Archive for June, 2009

on The Male Voice

Tuesday, June 9th, 2009

a version of this was published in the Philippine Daily Inquirer yesterday, June 8 2009, Arts and Books Section.

It begins simply enough, with four chairs, four small tables, and two clothes racks onstage. The moment the actors begin the first monologue “I Am Man” though, it becomes clear that this is going to be more complex than that stage and its four actors.

Because there is more to making a powerful and revolutionary play than just being inspired by the Vagina Monologues, and reconfiguring it to highlight man’s “humanity”. There more to the project of New Voice Company’s The Male Voice than just telling the individual stories of countless men to pinpoint their existence as affected members of family and society. There must be more to this than that cliché of an ending: men will choose to be part of the solution, instead of the problem. (more…)

what party(list)?

Sunday, June 7th, 2009

the list of congressmen who voted yes to the ConAss has been making the rounds of egoups and email inboxes. but more than giving us the names of those we MUST NOT VOTE FOR, i have found it more interesting, the partylist representatives and therefore organizations, that are part of this ‘wag iboto list.

BRIONES, NICANOR M. AGAP Party list
ESTRELLA, ROBERT RAYMUND M. ABONO Party List
PABLO, ERNESTO C. APEC Party List
SANTIAGO, NARCISO D. (III) ARC Party List
VALDEZ, EDGAR L. APEC Party List

a look at AGAP Partylist’s website doesn’t give much information, only that they are “coordinating with” government offices including GMA’s, to “protect and promote the welfare of the hog and poultry industry” in the country.

the three other partylist organization don’t have websites, and there is very little information on them. ARC stands for Alliance of Rural Concerns — which seems like a huge umbrella organization, yes? — but doesn’t seem to stand for a concrete constituency. according to this news article from 2007, ARC advocates for CARP: “We value CARP despite its acknowledged defects, and look to the DAR as a principled partner in the struggle of the rural people for reforms and better life.”

they forget that the DAR and the CARP are both already enemies of the farmers of this country, something that has been proven by the continued existence of the Hacienda Luisitas in our midst, and by even more current events such as Henry Sy’s takeover of 8,000 hectares of prime agricultural land. too, that there is an alternative, one that’s about REAL agrarian reform: the Genuine Agrarian Reform Bill or GARB.

there isn’t much on Abono Partylist online either, except for news reports that they were topping the COMELEC count in the elections, and that they are an agricultural-fertilizer partylist.

and then there’s APEC Partylist, which apparently has the richest of congressmen in its ranks. it stands for Association of Philippine Electric Cooperatives, which seems self-explanatory.

there is no information on the constituencies of these partylist organizations, a requirement for partylist registration with the COMELEC. and the one org that had a website, listed all of two members — TWO MEMBERS!

but too, what might be more obvious here is that there doesn’t seem to be a clear marginalized sector being represented by any of these congressmen who voted yes to the ConAss. if anything, we have congressmen who represent capitalists who sell fertilizer, hogs and poultry, and electricity.

this tells us that we shouldn’t be giving this vote away. NOT.AT.ALL.

kawayan takes a walk on the blindsideMarch 1st, 2010

It seems too easy, really. On one July 4, Kawayan de Guia found himself in America, and felt removed from what was a major celebration in the land of milk and honey. On this day, he decides to take a 30-kilometer walk on non-descript Route 66, which may be part of his personal history of walking, yes, but to a spectator who needs no personal history, could really be about so many other things.

Which is really what works for Bored on the 4th of July (Ateneo Art Gallery, Ateneo de Manila University) an exhibit borne of de Guia’s New York Art Residency Grant. An installation of photos that de Guia took on this walk of purported boredom, what was striking to begin with about this exhibit was the fact that it really is just a bunch of photos. The current propensity for capturing images of moments and keeping memories, with social networking sites and the internet’s enterprise of sharing and developing relationships through these swiftly changing images, this is exciting as it is possibly boring. For really, when I can put an album online of my own walk through an unfamiliar street in an alien city, wouldn’t my own captured images necessarily be as important, if not more so, than someone else’s? Read more…

Lack or irony in Happily UnhappyFebruary 9th, 2010

a version of this was published in the Arts and Books Section of the Philippine Daily Inquirer, 8 February 2010.

A group exhibit such as Happily Unhappy (Blanc Gallery, Mandaluyong) has a lot going for it, other than the possibility, and the fact, of a smorgasbord of artists. There is the brilliance of a concept, the idea of being happy with one’s unhappiness, that can carry an exhibit like this to, well, brilliance. This of course banks on the infinite possibilities that a title such as this allows: what is it to be happily unhappy? Where does one take that idea, and how can it be configured and reconfigured? It also presumes a certain amount of irony, yes? Because that title is, if we must state the obvious, ironic.

But apparently the danger with irony in an exhibit such as Happily Unhappy (curated by Jordin Isip and Louie Cordero) is the possibility that a greater number of the participating artists would work with the concept in the same way, i.e., talk about the same kind of happy unhappiness. The irony then becomes less potent, less obvious, less than what’s expected. Read more…

Lee Navas Olazo rock the new year!January 26th, 2010

A two-man one-woman show featuring Romeo Lee, Elaine Navas and Jonathan Olazo (Manila Contemporary, 2314 Pasong Tamo Ext), opens the year 2010 with a bang of bold strokes and crazy textures. The diversity of course lies in the kind of works that these three artists are famous for, a diversity that necessarily lies in form, but more importantly in subject matter.

It’s Navas’ three panels that capture the eye upon entering the gallery, with her signature impasto technique and an amalgamation of green. The four panels that make up “Asborbed” “Found” and “In Between” could easily be different angles of the same forest rendered in still life. What makes it unique is Navas’ use of a technique that seems to bring this forest to life, engaging the spectator in the familiarity of the moment captured: the trees and leaves all tangled up, a bit of sunlight cutting through the chaos. It calls out to the spectator in the way the unknown does, where being in between is the same as being found, as one is absorbed into discovery as well.

In “Wishingbone” Navas’ still life isn’t so much about the engagement with what’s familiar, but a rendering of the familiar into strangeness. The wishing bone, which connotes hope, is shown as a headless fish skeleton hanging upside down, a query into the idea of a wishingbone and what it is in truth: a surrender, an end in itself, a moment up in the air. It’s this same suspension of belief that is apparent in Navas’ two other works “Solo” and “Pink Mutations”, as both work with crumpled unidentifiable forms that seem to be moving on the canvas. The latter merges together the forms using shades of pink that interact with and into each other; the former works with contrasting colors, both moving differently and seemingly extraneous from each other, creating a dynamism that’s difficult to miss. Read more…

© 2009 Katrina Stuart Santiago