Galleria Duemila: Temporal Dislocation
Sep
7
to Oct 31

Galleria Duemila: Temporal Dislocation

Temporal Dislocation
Trek Valdizno
Curated by Sandra Palomar

The process is as easy as a flight of a bird.

The bird starts with a thrust and lifts itself. The process of Trek takes flight from a neutral state of calmness and slow rhythm enough to ride in the phantasmagoria of anima, or spirit. The anima allows him a proneness to flow. Like the stream, the characters to Trek’s paintings gushes out. He speaks of it as in an altered state, allowing him to traverse into a narrative of the real and unrealistic world where his imagination is the most active, recalling into mind 'childhood fantasies, snippets of daily life, space travel, getting lost in the wilderness and landscapes'

The bird flaps its wings and soars. Like the proverbial wind beneath the wings, the artist is deeply inspired by the mystic William Blake in which his yearning for the unknown that is outside the realm of the human mind validates itself through an occurrence of believers all throughout the fields of literature, music and history. The spiritual experience in the process of painting of Trek was heavily influenced by the allegorical artist Caspar David Friedrich having gained a wide popularity in a landscape composition called the Tetschen Altar, containing within itself a myriad of symbolisms in faith and hope. The existence of this work is a significant magnifier to the process of Trek Valdizno as if he is putting his faith onto the canvas, speaking of the act of painting as his holiest state.

The flight maintains its course. He starts with the background colors, mixes paint like in the chore of cooking, using a spatula with both hands to scoop paint from the canvas itself, mixes, divides, then spreads achieving a cut-out effect due to an abundance of techniques layered unto each other including marbling, conjoining, colliding, coiling, coagulating, scraping and skidding. An involuntary sleight of hand allows him to paint enchantment on canvas. The paintings declaring themselves as manifestations of the magnanimity of nature which the artist wholly surrenders to. His choice of background are earth-tones, subdued colors that beset the playground on which he paints his forms.

The artist's visual vocabulary is a result of an influx of information, averting materialism and returning back to natural forms, looking into the landscapes as his most default surrounding. Heavyset abstract images of birds pervade his oeuvre. The works Top KnotThe QuilAltitude and Pinion are composed of thin, trickling, brush strokes that mimic the beak of the birds swooping unto the ocean, leaving a trail of circular waters in its wake. The upward motion of the brushstrokes in Starling present a height of regality. The minimal characteristic in nature is seen in the painting of Crest and Plumage. Both are made up of two strokes depicting a stem-like element seemingly budding in no time. The swaying of the branches of the strokes in Odille represent gentleness and formidability, the epitome of belief in nature in Trek's paintings.

In the right direction. Abstraction is non-objective. There are no exact images and there are no figures in sight. Trek's paintings give exactly that but with each stroke, he manages to compose forms of the flora and fauna as he experiences the act of painting. The artist believes that there are 'probably no precise meanings only precise experiences'. It is imperative that we call into mind Buddhism as the artist's inspiration to make sense of his conclusion. There is a famous Buddhist saying that everyone appears as buddhas in the eyes of the Buddha and everyone appears as pigs in the eyes of a pig. It suggests that the world is experienced according to the state of one's mind.

Trek's abstraction is a reflection of his personal awakening, of what he believes is his greatest form of meditation, of being one with the universe and grounding himself first in nature.

Landing. The birds flutter in from one place to another. The images are fleeting moments of nature caught in time just as it is the same with artist's process of painting where his ideas are just momentary, often altered or evolved into its final form.

The anima disrupts the monotony of life. It soars, for a little while. It lands, in a new location.

- by Johanna Labitoria

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West Gallery: Fractured Perfection / Submerged Narratives / Small Doses of Palatable Posion
Sep
26
to Oct 26

West Gallery: Fractured Perfection / Submerged Narratives / Small Doses of Palatable Posion

Fractured Perfection
Manok & Olan Ventura

The myriad ways in which the Internet and digital technology affect our visual experience and encounter of images, their circulation and reproduction, have captured the interest of brothers Manok and Olan Ventura—inspiring their respective creative processes and shaping their recent body of works. Proceeding from these initial artistic explorations, the two artists come up with a new series of works to continuously engage with visual phenomena engendered by digital media, in the process opening up the image to more frames of looking while at the same time allowing themselves to immerse deeply into technique and expression of personal vision.

All pieces are derived from the canons of the Renaissance and Baroque, a fitting art historical reference with the periods’ significance as turning points in groundbreaking perceptions and ideas of representing space in art, among other key developments. We see mostly humanized depictions of Biblical scenes and subjects typical of the eras, but reworked in contrasting fashions. Manok appropriates them not in totality but in segments of interest, cropping sections of the compositions conceived by the old masters. Lifted from their original contexts, these parts transform into new configurations. He further intervenes by diluting the paintings’ linear sharpness and clarity of details, partially obscuring the figures’ visibility. The images now appear translucent or hazy, requiring a more intent gaze from the viewer to make sense. Like in its earlier iteration from a solo exhibition he mounted last year, the blurry register recreates the effect of sluggish transmission of data in the virtual world. But here the artist also intimates how he now encounters art mainly through the Internet, a personal experience that resonates with today’s social world becoming increasingly virtual—at once connecting and isolating. Such contradiction extends to other oppositions the works touch upon. In a time when society is fixated with simulating reality, the quality of which rests on resolutions and pixels, the artist omits details that give lifelike appearance to images, turning his eyes instead on fleeting impressions of larger forms. Yet, what conceals the very image is in fact investment with minute details—the painstaking brushstrokes that produce a highly textured surface upon close inspection.

The works of Olan, on the other hand, appear more faithful to their sources, maintaining linear sharpness and most of the figurative representations. He stirs tension and disturbs the iconic paintings by deconstructing their planes with segments that repeat, misalign, or overlap, and altering their colors. The impetus comes from an earlier fascination with errors in colored printing and glitches in the functioning of screens and monitors. What comes out is a different sense of movement and dynamism from the one captured in the original paintings. It is as if the scenes are being viewed from a flickering gadget or device, the image file has been corrupted, the computer is under virus attack, the printer is running out of ink—the list goes on. Apart from being anomalies in the reproduction of images, whether in printed or electronic format, the once figurative compositions seemingly lapsing into a state of disarray and abstracted rendering may well reveal Olan’s alternative take on digitization. Instead of subtly fading impressions, he reveals a more frenzied vision where images in constant flux run amuck in his consciousness. In contrast with the slow-paced transmission of data in the virtual world, he explores its opposite: the dizzying speed and frenetic crowding of visual information characteristic of the present time.

These two seemingly divergent yet interrelated imagery showcased in the exhibitions offer just a few among the infinite possibilities in which current technology transforms our perceptions. Just as the old masterpieces referenced by the artists defined artistic standards of the past by proposing novel ways of looking, these works are now cracked open—their perfection fractured to allow new ideas to emerge out of the crevices.

— Ruel Caasi


Submerged Narratives
Keiye Miranda

Throughout her decades-long artistic practice, Keiye Miranda has often used water as a motif in her work, often utilising it as a means to obscure and distort the familiar. The halved lives in her realist work, where half of the subject inhabits life above water, while the other half lives below, signals the different ways we can see the same thing. In Submerged Narratives, she returns to water; here, in recognition of the fluidity of memory, delivering the visible representations of her own narratives to the viewers, a consciousness of what story she wants to tell.

In the particulars of what is represented in Submerged Narratives, these images demonstrate the close relation water with people, in both our anatomical constitution as well as the world that we inhabit. Both the human body and the Earth are largely comprised of water, proof that it holds a particular importance in how we move and what we move around.

Still, the consciousness of telling these stories — of people submerged in an artificial body of water, that is, the swimming pool — Miranda resituates these narratives in a controlled environment, choosing to capture a moment and to spend time with this fragment of some story she wishes to share. Each painting obscures the identity of the subject and ultimately tells of a moment captured, still lives in motion.

