Thursday, September 30, 2010


Artist Cris Villanueva blurs the boundaries of the hand and the brain’s left and right schematics in his coming show “The Right Or What’s Left Of It”. A painter utilizing his left hand for almost four decades now, Villanueva, for this show, decided to use his right hand along with the left to neither stand against nor adhere to norms, but to infiltrate, explore the irony and diversity of both states.

The exhibit runs from 1 October to 29 October 2010 at NOVA Gallery, Warehouse 12A, La Fuerza Compound, 2241 Don Chino Roces Ave., Makati City.

For more information call 392-7797 or send an electronic mail to or visit

Wednesday, September 29, 2010


“Re-Viewing Horizons” is a two-man show of former Grupo Ocho members Danny Garcia and the late Phillip Victor. With the utilization of simple and basic colors and patterns, the old works featured in this collection becomes a magnification of nature and the world in which the artists exist.

The exhibit runs from 1 October to 29 October 2010 at NOVA Gallery, Warehouse 12A, La Fuerza Compound, 2241 Don Chino Roces Ave., Makati City.

For more information call 392-7797 or send an electronic mail to or visit

Tuesday, September 28, 2010


whowhatwherewhenhowwhy by Zean Cabangis
September 29, 2010, Wednesday
Debuting in 20SQUARE is whowhatwherewhenhowwhy by Zean Cabangis.

In his first solo show, Cabangis paints about the natural occurrence of forgetting - something so universal but also deeply personal. He explains: "the works visually describe things that are remembered... and questions how and why some memories are retained, and why the rest are forgotten. At a certain point in our lives, memories become fragile because of personal and natural circumstances, as in the case of (my) grandmother, who is suffering from Alzheimer's disease."

His acrylic paintings are grey, just like memories. By adding soot to cloud the images further, he expresses how memories blur over time. Not even the best ones can be perfectly preserved. There will be questions. There will be gaps. Who? What? Where? When? How? Why?

whowhatwherewhenhowwhy by Zean Cabangis opens on September 29, Wednesday, 6-9pm. It runs simultaneously with The Tales of the Beer Fairies by Luis Lorenzana until October 23, 2010.

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

Words: Bea Davila; Image: Zean Cabangis, Trubanizer, 2010

Monday, September 27, 2010



The Tales of the Beer Fairies by Luis Lorenzana
September 29, 2010, Wednesday

Following a successful exhibit at 20SQUARE last 2009 and shows at PULSE New York and Manila Art 10, Luis Lorenzana presents The Tales of the Beer Fairies, his first show at SLab.

A self-taught artist in the lowbrow art scene, Lorenzana brings together pop art and surreal imagery using classical painting techniques. Composed of oil paintings and drawings, Lorenzana's show is a make-believe world of imaginary characters, bright colors and dream-like scenes. In this world exists a woman standing still by a pond in a field bursting with flowers. Yet the traditionally dressed woman of the piece called Double Happiness has two heads, each representing a different persona. One holds a flower with a hopeful, forward gaze; while the other clutches a bottle and looks away.

Here he creates a fantasy world he alone knows, and only exists just for him. The Tales of the Beer Fairies is personal; it represents the memories he holds on to, and those he hopes to forget. He was caught between the past and the future, between reality and fantasy. But no longer so…

Wanting to move on from certain memories, he paints to address the past, and to ultimately bid farewell to the make-believe. His real world beckons.

The Tales of the Beer Fairies by Luis Lorenzana opens on September 29, Wednesday, 6-9pm. It runs simultaneously with whowhatwherewhenhowwhy by Zean Cabangis until October 23, 2010.

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

Words: Bea Davila; Image: Luis Lorenzana, The Strange Confusion of Princess Pretender, 2010

Wednesday, September 22, 2010


Art can be defined as a form of visual language. A form that takes on a certain structure which has been the norm for its specific convention. Ergo, a painting should b on flat surfaces, whether canvas or paper, a painting has to be on a flat plane. Sculptures should be able to stand on its own, ergo it should have materials that will be able to support itself. And as a language, it normally should come from a tradition that has been used as a standard form of communication. Conventions, standard, norm, should, has been. All these are what Henri Cainglet stay away from.

Art is there for us to be able to see our physical and metaphysical world from a worn out perspective. It should serve as a catalyst for us mortals, to be able to grasp an existence far beyond what our moribund souls are incapable of conceiving. Art helps us understand the meaning of beauty of what lies beyond our reach, and to be able to help us see from other perspectives. It is a tall order for one who would rather stick to convention and look from rose-colored glasses. But Henri Cainglet’s works aren’t conventional, nor are they easy to look at. Henri demands certain vigor in looking at his works. It necessitates a certain altered-state-of-mind concentration for an appreciation of his pieces.

Canvas to Cainglet does not necessarily come from any specific school of thought. They are neither abstract expressionism, nor are they mere abstractions. of late, he re-worked canvas surfaces to incorporate sausage-like protrusions creating a third-level dimension on those flat planes. He applies colors in a manner that creates an amalgamated palette. Patterns and graphic renditions are accretions to the artworks final outcome.

It is always a delight to expound on Cainglet’s art for the simple reason that it opens one’s senses to sensations one has yet to encounter. His textures come not only from the surface structures of his supports, but from the tedious re-workings of his brush strokes. It must be Asian sensibility coming thru. Very tactile and perceptible, texture is what separates his works from the rest.

All told, Henri Cainglet uses every possible tool to re-work this form of a visual language called ART. It is for the artist, a process o communicating his thoughts and his feelings through his canvas, paint, metal, wood, among other materials he so chooses.

Willy Marbella on Henri Cainglet, Seeing Gold (Seeds of Life), 2004

Henri Cainglet is not just a painter or a sculptor but an artist who is zestfully engaged with materials. Cainglet’s approach to materials, and to his art in general, is transformative in the sense that traditional art materials or natural objects a re transformed through a tactile and kinetic manual process into a new and original work. Indeed, he does art with a felicitous combination of imagination and dexterity. With his penetrating imagination, he is able to discover and bring to realization new possibilities in his material; in his economy of medium, nothing is ever lost or discarded, everything finds its place. Thus the creative process for him is first of all the intense engagement with the medium in its pure materiality, in terms of texture, color and tone, and all its artistic potentials and distinctive properties.

Alice G. Guillermo, Today Weekender, 2004

Cainglet has shown he is one of the most important figures on the Philippine art scene. His unusual shapes and hues transformed the inside of the artist’s head, brimming over with his fertile and grotesque imagination. His paintings are highly textured abstractions, and of earth tones (red, orange, yellow, brown, gray, white). There’s a certain roughness to Cainglet’s art, as though he chose to eschew artiness in order to highlight the natural. In his paintings, for instance, the application of paint, blending of color, and the texture give the impression of being impromptu or improvised. In the sculptures, in their unusual shapes and often grotesque embellishment give them their edginess. The artist is close to nature and often paying homage to the ecology in his installations. Cainglet popularized soft sculptures in the country.

Constantino C. Tejero, Philippine Daily Inquirer, 2004



Art Price, an art market analyzing firm, released the 2007/2008 Annual Report based on the auction records of 2,900 auction houses in 72 countries surveyed along with Foire Internationale d'Art Contemporain (FIAC) from July 1, 2007 to June 30, 2008. All of Art Price's surveys considered the artworks of artists born after 1945 that were sold through auction houses. The 2007 report concentrated on analyzing the acclivity of price indexes in contemporary art market that had shown exponwestern ential growth from 1990 to 2007, the recent report is on the flow of art market until right before the second half of 2008 when prices began to fall due to the economic crisis. Art Price evaluated on the first page that "Despite the economic strike, the art markets in Asia and the Middle East showed the greatest success and the most remarkable auction records." However, it also emphasizes that "Many changes in the art market are clearly predictable for this year despite that the last 10 years of auction records proved that investments in artworks have been consistent."

