of motives that exhibits his innate grasp of artistic liberation- putting weight not on the visualization of ones artwork but giving importance to the substance of ones message. Ritchie's work does not suggest a festival of concrete lines, forms, values and color but it does gives its viewer a moment of deep thinking- hoping to find the real meaning of the message that the artist is wanting to convey.

As the exhibiting artists are pursuing its own individual journey, the possibility of being together in Visual Fusion exhibit, will seeks to demonstrate the importance of unity beyond diversity. It hopes to stir the level of artistic understanding, appreciation and patronage that will ensure the continuing search of excellence in the fields of visual arts. Lastly, it also hopes to impart on the importance to adopting ones artistic evolution.

Invited Guests of Honor for this exhibit are the following: Msgr. Cristobal Garcia, Mr. Leo and Mrs. Norma Lim Liu, Arch. Isabel Garcia, Dr. Vicente and Mrs. Grace Avanzado, Ms. Tiffany Limchua and Mr. Devin C. Go.

PAST FUTURE PERFECT

"Past Future Perfect"

Tala Gallery is proud to present its year-ender show, "Past Future Perfect". The title of the show captures the feeling of looking back at past accomplishments and challenges, and looking ahead towards new opportunities. This is especially appropriate, since the show marks several significant milestones: the end of the year and the beginning of a new one; the end of the first decade of the 21st Century and the start of the next; and, the first anniversary of Tala Gallery. The show features outstanding works by more than 30 of the Philippines' most talented emerging artists.

"Past Future Perfect" opens at Tala Gallery starting at 6:00 p.m. on Sunday, December 13, 2009, and runs through January 10, 2010. Tala Gallery is located at 100 Scout De Guia Street, Quezon City. For inquiries or further information, please call 441-1267 or visit our website at www.talagallery.com.ph

APOKALYPSIS

Anthony PANUGAO APOKALYPSIS
First One Man Exhibition
Works in Oil on Canvas and Sculpture in Mixed Media
Opens 6pm Saturday 12 December 2009. Runs till Monday 11 January 2010.

When an artist comes straight to you and declares that he is ready for an exhibition, you better believe him. He is. That is what Anthony Panugao did to me a month ago when he sent a battery of text messages to me claiming that he has prepared a series of works in oil on canvas on the topic “The Militant Christ and the Four Horsemen of the Apocalypse.” At first, it sounded like an emanation from another devoutly religious man, full of fervor compounded by a slight fanaticism. So I asked him to bring samples of his works. He brought in a couple. At first glance, I mentioned to him that they were half-cooked. Needless to say, I was not impressed. I then asked him to bring some more. On the night of 16 November 2009, he brought fourteen works on canvas and five sculpture pieces which he did in late 2008 and the whole of 2009. I was impressed and I immediately wondered why he did not present his works to other galleries for possible exhibition. He said he had actually done that, but was either ignored or totally joked upon and taken lightly.

I had already booked Camille De La Rosa to exhibit in the front and middle rooms of Artis Corpus Gallery from 5 till 28 December 2009, and I mentioned to Anthony that the backroom was available. I immediately mounted the show, removing what may be labeled as remnants of the recently held Art Manila. I scheduled Anthony Panugao from 12 December 2009 till 11 January 2010.

Here now is an exhibition of an artist whose intention is simply to express whatever it is he would like to express. Here is an artist who just produced a body of works on his own and in his own time without any inkling whether these works will eventually end up shown in a gallery. Here is an artist who is true to his intention: to present the nature of what Christ’s essential teachings were all about and how society in general responded to them. Here is an artist who presents the Apocalypse, the Book of Revelations by John the Evangelist, in a different light. Anthony does not literally interpret the Book in its originally prophetic stance based possibly on a language that had been extinct and retranslated and possibly manipulated and reedited to satisfy contemporary needs and to address contemporary minds. He does so in a manner hinting that those bimillenium-old prophecies are already occurring here and now in various ways and manners that may never be ignored.