Miranda’s work makes permanent that which is meant to be fleeting: ruminations on one forgettable instant, moments made precious by the amount of time one chooses to spend with them. These paintings are monuments to the artist’s interior life, created for meditation and in reverence. In these moments, Miranda bears witness to our relationship with water, and the moments in which we become the people we are.

­— Carina Santos


Small Doses of Palatable Poison
Efren Madlangsakay

In his pioneering research on sugar, anthropologist Sidney Mintz marveled at the ways in which an intensifying European appetite for sweetness coincided with the continent’s imperialist incursions. Regarded in earlier times as medicine, sugar’s increased supply in the 15th century led to its more modern-day role as sweetener and, in an ironic inversion of its once lauded health benefits, as addictive and detrimental substance. Today it exists in almost every street corner, consumed in copious amounts, and applied to a dizzying array of edible things.

Efren Madlangsakay paints variations of this modern-day addiction in white, refined granule, as ice-cold, fizzy drink, caramelized popcorn or soft, gummy bears. These are interspersed with cross-sections and close-ups of body parts, of the very organs used to consume and partake of these food items. Yet some aspects seem amiss. The ice float ominously in inky waters, the bears are of a blood red cheer, and the eyes are glaring or fearful. Akin to most modern fairytales, Madlangsakay’s childlike forms and pop culture references insinuate a subtext of darkness, an underlying nerve of violence. Peril lurking within a house of candy. Similarly, the titles of the works are the stuff from which marketing one-liners are made of: just a pop, just a spoonful, just a morseful of remorse. Catchy phrases that connote both cavalier disregard and uncontrollable craving. The garish sheen of consumerism coupled with its seedy underbelly.

Madlangsakay references sugar, but indeed, this is beyond the sweet powder or the sticky juice of the sugar cane. Strung together, the images and titles imply a questioning of the moral narratives engendered by and entangled in the consumption of substances. It begs further scrutiny of the concentrations of power and violence, of the barbarities and mottled histories, in which they are ingrained. What sweet, sickly medicine are we being asked to partake? And how much to mask the bitter aftertaste of slaughter?

— JC Rosette

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Vinyl on Vinyl: The Violent Delights / Laway sa Unan / Familiar Landscapes / My Idle Mind
Oct
5
to Oct 31

Vinyl on Vinyl: The Violent Delights / Laway sa Unan / Familiar Landscapes / My Idle Mind

These Violent Delights
Iyan de Jesus

‘These Violent Delights Acts 2 and 3, ‘ by Iyan De Jesus, is a fitting continuation and eventual conclusion to Act 1, which she exhibited last July in Malaysia. ⁣

Through her detailed paintings, Iyan de Jesus relates life to theatre after introducing her characters, setting up the mood and ambience where subsequent phases take off. Now she trains the spotlight on expressing action and development with corresponding conflicts, climaxes and plot twists, with her characters having more movement and taking on their own lives, seemingly set free from control of the artist’s hand and the confines of the canvas. ⁣


Laway sa Unan
Doktor Karayom

⁣In Laway sa Unan, Doktor Karayom gives us a glimpse of the artist’s newly-birthed creatures, twelve UNANO fashioned to open portals into the visions, feelings, fantasies, nightmares and sensations occurring in a person’s mind during sleep.

Doktor Karayom stays true to his moniker as he uses needle and thread to hand sew his human-shaped soft sculpture art pieces, filling them with squashy stuffing, and adding hands and feet.⠀


Familiar Landscapes
Dennis Bato & Mahaputra Vito

Dennis Bato, from the Philippines, and Mahaputra Vito, from Indonesia, finally conclude a whole year’s creative process in Familiar Landscape, realizing that not everything can be based on surface-level knowledge. ⁣

The collaboration was intended to showcase the artists’ view of their cities, Yogyakarta and Manila, as they translate their individual experiences and combine creative techniques. ⁣


My Idle Mind
TRNZ

With his acrylic paintings on shaped wood featuring built-in MP3 players and several four-inch resin toys, the exhibition is a multi-sensory experience for the viewers, with the artist’s intending them to be fully immersed in the universe he created in his head with meticulously designed characters, colors and treatment.⠀

⁣Notable in the pieces are the basic colors TRNZ uses – mostly red and blue, while there are different shades of pink. The limited palette gives credence to the identity of the artist and his characters, with sharp lines and saturated fields stressing his visual language. By working in both digital formats and on canvas, he seems to paint the same way, with flat colors with the tiniest hint of texture, sharp shadows and stark contrasts creating depth. Influences of Japanese anime are undeniable in the works, as the artist is a self-professed anime addict in his younger years. If this introductory salvo is found in the artist’s idle mind, it would definitely be exciting to find future permutations of his works on hyper drive.⠀

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Mono8 Gallery: Kalibunan
Oct
10
to Nov 3

Mono8 Gallery: Kalibunan

Kalibunan
Anjo, Issay, koloWn, Lorena, & Ronyel

Departing from each individual’s take on horror vacui or the fear of empty spaces, the five artists in this show converge to present their examination of how spaces are either filled or left idle. “Kalibunan” forays into the different ways that spaces are activated —either through the physical presence or the ability of the audience to conceive that an empty space ventures into its own undertaking.

In this exhibition, we witness how these artists respond to the different forms of horror vacui that surround them like social media and excessive information among other things.

Just like wading through thick shrubs, here, we find ourselves clearing the path, one step at a time.

Kalibunan will run from October 10 to November 3, 2019

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The Drawing Room: to give a moment a name / Homecoming
Oct
12
to Nov 5

The Drawing Room: to give a moment a name / Homecoming

to give a moment a name
Lesley-Anne Cao, Katherine Nuñez, & Derek Tvmala


A group exhibition that captures a constellation of moments that aims to activate the artists’ current creative and ideological preoccupations. The intermedia exhibition is a series of actualized actions that opens up conversations on worldview, ecologies of thought and trajectories.


Homecoming
Katarina Sabine Ortiz


"The nature of a person is perhaps likened to that of a painting, limited by conditioning and origins of nature (authorship) but abundant in the way one can nurture limitless possible potentials of self in and despite the context."

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MO_Space: flight / A Surface
Oct
19
to Nov 17

MO_Space: flight / A Surface

flight
Christina Quisumbing Ramilo

The stair is one of the most iconic forms of design; it has played a major role in the history of architecture since the beginning of humanity. Stairs solve problems in daily life by allowing us to easily access vertical distances. Yet its form transcends pure functionality; it is used by religions all over the world as a symbolic connection of the earth to sky—an aspirational path to the divine.

–Theo Lucero


A Surface
Celine Lee

A surface — flat, empty, and gleaming.

Aluminum, the most abundant metallic element in the Earth’s crust, was used as a malleable sheet of metal. With a topographic wireframe image of the Philippines on hand, the aluminum sheet is then etched to print the image onto abaca paper; beaten to make a carbon copy on rice paper, and cast using the combination of both papers.

It was flat, empty, and gleaming. It was anything but a surface.

- Celine Lee

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Secret Fresh: Palette Diaries / Spongebro / Poster Boys / Maselang Bahaghari
Oct
20
to Oct 31

Secret Fresh: Palette Diaries / Spongebro / Poster Boys / Maselang Bahaghari

Palette Diaries
Ross Capili


The artist’s daily existence chronicled in 60 palettes

How an artist’s basic tool chronicled his daily existence.~
“70s nuon sa Tundo Maynila nang nag-umpisa ako magpinta. Noong 3rd year high school hanggang college, isang takot ko tuwing uuwi ako ay makitang nilinis ng Nanay ko ang mixing palette ko. Madumi na daw at patong-patong na ang pintura. Madalas ay kung saan-saan ko tinatago itong mixing boards ko para malayo sa paningin ng nanay ko.”