Structural Changes for a New Era

Many people have predicted for a long time that the 21st century would be the Age of the Pacific due to the rapid economic growth of Asian countries since the mid-20th century. Many experts have constantly argued that the world? axis would shift from the Atlantic between Europe and America to the Pacific. The growth of Europe and Japan would be greatly blunted, but some analyzed that the gross domestic product(GDP) of China and India would surpass the GDP of every other countries on earth, except for the U.S. and Japan, by 2025 and shift the core of the world in 20 years. This issue has been widely discussed at the World Economic Forum(WEF), the gathering of global leaders and intellectuals, for a long time. The 2007 Davos Forum's discussion on the shift of power and the construction of a new international order was published as The Davos Report: Shirt of Power in Korea and was widely read. Likewise, the theme of this year's Davos Forum Annual Meeting, which will be held for five days from January 28 to February 1 as the largest Davos Forum in history, will be 'Shaping the Post-Crisis World.'

Art Price also analyzed that the world topography of the contemporary art market is changing. The art market has been led by the U.S. since the 1950s. In the early 21st century, the Christie's and Sotheby's auction houses in the U.S. and London continuously sold the artworks of the 20th century's leading artists-Andy Warhol, Francis Bacon, etc-at prices exceeding USD $10million. The prices were higher than those of the most popular artworks by Van Gogh or Pierre-Auguste Renoir. Since then, the power of contemporary art market was equally pided by the U.S. and Western Europe, centered on Britain.

In 2007, however, the expansion of art markets in Asia, including Russia, China, and India, was clearly witnessed, forecasting that it would be no longer possible for the U.S. to dominate the market. From the mid-2007 to mid-2008, the total amount of contemporary artworks sold at auctions in each country indicated that the U.S. and London achieved the 1st and 2nd places with EUR 348 million and EUR 262 million, respectively, and China reached EUR 249 million to take the 3rd place. Considering that France only recorded EUR 15 million, Italy only EUR 10 million, and Germany only EUR 6 million, Taiwan's EUR 14 million and Singapore's EUR 13 million were remarkable growths. For the last 12 months, 10 artworks were sold in China's contemporary art market at over USD $1 million.

Continue reading…

Tuesday, September 21, 2010


Blindonkey cultural association announces the opening of the first edition of the DonkeyArtPrize, a competition aimed at promoting modern and contemporary Art, developing of an international community of artistic talents and discovering brand new artists.

To each artist will be given the chance to expose their work in the always growing worldwide DonkeyArtPrize circuit, and the winners will receive a cashprize award. The prize, is organized in collaboration with Academy of Art Cignaroli and Blindonkey cultural association, has a extremely free theme and subject and is divided in three section: Painting, Digital Art and Photography.

The Prize is open to all artists, without any limits of age, sex, nationality or other qualification. Each artist can participate with one work per section, to one or more sections. The first selection will be made by photos only. Do not send physically your work until you are asked for.

-PAINTING category: total technical and stylistic freedom (oil, tempera, acrylic, ink, vinyl, watercolor, graphite, pencil, collage, etc.) on whichever support (canvas, paper, wood, plastics, iron, etc.). The max dimensions allowed per each works are 150x150 cm, picture frame included.
-DIGITAL category: total technical and stylistic freedom. The works will be valued on the quality of the digital elaborations applied and the general criteria specified in the jury section. The image can totally be made by computer or taken from other sources, like a painting, a photograph, collages, lithography etc. or from a digital drawing made by software using a mouse or a graphic tablet. The max dimensions allowed per each works are 150x150 cm.
-PHOTOGRAPHY category: total technical and stylistic freedom. The jury will judge the aquisition of the image based on the general contest's criteria (originality, expressivity, quality and technic), not on the digital elaboration made on the image. Example, color and black/white analogical photos or digital photos, polaroid, mobile photos etc. The max dimensions allowed per each works are 150x150 cm.

The last term to register for the 1st DonkeyArtPrize is established the 15th of December 2010. For applications sent via mail the date of the post mark must be no later than that day (deadline). The partecipation fee is 30 euros for each work submitted, it is not refoundable and it's set as association fee.

There are two way to enter the Donkey art prize:
-online, filling the application form at
-sending a mail by post delivered at the head office of the association: Porta Nuova st. 127, 37122 Verona, sending the printed application form filled out (downloadable at section "application")and the
following material: one picture of the works (minimum size: 15x20 cm; maximum size: 20 x 30) with indication of name, surname, country, title, dimensions (base x height), technique, year, prize and copy of the payment of the application fee. The documentation and the photos won’t be given back. After the correct registration and payment, a confermation mail will be sent to the artist.

The Donkey Art Prize is organized by
BLINDONKEY cultural association
c.f. 03921350231
Porta Nuova st. 127, 37122 Verona

Monday, September 20, 2010


September 21-October 2, 2010

Our country is beset with environmental and societal ills brought about by neglect and the absence of political will to do what is right. To enumerate each single problem is mind-boggling, for each one begs for a seemingly impossible solution. However, there is still time to work things out and there are answers in the horizon if we choose to act on it.

Edwin Tres Reyes treads towards this direction. The Power of Suggestion is a glare and a smirk into these issues. He identifies the current situation as the first step. By identifying the crisis, actions can be formulated to avert or combat it. Tres Reyes mines through his wealth of advertising experience with hints of surrealism to best represent these concerns. His works churn out messages that are subliminal, but lingers in our consciousness. Shifting between realistic and illustration-based renditions, the artist endeavors to attract attention, create interest, generate desire and craft actions through the ideas he puts forth.

Among the 13, featured works in oil on canvas are: “Hole”, “Going, Going, Gone”, “Which Comes First”, “Investing”, and “All Boxed Up”.

There is so much that lies ahead but for our children and future generations so as not be disheartened. This is Tres Reyes’ message. Provoking us to charge on… even if it seems intolerable or even ridiculous.

A product of the University of Sto. Tomas' College of Fine Arts, Edwin Tres Reyes Participated and won in many significant art competitions, such as the 2001 MetroBank Foundation Young Painters Annual National Painting competition where he was a finalist, and at the 1996 Art Association of the Philippines, and the APEC Stamp Design Competition which he bagged the first prize. He is a founding member of the Guevarra Group of Artists together with Gig de Pio, Dominic Rubio, and Jerry Morada. He is identified with works that depict light-hearted political figures. The innate wit in his works and their openness to various interpretations make his work popular conversation pieces among collectors and art aficionados.

The Power of Suggestion runs from September 21 through October 2, with an artist’s reception on September 23, 2010 7pm at Greystone Gallery, Ground Floor of Prince Plaza II Legazpi street, Greenbelt Park, Makati City. Greystone Gallery is open from Mondays through Saturdays, 10am until 7pm. For more information, contact Greystone at (632) 8493977 or 7239418.


a call for art

You are invited to participate in an open competition to provide the book cover art for the re-publication of Lane von Herzen's novel, The Unfastened Heart. The winner of this competition will be awarded The Icon Prize, will receive $1500 in prize money, and will have his or her artwork appear on the book cover. The terms and conditions of this competition are as follows:

Submit your original artwork created in response to Lane von Herzen's novel, The Unfastened Heart. Each submission should include a brief statement about the section of the novel to which your art speaks.

You may enter for consideration paintings, photographs, graphic art, collage art, and other visual media by submitting a digital photograph (in JPG or JPEG format) of the work through the link at the bottom of this page. You should submit images saved with maximum quality compression with a long dimension of at least 1000 pixels at 72 or 300 dpi. Please try to keep the file size under 2 MB.

