Archive for July, 2009

seeing yellow

Sunday, July 26th, 2009

last friday, along katipunan avenue, ugly pink MMDA street dividers had yellow ribbons. today, driving through The Fort, lampposts and trees adorned with the same. on GMA 7’s sunday noontime variety show earlier today, all artists had yellow ribbons and pins on their shirts, Judy Ann Santos was in a crazy yellow bustier.

the UAAP’s main game between U.P. and Ateneo this afternoon had all basketball players and coaches with yellow ribbons attached to their uniforms.

and as in 1983, when mama had a yellow ribbon tied to our car, i found myself tying a yellow ribbon on my car last friday. it was meant to disappear, which it surely did by late that evening. but it was also meant to fly with the winds of the University of Makati, where the car was parked the whole day, the only car that was yellowed.

my love for cory isn’t so much about what she did for country as president — my activist-self keeps me from appreciating her in that way. but her icon is replete with memories. (more…)

palparan, benigno, bencard: alin alin ang naiba?

Sunday, July 26th, 2009

what i’ve hated about much that has been blogged re Melissa Roxas via Filipino Voices is that it dissolves the issue of the abduction and torture of activists into anti-left rhetoric. and this happens, not just because of the bloggers themselves, but the comments that are allowed to take over the discussions.

so far, it is benigno who takes the cake. true, he insists we have become desensitized to extrajudicial disappearances and killings because it has become part and parcel of our everyday existence. but in the process of saying this, what he questions is Roxas’ choice of activist affiliation: why Bayan-USA? which he cleanly and easily equates with Bayan Muna Partylist, and then with the Communist Movement in the country.

benigno then asserts that Bayan Muna is the “satellite organisation fronting for a movement whose singular mission is the destruction of everything that we currently consider to be legitimate” — an ultimately dangerous accusation that puts the lives of real people in danger: and no, this isn’t just about the lives of Bayan Muna congressmen, but also the lives of Bayan Muna members.

of course benigno is not alone, other than many of those who have commented on his entry, some on jester-in-exile’s are also quick to judge Roxas character and intelligence. Bencard says Roxas is a “misguided alien political activist who chose to immersed herself in another country’s domestic strife <…> by her voluntary action, she has assumed the risk of being treated as an ‘enemy’.”

what this fails to consider is why Roxas can even be considered as enemy AT ALL. she was legally in the country, going about her research as an academic and as a member of an activist organization, and that IS NOT a violation of the law.

in the end, what is telling about all these critiques of and suspicions about Roxas’ case, is that they fail to consider their role in the bigger scheme of things, in the truth that as they label Roxas “communist” they are red-baiting too, and giving the GMA government and military more reason to believe that what they are doing to activists are justified.

they become no better than Palaparan, who today insisted that Roxas is a member of the NPA — and they had her alias as proof! — as if this justifies AT ALL that she be abducted and tortured, as if this allows the military to take the law into their own hands, just because they’ve been allowed to imagine that they are the dictators of democracy, freedom and liberation.

no thanks to benigno and his ilk.

Saved by Salvatus! Notes on the Ateneo Art Awards 2010August 25th, 2010

a version of this was published in the Philippine Daily Inquirer, Arts and Books Section, August 23 2010.

Because Mark Salvatus and his work inspired by the Quezon Provincial Jail would be the most logical choice for the Ateneo Art Award 2010, to this critic who has seen most these artists’ exhibits when they came out in galleries and museums across the metro, and who does insist on relevance and resistance, and its possibilities in art.

Of the 12 short-listed artists with works in exhibition at the Shangri-la Plaza Mall’s Grand Atrium, Salvatus’ installation “Secret Garden” and painting “Do or Die” were the most outright political, speaking of the lives we’d rather forget about, the silence that is as noisy as our screams. The jail ain’t a pretty place, especially in the Philippines. The ugly ain’t the usual set of works that we see the Ateneo Art Awards (AAA) liking, and let’s not even begin about the political.

The argument would be of course, that everything is political. And looking at the manner in which this AAA exhibit exists can only be telling. In the context of this high-end mall, with mostly foreign shops, the second floor lobby filled with contemporary (and young) Pinoy art just seemed so out of place. Or maybe it was perfect. Read more…

Ruben de Jesus and the simple lifeAugust 9th, 2010

a version of this is in the Arts and Books Section of the Philippine Daily Inquirer, August 9 2010.

From afar, the first thing you notice about Ruben de Jesus’ works is its colors. Reds, blues and blacks are rendered in various and unexpected hues that play around with light and shadow and emphasis. Up close, each of the pen and ink works is a story in itself, at the same time that all together they could be bound into one children’s storybook. Simpleng Buhay, Simpleng Kulay (The Alcove, Filipinas Heritage Library, Makati Avenue) seems simple enough in theory, but in reality it speaks of a complexity that’s in the artwork, and more importantly is beyond it.

The choice of the simple

Last year, de Jesus mentioned the idea of paintings on the simple life to Filipinas Heritage, and while they were excited about it, de Jesus needed to be given much space and time to do it. Sometimes it wasn’t clear how much of the work was being done, or even how many artworks there were going to be. But a year after, there are 12 framed artworks all in all, six in blue and black and six in red and black, each one working with a particular moment in rural life that might be deemed simple, if not forgotten, maybe a reminiscence, by current standards of city life and development. Read more…

© 2009 Katrina Stuart Santiago