In recent years, Rosscapili discovered several of those mixing palettes stacked between unfinished canvases in the stockroom of his studio. The artist kept these palettes and the traces of paint and stains of acrylic became his studies and references for bigger works.

Rosscapili muses, “My usual work process in the studio is to paint directly on a blank canvas. But many times, the dried paint, scrapings, and accidental drips that remained on my mixing palettes became my starting point and guide. They led me to add more paints and textures, even erase some areas. The palettes became artworks in themselves that I could transfer onto big canvases.”

Rossano Capili signed his works as Rosscapili, 60 years old. Held his First Solo exhibit in 1981 at City Gallery, since then has mounted over 30 solo art exhibitions in Manila including Paris, and the United States. He has participated in more than 35 group exhibitions in Fukuoka Japan, Taipei Taiwan, Kuala Lumpur Malaysia, Bali Indonesia, Singapore, Ulaanbaatar, Mongolia and Seoul Korea.
He has garnered more than 55 awards and distinctions, including Jurors’ Choice in the 1994 Philip Morris Asean Art Awards; the Pamana ng Lahi Award in San Francisco, USA (2001), the 2008 PATA Gold Award for Travel Photo Journalism in Hyderabad, India; the 2009 Ani ng Dangal Presidential Award.

Rosscapili’s works have been collected widely by private collectors, hotels, corporations and museums; featured in various coffee table books, including 75 Filipino Artists In Their Studios, Solaire Art + Design Collection Coffee Table Book, 21st Century Filipino Artists, Art Collector’s Guidebook and Art Philippines to name a few.


Spongebro
Ronald Ventura

Coming from the very well received character in his recent solo exhibition at Secret Fresh Gallery “Bobro’s World” Ronald Ventura shapes the most beloved duo of Spongebob and Patrick as man's best friend.

Portraying friendship and timeless partnership, one can only imagine the kind of misadventures and happy occurrences these two will share.


Poster Boys
Brian Bernardo


Maselang Bahaghari
Ronson Culibrina

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Van Gogh Alive
Oct
26
to Dec 8

Van Gogh Alive

Van Gogh Alive: The Experience

The Most Visited Multi-Sensory Exhibition Experience in the World is coming to Manila this October 2019!

The Bonifacio Art Foundation Inc. (BAFI) and One Bonifacio High Street (One BHS), together with Globe, present Van Gogh Alive, a multi-sensory exhibition experience to entertain the whole family. Van Gogh Alive is created by Grande Exhibitions.

Experience an art exhibition like no other. Transcend time and space as you accompany Vincent van Gogh on a journey through Arles, Saint Rémy and Auvers-sur-Oise, where he created most of his timeless masterpieces.

Set to an evocative classical music score, a thrilling display of over 3,000 inspirational images transforms every surface – walls, columns, ceilings and even floors.

Adults and children alike will forge their own paths and find their own meaning as they wander through the galleries, exploring hidden nooks, viewing artworks from new angles and discovering unique perspectives.

Operating Hours:
Mondays - Sundays
11:00 am - 12:30 pm
12:30 pm - 2:00 pm
2:00 pm - 3:30 pm
3:30 pm - 5:00 pm
5:00 pm - 6:30 pm
6:30 pm- 8:00 pm
8:00 pm - 9:30 pm

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Altro Mondo: Whether You Hear It or Not / Fields of Color / Fluctuat / Cocoon
Oct
17
7:00 PM19:00

Altro Mondo: Whether You Hear It or Not / Fields of Color / Fluctuat / Cocoon

Whether You Hear It or Not
Amy Aragon, Gato Borromeo, Geronimo Cristobal, Jes Evangelisa, Daniella Flores, Arvin Nogueras, Joey Reboredo, Jay Ticar, Hikari Ticar, & Conrado Velasco

Whether You Hear It or Not dispels the notions surrounding sound art that restrict it to the confines of experimental music as opposed to a form of art. The show is an exploration of the potentials of using sound as a motivation in making art. With inspiration sourced from the sound art movement of the 80’s, the artists were asked to use sound as a conceptual material, transcending its basic, immaterial form to embody different mediums and expressions.


Fields of Color
Olivia D’Aboville

For her solo exhibition Fields of Color, textile artist Olivia d’Aboville crafts stunning canvasses comprising large swathes of bold, solid color made out of handwoven abaca and polyester textiles sourced from Cebu. Inspired by the works of the American color field movement of the 50s and early 60s, the artist deviates ever so slightly from her usual neutral, monochromatic palette, preferring a more lively and vibrant color scheme for her signature abaca works this time around.


Fluctuat
Ramon Diaz, Juerg Casserini, & Cesar Caballero

Fluctuare: to move like the waves; to rise and fall irregularly.

Artists Ramon Diaz, Juerg Casserini, and Cesar Caballero come together in a group show titled “Fluctuat”, which came forth as a result of years of collaboration. With the definition of the word “fluctuare” in mind, the trio of artists explore the idea of the human being continuously rocked by the daily motion of life: through migrations, transformations, advances, and unforeseen events.


Cocoon
Kim Jerome Santiago, Lorebert “Maralita”, Jeff Dahilan, & Reynold de la Cruz

Cocoon joins together artists Kim Jerome Santiago, Lorebert “maralita”, Jeff Dahilan, and Reynold de la Cruz as they traverse the topography of the body and its interactions with other bodies through skin-to-skin contact. The artists delve into the idea of the body in perpetual transition, both tangibly and transcendentally.

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Tin-aw Art Gallery: Impasse
Oct
17
6:30 PM18:30

Tin-aw Art Gallery: Impasse

Impaśse
Joanna Arong, Mariano Ching, Kiri Dalena, Olivia d’Aboville, Gab Ferrer, Kolown, Russ Ligtas, Ella Mendoza, Cris Mora, Mark Salvatus, Nicole Tee, & Ryan Villamael

Resilience they say is the saving grace of a downtrodden nation. We are accommodating people. We are adapting people. When things are difficult we know how to laugh it off. We become accustomed to our situations and positions. We revolt then we forget. We complain but we forgive. We get used to how things are. We are backed into a corner and told to escape our realities. We stay the course until we are stuck. Stuck in 3-hour commutes. Stuck in rising floods. Stuck in the recesses of our minds. How do we navigate through these situations without progress?

I.

We live in an archipelago at the center of biodiversity. That means our lands have one of the richest and densest areas on this planet. The Philippines is also the third largest plastic pollution producer in the world. We live in the epicentre of the biodiversity and the epicentre of the world’s deadliest typhoon. According to the 2015 Global Climate Risk Index, it is one of the most affected areas by climate change. There is a climate crisis so drastic that micro plastics are found in the fish we eat, the salt we use, and the water we drink. In the Untitled work of Olivia D’Aboville, viewers face blurred reflections against a mass of condensed plastics as a way to look at the proof of our inhabitation. Planks created from condensed plastics as metaphor of what we have accumulated and disposed of. D’Aboville sourced the boards from an environmental recycling facility which collects, cleans, shreds soft plastics that make up 50kg of the planks. These are consumptions that Joanna Arong’s Sampit sa Dagat (Call of the Sea) evokes as she gathers visualisations of the seas which remind her of her childhood. Dreams of vast oceans, pristine seas, multiple sea creatures, and a myriad of idyllic sceneries spliced and stitched that is close to an intertwining memory and present life. Arong shows us ideals beyond our imagination. The opposite of which Russ Ligtas projects in the hopes to protect and build a shelter in the artwork There’s no place like home that makes use of repurposed materials. Damages of man and losses of the sea are expanded in the shadows that are illuminated by the work. In his words, “from the depths of my rumination, aberrant creatures from the sea rise to the surface. Some herald a cataclysmic doom, others foretell of a new ecology that emerges after.” It is this after, the uncertainty of our ecology, that Kolown’s Amazon Botanical Garden is warning us about. The artist collective Kolown creates a website link, accessible through cell phone or computer, that simulates the concept of gardening in a dystopian environment. This link connects viewers to a virtual garden that does not function or perform as a garden. To some extent, this dystopic future garden could be a reality. These objects are results, observations, warnings on the effects and shifts caused by the current climate crisis -- an imminent condition to be addressed.