You may submit more than one entry.

All submissions are subject to the format guidelines and limits set forth in this document.

No submissions will be considered if they are defamatory, abusive, obscene, profane or otherwise offensive or in poor taste. Anyone who participates in the competition in a disrespectful or unlawful manner, including making hostile or negative comments related to age, disability, race, nationality, religion, sexual orientation, or gender identity, will be disqualified.

Posting of the work is at the discretion of the administrators.

The judging staff will select the winning submission. The winner will be awarded the 2010 Icon Prize and a cash award of $1500, and the winner's submission will be used for the cover art for the re-publication of The Unfastened Heart.

By submitting your work to this competition, you are representing and agreeing as follows: (i) your submission is your own original artwork and, at the time of your submission, you have all ownership rights in the submission; (ii) you authorize us to publish your submission on the author's blogsite and website without restriction or compensation; and (iii) if you are selected as the winner, you will accept The Icon Prize and the $1500 award in full compensation for all right, title and interest in any and all visual reproductions of your original work for all purposes related to the novel and The Icon Prize. The artist retains ownership of the original work, and is free to sell the original work as he/she wishes.

This competition is being organized to support and nurture the work and careers of other artists who gather together around a common literary work. If your submission does not win the competition but you nevertheless wish to make your original work available for sale, the author may choose to assist you by creating gallery showings of your work, either online or otherwise, at a price you select, with the profit to be realized solely by you. If you wish, the author and publisher may also elect, in their sole discretion, to include your submission in a "gallery" of submissions interior to the pages of the book, allowing the book's readers to see your work, read a brief biography about you, and link to websites displaying more of your work.

Any questions or disputes related to the terms, conditions or participation in this competition shall be resolved by the author and publisher in their absolute discretion.

Deadline: Art will be accepted through December 31, 2010. Please note that the administrators encourage early entries, as another prize category may be added to reflect higher numbers of submissions. Finalists will be notified via e-mail by January 31, 2011. Following this date, fine arts finalists who have not incorporated graphic design into their work (a design including title and author of the book) may be paired with graphic designers in order to present the book covers in their print-ready format for the final round of judging. The administrators may elect to hold a series of gallery events to promote the finalists' work prior to the judging of the winner, with the intent of bringing notice to the finalists as artists deserving of ongoing recognition of their artistic endeavors. The winner of The Icon Prize will be announced no earlier than June 1, 2011 and no later than December 31, 2011. The winning artist will be notified via e-mail.

Submit your art to theiconprize(at)gmail(dot)com.


Continuing in its efforts to develop Philippine Art since its inception in the 1970s, the Sining Kamalig Art Gallery proudly presents ITUM UG PUTI, an exhibition of Contemporary Philippine Abstract Art by Dennis “Sio” Montera, Eghai Roxas, and Javy Villacin. Itum ug Puti shall open on 6PM of September 21, 2010. Itum ug Puti is the Cebuano term for “black and white”, which aptly describes the color scheme being pursued by these artists, all of whom could claim an intimate connection to the Queen Island of the South. For Dennis Montera and Javy Villacin, Cebu is both home and place of work, being professors of fine arts at the University of the Philippines Cebu College. Eghai Roxas, on the other hand, shares a Cebuano affiliation through his family and friends. All veteran Abstractionists who have been fundamentally influenced by the pedagogical and modernist work of National Artist Dean Jose Joya, the three artists have also imbibed a strong sense of aesthetic discipline in Abstraction that is anchored on Asian sensibilities of peace, tranquillity, and nature, while still imbibing the emotional force and modern energy of Western Abstraction. Utilizing the monochromatic palette, the three artists also situate their work within the Asian tradition of calligraphic painting, as well as focusing on their own individual visions of achieving a unique realization of Abstract Art. For Roxas, Abstraction is a means of pulling the distinction between illusion and reality into sharp focus using his trademark shadows on gestural strokes. For Montera, it is the calligraphic rendition of modern life as a tense balance between structure and chaos. Finally, for Villacin, the achievement of personal peace through the exploration of metaphysical energies grounded in Tantric philosophy, and shaped by Vitruvian principles of proportion and balance becomes a statement of humanity reaching for karmic release. Taken together, the three artists of Itum ug Puti showcase the possibilities of Philippine Abstraction as a force to reckon in the contemporary art scene.

Itum ug Puti shall be on view at the Sining Kamalig Art Gallery from September 21 to October 9, 2010. Sining Kamalig Art Gallery is located at the fourth level, Gateway Mall, Araneta Center, Cubao, Quezon City. For more details on the exhibition, kindly contact Mr. Simoun Balboa at Tel. # 401-3457, or email at

Sunday, September 19, 2010



International Art Search is pleased to announce the 2011 annual on line juried competition. $1,500 Best of Show award and a total of $3,250 in cash awards. Art works accepted into the show will be featured on this site throughout 2011.

Artists have the option to display their contact information next their art and offer their works for sale.

Deadline: 12/01/2010

The mission of our organization is to recognize and celebrate artists of excellence.

To have forms mailed, email : and provide address.
FOR ENTRY FORM CLICK HERE There are 2 ways to enter.
1. Complete and print entry form to mail in with disk and payment.
2. Complete form and submit on-line. This process links you to our email and you can attach entry jpegs to the email. Pay on-line using "Pay Now" after submitting entry form on-line.

Saturday, September 18, 2010


Emerging Artists 2011
Entry Deadline November 30

SlowArt Productions presents Emerging Artists 2011, the 19th annual competition for group exhibition, and awards. Open to all artists working in any media this event is devoted to the discovery, introduction and promotion of emerging artists.


ELIGIBILITY AND RESTRICTIONS: The competition is open to all artists, national and international, working in all media. All forms of painting, drawing, sculpture, photography, graphics, digital and installation art, video, etc. are eligible. Entrants must be 18 years of age or older to apply. Wall mounted works must not be taller than 96" no wider than 120". Sculptural work must fit through a standard height, 36"wide entry door.

EXHIBITION AND AWARDS: Winning artists will be featured in a group exhibition at the Limner Gallery, April 1 - 30, 2011. The exhibition will also be displayed on the Limner Gallery web site. There will be a $1000 cash prize awarded to one artist. One artist will be awarded a two page display in Direct Art Volume #18, Fall 2011 issue. Two artists will be awarded a single page display. Direct Art is distributed to bookstores across the USA including Borders and Barnes and Noble. For more information on Direct Art view:

EXHIBITION TERMS: All works in the show must be for sale. The gallery will take a 30 percent commission on all sales. Sale price is determined by the artist.

ENTRY FEES: There is a $35.00 entry fee for one to four artworks entered, presentation is by digital files, prints or 35mm slides. There is a $5.00 fee for each additional artwork above four. Details of 2D artwork count as an additional artwork. Sculptors may provide one additional view per artwork without cost. Artists accepted to exhibit will not be charged additional fees of any kind. Payments may be by check or money order payable to SlowArt Productions, or by credit card using PayPal.

RETURN OF MATERIALS: If entering by postal mail a self addressed stamped envelope (SASE) must be included with sufficient postage for the return of submission materials. Artists outside the US who cannot obtain US stamps may add return postage cost to the entry fee at a rate of $1.20US per ounce of mail. Materials submitted without SASE and return postage will be considered disposable and discarded. To make sure you have adequate postage, view the SASE domestic postage rate page:

NOTIFICATION: Artists will be notified of acceptance or non-acceptance no later than December 31, 2010. Results will be posted on or before this date at: Notification will be made via email and/or by mail with the return of materials in the SASE provided by the artist. Artists who do not include the SASE because they do not want their submission materials returned must provide a self addressed stamped #10 (letter size) envelope if they wish to be notified by mail. All artists who provide a working email address will be notified via email, if no email or return envelope is provided, artists will only be notified if accepted to exhibit. Type or print your email address clearly, if a mistake is made reading it you will not be notified. Read the notification page for details of the notification policy.

