n Handumanay (a word from the Visayas that closely means “recollection”; note, too, of the last four letters, “anay,” that trail the word), Manes examines the erosion of memory as well as those that hold a record of it—photographs, an identification card, and a bill which, to some extent, preserves a kind of national identity. Once translated to his chosen medium, both subject and keepsake, the depicted and the record, share the same fate: their vulnerability is made evident. We as viewers look at his paintings as salvaged (denoting both “saved” as well as the vernacular connotation of “destroyed”) documents. Without these remnants, their destruction is complete.
In this three-man show, Daloy, Mel Cabriana, Thomas Daquioag, and Archie Ruga employ the imagery of water and the ideas related to it: the flow of time and the essence of life. In psychoanalysis, bodies of water evoke the subconscious, and from this place do the three artists draw their imagery: a girl submerged in water, a superhero strumming a guitar against a flooded world, a full-grown figure inside a cocoon caressed by rain. With great care and insight, the images are made to bear their comment upon the world at large.
One requires a certain level of transparency to the ground in order to create an “honest” image. Perhaps sheer to a particular degree of conciousness from the inner self to the paper. As paper reveals it’s physical properties, the artist harnesses these qualities and reacts towards the ground. The exploration of possibilities in imageries and forms that brings paper back to its origin which is nature. The ways in which the artists responded to paper exposes the fragility and potential use of it.
Metal has been the routine medium in sculpture, assemblage, and in some forms of installation art, but in his first-one-man show, Coping Mechanism, Anthony Victoria reveals its properties, particularly that of aluminum, as a drawing board, a slate, a futuristic canvas on which he essays the clashes, collusions, and inevitable cooperations of the human and the artificial, the beating heart and the thinking mind with the resonant forms of technology.
With our daily consumption of the ongoing Marawi siege, skyrocketing body count, and falling peso, it’s easy to be desensitized and think that we are safe from harm. Tokhang is only for the poor, or is it? But here at Salo-Salo Espesyal, whipped up by Kalye Kolektib, we offer you a smorgasbord of our individual and collective visions into what’s happening around us, hopeful that they can fill up your appetite for some real-life, meaningful action. We believe that rich or poor, addicts or not, all of us Filipinos share the same table where we are free to discuss issues and disagree with each other. Here are our delectable specialties that will have you shookt!, as the millennials would say. Kaon ta! Mangan na! Let’s feast!
The Northern part of Luzon — with its flat terrain, coastline, and vast mountain ranges— plays a fundamental part in our history for it was a home to many notable and prominent figures who made their mark in the formation of our national identity. In this show, seven artists from this region bring us tales, stories, commentaries, and other portrayals of their own realities, influenced by their affinity to the land of their origin and correspondingly to their own experiences of other territories.
Words that are “loaded” teem with meaning, with layers of nuances, colored with pointed emotion, precise with their biases.
Things, like cars are fully “loaded” when embellished with an abundance of options; while guns and cameras are fully “loaded” with deadly bullets or light sensitive film, ready to be consumed, to be fired or to take shots with.
No one escapes decay. The manner, the rate, the form, the agents of decay, and its variables are all not constant. Decay may be altered, hastened, slowed down. Until it comes and in the final form it comes in, those in the arena: the fighters, the onlookers, controllers of fate and of the elements, may all participate—actively, aggressively, or even in passivity.
Far from looking for the muse in scenic views, beautiful faces and fiestas, the politicized Filipino painter, during the turmoil of the First Quarter Storm, was not reacting to external conditions more fed through the eyes than being fired up by issues fed through the heart and mind. History, then, was being coursed from growing […]