II.

Filipino streets, Filipino homes, Filipino lives, and the essence of being Filipino are concepts constantly being grappled and grasped. How does the Filipino resilience transform hardship into acceptance? In Scratchings, Mark Salvatus discusses Manila’s congested and contested streets and pathways. Bold black paint abstract and obscure the cityscape in an attempt to conceal, to silence, to hide the chaos that is contemporary Manila life. Salvatus parallels this work with News, a pair of shoes stuffed with a bundle of cable tied newspapers. The news, the artist, the people of Manila are walking and swerving. To where? We don’t know. For Ella Mendoza, the Tabo or Water Dipper is a distinct object in the household primarily used for cleansing, bathing and cleaning. In the Tabo System (Water Dipper System) the artist created pieces that do not serve its purpose thus creating a dysfunctional system. She patterns pieces from the makeshift dippers such as repurposed water carriers, jugs, jars, and plastic bottles used in ordinary homes. A commentary on the repurposing, rebuilding, and reconstructing of our people to fit a system that is unable to deal adequately with social and societal needs. We are a self-sufficient people backed into a corner by a system that we cannot rely on. Instead, we get by on our own -- a position of learned helplessness that we practice even when our very people are dying.

Kiri Dalena documents Maria as she walks through the cemetery in search for the remains of her two sons Aljon, 23 and Danilo, 34 in a video documentary entitled Tatlong Taóng Walang Diyos (Maria, Aljon and Danilo). The two were killed six days apart in September of 2016 in the ongoing story of Philippine police killings in this war on drugs. It began on September 20 when Aljon was detained, beaten and blindfolded by masked armed men along with a local drug dealer. Six days later, September 26, his brother Danilo was rounded up. Aljon had no involvement as he suffered from pulmonary disease and Danilo was an occasional user to make it through endless hours of demanding labor work in the ports. Two Filipinos bound and punished by the very system that created to serve them. A system that falls apart. An Unraveling that Cris Mora confronts by framing tattered royal blue, crimson red, golden yellow, and white threads. The blue associated with peace, truth, and justice; the red for patriotism and valour, and the golden yellow symbolising unity, freedom, people’s democracy, and sovereignty that are present in the found object.

III.

Contemplations of how we see the world around often end with who we are and how we settle in the world around us. Gab Ferrer’s There’s the Rub are banners of her predicament. How does one cope with the realities of the world such as the plight of sugarcane workers in Sagay City, Negros Occidental and the existences within? The artist as this is written is still in between. A situation not far from Nicole Tee’s dilemma as she manoeuvres between the work and play. In When I Grow Up, Tee attempts to balance the responsibilities of work as a contemporary artist with the interests of homemaking and dressmaking. A balancing act premised in Mariano Ching’s Mobile series that was initially inspired to bring together easy-to-find materials and create a sculptural form. Ching’s piece is inspired by architectural structures embarking on the predicaments of how to balance seemingly imbalanced objects. These restraints carefully thought through by artist Ryan Villamael in the Study series. His paper cuts become ways to expand and explore how he sees the world. Abstracted images showing through his carefully slit paper cut outs one side mirroring the other. Navigating through paper just as we navigate through the spaces, silences, and soft tones of the mind.

Impasse documents and discusses personal, political, and philosophical circumstances that appear impossible to look beyond. Experiences and observations gathered and contemplated on to exhibit in an art platform that surprises, engages, and provokes. This is an assembly of these kinds of discussions traversing between the personal and the social, the external and the internal. Impasse is a compilation of perplexities, of restrictions, of various realities that we are facing. How do we negotiate when things seem to have reached an impasse?

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Manila FAME 2019
Oct
17
to Oct 19

Manila FAME 2019

The Philippines’ premier design and lifestyle event, Manila FAME promotes the Philippines as a reliable sourcing destination for high-quality and design-oriented home, fashion, holiday, architectural and interior products. It supports local small- and medium-scale enterprises and artisan communities by working with local designers to create new product collections and providing a professionally managed platform to present export products to the global market.

The trade show runs bi-annually to provide a seamless sourcing experience to both local and international buyers with its trademark Filipino hospitality at every touchpoint.

Visit the home of world-class design and lifestyle products. Experience Manila FAME!

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Tin-Aw Gallery: Turbulent Waters
Oct
5
6:00 PM18:00

Tin-Aw Gallery: Turbulent Waters

Turbulent Waters

Nathalie Dagmang

Turbulent Waters is artist Nathalie Dagmang’s recent solo exhibition at Tin-aw Art Gallery. She documents and explores changes in Barangay Tumana Marikina City, where previously agricultural land has been transformed into residential and commercial development over the years. Through photographs and videos, she records changes in topography, specifically the shifting boundaries between river and land, and people’s relationships to both. Floodwaters have submerged low lying areas but residents continue to redefine their life ways, resiliently thriving alongside the unpredictable waters of the Tumana River.

Nathalie’s primary research on the community in Barangay Tumana began with her thesis “Dito sa may Ilog ng Tumana” (Here by the Tumana River) installation. It was awarded the Fernando Zobel Prize for Visual Arts by the Ateneo Art Awards in 2016. The award included residencies in Liverpool and Singapore.

Nathalie Dagmang graduated Magna Cum Laude with a Bachelor of Fine Arts University of the Philippines College of Fine Arts. Her works employ ethnographic practices such as participative observation, interviews, and research. She has been exhibiting works since 2012 in various galleries and community spaces in the Philippines, Hong Kong, Singapore, and the United Kingdom.

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Silverlens: Actants
Sep
21
to Oct 19

Silverlens: Actants

Actants

Mit Jai Inn

Please join us for the opening of Actants, our first solo exhibition with Mit Jai Inn (b. 1960), a widely respected senior Thai artist known for his boundary-defying painting and socially engaged practices.

The title Actants refers to both human and non-human agents as equal participants in an ongoing set of transformations – a metaphor for the artist’s collaboration with light, color, labor, and time in contextual relation to metaphysical, political and social constructions of power and belief.

Mit extends his homage and playful dissent from tenants of modernism while pursuing a more sculptural position than ever before, with rich crossings into the realm and language of weaving. Actants sees the revered geometry of the grid and its line segments unbound, transformed into three-dimensional, pliable modular elements the artist refers to as ribbons. These long strips of linen, coated with Mit’s signature bold colors, have been meddled with – dulled by hot wax baths, muted by powder, smudged and stained by contact.

Ribbons play a role, across nations and cultures, to decorate and evoke ceremony and festivity. Positioned on bodies and other charged spaces, such as portals marking beginnings or endings, ribbons are potent things – forms that hold politically and spiritually charged color.

Actants can be likened to a merit field where over one thousand ribbons commune in three new bodies of work. Suspended, two-sided canvases, sliced: Screens’ pastel ribbons hang like a warp loom without weights. These breathable filters act as navigational devices intended to lure and cleanse distracted, stagnant or wounded energies. Loops are large-scale masses that pronounce the power of chaos. A wild assemblage of ribbons drape on and off metal armatures shaped as repeat loop knots or spirals whose negative spaces reveal “eyes” that see and can be seen through. The series of wall-based Charms command gaze for their disorderly ornamentalism. These open weave, knotted, tangled constructions can be called on to fulfill a range of human desires, for those who believe.

