Apr 27 2009
Baricose Brain opens on Monday, April 13, 6PM at Blanc Gallery,
Makati. Blanc Gallery is located at 2E Crown Tower, 107 H.V. Dela
Costa St., Salcedo Village, Makati. For more information, please visit
www.blanc.ph or www.blancartspace.multiply.com
Apr 27 2009
Opening at Galleria Duemila on May 5 is Lindslee’s Metamorphosis.
By: Carlomar Arcangel Daoana
In the exhibit, the viewer is introduced to a jumble of hues, zigzag of lines, enervated fields of gray that are explosive with tonal varieties, occasionally concealing or revealing geometric details and bands of color. Familiar signage’s–such as the the sign-off theme of a TV stations–are inevitably annealed into blurs, splotches and the kinetic energy of a canvas.
Abstract in quality but conceptual in their assertions, the paintings and the installation art create an uninterrupted evocation of discordance, the lyrical outbursts manifested into gestural strokes jostling with the mathematical precision lines.
“I tried to project cliché motif and typical shapes, combining them with unordinary pictures and color combinations,” says the artist of his project.
The point, he adds, is not to evoke a notion of beauty but to seek those places that are pregnant with the possibility of change and signification: the cocoon after the butterfly. By encountering a disruption in the works, the viewer is unhinged from his usual expectations and comes into terms with how disorder serves as the readying platform for a cohesive reality.
Because the works are necessarily unyielding and not “pleasing to the eye,” the artist hopes that the viewer will negotiate the tumult of color and achieve a kind of engagement at once inevitable and ineffable.
Metamorphosis runs until May 30, 2009.
By Martin Sacramento
The thing that we call Beauty is a strange and bemused creature. Like so many of our big ideas such as “art” and “truth”, “beauty” is a thing that eludes us more the more earnestly we try to tie it down. Artists from various disciplines, for ages have tried to pin it’s essence in verse, stone, pigment, and wood, and each age has had it’s incarnations of this creature. From the Renaissance, to the Impressionists, Modern Art, and the various movements in the main streams of artistic current the perception and concept of what was thought to be beautiful had evolved with ideas and changing times and fashions. Even in our own days, as art has reached a culmination of past inspirations and new knowledge to the point where it can be said to be amorphous, the pursuit of the muse of beauty is chief in many artist’s endeavors, and how we perceive it, is still constantly evolving .
This change in the concept of beauty in art is a continuous cycle that undergoes periodic stratification and revolution. Indeed, many stages in the history of art have been attributed to generations reacting against a previous one’s set of norms, often seeking out new forms of expression. The feeling of confinement, of wanting to break away from pre-existing modes of expression and seeking out something “new”, has been a major force in the development of art, and has resulted in various innovations in concept, execution, subject matter and materials. Though not always successful, and sometimes short lived, artistic “movements” have always been a major force in stirring the imagination of those who appreciate art.
Yet another side of the coin exists that tends to settle at the current state of things.
People’s perception, the establishment of a certain style, cultural norms, have periodically tended to settle the concept of beauty at certain periods. Whether it be for social, economic, political or historic reasons, stratification tends to offer periodic stability and time to appreciate a certain age’s perception, but sometimes it tends to lead to stagnation as people become too accustomed to it. As such, people tend to take a certain temporal interpretation of beauty as a universal truth.
The entire pursuit of Beauty is a paradox. One so I would say because in an ordinary
pursuit, one tends to expect to finally catch the object of the chase. But art is a paradox in that humanity will always pursue beauty, but will never really obtain it as it is always changing with regards to our condition, always metamorphosing, taking on new forms, so that perhaps we can only be so lucky as to catch a sliver of it’s existence, it’s transient reality during our time. It is a pursuit without end which leads to different results, and that is the end of the pursuit.
As such, like most of the things we love, we have thoroughly used and abused the concept of beauty. We have mangled, remade, scoured, refined and blasted it beyond recognition, and in our attempts to define it we have done more to confine it. Like many of our ideals, it has become a victim to the fashions and passions of ages past, a reflection more of localized temperaments than any true qualification of what it is we truly find aesthetically pleasing and soulfully enjoyable. And what’s more, we have essentially replaced the idea of Beauty with the concepts we have accumulated over time. In place of genuine sentiment we have placed criteria, a check-boxes approach to what we should like in art. Beauty has become a cliché’, a cookie cutter formula used to skim over an object instead of staring at the core, a Barron’s booknotes approach instead of actually reading the damned novel.
