Pure Imagination group show

A group show exhibition titled PURE IMAGINATION, opening
on September 4, 2012, Tuesday at 6PM here at the 3rd Level Greenbelt
5. We’ve put together 16 artists representing both Abstract and
Figurative styles. For more details, kindly take a look at our events
page here:

Represent your bastard: a fundraiser for a bastards in NY

 Bastards of Misrepresentation-NY
August 24 at 6:00pm
Department of Avant Garde Cliches, Pasong Tamo Extn Makati City

For the first time a survey show of Philippine contemporary art as broad as Bastards of Misrepresentation shall be presented in four venues in one of the art capitals of the world, New York City. The show, curated by renowned artist Manuel Ocampo, shall have simultaneous openings at Topaz Arts, Queens Museum of Art, Crossing Art Gallery and at the Asian/Pacific/American Institute at NYU. This exhibition will provide important opportunities for the artist involved by illustrating the diversity of practices

currently being explored by the Filipino avant-garde. The exhibition will highlight the significant contribution this group of artist is currently making to the history of art in the Philippines, while embracing a new era of outward looking ambitious artists who are working hard to put Filipino creative communities on the world stage.The artists included represent the cutting edge of Filipino art in the last five years. Many have won awards and some have established reputations in Europe and Australia. Others are legendary performers from Manila’s underground art and music scenes.Participating artists are: Poklong Anading, Yason Banal, Bea Camacho, Valeria Cavestany, Lena Cobangbang, Maria Cruz, Gaston Damag, Dex Fernandez, Arvin Flores, Dina Gadia, David Griggs, Robert Langenegger, Romeo Lee, Pow Martinez, Jayson Oliveria, Carlo Ricafort, Timo Roter, Gerry Tan, MM Yu, Maria Jeona Zoleta

Bastards of Misrepresentation is about the cultural scene happening in the Philippines yet is not a definitive show about Philippine art. The show is not without irony aptly titled “Bastards of Misrepresentation” as the Philippines is a country with a hybrid culture; embodying the complexity of its heritage and colonial history while it’s political identity reflects the pervasive “misrepresentation” of its’ people. Moreover, the shows deals with issues about aesthetic autonomy, social critique and the philosophical politics of expression, variant material economies and the alternate conditions of authenticity, and information distribution through shared affinities.

To help subsidize the mounting of this very momentuous exhibit a fundraiser will be held this August 24 Friday 6PM at DAGC.

This fundraiser will be accompanied by musical performances by Jol3na, the trio of Kaloy Olavides, Pow Martinez and Alvin Zafra, and indie favorite The Sleepyheads. Plus a videoke installation by Yason Banal.

There will also be live drawings sessions where you may get a rare chance to win any fresh, off-the sketchpad artworks by Romeo Lee, Dex Fernandez, Carlo Ricafort, Arvin Flores, Pow Martinez, Maria Jeona Zoleta, Robert Langenegger, Jayson Oliveria and Manuel Ocampo.

Cocktails will also be served as the rest of the Bastards will chat you up everything about Bastards NY project.

For further queries and information about the Bastards, visit:

and the fundraiser, please click – http://arteleriamanila.wordpress.com/bastardized-event/

For the Bastards Online auction –

for our kind host in NY Topaz Arts – http://www.topazarts.org/2012/08/get-ready-bastards-at-topazarts/

Angonoismo group show


Food and Art Gallery, 12F GT Tower, Ayala Avenue corner F. Dela Costa St. Makati City, Philippines

Opening day: August 17  2012 Friday 6 PM

Featuring the works of:


Curated by:
JCrisanto Martinez

INSIGHT: Soliloquies in three. art works by Alain Austria, Crown Dolot and Juno Parungao


INSIGHT: soliloquies in three

Alain Austria, Corona Dolot and Juno Parungao

It is one familiar narrative – artists wearing several hats, juggling art and making a living. These artists traverse different phases of their lives as educators, cultural workers, scholars, entrepreneurs, lovers, and followers of certain paradigms. They are the kind of people you meet and eventually seek for long hours of fruitful, wonderful conversations over a glass of wine or just plain pizza time. But familiarity blurs once you try to define them or identify them within a specific tradition, movement or style. Their works may resemble certain styles and forms, but never just once, never just one. They work as individuals devoid of any conscious attempt to fit in an identity.

These artists produce art as meaningful conversations about a range of knowledge they get out of their many hats. Their artworks speak of a marriage of traditions with one central theme: the meaning of life. The artworks are what transpire from introspections, dialogues, conversations, interactions, and even arguments between beliefs. Their canvasses are filled with exchanges, varying views and marriages of concepts.

Art is a discourse.


We have once again moved the opening date for the exhibit INSIGHT: soliloquies in three to Wednesday, August 15 at 5:00 in the afternoon at the GSIS Museo ng Sining.
We feel that it is still not a good time to celebrate while fellow-Filipinos are still struggling with pains and losses from the recent flood. Some are still soaked in flood while we can already enjoy this morning’s sun.

We are hoping that you may still be able to join us in the ceremony. Music and dance presentations, cocktails and informal discussions are prepared for everyone. While we wait before the opening, JIV Manila accepts donations for flood victims in Pasig.