I do not believe in putting all my thoughts in one title. So I suggested that his proposed exhibition be truncated to “Horsemen of the Apocalypse.” That was before I bought a bible, an edition possibly a thousand times removed from the original scripture. The role of the four horsemen was really four verses long, yet the messages of the works of Anthony Panugao covered more than those of these horseback riders. “Apocalypse” which simply means “unveiling” sounded short and sweet. Yet, since I am a fundamentalist, I prefer the Greek “Apokalypsis” which means “to disclose.” In Filipino context, “to unravel” is to reveal. In street parlance, it is simply called: “bukohin!” (“expose!”)

Here is an exhibition that exposes realities hidden from our daily eyes, yet are happening in these current times. Here is an exhibition that talks about social concerns which we are facing now but blinding ourselves from. Although such, it is the artist’s intention to reveal these revelations in the hope that they be reversed and something positive may come out of the lessons thus learned.

Allow me to quote the artist: “As it was written in the Book of Revelations as prophetic, the works I did, now shown in this exhibition, are marked by symbolic imagery. It may not be the end of the world, though John the Evangelist mentioned that his book was all about the ultimate triumph of good over evil, but these things are continually happening right here and now. These struggles and strife are as visible as these horsemen are in the book.”

The artist further obliged by submitting his statements for the works he did. The first horseman, in white, crowned and carrying a bow, rode as a “conqueror bent on conquest.” Anthony interprets him as symbol of authority, possibly the government. The second horseman, in red, with a sword, was “given power to take peace from the earth and to make men slay each other.” Anthony interprets him as symbol of war. The third horseman, in black, “holding a pair of scales in his hand,” is what Anthony labeled as business. The fourth horseman, on a pale horse, was death. Anthony concurred.

Anthony as an artist substituted his own ideas for the original symbolisms. The red horse of war and military operation became the prehistoric beast (the largest ever land walking carnivorous mammal that ever existed on Earth) of destruction in his Operation Red Andrewsarchus in Basilan Sulu. The black horse of business reveals itself in Black Market, which talks about illicit trade. It talks of kidney sales, endangered species trading, prostitution, dog slaughtering, piracy, and outright monkeying. The white horse appears in Call for Renewal, surrounded by the blackmailing extortionist, the rear room abortionist, the document fakers, and the street hold-upper.

The artist continues: “I used prehistoric animals. It is like changing the images without changing the ideas. I made diligent effort and extensive research about these animals. I carefully picked and included these fascinating extinct creatures to add color to the topic of war.” The fact that these creatures are extinct, I must now say that the artist subconsciously implied that extinction is the only way out of hostility and violence.

The idea of these horsemen reappears in other works in the exhibition. Enter the Phorusrhacos Idealist features the terror bird which feeds on meat, preying primarily on large mammals. Its rider advocates and wreaks terror all around him. In Southeast Asian Brontotherium Tank, it is the thunder beast which is used as powerful weapon for mass destruction. In The Kangaroo King in his Kangaroo Court, the oversized animal bearing the authority in his pouch presides over the total disregard and perversion of law and justice. Two other paintings depict corruption: Death Penalty by Poverty and Into the Deep Dark Water both of two ways to go: by sheer starvation and by the locally accepted “salvaging.”

Back to the body of the Apocalypse, the blacksmith in Ang Panday ng mga Salita fashions the double-edged sword of the word of God. As the seven deadly sins are portrayed in seven small canvasses, so is the role of the savior in this drama called existence. Christ as the Blessed Child and as the man on the cross in Redemption is but a reminder that the wages of sin have all been paid for and that the debts incurred had been fully settled by this noble act of a character sent by the God of all creation himself.

The artist Anthony Panugao may not have the gift of prophecy nor revelation. He may not even have the accuracy of the great doctors and scholars of the Church, but he indeed has a keen understanding that we are all on our way to extinction, as all the evidences of John’s treatise are occurring in our midst. True or not, let us heed his call.