The exhibition will also feature a reference room situating Actants in dialogue with Mit’s early works and ephemera from the 1990s and 2000s.

- Erin Gleeson

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The Drawing Room: Nowadays
Sep
20
1:30 PM13:30

The Drawing Room: Nowadays

Nowadays

Leo Abaya

Leo Abaya (b. 1960) lives and works in Quezon City, Philippines.

His explorations in painting, sculpture, installation, and video inquire about histories, remembering, and the body. He is an AAP Juror’s Prize winner, and is also a multi-awarded Production/Set designer, and a filmmaker.

In addition to local galleries, his works have been exhibited at the UP Vargas Museum and Research Center, the Lopez Museum, the Ayala Museum, the Metropolitan Museum, and the CCP in Metro Manila, he George Segal Gallery – Montclaire State University, N.J. and the Fisher Museum – University of Southern California in the U.S. and was a contributing artist to the Philippine Color Notebook for Reporters Without Borders in Fabrica: Ouvert Les Yeux (Fabrica: Eyes Wide Open), Pompidou Centre, Paris. He also had works and collaborations shown in a survey exhibition of Philippine Art at the Asian Civilization Museum Singapore, Utterly Art Gallery, Willie Valentine Fine Art, and Pearl Lam Fine Art at Gillman Barracks in Singapore.  His works are in various private collections, including institutions like the Singapore Art Museum, ILOMOCA, and the extensive UP Art Collection.

 

He earned his MA Fine Art degree at the Winchester School of Art, University of Southampton in the United Kingdom as a U.P. Postgraduate Fellow. He finished his BFA, magna cum laude, at U.P. College of Fine Arts Diliman where he is presently full Professor and Chairperson of the Department of Studio Arts. He has mentored many young artists exhibiting today.

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Artinformal: Benefits of a Crowded Space
Sep
14
to Oct 12

Artinformal: Benefits of a Crowded Space

Benefits of a Crowded Space

Rodel Tapaya

An examination of small spaces packed with people or uncertainty are central to Rodel Tapaya's upcoming exhibition, “On the Benefits of a Crowded Space” – Tapaya’s first gallery exhibition in the Philippines in almost a decade.

Despite his initial desire to have a “simple show”, a restless mind and varied impulses led to comfort in multiple forms. Likening that notion to horror vacui or Kenophobia - fear of the empty, Tapaya proceeds to ask “how much do we understand tight, crowded spaces?”

Tapaya fills the entire gallery spaces of Artinformal Makati with works on different grounds. He breaks down his process by focusing on scraps of many varieties. First are paper cutouts that form small, colorful collages, which are then translated into large acrylic paintings that parallel the use of odd shapes and materials in informal dwellings. These are echoed by a series of collograph prints using random scraps combined with burlap - the patterns and textures of which become odes to vernacular habitation. That same burlap is revisited in paintings as an attempt to define the countless, unrecognizable faces that populate these urban spaces.

Bookends to this exhibition are two singular works: a cast concrete sculpture of found coconut lumber scraps, and a monumental painting that straddles folk mythology and harsh reality.

All strung together by insights into the human condition vis-a-vis human habitation, Tapaya occupies all three galleries of Artinformal Makati to propose a treatise with his exhibition "On the Benefits of a Crowded Space."

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1335 Mabini: unlearning and relearning to see
Sep
14
to Oct 12

1335 Mabini: unlearning and relearning to see

unlearning and relearning to see

Rinne Abrugena

Kristoffer Ardena

Iabadiou Piko

The process of image-making usually intersects between the reality and the perceived truth of the artist. Popular modern philosophical views claim that the brain lacks the ability to contain images. Hence, our sense of the world must have come from the way we deem how physical things occupy spaces. ‘unlearning and relearning to see’ gathers the works of three artists and their environment, which merge the fastened images of scenes and the layers of complexity wherein these settings were found. Here, the artists integrate themselves among the places, sites, and ‘unlearning and relearning to see’ spaces of their art practices. The exhibition considers our own interventions into the realities that we often witness since what we see and what we know are always shaped by the social and natural conditions that were set in our usual surroundings. Thus, we find images charged with dynamism and sophisticated narratives of what we obtain from the daily mise-en-scéne.

Rinne Abrugena’s paintings are filled with large and broad strokes that visually translate her investigation of the human psyche. Propelled by a background in education and a keen interest in literature, Abrugena transmits fragmented parts of her inquiry through the gravitating display of depth, which rests among her intense use of colors and lines. In this exhibition, the artist leaves us only with a loose interpretation of the world, reeling us in so that we may find ourselves amid the clarity the images command.

Heavily influenced by the spontaneity of abstraction, Iabadiou Piko’s works attempt to deal with how emotional responses of the body are visually released. Here, the artist draws from random fragments of a place and arranges them in a way that reflects the artist’s relationship with his environment ---personal conjuncture and trajectories that provide views of how a person navigates a space and how he chooses to remember it.

Kristoffer Ardeña’s Ghost Painting (cracked category) series surveys how geography and socio-political factors influence the way images are created and made. Painting over re-appropriated Katrina fabric and tarpaulin (materials that have cultural and yet utilitarian significance in the Philippine context), Ardeña forms new images by allowing the work to disintegrate under the heat of the sun along with the humidity present in the location of the Philippines in a tropical region. Such interference of the process in art-making suggests how the images we create are predetermined by several components brought by the characteristics of a place.

words by Gwen Bautista

 

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MO_Space: A Mubble in a Pubble / IN THE DARK
Apr
27
to May 26

MO_Space: A Mubble in a Pubble / IN THE DARK

A Mubble in a Pubble
Yasmin Sison


A spirit of boundless play permeates Yasmin Sison’s A Mubble in a Pubble, brought by a wide variety of works that seem to have spilled out of a child’s toy box.

With a takeoff from Ruth Krauss’ classic 1950s children’s book I Can Fly, where a young girl asserts how she can be anything she wants to be: “A cow can moo, I can too…Pitter pitter pat, I can walk like a cat,” Sison allows others to participate in her process with dialogues of freedom and looseness; color and form; softness and hardness; and abstraction and figuration, made tactile by collages meant to be finished by viewers, as well as movable paintings and sculptures.

Together with shaped objects, fabric works, and paintings, Sison continues to cherish childlike wonder, and at the same time encourages her viewers to play alongside her, to fly with their imagination, to recapture that part of every person that only needs their intuition to overcome limitations.

– Koki Lxx


IN THE DARK
Gail Vicente


It is hard to tell where reality ends and illusion begins. Exploring the paths that connect our inner and outer sights, the exhibition records the transitions that take place during a specific biorhythmic setting. Within this zone, activities like automatic painting, meditating, forming new habits manifest. Exercises were made on translating something hard to translate such as an aura in painting, visual vibrations, and the awareness that a moment passes with every stroke. Projecting these visions is like going on a trip. Take a moment to reflect on the things that are not there physically. Make sure you are not echoing old tricks to get new results. Look for a link, a crack, a gap; look for that space where reality and illusion blends and separates.

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Silverlens: Primary Drives
Apr
27
to May 25

Silverlens: Primary Drives

Primary Drives
Lou Lim, Issay Rodriguez, Gary Ross Pastrana, & Maria Taniguchi

SILVERLENS is pleased to bring together four contemporary voices from the Philippines. Young and emerging artists Lou Lim and Issay Rodriguez alongside established and respected artists Gary-Ross Pastrana and Maria Taniguchi in Primary Drives.

All four artists have exhibited prior at SILVERLENS. In 2017, Lim exhibited Horizon and Rodriguez exhibited “…”, both their first solo exhibitions in the gallery. Having worked with SILVERLENS for over a decade, this will be Gary-Ross Pastrana’s 11th, and Taniguchi’s 10th, exhibitions in the gallery.