PRIVACY POLICY: Artist contact information (address, telephone) is only held for the purpose of contacting selected artists and is not preserved in any database. Entry forms are destroyed and data and image files deleted on the completion of the jury process. All artist emails are added to our future events announcement email list. If you do not wish to be on the email list click the unsubscribe button when you receive the first announcement and your email will be automatically deleted.

DEADLINE: The final postmarked deadline is November 30, 2010. Entries must be postmarked or submitted via email by this date.

Friday, September 17, 2010


Exhibition: Traveling group exhibition curated by Eva McGovern
Title: CUT2010: New Photography from Southeast Asia
Dates: 18 September to 10 October 2010

Participating artists:
1. Agan Harahap (Indonesia)
2. Eiffel Chong (Malaysia)
3. Frankie Callaghan (Philippines)
4. Michael Shaowanasai (USA)
5. Mintio (Singapore)
6. Sara Nuytemans and Arya Pandjalu (Belgium/ Indonesia)
7. Shooshie Sulaiman (Malaysia)
8. Tanapol Kaewpring (Thailand)
9. Wawi Navarroza (Philippines)
10.Wimo Bayang (Indonesia)
11. Zhao Renhui/ The Instittute of Critical Zoologists (Singapore)

Exhibition blurb:
Artists produce alternate visions and (sur)realities that entertain and challenge audience perception. CUT2010 explores these parallel universes through the fictions and tilted perspectives of the photographic lens. The authenticity of photography as a conveyor of truth has been distorted and empowered throughout its evolution from daguerreotype to film and digital. Experimentation within the medium continues to enable artists the opportunities needed to create ambitious technical illusions as well as compose staged tableau and capture uncanny moments from the everyday. Exploring dichotomies such as fairy tale and nightmare, dystopia and utopia, the exhibition reveals grandiose fantasies and skewed realities that entertain our perceptions of what is real and what is imagined.

The exhibition takes as its starting point the notion that photography is a mechanism for imagination, adventure and escape through its technique and subjects. Like theatre and film, it has the potential to immediately animate and provoke our senses, encouraging powerful and complex emotional responses. These new worlds of possibility explore the hopes, dreams, insights and observations of their creators to become amplified spectacles of shock, desire, delight, sadness, humour and enlightenment. With seemingly limitless visual inspiration and ongoing technical advances photography as a medium, constantly pushes the boundaries of visual sensation and understanding.

CUT2010: PARALLEL UNIVERSE, provides numerous entry and exit points into the ideas presented by each artist. In its entirety, these imaginary worlds within worlds, presents personal and public consideration of ongoing questions surrounding the evolution of cultural and gender identity, sub cultures, religion, landscape and the urban environment. Combining elements of nobility and farce, pathos and critique super heroes laugh at body builders, online gamers jeer at religious utopias, architecture becomes a ghostly stage and mysterious scientific expeditions shy away from erotic dolls and unforgettable human characters. These existential obsessions, hallucinations and ambiguities of both photographer and the people and objects on display are revealed for audiences to recognise and question. What seems familiar can at once become alien and disturbing, playful and fantastical. The unfamiliar suddenly resonates with universal truth.

Now in its third instalment, CUT: New Photography from Southeast Asia continues to establish itself as a dedicated platform for photography in Southeast Asia. It aims to contribute fresh thoughts on the status of the medium in the region as well as the aesthetic and academic impetus of the diverse subjects being explored by individual practitioners in photography today.

CUT2010 opens on Saturday, 18 September 2010 at 6pm in Manila Contemporary. Manila Contemporary is located at Whitespace, 2314 Pasong Tamo Extension, Brgy. Magallanes, Makati City. For inquiries about the exhibition, please contact Jacqui at 844 7328 or email to

Thursday, September 16, 2010




Couplings, An International Juried Exhibition
February 3 – February 26, 2011
Deadline: November 1, 2010

In February 2011 Gallery 110 will host an international juried show titled Couplings. As a tie-in to Valentine’s Day, the gallery is calling for artwork that explores personal relationships. In our world of many dualities and increasing isolation the idea of “couplings” has many modern interpretations of love and affection. Gallery 110 invites artists to submit works that celebrate these pairings and the power of the bonds they create.

JUROR: Rock Hushka is Director of Curatorial Administration and Curator of Contemporary and Northwest Art at Tacoma Art Museum. He also serves as an Affiliate Assistant Professor at the University of Washington. Before joining the Tacoma Art Museum, Hushka held positions on the curatorial staff at the Seattle Art Museum and worked in the collections of the Henry Art Gallery at University of Washington. At Tacoma Art Museum, Hushka has curated more than 45 projects including Sparkle Then Fade, The Forty Part Motet by Janet Cardiff, A Reworking of Spem in Alium 1573, by Thomas Tallis, and the nationally touring Lewis and Clark Territory: Contemporary Artists Revisit Place, Race, and Memory. He has completed eleven major exhibition and catalogue projects including The Romantic Vision of Michael Brophy, Where Sky Meets Earth: The Luminous Landscapes of Victoria Adams, and two Northwest Biennials. Under his leadership of the artistic program, Tacoma Art Museum has received major grants from the National Endowment for the Arts for a collection handbook of the Northwest collection and from the Andy Warhol Foundation for the Visual Arts for the forthcoming exhibition Art, AIDS, America.

AWARDS: First and second prize winners will take home $300 and $200 respectively.

ELIGIBILTY: Couplings is an international juried show open to artists over 18 years of age. Art work may be in any two or three dimensional media and must be original works of art by the artist submitting the entry.

CONDITIONS AND RULES: Entries accepted for exhibition must have a professional appearance. Two-dimensional artwork must include a wire and must be ready to hang. Works on paper must be framed and protected under glass or Plexiglas. The finished size cannot be more than 48” in either dimension and image size cannot be less than 8” in either dimension. Artwork cannot weigh more than 30 pounds. Artists may not substitute another work for the accepted work. Entries must be for sale and priced with the intent to sell. A gallery commission of 50% will be deducted from sales. Artists grant permission to Gallery 110 to reproduce accepted artwork for promotional uses in both printed and electronic forms.

NOTIFICATIONS: A list of accepted artists will be posted on our gallery website in early December 2010. Selected artists will be notified by email and telephone. Shipping and delivery instructions will be provided with acceptance notification. Delivery and return charges are the artist’s responsibility.

While care will be taken in handling artwork, neither Gallery 110 nor its representatives will be responsible for damage or loss from any cause.

To download this prospectus click here.

QUESTIONS? Email or call Sarah Dillon, Gallery Director at 206-624-9336, noon-5pm, Wednesday through Friday.

Wednesday, September 15, 2010


The Nude in the 21st Century
February 17 - April 14, 2011

Au Naturel: The Nude in the 21st Century is an international juried competition hosted annually by the Art Center of Clatsop Community College in Astoria, Oregon, with a focus on the time-honored tradition of the nude human figure, an art form that continues to inspire and challenge many artists today as one of the most potentially rewarding subjects to explore. This exhibit represents a wide range of interpretations of the human figure from representational to abstract, and is open to all artists from around the world working in any drawing, painting, and printmaking media in which the handmade mark is employed as the primary means of image-making.

