Archive for November, 2009

Art of Our Lives in Pacena’s Static Reverb

Tuesday, November 24th, 2009

a version of this was published in the PDI on November 23 2010.

The noise was crazy at the opening of Jay Pacena’s recent exhibit Static Reverb. Cramped as we were in the small space of Blanc Gallery, the energy was deafening in its youthfulness, the excitement really quite overwhelming. This came in contradiction with the fact that Pacena’s canvasses were filled with the quietest colors of sad blues, grays and whites; his short film that was on loop on the flat screen TV was in black and white.

But maybe this moment in contradiction was the whole point as it forces one to embrace the cognitive dissonance that Pacena’s work requires. An act of going beyond the canvas and living with the contradictions of its quiet violence.

Using acrylic and digital archival ink, notions of what connects us and the spaces they traverse are represented here by geometric lines and shapes in various angles, interwoven with lines that link differently-sized balls. This stereotypical notion of the things that bind us – as shapes that we have in common, as the things that we hold in our hands and make us concrete – is rendered differently by the naked faces and bodies it doesn’t only co-exist with on canvas, but actually lives off of. At the same time that it allows it to die. To change. To be redefined.

The huge canvas of “The Banquet 1 and 2” is a stark representation of this dynamic, with digital images of men and women in various poses of movement. Here, the geometric shapes become weapon (held to the temple, to the nape, to the neck) with which to kill self and other, it is the blindfold that keeps sight at bay, it ties us down, encompasses our bodies and minds, the things we hide within. (more…)

an ongoing saga: or why Edu has some explaining to do

Saturday, November 21st, 2009

and no, i don’t mean in relation to pinky webb, though that would be interesting ‘no? why oh why would any sane individual choose to run under GMA’s party. and what would be so compelling that he would choose it over love?

but no, this is more about Edu Manzano, he who’s running as Gibo Teodoro’s Vice President, being the Social Security System’s endorser. yeah, Captain Barbel sells SSS with his Lucky son — the strangeness of that statement isn’t lost on me.

elsewhere i’ve talked about the worst times i’ve had with SSS, and yet, it could only really get worse ‘no?

and so in the age of Duds selling SSS, i try (in vain, i might add) to get money that’s due me. the difficulty of course lies, not simply in its lack of a system, but in its downright disregard for a woman’s right to her name.

it is my maternity benefit that i dream of receiving from SSS, one which requires that i show my child’s birth certificate, and which apparently gives any SSS employee the power to change my name. yes, ladies and gentlemen, while the law provides that i may keep my maiden name (an amendment to an existing law by Miriam Defensor Santiago — this is the one time i thank the heavens for her), in the SSS offices across this country, you are presumed to want to use your husband’s surname — you won’t be asked if you want it done.

if this seems petty, then try it with some of this: none of my IDs have my married name on ‘em. and if this seems irrelevant, then try this on for size: you need two IDs for your request for (your own!) money to be even processed by the fantastic SSS office.

add to this the fact that the SSS people DO NOT tell you that they have changed your name, so you can’t even throw the law at their faces.  and so after waiting two weeks for the SSS computer to accept your change in name, you come with your old IDs and you’re told: “ay ma’am, hindi po kayo ito e, magkaiba ang pangalan.”

and you only say watdapak! because really, this same woman knows you to be the woman with the maiden name, and you have in your hands every document to prove that you are one and the same person as that woman with a spanking new married name. instead of SSS acknowledging its mistake here, they tell you to get IDs that have your married name. otherwise, wala ka nang benefits. benefits na dapat ay sa’yo naman talaga.

and so after about two months, you finally have these IDs (a postal ID which costs way too much in Mandaluyong) and a police clearance from the cityhall. you brace yourself for the well-mannered SSS lady who will make you feel like you don’t deserve your money. instead you face someone who says, “o, bakit kailangan pa ng bagong ID, e ang tagal nang approved nito ha, tingnan mo.” and when you say that you were told by the woman in the next desk to get these IDs, she says, “naku naman, pinahihirapan ka pa.”

you want to scream: “po.tang.inaaaaaaaa!”

but you don’t. instead you wait a month, which is the promise SSS makes: a cheque will be delivered to your house by the end of one month at most.

it has been two months and a half of waiting. for money that’s mine mine mine. for SSS to get its fluggin’ act together, and DELIVER — literally and figuratively. the SSS Mandaluyong branch, being the great office that it is, doesn’t help at all when it says: “na-release na po sa main office, in transit na ‘yon, hindi niyo na mafa-follow-up kase wala na kaming alam don, wala na kayong puwedeng tawagan.”

ah ganon. wala nang follow up. wala na kong powers. e pera ko yon.

enter Duds, he who has the gall to run for VP after selling SSS as the greatest thing an individual could have in this country. come on Captain Barbell, you have gotta save this woman’s day.

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