For the exhibition Primary Drives, three objects designated as columns exist in addition to the artists’ own works. Initially thought of as quasi-architecture, and not, strictly speaking, as collaborative work, these function simply as physical manifestations of a starting point. Anti-void, and inversely supra-void, the columns release the pressure to fill space, or to seek direct associations between the works in the exhibition. Thus, they can exist as architectural and utilitarian objects at full scale, made of wood, metal, cement. They can exist as traces in pencil, paint, sticker, wire; or as outlines in string, or other gossamer, light material fitted on an armature, fragile, so that only intentions occupy space. The columns, in the end, signal the possibility of an exhibition space as a discursive entity alongside its usual function in the display and framing of artwork. And as such, do more than their function to prop up structures and spaces. The phenomenology of these columns, of which the final form is undecided until the making of the exhibition itself, is what contextualises the four artist’s works.

Lou Lim focuses her investigations into the processes of painting and sculpture. Adopting the method of printmaking, the surface of a painting of a cloud-filled sky is cast with silicone, its result used as a matrix to imprint a copy of the painting’s strokes onto a new surface. From a section of sky seen, photographed, painted, cast, and printed, these series of transformations and their outcomes draw focus towards the activity of expressing the momentary and the immaterial in relation to materiality and the notions of permanence.

Gary-Ross Pastrana’s sculptural, object-based work are, for the artist, ‘realised’ prototypes - half artwork, half device for working out the problems and intricacies of new ideas. Having developed a rigorous practice in which his concerns often are dealt with in artistic projects that combine the quotidian and conceptual, in this new series of works the artist seeks to reorient himself in order to address new visibilities, in particular the various visual phenomena of digital information.

Issay Rodriguez’s series of cyanotypes and negatives depict the transience of memory despite the existence of photography. Images salvaged from old photographs are arranged along a wall, separated by gaps that the artist characterises as lost time. These abstract approaches to photography not only highlight the tactility of an image in the digital age but also serves as the artist’s own take on Ãoebermalte Fotografien' (Gerhard Richter’s “that’s a mouthful”) where painting and photography meet.

Maria Taniguchi’s quasi-abstract paintings propose an expanded idea of the self within an expanded notion of painting. Process-oriented and time-based, the paintings possess subtle architectural and sculptural qualities. In the work, accumulative, serial labor is what facilitates the entanglement of body and object over time. Outlined in pencil, the rectangular cells are individually painted. Viewed closely, the cells look decidedly non-mechanical, with distinct tonal variations and irregularities.

-Maria Taniguchi

Primary Drives is on view from 27 April to 25 May 2019 at SILVERLENS, 2263 Don Chino Roces Avenue Extension, Makati City. For inquiries on this show, contact info@silverlensgalleries.com or +63917 587 4011.

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Galerie Stephanie: Hemline: Unholy Duty / Terraforming Rituals
Apr
27
to May 11

Galerie Stephanie: Hemline: Unholy Duty / Terraforming Rituals

Hemline: Unholy Duty
Sarah Geneblazo

Sarah Geneblazo is a graduate of the University of the Philippines College of Fine Arts, Major in Visual Communication, and is the current President of Neo Angono Artists Collective Inc. Her works narrate her personal experience with childhood trauma; a therapeutic art process towards healing. She was a finalist in the PLDT -DPC National Art Competition in 2010, and placed first in the Department of Agrarian Reform Mural Painting Contest in 2006 in Lipa City, Batangas, the prize of which helped her pay her tuition during her first year in UP Diliman. She has showcased her work abroad and in Art Fair Philippines 2016, as well as local art galleries Galerie Stephanie, Blanc Gallery, West Gallery and J Studio.


Terraforming Rituals
Kat Grow

Time is the catalyst that allows art to come out of the labor that must be mustered to accomplish the task. Kat Grow presents her first solo exhibition “Terraforming Rituals” with works on paper and a sculptural installation, where she allows herself to become the conduit between the earth and art - a worker for a master that has watched since the dawn of mankind.

Grow graduated from the University of the Philippines majoring in Painting, and has joined group exhibitions at Kaida Contemporary, Artery Art Space, and Sining Kamalig, as well as displayed works at the NCCA Gallery and the Erehwon Art Center. A multidisciplinary artist, Kat has taught various workshops on charcoal, pastel, ink, watercolor, and oil painting, and has won the Sculpture Category Grand Prize Winner in the 46th Shell National Student Art Competition. In 2014 she was awarded the Artery artist-run space Mentorship Program.

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1335Mabini: City of Bawal
Apr
27
to Jun 8

1335Mabini: City of Bawal

City of Bawal
Brisa Amir, Datu Arellano, Kristoffer Ardena, Jan Balquin, Lesley-Anne Cao, Miggy Inumerable, Czar Kristoff, Celine Lee, Cris Mora, Indy Paredes, Mark Salvatus, Jel Suarez, & Jose Tong


No jaywalking. No trespassing. No littering. No loitering. No loading and unloading. No parking. No U-turn. No texting and driving. No drinking and driving. No entry. No guns allowed. No smoking. No illegal vendors. Not for hire. Post no bill. Do not blow horn. Obey speed limit. Do not delay. Obey god. Slow down. Bite me. Gago, call me!

How to grasp the everyday minutiae of the city of bawal?

Someone discarded a slipper on the street. Did she or he return home on one bare foot? What will happen to the discarded slipper? A pothole is so wide and deep, can it swallow an automobile or dead bodies whole? An ambulance is stuck in traffic, who prays for the passenger-patient to reach the hospital in time? Why do security guards yield shotguns? Do they ever have to draw their weapons? Why does it smell like piss right next to the bawal umihi signage? Who is the ‘we’ in the neon 'in god we trust'? Who writes of revolt and revolution on the city’s walls? Who reads these messages? How to respond?

The city of bawal – the seemingly trivial and futile, the fragments… Can bawal be made to stutter? And open bawal up to a different realm, an othered realm of perplexing possibilities. This becoming, stuttering becoming, is set in the messy, mesmerizing, chaotic, cacophonic city – Metro Manila that is.

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Blanc Gallery: Enclosure / Concrete Nest / Alongside Maya
Apr
6
to Apr 27

Blanc Gallery: Enclosure / Concrete Nest / Alongside Maya

Enclosure
Dino Gabito

ENTERING THE “ENCLOSURE” OF DINO GABITO
By Cid Reyes

One of the breakthrough concepts in modern sculpture is what was called “wrapping art,” a phrase describing the works of the Bulgarian-American artist Christo Javacheff, whose objects, or subjects, have been wrapped to conceal what was purportedly never to be seen, or indeed, previously seen, such as his monumentally ambitious projects of wrapping the Pont Neuf in Paris (1985) and the Reichstag in Berlin (1971-1995).  But conceived even earlier, however, was a work by the Paris-based American artist Man Ray, who in 1920, presented “The Enigma of Isidore Ducasse,” a “sculpture” that concealed within the enveloping blanket a sewing machine.

In painting, the Chilean Claudio Bravo painted in Hyper-realist style images of wrapped objects, which by their shapes, were suggestive of framed paintings. For the viewer, the sheer absurdity of having to look and stare, wondering at what may be the object of concealment, would seem like an exercise in futility.

Tradition of Concealment

Filipino artist Dino Gabito follows this tradition of concealment, of keeping his subjects out-of-sight, veiled, draped over. His first solo show was appropriately titled “Shroud:  Ides of March (2015).” A length of cloth often used for wrapping a lifeless body, a shroud is a word which, till today, retains its morbid emotional resonance, in particular,  from the so-called “Shroud of Turin,” purportedly the burial cloth of Christ, a matter still considered debatable. The subtitle, however, was derived from the famous quote “Beware the Ides of March,” from Shakespeare’s tragedy “Julius Caesar.” It was uttered by a soothsayer, warning the Roman emperor that his life was in danger.