Clatsop Community College Visual Art Center presents our fifth international juried exhibition, Au Naturel.
Submisson deadline: November 7, 2010
Notification of acceptance or non-acceptance will be e-mailed by November 29th, 2010
Accepted work to arrive at Art Center Gallery no later than February 1, 2011

ELIGIBILITY: Au Naturel is open to all artists working in any two dimensional drawing, painting, and printmaking media with a focus on the nude human figure as subject matter in any form from representational to abstract, and in which the handmade mark is employed as the primary means of image-making. Entrants must be 18 years or older. Students are ineligible. Submitted artwork must have been executed in the last three years and available for the duration of the exhibit. Any artwork reproduced by photomechanical processes (including giclée prints) will not be accepted.

For submission requirements, general information and contact information, download the prospectus here. (299K .pdf)

To view artwork from past exhibits please visit

For More information, Contact:
Au Naturel International Juried Exhibition
c/o Kristin Shauck, Visual Arts Center
Clatsop Community College
1653 Jerome Avenue
Astoria, OR 97103
(503) 338-2472

Click Here to download the prospectus for the 2011 show.


Tuesday, September 14, 2010


Americas 2011: Paperworks -- The Northwest Art Center, Minot State University (Minot, ND) seeks entries for an international juried exhibition, January 10 - February 18, 2011 at Hartnett Hall Gallery. Cash and Purchase Awards: five Merit Awards and one Best of Show. Juror: Victoria Goro-Rapoport. Works in any medium, on or of paper, traditional or experimental, including photographs, qualify. All works must be original and not measure over 60 inches in any direction. Work must be ready to exhibit, completed within the last two years, and not previously exhibited in an Americas 2000 exhibition. Two-dimensional work should be framed and protected by clear acrylic glazing. Deadline: November 1, 2010. 2 entries/ $25; Additional Entries: $5 each (5 entries maximum). Download prospectus (PDF format), or send a SASE to: Northwest Art Center, 500 University Ave W, Minot, ND 58707. Questions? Please contact Avis Veikley at or call 701-858-3264.

Cash and Purchase Awards: five Merit Awards and one Best of Show. Best of Show earns a solo exhibition in 2012 and an invitation to the Best of the Best exhibit

Born in Moscow, Russia, Victoria Goro-Rapoport graduated from Moscow Art College with a BFA in set design in 1985. Until her emigration from Russia in 1990, she worked with various puppet and drama theaters as a set designer. From 1990 until 1994, she lived in Jerusalem, Israel, where she was introduced to the technique of etching – her current primary means of artistic expression. In 1998 she earned her MFA in set design from the University of Utah, Salt Lake City. In 2002 she earned an MFA in printmaking from the University of Illinois at Urbana – Champaign. She is currently an Associate Professor of Drawing and Printmaking at the University of Nebraska at Kearney. She is an active studio artist. In the last five years she has participated in over 150 national and international juried exhibitions and has received 49 exhibition awards.

Deadline (postmark) for submitting entries - 11-1-10
Notification of accepted works - 12-15-10
Receipt of accepted works begins - 12-15-10
Deadline for receipt of works - 1-3-11
Exhibition dates - 1-10-11 to 2-18-11
Public reception - 1-19-11
Return shipping - 3-7-11

Works in any medium, on or of paper, traditional or experimental, including photographs, qualify. All works must be original and not measure over 60 inches in any direction. Work must be ready to exhibit, completed within the last two years, and not previously exhibited in an Americas 2000 exhibition. Two-dimensional work should be framed and protected by clear acrylic glazing.

Completed entry form
Electronic images on CD
Entry fee with check payable to Northwest Art Center
SASE for acceptance notification

Telephone: 701-858-3264 or 800 -777-0750 (ex.3264)


Shanghai Art Fair 2010 (14th), as Aisa’s celebrated art exchange with long history and high internationalization degree, will be grandly held from Sept.8-12 at ShanghaiMART, continuing the scale as before, presenting domestic and overseas collectors a gorgeous art event in Shanghai as well.

Shanghai Art Fair, established in 1997, has been successfully held under the support of S Saulterretimized art event, which not only bridged the gap between worldwide and Shanghai, public and art, but also shaped a paradigm for the domestic art fairs.

More than 1,000 art galleries, organizations, agencies from over 50 countries and areas participated in this lively art exchange during the past dozen years. Many original artworks from the world-class masters, such as Picasso, Rembrandt, Chagall, Dali, Renoir, Monet, Zhu Dequn, Qi Baishi, Xu Beihong, Zhang Daqian, made the debut in China or Asia through the great stage established by Shanghai Art Fair. Meanwhile, Shanghai art Fair creates a proud history of the transaction:

SAF 2000: The most spectacular one is Rodin"s sculpture called, The Thinker, brought by Sayegh Gallery (France), which was purchased at the price of $1,000,000 by Pudong Lianyang Land Development Company and set in Shanghai forever. This has been the biggest overseas transaction in Shanghai Art Fair.

SAF 2002: Another sculpture, called Cesar"s Thumb, was collected at the price of 2,600,000 RMB by Shanghai Zendai Group.
SAF 2003: One of Zhang Daqian"s paintings was sold at 5,500,000 RMB, which became the highlight of the fair.
SAF 2007: Saulterre’s “Series of Angel” was collected by Jing’an Sculpture Park at a high price… Peter Denger, the famous curator of Basel Art Fair which is called Olympic in art, once gave Shanghai Art Fair a high rating "It"s a great international art fair with bright future".

It is believed that Shanghai Art Fair will continue leading Asian art market under the support of art lovers and collectors.

Monday, September 13, 2010


View Theses On Philosophy exhibition opening photographs


Now accepting entries for our Online Exhibition!

Sakuraba Gallery will be hosting an online competition to recognize the best artists inside and outside of Japan. Finalists benefit from world-wide exposure in our online exhibition and have the opportunity to win cash awards.

All entries must be received by October 25th, 2010. 12:01pm JST.

Submission Guidelines:
Artists must submit a completed entry form and pay a non-refundable entry fee of $20 US dollars (via Paypal or Google Checkout) to submit 3 works of art.

-The competition is open to artists 18 years of age or older world-wide.
-Publishers, galleries, agents, and collectors may not submit artwork on behalf of artists.
-All works submitted must be original in design and concept. Artwork must not be copied, in part or wholly, from any published or copyrighted work. Artwork based upon a copy-written work for the sake of parody or critic is acceptable on a case by case basis.
-Eligible media: Drawings, paintings, printmaking, photography, digital art, sculpture, installations, ceramics, fiber art, wearable art, jewelry, and mixed media.
-Media not accepted: Video/film and live performance pieces.

Exemplary works will be displayed in an online exhibition beginning November 1st.
Cash awards will be distributed as follows:
First Place - $1,000
Second Place - $750
Third Place - $500
Merit Award - $350

-Artists will be notified by October 30th as to whether or not they have been selected for the exhibition.
-Award winners will be announced to the public on November 1st.
-Each artist will been able to chose the contact information that they want to share with potently buyers.
-Works are NOT required to be for sale.

We reserve the right to use accepted images for inclusion in the online exhibition and for the purpose of publicity.

Checklist for Artists:
-Submit the entry form online, and pay the $20 entry fee (via Paypal or Google Checkout) below.
-Email artwork images to
-Image size, format and resolution:
-Images should have a width of 900 pixels in .jpg format and in RGB color mode (not CMYK).
-Do not add borders, watermarks, or text of any kind. The resolution should not be greater than 300 dpi.
-File size limitation: The file size for each image is limited to 1 MB (or 1000KB).
-File names are limited to 15 characters and cannot have spaces, punctuation marks, or non-English characters.