Exhibition Notes by Enrico J. L. Manlapaz, curator

BOXED: THE START OF A CONVERSATION

In 2006, Boxed was conceptualized by artists J. Pacena and Buen Calubayen as a series of exhibitions for artists and the artistically inclined. Each exhibition would gather together those from a wide variety of ages, backgrounds and creative training, showing their art—loosely bounded by dimensions—and prompting reminders on the presence and significance of the artistic community. From the initial exhibition in Big Sky Mind to the hallways of the Cultural Center of the Philippines to the Cubicle Art Gallery show themed with erotica, Boxed is, in the words of Pacena, ‘the idea, that we can be boxed, in one time and one space in order to connect and create a larger box, the idea of creating a universe and a dialogue in between.’

In the fourth installment of Boxed at blanc compound curated by Clarissa Chikiamco and Rica Estrada, over forty women artists think, converse and relate their practice with one another. Within a set chain over four groups and starting from thoughts of the curators, each artist must reflect and respond to ideas of the previous artist in the line, documented through dialogue and then enacted in actual production. The dialogue, done through email, SMS, phone or in-person chats, is exhibited along with the art, putting primacy on the stages of art’s conceptual development and the ability of artists to discuss and negotiate their practice.

Subtitled The Start of a Conversation, the show begins a dialogue but anticipates its extension beyond the exhibition. Believing that all different kinds of dialogue—direct or indirect, formal or informal—impresses upon and subsequently shifts artistic identities, however subtle, the exhibition challenges the idea that art is made in isolation. Highlighting the importance of artistic networks, the exercise of the show attempts to encourage networks in a system in which artists are able to both verbally and visually communicate their ideas with flexibility to others’ artistic practices. Boxed: The Start of a Conversation discloses a normally concealed process as it commences it, acting as an index for the future dialogues it trusts to instigate.

Boxed: The Start of a Conversation opens on Saturday 4PM, December 12, 2009 at Blanc Compound Mandaluyong. Blanc is located at 359 Shaw Boulevard Interior, Addition Hills, Mandaluyong City. For more information, please call or sms 752-0032 / 0920-9276436, email info@blanc.ph or visit www.blanc.ph and www.blancartspace.multiply.com

Boxed will run until January 2, 2010.

ISKWALADO II

Galerie Anna ends the year where it started. As a way of thanking their public’s patronage, Galerie Anna presents Iskwalado II for its Christmas offering.

On a physical level, Iskwalado means flatness of the surface one’s canvas appropriately paints on. For the sensitive artist, it will be extremely difficult to proceed with the painting process unless this proper alignment is settled. Thus, Iskwalado refers to that sense of proportion that commands an image one perceives a subject matter hanged on a wall space.

A deeper understanding of Iskwalado may also connote a sort of perfection, short of having done a beautiful artwork, an excellent consummation that accompanies a significant work considered by artists.

Selected for their fresh and original approach to art-making, 40 artists were given 24 x 24 inch canvases to paint on. Encompassing three generations of creativity, Iskwalado II presents a new way of looking at group shows, not linear or thematic, regardless of art movements, schools of art, visions or painting techniques, As the Galerie Anna’s commitment and ongoing pursuit, Iskwalado II may just be a sort of Philippine contemporary art sampler, representations of particular trends or significant styles artists are now pre-occupied with. Iskwalado II defines the art of our time, as it is a celebration of the imaginings of the individual and what it means to be a Filipino artist today.

Participating artists include Gus Albor, Hermes Alegre, Nunelucio Alvarado, Ricky Ambagan, Jojo Austria, Max Balatbat, Malyn Bonayog, Mel Cabriana, Choie, Dansoy Coquilla, Nill Cruz, Joseph de Juras, Abi Dionisio, Ferdinand Doctolero, Neil Doloricon, Roberto Feleo, Dennis Filart, Grandier, Fitz Herrera, Joey Ibay, Louie Ignacio, Jun Impas, Ferdinand Liongoren, Josue Mangrobang Jr., Lex Marcos, Dennis “Sio” Montera, Bobby Nuestro, Tiny Nuyda, Sam Penaso, Jun Rocha, Kirby Roxas, Lirio Salvador, Christian Tamondong, CJ Tanedo, Valen Valero, Olan Ventura, and Orley Ypon.