Transfiguring Attraction

Intriguingly, the allusion to the death of Julius Caesar may really be instructive of Gabito’s obsessive and transfiguring attraction with the art of drapery, as witness the many paintings depicting the event, for instance, in the works of Vincenzo Camuccini, Jean Leon Jerome, Tancredi Scarpelli, and others. In these magisterial Old Master paintings, a splendid cascade of drapery is arrayed in the figures of the ancient Roman senators robed in a toga, draped over the shoulder and flowing loosely over the body.

“Assistant of Character”

The history of drapery in art dates back to the ancient Egyptian hieratic paintings, characterized by the unrelieved stiffness of lines. In contrast, Greek art, mainly sculpture, was richly resplendent in the use of drapery with their soft, windblown contours hugging and clinging to the body, by turns covering and revealing it. Down through the centuries, Leonardo da Vinci prodigiously did drawings and paintings of draped figures, as did Raphael, whose drapery was “the assistant of character,” and Michelangelo whose drapery “envelopes grandeur,” and Peter Paul Rubens, whose drapery was “the ponderous robe of pomp.” Even Cezanne could not resist to cradle his still lifes of apples within the fold of drapery, coaxed to remain in shape with the use of strategically placed coins and stones concealed underneath the fabric.

Trompe L’oeil

What distinguishes then this Filipino artist’s terrain of drapery? For Gabito, drapery is essentially an abstract image, a fertile and generous resource of illusion in the service of trompe l’oeil, the art of fooling the eye. His adapted practice, however, of draping the cloth over a hidden body inevitably engages a figurative and poignant reading of his images. The “Shroud” paintings of Gabito, for instance, were not of those belonging to the dead. Indeed, his concealed subjects were in fact suggestive of living, breathing humans.

Artist-Actor-Director

What Gabito did not conceal, though, was that he was his own model for all the bodies. While the artist could have hired some “body” to physically occupy the space behind the cloak, it was more practical for the artist himself to “embody” a persona, as it were, not unlike the appearance – in this case, the “non-appearance” of a dramatis personae – who could convey through choreographic contortions and angularities of the visage, the torso, the limbs and extremities       specific dark emotions such as grief, devastation, despair, and sorrow.  

The whole scenario was then one of a triple projection of the artist as actor as director. With all its theatrical fervor, Gabito unwittingly stepped into the stagey realm of “The Theater of the Absurd,” where, for instance, an actor, abruptly out of character, would address the startled audience, thus breaking the illusion of “the fourth wall”

To be sure, Gabito could have withheld this bit of information from the audience so as to deepen the “mystery” of the apparition, but that, as we say, was the artist’s “call”. (It reminds us of National Artist BenCab’s disclosure that in his painting titled “Flag,” beneath the country’s rumpled tri-color was in fact his wife Caroline Kennedy. He needed, he said, to give volume and body to the Philippine flag.)

Evocative Specificity

Succeeding shows titled “Ignore the Noise”(2015) and “Duplicity” (2017) were, by the evocative specificity of their titles, foregrounded  paradoxical and psychological states, illuminations of human frailty and anxieties, revealed – or intensely felt, through the porous exhalation of the hidden figures, ghost-like, underneath the stultifying sheets.

Undiluted Gorgeousness

In the current show titled “Enclosure,” now on view at the Blanc Gallery, Gabito has banished the human figure underneath – even the artist had to come up for air! What had replaced the figure instead is an object steeped in practicality:  a serviceable, nondescript clothes hanger stand. Or indeed, a box – an unremarkable featureless vessel. Within and behind these languorously draped vessels is an enclosed space: unmoved and immovable air, a nesting alcove for the spirit.  As a box is a three-dimensional object, so is Gabito’s painting an illusion of a three dimensional reality.

These recent works subscribe to the counsel of the American artist John French Sloan, a founder of the Ashcan School: “A piece of drapery is like a necktie, hot stuff to paint, and one of the easiest things for a painter to kid himself into thinking he can do. Don’t be fooled by the color. Go after the shape and character. Hew the focus together with colored tones.” Not only did Gabito drain his works of color, he lavished on these works the seductive tones of light, surface, and volume. Gabito courts a virtuosic display of skill, technique, and draftsmanship, eschewing such previous human concerns of presence and absence, identity and selfhood.

Working with patience and precision, he artfully hung his sheets of canvas – lifeless as material, yes, but lifelike in a way that they surrendered themselves to the real demands of weight, volume, and gravity. The modelling of light and shadow – stark blacks, white, and grays, and its infinite modulations – absorb and countervail each other, with an almost rhythmic alternation, undeterred by the formlessness of structure, being simply a relentless cascading of material, a continuously descending motion, undifferentiated by any pattern or detail, and a virtually unrelieved verticality. But even then, despite their frank materiality, and against all artist’s intention, they still seem to solicit spiritual qualities, incorporeal intensities, optical presences.

A Space for the Spirit

To be sure certain viewers habituated to figurative readings may insist on viewing these works as “crucifixion” figures, with their outstretched arms suggestive of the Christ hanging on the cross. But that is par for the course. What is concealed in enclosed space is perversely, curiously,  what the human eye seeks to see.

In Dino Gabito’s “Enclosure”, we enter a realm in which within an enclosed space we may commune with the spirit.

Cid Reyes is the author of choice of National Artists Arturo, BenCab, J. Elizalde Navarro, and Napoleon V. Abueva. A prolific writer, he has written over thirty art books and numerous art reviews. He studied Painting at the Academy of Fine Arts in Rome, Italy, and Art History at the City Institute in London, England. Reyes received a Best in Art Criticism Award” from the Art Association of the Philippines (AAP). In 2015, he was recipient of the “Most Outstanding Kapampangan in the Arts” (MOKA) Award from the Province of Pampanga.


Concrete Nest
Dale Erispe

Dale Erispe’s fascination with nature and tales of its encounter with human presence across time takes him to another curious turn for his solo exhibition: the appropriation of a certain human behavior and translating this into an imagined ecology highlighting the formal and symbolic aspects of plant life. He still employs the usual elements he is most adept with in painting, such as greeneries contrasted with infrastructure or architecture, but this time deviates from visualizing the conflict between the natural and  the  man-­‐made.  He  proposes  instead  an  alternative  reality  where  an  anti-­‐social  condition  seen  in humans becomes a nurturing environment ideal to growth and blossoming in another life form.

The works, consisting of paintings and sculptural pieces, center on the image of a tree and explore the variety of forms emerging from its natural growth. He pictures the trees as being sited though in an odd environment—confined indoors or in small enclosures—a setting seemingly unfavorable to its survival. Yet, the trees thrive beautifully, each one displaying its lush, unique form. The inspiration comes from the Japanese concept of hikikomori, a state of extreme isolation from the outside world and social withdrawal. In this exhibition, such condition unexpectedly becomes conducive and allows life to flourish, a reversal which the artist uses to imply the importance to an individual of seeking solitude and refuge. The barrier or shield which shuts off the individual may in fact be a protective bubble from the harsh elements of social life, providing a recluse that brings out the best of one’s abilities and uniqueness. 

Curated by Ruel Caasi and in collaboration with The Working Animals Art Projects


Alongside Maya
John Marin

The art of John Marin has been taking a great deal of inspiration from Eastern spiritual and philosophical traditions, exploring the visual possibilities  in  the  wealth  of  wisdom  emerging  from  these  traditions  while incorporating his own interpretations of their resonance in contemporary society. His sustained engagement with these philosophies has also brought him to navigate a terrain dealing with  issues  of identity, the individual’s internal struggles, the burdens and baggage of existence, and  seeking  life’s  purpose, among many others. In this solo exhibition, he converses with  the  Vedic  concept  maya,  an  illusion created by the magical powers of divinities which obstructs a human’s encounter with reality. Using this concept as a central theme, he presents a creative take on the  age-­‐old reflection about the illusory  nature  of  human perception.