KIAF, Asia’s leading art fair

Launched in 2002 by Galleries Association of Korea, KIAF has grown into Asia’s leading art fair by offering a wide variety of subsidiary programs, going beyond its function as a trade venue for art. This year’s KIAF will see participation by 193 galleries from 16 countries, including Korea. It will be Asia’s largest art festival, showcasing around 5,000 high-quality works of art. The participating galleries will feature a wide range of works, ranging from those created by rising artists who are active all across the globe to the works of world-renowned artists. They will thus attempt to promote the art market and expand the foundation of art.

The UK, a country that is performing leading roles in contemporary art, was chosen as the guest country for KIAF2010. Galleries from the UK and the planned academic program will enable visitors to understand the present of British art and identify its future direction of development. In addition, KIAF seeks to considerably strengthen measures to support promising new artists through its Artist Support Program, which is offered for the development of the art industry and the future of the art market, in addition to performing basic functions as an art fair. It thus seeks to propose new trends in art.

The wide variety of programs KIAF provides, such as the Docent Program and KIDS in KIAF, will allow the audience to take a step closer to modern art. Above all, a special media art exhibition will be held to give more diversity to the event, whose exhibited works will mainly be paintings. The exhibition will further expand the roles of the art fair by showcasing the works of PAIK Nam Jun as well as Korean media artists who are distinguishing themselves in the field of media art by effectively leveraging Korea’s image as an IT power.

This year will mark KIAF’s advancement from Asia’s leading art fair to a global art fair as an arena for learning and an art festival. In 2008, KIAF witnessed participation by 218 galleries from 20 countries and an audience of more than 60,000, thus fully establishing itself as Asia’s largest art fair. In 2009, the number of visitors reached around 56,000 despite the economic downturn. In stark contrast to overseas art fairs that had a poor record, KIAF saw its artwork sales stand at KRW 13.6 billion, and thus received favorable reviews as Asia’s leading art fair. Against the backdrop of the steady recovery of the global economy, there are unprecedentedly high expectations towards KIAF2010. To satisfy such expectations, KIAF will provide an opportunity to take a detailed look at the present art market and to consider the desirable future direction of the art industry. It will also offer a variety of connected programs to demonstrate the great potentials of the Korean art market as a leading art event in Korea. KIAF is going further by strengthening PR and VIP programs through cooperation with other art fairs. It is cooperating with Art Taipei and other art fairs to engage in joint PR activities and to invite VIPs of other art fairs. KIAF2010 will faithfully perform its roles as a ‘sample market’ that shows the art market of today and predicts the market of tomorrow, and also serve as Asia’s leading multifunctional cultural event that focuses on art.

Sunday, September 12, 2010


Projekt30's November 2010 Exhibition:

Projekt30 is taking submissions for our exhibition opening November 1, 2010. Apply now, don't let your career fall behind.

This exhibition will follow the "publicly juried" format we pioneered in 2003. All artwork submitted will be presented online 21 days prior to the exhibition so that visitors of Projekt30 select which artists will be included in the exhibition. Visitors have the option of contacting any participating artist with feedback or opportunities. Unlike other juried exhibitions, all participants receive some exposure.

On November 1st, thirty artists are selected and invitations are sent to over potent and refined mailinglist of galleries, curators, dealers, patrons, etc.

The deadline for submission is October 1, 2010.

Projekt30 is an artist run arts organization dedicated to promoting emerging artists. We expose your work to "brick and mortar" galleries, curators, dealers, art lovers, etc --that you would not have known existed otherwise.

We conduct juried exhibitions for which we maintain an extensive mailing list of galleries, curators, artists, dealers, etc --all over the world. We send out two invitations, one to jury and one to view the jury's results. Your artwork is seen by thousands.

Apply by becoming a member, making an online submission, or by mail.
By mail we accept any media of reproduction: slides, digital files, photographs, etc. Do not send originals. Media will be returned if a self-addressed stamped envelope (SASE) is included. For more information go to apply by mail.

October 1, 2010
All entries must be mailed by the 1st, or received online on or before that date to be considered. In the case of a failed upload, you will be contacted to resubmit via email, regardless of the deadline.

$40 for 10 images submitted online. $35 for 5 images submitted via mail, plus $5 for each additional image. Members can submit up to 10 images for free.
No commission on sales.

This exhibition is publicly juried October 7th-28th. Visitors to the site submit numerical ratings for each artist and can contact any participating artist via email. At the end of the jurying period, the data is turned over to our in-house jurors who make the final selections. All decisions by our jurors are final, they are not obliged to strictly adhere to the public selections. We use different jurors each exhibition, no two Projekt30 exhibitions are the same. Every artist has an equal opportunity regardless of past exhibitions.

We currently cannot support video or sound based media.
All artists must be 18 or older.


Friday, September 10, 2010


by Carlos P. Romulo

I am a Filipino – inheritor of a glorious past, hostage to the uncertain future. As such, I must prove equal to a two-fold task – the task of meeting my responsibility to the past, and the task of performing my obligation to the future.

I am sprung from a hardy race – child many generations removed of ancient Malayan pioneers. Across the centuries, the memory comes rushing back to me: of brown-skinned men putting out to sea in ships that were as frail as their hearts were stout. Over the sea I see them come, borne upon the billowing wave and the whistling wind, carried upon the mighty swell of hope – hope in the free abundance of the new land that was to be their home and their children’s forever.

This is the land they sought and found. Every inch of shore that their eyes first set upon, every hill and mountain that beckoned to them with a green and purple invitation, every mile of rolling plain that their view encompassed, every river and lake that promised a plentiful living and the fruitfulness of commerce, is a hollowed spot to me.

By the strength of their hearts and hands, by every right of law, human and divine, this land and all the appurtenances thereof – the black and fertile soil, the seas and lakes and rivers teeming with fish, the forests with their inexhaustible wealth in wild and timber, the mountains with their bowels swollen with minerals – the whole of this rich and happy land has been for centuries without number, the land of my fathers. This land I received in trust from them, and in trust will pass it to my children, and so on until the world is no more.

I am a Filipino. In my blood runs the immortal seed of heroes – seed that flowered down the centuries in deeds of courage and defiance. In my veins yet pulses the same hot blood that sent Lapulapu to battle against the alien foe, that drove Diego Silang and Dagohoy into rebellion against the foreign oppressor,

That seed is immortal. It is the self-same seed that flowered in the heart of Jose Rizal that morning in Bagumbayan when a volley of shots put an end to all that was mortal of him and made his spirit deathless forever; the same that flowered in the hearts of Bonifacio in Balintawak, of Gregorio del Pilar at Tirad Pass, of Antonio Luna at Calumpit, that bloomed in flowers of frustration in the sad heart of Emilio Aguinaldo at Palanan, and yet burst forth royally again in the proud heart of Manuel L. Quezon when he stood at last on the threshold of ancient Malacanang Palace, in the symbolic act of possession and racial vindication.

The seed I bear within me is an immortal seed. It is the mark of my manhood, the symbol of my dignity as a human being. Like the seeds that were once buried in the tomb of Tutankhamen many thousands of years ago, it shall grow and flower and bear fruit again. It is the insigne of my race, and my generation is but a stage in the unending search of my people for freedom and happiness.

I am a Filipino, child of the marriage of the East and the West. The East, with its languor and mysticism, its passivity and endurance, was my mother, and my sire was the West that came thundering across the seas with the Cross and Sword and the Machine. I am of the East, an eager participant in its struggles for liberation from the imperialist yoke. But I know also that the East must awake from its centuried sleep, shake off the lethargy that has bound its limbs, and start moving where destiny awaits.

For I, too, am of the West, and the vigorous peoples of the West have destroyed forever the peace and quiet that once were ours. I can no longer live, a being apart from those whose world now trembles to the roar of bomb and cannon shot. For no man and no nation is an island, but a part of the main, and there is no longer any East and West – only individuals and nations making those momentous choices that are the hinges upon which history revolves.