THE MIDNIGHT LULLABY

The Midnight Lullaby
December 11, 2009
6-9pm
Luis Lorenzana's
‘The Midnight Lullaby’
by Cathy Paras-Lara

Silverlens Gallery proudly presents The Midnight Lullaby, a solo exhibit at SLab's 20Square Gallery by Luis Lorenzana named after the largest exhibition piece included in the show that Lorenzana has completed in three years.

"This particular work is larger in scale, which means that I really needed the time to finish it. I turned down solo exhibit offers from galleries abroad in the process, explaining to them that I owe my beloved country this exhibit," says Lorenzana.

Seen largely as a preview to a grander solo show in September 2010, The Midnight Lullaby combines the artist's technical application of the play between light and shadow, while staying true to his pop art, animation and surreal imagery influences.

"I'm fascinated with clowns - so deep, tragic, mysterious, and alone. So many different emotions can be expressed just by using a clown's face."

The Midnight Lullaby opens at 6 pm on Friday, December 11, 2009, and runs until January 09 at SLab's 20Square Gallery.

The Midnight Lullaby will be shown alongside Singapore International Photography Festival at Silverlens Gallery and Indivisibilis by Gary-Ross Pastrana at SLab.

For inquiries, contact Silverlens Gallery at 2/F YMC Bldg. II, 2320 Pasong Tamo Ext., Makati, 816-0044, 0917-5874011, or manage@silverlensphoto.com. Gallery hours are Monday to Friday 10am–7pm and Saturdays 1-6pm. www.silverlensphoto.com / slab.silverlensphoto.com.

TELLING MODERN TIME

TELLING MODERN TIME
The Life and Art of Botong FRANCISCO Coching

On Friday, 11 December 2009, at 6:30PM
Natinal Museum of the Filipino People
Agrifina Circle, Rizal Park, Manila

Contemporary Artists join Yuchengco Museum exhibit on Manton de Manila

As part of a special exhibit on the manton de Manila called Draped in Silk: The Journey of the Manton de Manila, the Yuchengco has invited 19 artists and creative thinkers from a range of disciplines to create a new piece inspired by the manton. The artworks on view range from paintings, fine prints, and photographs to couture and installations. Among the participating artists are (from left to right): Photographer Wig Tsymans, couturier Steve De Leon, sculptor and jewelry designer Michelline Syjuco, printmaker Ambie Abaño, and architect Dan Lichauco.

Draped in Silk is the Yuchengco Museum’s major exhibit for 2009, and is on view until December 29. The exhibit explores the Manila-Acapulco galleon trade that introduced the Manton to Spain, showcases contemporary works inspired by the manton, and looks into ­similar motifs found in Philippine embroidery.

DIVINATION

Divination: Brenda Fajardo Retells History
10 December 2009 – 10 January 2010
Lobby and West Wing Galleries

The Art Studies Foundation together with the University of the Philippines Vargas Museum present the exhibit Divination: Brenda Fajardo Retells History which opens on December 10, 2009, Thursday, 10AM (Art Studies Launch Program) and 6 PM (general public) at the Lobby and West Wing Galleries. Featuring the works of Brenda V. Fajardo in her own collection, the exhibit is part of the celebration of the 50th Anniversary of the Department of Art Studies (DAS), formerly the Humanities.

Fajardo, an artist, curator, cultural worker, educator, and Professor Emerita of the Department, is well known for her early works in prints and the tarot card-inspired paintings. She started her career in the performing arts where she was initiated to dance, body movement, and theater production. At present she is active in the Philippine Educational Theater Association (PETA). Line and movement stirred her fascination with the pictorial characteristics of prints. She trained under Manuel Rodriguez, Sr. upon returning to the Philippines after studying abroad. Abstract lines juxtaposed with human figures typify her early prints like. In later years, she focused on her women and tarot card series to reference folk culture, local history, and the concerns of women within the social sphere. Fajardo is a pioneering woman artist in Philippine contemporary art and is highly regarded for her broad sympathies in the field of culture.