He comes up with portraits that emphasize the eyes as windows to the truth. In the compositions, the field surrounding the eyes is littered with distractions in the form of chaotic tangling of strokes, creating a blurry plane only cleared around the subject’s vision. The individuals in the portraits seem to be  peeking through holes, their piercing gazes becoming invisible forces that penetrate the layer of mesh that renders them partially hidden from the viewer. With this intervention, the artist looks back to the association of the sense of sight to notions of truth, reality, illusion, and deceit, both in the visual and philosophical sense. Each portrait may speak about mediated forms of encountering and experiencing the world, be it through the handiwork of deities or spiritual forces, or through the lens of today’s technologies. These impediments from reality are bound to be transcended only by an extraordinary vision or a sharp, critical eye.

Curated by Ruel Caasi and in collaboration with The Working Animals Art Projects

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West Gallery: Me, Cy and M. Chagall Down by the Schoolyard / Concrete Evidence / Real Eyes Realize Real Lies / A Class Without A Teacher
Apr
4
to May 4

West Gallery: Me, Cy and M. Chagall Down by the Schoolyard / Concrete Evidence / Real Eyes Realize Real Lies / A Class Without A Teacher

Gallery 1
JONATHAN OLAZO:
Me, Cy and M. Chagall Down by the Schoolyard

Gallery 2
VAN TUICO:
Concrete Evidence

Gallery 3
LINDSLEE:
Real Eyes Realize Real Lies

Gallery 4
JOSE GUILLERMO NAVAL:
A Class Without A Teacher

Exhibitions run until May 4 2019

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Silverlens: Zero Infinite / Continuing Growth
Mar
23
to Apr 17

Silverlens: Zero Infinite / Continuing Growth

Zero Infinite
Chati Coronel, Bernardo Pacquing, & Jose Santos III

Silverlens presents three important mid-career artists for the first show post-Art Fair Philippines: Bernardo Pacquing, Jose Santos III, and Chati Coronel. The choice of the timing this show after the art tsunami that is AFP is deliberate, a doorbell to audiences that exhibitions happen at the galleries all year round.  A reminder that the magic of art happens at these long-form exhibitions when artists, like icebergs, simultaneously dazzle on the surface and reach deep into the abyss. 

The show perhaps should be called ‘Infinite, Zero, Infinite’ pertaining to the middle number that zero stands for. On either side of it, are an infinity at the positive or at the negative. Mathematically, these are unconnected—zero is a number; infinity is a concept you can never reach.

For this show, Jose Santos III chose Bernardo Pacquing, Bernardo Pacquing chose Chati Coronel. Santos and Pacquing were first, and last, together shown at the Cultural Center of the Philippines Thirteen Artist Award in 2000, the millennium bug year. Coronel’s pieces float in and out of Pacquing’s consciousness, like spirit pieces reflected on months after their encounter. A conversation over studio visits among the artists revealed common interests in the beginnings of their processes, in the endless inquiries presented by specifics. Inquiries that can go either side into positive or negative: x-axis or y-axis. Or Z axis even!

Zero is the measure of nothing, of having no quality; infinity, we use to describe the process of doing something forever. Zero is a definite presence; infinity is an approach. Diagrammatically, their symbols are the same, an unbroken but connected line, but twists of each other.

The twist is what we are interested in. When does something become art? When do materials rise above their humble parts to become more than their sum? When Pacquing ratchets together hard and soft objects to form impossible but consummate unions; when Coronel paints layers on layers of color and text to reveal a final figure that was there from the beginning; and when Santos builds assemblages into cascading packets of the national psyche.

Philosophically, they present a way of working— a perpetual beginning, an indivisible source, the perfect unknown.

- Isa Lorenzo


Continuing Growth
Tessy Pettyjohn

SILVERLENS is pleased to announce Continuing Growth, Tessy Pettyjohn’s first solo exhibition in the gallery. A renowned pioneer of Philippine pottery, Pettyjohn’s ceramic works are often inspired by the flowers and plants in her garden.

Tessy’s exploration into nonfunctional clay forms began some years ago. Her first exhibitions were about architecturally inspired structures and were mostly simple geometric forms, which is no surprise given that she originally wanted to study architecture before she was convinced to take up painting at UP Fine Arts. Her interest in painting eventually evolved into a new direction: ceramics. For the past 40 years, she and her husband Jon have been pioneering the path for a whole generation of studio potters.

Beginning with her exhibit Cornucopia in 2001 she moved in a new direction. During a snorkeling experience in Palawan she was struck by the diversity and complexity of life underwater -- not just sheer beauty and color but also by the repetitive patterns and structure growing out of the corals, rocks, and sea floor. In the following years she studied and absorbed natural form from other sources such as cacti, succulents, flowers, and grasses. This produced 3 consecutive solo exhibitions: Cornucopia, My Garden, and Aianthous. In all of these exhibitions growth and pattern were her main concern.

Pettyjohn’s choice materials are stoneware and porcelain. These clays, often favored by modern potters, require high temperature firing and produce an amazing range of colors and textures, not unlike those found in nature. They can convey both the biological (such as cacti and coral), and geological (stones and landscape), as stoneware is coarse and earthy, and porcelain fine and colorful. They are opposites in a way.

The common thread in all these exhibits, apart from pattern and color, was the way the structures appeared or blossomed out of another simpler form like a stem or a vase or sometimes the cover of a jar. She was still interested in the vestiges of function; however, it was the contrast that seemed to appeal. Complex form and color appearing from plain lifeless surfaces and finding a sort of niche; porcelain appearing out of stoneware.

For Continuing Growth, she has stepped a little further beyond the progression and has moved away from the vases; the growths appear out of simpler forms that could be biological, geological, or even man-made, as though the vegetation begins to appear in the detritus of an abandoned world. “Life will find a way” as the mathematician Ian Malcolm said in Jurassic Park. The patterns are now moving up the wall. Although the artist says this might be the last show in the series it will be interesting to see if she moves even further away down the road to abstraction in coming shows.

- Jon Pettyjohn

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Art Fair Philippines 2019
Feb
22
to Feb 24

Art Fair Philippines 2019


ART FAIR PHILIPPINES 2019
22-24 February | 10am - 9pm
The Link, Ayala Center, Makati

Founded in 2013, Art Fair Philippines is the premier platform for exhibiting and selling the best in modern and contemporary Philippine visual art. The fair aims to mirror the vibrant local art scene and continue to generate support for Filipino art practitioners. Set in an alternative urban venue, Art Fair Philippines makes art accessible to enthusiasts and to those who want to discover one of Southeast Asia’s most exciting art landscapes.

Philippine Art Events, Inc. oversees the management of Art Fair Philippines.

The event is co-presented by Ayala Land, Bank of the Philippine Islands, Globe Platinum, and Julius Baer.

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10 Days of Art: The Ministry of Contemporary Art: Giorgio Guglielmino, AKA Italian Ambassador to the Philippines on Art
Feb
18
6:00 PM18:00

10 Days of Art: The Ministry of Contemporary Art: Giorgio Guglielmino, AKA Italian Ambassador to the Philippines on Art

Special Events | The Ministry of Contemporary Art: Giorgio Guglielmino, AKA Italian Ambassador to the Philippines on Art
Feb 18, 6PM | Manila House Private Members Club

The diplomat is also a writer. The author of several books on art, the latest being This is Now - A Geographical Guide to Cutting-Edge Contemporary Art (2013) talks about his abiding interest in contemporary art and how his diplomatic career has helped to cultivate this passion.

Guest: P500

Celebrate the best in Philippine contemporary art for 10 days with our partners all around the city!

10 DAYS OF ART
Feb 15 - 24, 2019
www.10DaysofArt.com

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