The exhibit in itself is an experiment in that it seeks to find beauty in the very thing
that people may find to be the opposite of the word: forms and colors which might be
considered common, glaring, obtuse and kitsch. By it’s namesake, it seeks another form of the pursuit. It attempts to challenge our concept and perception of beauty by placing before us images which we would tend to associate with its opposite, and removing us from any familiar grounding or frame of reference. The premise, like any other social experiment, is that there is always room for failure, regardless, every experiment has useful results, and through its kaleidoscope of familiar forms and colors the artist hopes to at least free the viewers mind of any pre-conceptions of what beauty is, and consider various unimagined possibilities of harmony within otherwise seemingly unharmonious elements.
Apr 17 2009
Paseo Gallery-Megamall presents fifteen freshie students from the University of the Philippines College of Fine Arts in their exhibition entitled, “Pause: Modern, Young Artists Grapple with the Times.” The exhibit is divided into three exhibitions, first part is entitled Rewind, the second part is Forward and the last part is Play. Their canvases show a valiant share of their own contextualising, interpreting and understanding post-modernism. Their critique in the perception of pomo trancend subjects, gender, and traditions are extracted in hues determining to explore the context that created endless debates, euphoria, jargon, hype, hysteria, absurdity, creativity ,revolution to a certain extent and new beginnings.
“Pause: Modern-Rewind”,the first group posits the question of what constitutes art; they will explore post-modernism by examining the root and conventions in art. Their canvases will not give subjects to be looked at like objects and arrived at the expected meanings, but deep surfaces with questions to pause for. “Pause: modern, Rewind” opens on April 14 , participating artists includes Dodge Carpio, Isaac Sion, Tanya Umali, Joe Tanierla and PJ Jalandoni. “Rewind”, an investigation of the movement and critique of the context is on view until April 27.
The second group- “Pause: modern, Forward”, comprises another set of young artists: Ana Mata, Joseph Morong, Maridan Pedro, Ralph Barrientos & Jocel Yabes, it presents works that subverts traditional gender representations in the media and pop culture.The exhibit opens on April 28 and runs until May 11.
Opening on May 12 and running until May 25 is the third installment subtitled “Pause: modern, Play” which experiments with the processes of art. Participating artists are: Irene Baltazar, Dawani De Leon, Jazz Gabriel, Cara Gonzalez & Paulo Pascual.
Apr 15 2009
Surrounded by Water “In the Ocean Without A Boat or A Paddle”
Surrounded by Water, an art collective, composed of Argie Bandoy, Vic
Balanon, Jonathan Ching, Mariano Ching, Louie Cordero, Christina Dy,
Eduardo Enriquez, Lyra Garcellano, Geraldine Javier, Mike Munoz, Gary
Pastrana, Amiel Roldan, Eric Roca, Frederick Sausa, Yasmin Sison,
Keiye Miranda Tuazon, Wire Tuazon. Ferdz Valencia and Alvin Villaruel
will have their group show on Saturday April 18, 2009 4pm at blanc
compound Shaw.
Blanc compound Shaw is located at 359 Shaw Blvd. Mandaluyong City. For
more information please visit www.blanc.ph or
www.blancartspace.multiply.com email info@blanc.ph call/sms
752-0032/0920-9276436.
Apr 15 2009
April 16, 2009
Thursday
COSTANTINO ZICARELLI
The Mind is a Terrible Thing to Taste
Costantino Zicarelli, slowly emerging from the stark reductions of the “black and white” paintings, has added canny touches of color in his recent inquisition into the tomographics of a personal history.
“The Mind is a Terrible Thing to Taste” opens on Thursday, the 16th of April at Art Informal with a selection of works in Oil on canvas and Mixed-media. The exhibit runs until May 10, 2009.
Artinformal is at 277 Connecticut St, Greenhills East, Mandaluyong City. Telefax 63(2)7258518, sms +63918.899.2698 or visit: www.artinformal.com. Gallery Hours: 10am - 8pm, Mondays to Saturdays
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