The exhibit will run until January 10, 2010. The Museum is open on Tuesdays to Sundays, 9 am to 4 pm. For more information, please contact Susie Garcia at numbers 981-8500 loc. 4024 (UP trunkline), 928-1927 (direct line), 928-1925 (fax), (0927) 497-3528 (mobile) or send an e-mail to vargasmuseum@gmail.com. The Museum’s official website may be viewed at www.vargasmuseum.org.

WITHIN AND WITHOUT BLANC

Anino Shadowplay Collective at Blanc Makati

The question of Philippine viewership, even awareness of its Australia-bound projects has led the ANINO Shadowplay Collective to Blanc Makati this December. The exhibit Within and Without Blanc culls from and builds on ANINO’s output for its second collaborative project with Filipino-Australian playwright Paschal Daantos Berry and theatre artist Valerie Berry - Within and Without, a contemporary performance project inspired by Intramuros - the heart of and witness to the most tumultuous phases of Philippine history.

Within and Without Blanc is a selection of ANINO’s videos, photographs, animation, installations and cutouts created and redesigned through the R&D and creative development phases of the performance project. Opening night will feature a performative sketch that ponders on Philippine history and contemporary society.

The ANINO Shadowplay Collective is a group of multi-media artists dedicated to the development and popularisation of Philippine shadowplay.

The exhibit opens on Monday December 7 at 6PM, at Blanc Makati. Mandaluyong. Blanc is located at 2E Crown Tower 107 H.V. dela Costa St., Salcedo Village, Makati City. For more information, please call or sms 752-0032 / 0920-9276436, email info@blanc.ph or visit www.blanc.ph and www.blancartspace.multiply.com

Within and Without Blanc will run until December 28, 2009.

EL ORIENTE DE SEVERO SARDUY

TUTOK SOENA

MANILA CONTEMPORARY and TUTOK
cordially invite you to the reception of the exhibition:

TutoK SOeNA: State of Education and the Nation
4th TutoK yearend assembly

Amidst a year stricken by crises in culture and calamities, a so-called 'educated' response is called for over and above the sensationalism promoted by media and politicking entities. Yet it would seem that every problem that we have traces its roots to education, particularly citing its imbalances, inequities and inadequacies.

TutoK, in line with its implementation of art and advocacy projects, proposes to bring the topic of education into this engagement, thus gathering a visual congress to represent and assert a diverse range of contemporary explorations to promote further inquiry and discussion.

SOeNA is the State of Education and the Nation, and it is TutoK's yearend assembly of art and artists to be held at Manila Contemporary at Pasong Tamo Extension, Makati City . SOeNA is part of of TutoK's current focus on education, beginning with TutoK Eduk early this year. At the core of this exhibit is a series of works investigating the manifestation and operation of education as systems, objects and people. The theme is resonated through 2 x 2 feet wall works assembled throughout the gallery, completing the participation of more than 150 artists via paintings, sculptures, installations and live art.

"TutoK SOeNA" is the 4th annual group exhibit organized by TutoK since 2006. It is jointly curated by Don M. Salubayba, Noel Soler Cuizon, J.Pacena II and Jef Carnay, and will open with live art and other performances at 6:30pm on Saturday, December 5, 2009. The exhibit will run until January 6, 2010.

Manila Contemporary is located at
Whitespace, 2314 Chino Roces Ave.
Pasong Tamo Extension, Brgy. Magallanes, Makati City

K+K+KKK-AYOS!

K+K+KKK-AYOS!
(ORDER IN CHAOS)
A family show by
Kidlat Tahimik, Katrin de Guia and sons Kidlat, Kawayan and Kabunyan

Langit, lupa, Kidlat, kulog, Kidlat, katawa, Kawayan, kapwa, kaaway, kalipay, kalayaan, Kabunyan, kabisig, Katrin. Sino si Eric? Wala—si Kidlat Junior nga siya!