At the vanguard of progress in this part of the world I stand – a forlorn figure in the eyes of some, but not one defeated and lost. For through the thick, interlacing branches of habit and custom above me I have seen the light of the sun, and I know that it is good. I have seen the light of justice and equality and freedom, my heart has been lifted by the vision of democracy, and I shall not rest until my land and my people shall have been blessed by these, beyond the power of any man or nation to subvert or destroy.

I am a Filipino, and this is my inheritance. What pledge shall I give that I may prove worthy of my inheritance? I shall give the pledge that has come ringing down the corridors of the centuries, and its hall be compounded of the joyous cries of my Malayan forebears when they first saw the contours of this land loom before their eyes, of the battle cries that have resounded in every field of combat from Mactan to Tirad Pass, of the voices of my people when they sing:

Land of the morning.
Child of the sun returning . . .
Ne’er shall invaders
Trample thy sacred shore.

Out of the lush green of these seven thousand isles, out of the heart-strings of sixteen million people all vibrating to one song, I shall weave the mighty fabric of my pledge. Out of the songs of the farmers at sunrise when they go to labor in the fields; out the sweat of the hard-bitten pioneers in Mal-ig and Koronadal; out of the silent endurance of stevedores at the piers and the ominous grumbling of peasants in Pampanga; out of the first cries of babies newly born and the lullabies that mothers sing; out of crashing of gears and the whine of turbines in the factories; out of the crunch of ploughs upturning the earth; out of the limitless patience of teachers in the classrooms and doctors in the clinics; out of the tramp of soldiers marching, I shall make the pattern of my pledge:

I am a Filipino born of freedom, and I shall not rest until freedom shall have been added unto my inheritance – for myself and my children’s – forever.

Carlos Peña Romulo (b. 14 January 1899, Camiling, Tarlac, Philippines - d. 15 December 1985, Manila, Philippines) was a Filipino diplomat, politician, soldier, journalist and author. He was a reporter at 16, a newspaper editor by the age of 20, and a publisher at 32. He is the co-founder of the Boy Scouts of the Philippines.

He was a general in the Philippine army, who together with General Douglas McArthur landed on the shore of Leyte to liberate the Philippines from the Japanese occupation.

He was the signatory for the Philippines to the United Nations Charter when it was founded in 1946. He was a candidate for the position of United Nations Secretary-General in 1953.

He died, at 86, in Manila on 15th of December 1985 and was buried the Heroes’ Cemetery (Libingan ng mga Bayani).

He was honored as the Philippines’ greatest diplomat in the 20th Century. [citation needed] In 1980, he was extolled by United Nations Secretary-General Kurt Waldheim as "Mr. United Nations" for his valuable services to the United Nations and his dedication to freedom and world peace.

The United Nations was established in 1945 (just after World War II), and it had A FILIPINO U.N. Assembly President in 1949.


Theses on Philosophy

In 1845, Karl Marx wrote a little-known philosophical treatise of eleven theses which was a landmark turning point in his life, if not in the world, and this was entitled “Theses on Feuerbach”. It was here that he laid down his most important philosophical thought or rather his most revolutionary praxis: “Heretofore philosophers merely interpreted the world in various ways; the point however is to change it!”

Comes now this art exhibit of Sigwada Gallery that is entitled “Theses on Philosophy” . Twenty-five young artists have come forward to express a particular thought: “Philosophy begets art; Art begets philosophy”.

At its inception, the concept was to draw inspiration from philosophers’ thoughts. But philosophy here does not mean an abstract, esoteric, abstruse mere mental exercise, it is to be a deeply personal reflection on issues and concerns that matter, and those are: on life, on freedom, on man’s existence and purpose, on morality, on mortality.

The resultant artworks are truly life challenging. Witness the titles and themes: life...death…fate…beliefs...self identity…knowing…displeasure…the world…freedom…faith. Likewise philosophers chosen were Socrates, Sigmund Freud, Karl Marx, Martin Heidegger, Confucius, Karl Jung, Friedrich Nietzsche. Truly the exhibit accomplished the original objectives aligned with Martin Heidegger’s dictum that “Art should first and foremost be concerned with truth”.

The exhibit’s art statement could or could not be similar to Marx’s landmark theses which were iconoclastic and revolutionary. Who knows, it could be a seminal move which would launch a unique approach to artmaking, one which would certainly uplift both artists and appreciators. Both artists, appreciators and patrons should consider artworks primarily not just as material collections or décor but as images and artifacts that will lead them to become more whole, more complete, more authentic persons, stewards of the earth, and children of God.


The Art Interview - 22nd International Online Artist Competition is a quarterly, international, juried exhibition of paintings, drawings and sculptures in any medium. It is open to all living artists worldwide aged 16 and up. Participation in the Art Interview Biennale Exhibition and a total of € 17,000 in cash may be awarded each quarter to all winners. First place winners receive up to € 10,000 plus a featured interview in Art Interview Online Magazine.

The competition is run completely over the Internet, which eliminates the need for you to send slides or arrange for physical transportation of your artworks. Gain international recognition for your artwork and be interviewed along with the world's top artists, curators and gallery owners in Art Interview Online Magazine.

Wednesday, September 8, 2010


TUP Fine Arts Students, Faculty and Alumni
9-30 September, 2010
NCCA Gallery
633 NCCA Building, 633 Gen. Luna St. Intramuros, Manila

TUP students express freedom and expression

The influx of anything hybrid signaled how man enjoys—and uses—his freedom. Some people use it wisely, while some abuse it. In the arts, the fusion of different media not only means dissing mediocrity but also the ultimate expression of freedom.

Hy+Bread, an exhibit by selected students of Technological University of the Philippines College of Fine Arts which opens on 9 September at the NCCA Gallery, is a showcase of freedom and expression. Ferdinand Doctolero, the exhibit curator said that “Hybrid is the free will to create new opportunities to articulate ideas and concepts which also opens challenges, choices, and decisions for the artists.”

He further added that hybrid may also mean the blurring of what is traditional and modern. Indeed, Hy+Bread reveals the fusion of old and new media. New media in this sense is what drives most of society today which is technology.

From among the many artworks presented, “XD” by Benjamin Verdadero strongly articulates the meaning of Hy+Bread albeit figuratively. “XD” is an emoticon or cyber lingo which expresses laughter or “LOL (laughing out loud)” that is widely used in the Internet. Verdadero, a second-year Advertising major, explained that his work reflects the highest level of happiness. The head designed sideways is drawn atop a cartoon body (for satiric effect) but the ultimate expression of happiness is signified by the background which is a product of different colors. In effect, the background has come to life of its own through the strokes of his brush.

Hy+Bread will see the works of fine arts students of TUP from all levels. Aside from multimedia, there will also be painting, photographs, and live doodling during the opening at the NCCA lobby.

Hy+Bread by TUP Fine Arts Students together with faculty and Alumnae, is on view from 9-30 September 2010, the shows Curator is Ferdinand Doctolero who is also a faculty member of TUP Fine Arts. NCCA Gallery located at 633 Gen. Luna St. Intramuros Manila (back of San Agustin Church), Gallery Hours is Monday-Friday, 9 AM-5PM. For inquiries please contact Ethel Buluran or Mimi Santos at (632) 527-2192 or email or visit


Pumapapel: Art in Paper
July 13 – November 6, 2010

The Yuchengco Museum’s newest exhibit, Pumapapel: Art in Paper, showcases the beauty and versatility of paper as an artistic medium. On view from July 13 to November 6, Pumapapel also explores paper in a range of art forms.

Amid a society of the Internet, texting, and Photoshop, Pumapapel pays tribute to everyday paper, elevated and transformed. Pumapapel features the work of seven artists, artisans, and designers who use paper not merely as a surface on which their art is conveyed. These artists push the boundaries of this common material, looking at it as a source of inspiration and a medium in its own right.