D’ K+K+KKK artists:

Tatay K IDLAT TAHIMIK. The warrior at the protracted kultur-blitzkrieg. Untiring in re-awakening our Pinoy indio-genius strengths. Once on the dark side, this economist-turned-filmmaker-turning-rice-terrace-farmer joins this family show using life-sized rattan sculptures woven by a blind Ifugao craftsman to represent his “bamboo-camera crew” in the latest variation of his “Balik-Bahag” philosophy.

Bunso KABUNYAN DE GUIA is a mosaic artist who loves to take photographs and communicate his ideas through T-shirt paintings. And this is exactly what he will show. Photographs mounted in mosaics. The youngest son of Kidlat Tahimik and Katrin de Guia, he shares his father’s fancy for the unusual, for the things out of the scopes of frame. His is the art of a shape-shifter, of a jester. If there is such a thing as a dyslexic art, that would be his style.

Bamboo-son KAWAYAN DE GUIA, the middle one of the three brothers, enjoyed a year of awards and celebrations in 2009. These are well earned fruits of intensive labour. Determined to be an artist since he was very young, he began painting since he could hold a pen. His visual stories are intriguing. They are ever changing and yet ever the same. In this, the artist is likened to an ancient storyteller, who conjures the skies for ever-new circles of friends.

KIDLAT DE GUIA is the panganay who brought this family together. A reluctant filmmaker, he discovered that this medium actually suited him well, and his documentaries would bring him fortune and fame. His second love as an artist is photography, and this is what he will present at the family show. “I am a silent observer of life,” he says, “and there is so much LIFE out there that is worthwhile watching!” Unlike his brothers, who play around with materials and images, he likes to deliberately construct his frames. Carefully, he studies the light and the angles before he captures an action. Eventually, when looking through his shoots, ideas well up that lead to exciting concepts and stories. Thus, creation, for Kidlat, has a measured pace, far from his father’s hectic detours and “last minute” revelations.

German born KATRIN DE GUIA has been a permanent resident of the Philippines for 30 years. She finished her BA at the Munich Academy of Fine Arts, where she specialized in sculpture and conceptual art. As the wife of filmmaker Kidlat Tahimik, she moved to Baguio in 1979 where she was actively involved with the Baguio Arts Guild. While her artistic interests embrace ephemeral art (conceptual / spiritual / performance / installation), she also has some permanently installed stained glass windows at Baguio’s Brent School and the University of Baguio Chapel. After all her sons had entered school, the artist went back to school. Under the tutelage of Virgilio Enriquez she studied Filipino Indigenous Psychology at the University of the Philippines, where she received her PhD in Psychology. Her pioneering research on Filipino artist culture-bearers, eventually led to the writing of her book KAPWA-The Self in the Other (Anvil 2006). Together with Kidlat Tahimik she founded the Heritage and Arts Academies of the Philippines, Inc. (HAPI), a foundation dedicated to strengthen and rebuild the Filipino indigenous culture. Presently, she heads the Victor Oteyza Community Art Space (VOCAS) in Baguio City. This unusual art-space-gallery and café along Session Road was created single-handedly and without blueprints by Kidlat Tahimik.

For this show Katrin de Guia exhibits small sculptures made from bones, shells and other objects. She collected these during decades of research all over the Philippine islands. Her works are assembled with rattan strips in a process she calls “Memory Weaving.” Her technique is an adaptation of the art practice of the Visayan culture-bearing artist Perry Argel and his “Ritual of Daily Living”. This is her first show after nearly two decades.

K+kkk+K will exhibit at Ricco Renzo Galleries on December 5,2009 at 6pm, Saturday. Ricco Renzo is at GF LRI Design Plaza, 210 Nicanor Garcia Street, Formerly REposo, Bel Air 2, Makati City, visit www.riccorenzo.com or call Kaye Nuguid +632 898-2545 or 0927-3244013/ 0923-6586779.