Other highlights of Pumapapel include “Paper Play,” a special alcove where visitors can tap into their inner artist and create their own paper art; “Paper Dolls,” a collection of paper couture especially created by students from the School of Fashion and the Arts (SoFA); and “Paper Days,” a display of limited edition calendars fashioned from a wide array of handmade papers.

To complement the exhibit, the museum will offer a series of public programs such as workshops, talk, and family art activities. Topics include paper crafts for people of all ages, handmade papermaking, and international design trends in paper.

Pumapapel: Art in Paper will be on view through November 6 at the Yuchengco Museum. The museum is located at RCBC Plaza, at the corner of Ayala and Sen. Gil Puyat Avenues, Makati City. Museum hours are from Monday to Saturday, from 10 a.m. to 6 p.m. For more information, call 889-1234 or visit

Tuesday, September 7, 2010


The Philippine International Arts Festival (PIAF) is set to wow the country yet again as it unveils “Ani ng Sining” on February 2011 in celebration of the National Arts Month. Now on its 20th year, the country’s biggest arts festival will gather thousands of artists all over the country to further promote the Filipino culture in the seven arts.

Preparations are already under way for the country’s biggest art festival with four grand openings slated to take place in the National Capital Region, Luzon, Visayas and Mindanao. Elaborate performances and exhibitions will be staged for the said openings in celebration of the Filipino arts.

With lectures, conferences, exhibitions and performances slated to tour nationwide, the PIAF is promising a meaningful and fruitful celebration on the month of hearts in the hopes of instilling the richness of Philippine tradition to our countrymen as well as to tap undiscovered talents. Joining the roster of local artists are international delegates invited to grace the festive celebration to forge deeper understanding and stronger cultural relationships through collaborative performances and outreach projects in different parts of the country.

The Committee on Architecture and Allied Arts will be staging multi-venue lectures and exhibits for the “archi[types/text] 2011” which will be highlighted by the environmentally-related Sand Constructions in Boracay. Also, exhibits that will tackle the morphology of Filipino Buildings, the Colonial Urbanism and Architecture during the American Period, fashion and architecture, architectural postcards and cinema houses will be staged. Architect Gerard Lico, Ph.D. vice head of the committee leads the nationwide exhibition tours and seminars. Respected architects from Southeast Asia will be joining the roster of local architects to tackle Sustainable Tropical Architecture.

The National Committee on Dance, led by Shirley Halili-Cruz, will be presenting Sayaw Pinoy as its contribution to the National Arts Month celebration. This has been part of the PIAF for the past eight years and the Sayaw Pinoy 2011 will be touring 21 key areas nationwide, with featured performances from Cambodia, Thailand, Brunei and Vietnam.

“Tanghal: 5th University Theater Festival” will be gathering university-based theaters and student artists nationwide. Undertaken by the National Committee on Dramatic Arts, led by Dr. Glecy Atienza with Ma. Lourdes Josefa Lopez, Tanghal will be having its opening at the University of St. La Salle, Colegio San Agustin and West Negros University in Bacolod. An added feature of this year’s celebration will be the Monodrama Festival with delegates from Lithuania, Japan, and Fujaira of UAE joining in. Also, a Cambodian Circus was invited to further hype up the theater flagship project.

Envisioned to gather 80 national and international writers, the Taboan Philippines International Writers Festival 2011 will be moving to Davao City, following its successful run in Cebu earlier this year. The best writers of the country will compose the national delegation while award-winning foreign writers from Hong Kong, Australia and Singapore will be joining the international delegation. Accordingly, the Taboan components will include panel discussions, lectures, outreach and school visitation programs, book fair, literary readings and performances and the Taboan Awards. The Taboan 2011 is undertaken by the Committee on Literary Arts headed by Arts Sub-Commissioner and PIAF Festival Director Ricardo de Ungria.

The Committee on Music, led by musician Joey Ayala, will be staging Organik Muzik 3 in Manila, Davao, Puerto Princesa and Cebu with the special participation of musicians from Vietnam and Indonesia. Organik Muzik 3 is aimed at “bringing a variety of cultural influences that are not readily accessible through the mass media to a broader and younger society” and will be featuring concert tours and workshops for local artists, students and educators.

With NAM 2010’s success following closely behind, this year’s CinemaRehiyon 3 of the Committee on Cinema will again be restaged with more regional films tapped to join the event. In addition, award-winning filmmakers from Indonesia are set to join the roster of the young and talented Filipino filmmakers in this CinemaRehiyon 3.

For the Committee on Visual Arts led by Egai Fernandez, Boracay remains to be a strategic location for the Philippine International Visual Arts Festival (PIVAF) with its successful launch for the past NAM celebration. The PIVAF11 will be expanding the NAM celebration by adding in more satellite venues, namely Isabela and Angono in Luzon, Cebu in Visayas and Davao in Mindanao. This year’s visual arts festival will be focusing on the traditional Philippine tattoo art practices, methods and designs with lectures on specialized topics such as the elaborate Pintados etchings, the delicate patterns of the Bontoc Igorot and the Kalinga and Ifugao people and the unique designs of the T’bolis in Mindanao. Guest artists from Indonesia, Singapore, Japan and Thailand will be participating in the PIVAF 2011.

The National Arts Month is annually celebrated as per Presidential Proclamation 683 in 1991 declaring February as the National Arts Month. Accordingly, it is known as “a time for nationalism and pride in being a Filipino” through carefully planned events for the preservation and enrichment of the Filipino expression in the seven arts.

Monday, September 6, 2010




View Sanso Extraordinaire Exhibition Opening Photographs


Images of Manila - Then (1946) and Now (2010)
Talk by Carlos Celdran
With an introduction to Teodulo Protomartir by Uro de la Cruz
September 8, 2010, Wednesday, 6:30pm

Little known to the general public, Teodulo Protomartir is considered as the Father of Philippine photography, and credited with bringing the 35 mm format to the country. He captured Manila in ruins from the Second World War, its battle wounds, and its restoration. He caught post-war Manila with Filipinos going about their daily business in familiar places like Intramuros, Luneta, Ermita and Quiapo. He took shots as well of buildings and bridges that are no more.

Protomartir was there in 1946 when the Americans gave the Philippines its independence. On July 4, he witnessed the birth of the Philippine Republic: for the first time the Philippine flag flew proudly alone. Filipino crowds cheered, planes flew overhead, floats passed in parade. Protomartir caught it all on still camera. Beyond their importance as historical evidence, Protomartir's images are cultural treasures that are part and parcel of the Filipino's identity and collective memory.

TV director and photographer Uro de la Cruz will give an introduction to Teodulo Protomartir and tell the interesting story of how he serendipitously came across his photographs. And in his inimitable way, Carlos Celdran, celebrated tour guide and authority on Manila's history, will bridge the decades with a talk illustrated with pictures of the places Protomartir photographed in 1946 as they are today in 2010.

For inquiries and reservations, please call Elvie at 4042685 or 0928-5039392.

Sunday, September 5, 2010


The UNESCO-Aschberg Bursaries for Artists promote the mobility of young artists in order to enrich their personal perspectives, to enable them to engage in an intercultural dialogue and expose them to cultural diversity.

The Programme offers residencies to young artists (between 25 and 35 years old) worldwide.

It shares many objectives of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005), which advocates cultural exchanges and highlights creativity and the need for artists to enrich their experience through contact with other cultures.

These residencies are catalysts for the development of artistic expression in all cultures of the world.

The call for applications for the 2011 UNESCO-Aschberg Bursaries is now open.

You can review the bursaries either by region or artistic discipline.








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