All the Best,

Avie Felix
JIV Manila Art Group

Charles Darwin, Me, and other Irregularities group show

July 14 at 6:00pm until August 5 at 9:00pm

Four new media artists at Light and Space Contemporary

Light and Space Contemporary is pleased to announce the opening of Charles Darwin, Me, and other Irregularities, a group exhibition of four new media artists:

Ralph Eya,
Julius Redillas, and
Andrei Venal,

which opens on Saturday, July 14, 2012.

Throughout their production for the exhibition, the group has consistently been deeply involved in fostering a collaborative relationship that has affected the outcome of their work in no small measure. They are easily-recognized for their immersive multimedia works which behave evenly as a group. Incorporating dramatic footages and music into their visually striking installations, the artists create engaging and transcendent multisensory experiences which draw the viewer into ambiguous and unsettling narratives. Their works address grand themes centered on adaptation, hinting on issues of displacement, voyeurism, and desire. Providing only fragments of information, the completion of the storylines, images and thoughts are left to be formed in the minds of the individual viewers.

New media

Kuro’s works range from the ephemeral to the digital. His centerpiece for the exhibition is a three minute single-channel video installation projected on fabric, entitled Chasing Salvation. The artist visited the most rundown carnival in the provinces to take a footage of its carousel—a loaded image about childhood fantasy—in order to speak of individual life struggles mirrored in most social structures. His installation with clay, rice, blue light, rake, entitled Ghost Garden, addresses the difficulties in how people find their places in an ever-changing landscape. His works seek to stimulate contemplation on existence and purpose, and the conflicts that arise as these clash with our selfish and worldly desires. He says, his “ephemeral works refer to the fragility of the human soul,” and that his digital works, “because of their intangible nature, refer to the ideal, the elusive hoped-for and desired.”

The group’s works project an interests in spectacle, narrative, and sculptural motifs. In Kuro, we witness a small children’s carousel grinding slowly up to speed, while lights and music emanate from the structure and moving shadows are cast onto the fabric. The results transform the carnival ride into a layered and evocative encounter.

In marked contrast to this large-scale installation by Kuro, Eya, Venal and Redillas have created a series of works that turn their interest in the subject of adaptation away from the grand spectacle of the carnival to focus instead on the intimacy of the imagination. Their digital explorations further the narrative potential of the technology as extensions of human function.

“Twenty-Seven,” a performance in a box, functions as an interactive piece. To see the piece is to encounter someone’s “private process of dealing with adaptation,” says Ralph Eya, a instructor of photography at the Philippine Women’s University. “It is a view of the mental and psychological conditions instead of just the physical aspect of adaptation,” he adds. The audience, assuming the role of a voyeur, may experience the clarity of his message from the raw juxtaposition of the human body to such mediated forms of video, simultaneously as the body is played like an instrument; an accompanying sound from the video is playing. A contrast emerges which is telling of a current tendency to inundate ourselves with excessive information. The virtual image of the artist is projected as the proxy of the physical self that acts as a steward for our mortal being. As an investigation of knowledge, time, and our relationship to objects and environment, Twenty-seven creates an introspective experience.


Coming from an art school but having a career background concentrated on his commercial viability as a photographer, is a practice which Eya says makes his double-life. “I think the most influential component in my discussion of adaptation is my current teaching practice.” It is about making art based on one’s current situation, being able to justify and communicate your context visually. What Eya says is true for the rest of the group who maintain day-jobs in commercial establishments to sustain their practice. But according to them, it is precisely the exchanges in their middle grounds that stirred their objective for art exhibitions.

Julius Redillas who works as a designer for Second-life, an online design platform, presents three Youtube screen-caps mounted on a wooden lightbox along with watercolour images scrapped from Google images. The announcement of Stop Online Piracy Act (SOPA) became incumbent on his part to present the screen-captures, untouched. He says, he “wanted it to serve as replica or even as hard-copy documentation of the image/video in case the online file gets deleted.” Meanwhile, the watercolors echo of the same visceral quality found in illustrations of animals and human figures in anatomy books. His juxtaposition of a contemporary art form with a traditionally recognized one speaks of the contrast and also of parallel cases in which an artist adapted with the shift in the information medium and exponential generation of “knowledge.” This precludes increasing censorship and the resulting paranoia over intellectual property rights that this creates.

Andrei Venal, Shell National Student’s Art Competion grand-prize winner, and conistent finalist has created characters from a dream world in his five-piece series of original digital fine art printed on canvas. These works reflect Venal’s view on the supremacy of change and the various situations wherein he had to adapt in order to survive. He says, “There is both beauty and maleficence (in this instinct).” After printing them on canvas, Venal deleted the digital origin of his works, rendering them orphaned and irreproducible, in order to mimic the experience of adaptation and transfer. He says “After the adaption, one can never go back to the original form except find traces of it in the present state.”

The works unravel personal thoughts on this urban condition and self-realizations were not uncommon during the process. In the series presented, he goes back to the ancient custom of deifying abstract ideas. Change and adaptation become gods who control forces in the lives of people. Although Venal has said that he does not believe in religion and his faith in a monotheistic god is weak, he believes in the idea that a god could be someone or something that could shape one’s life. This is regardless if one allows it. These principles, he says, are the “moulders of one’s destiny.”

The artworks in this exhibition are the result of manifesting change and adaptation as objects and forces that continue to incite the imagination of the artists whether as a grueling meditation on purpose and place in the world or as mere deep-thinking touchstones.

(exhibition opening will coincide with “Everyone Should Be Killed!” music and zine event at 9pm )

Exhibition runs until the 5th of August 2012.
For further information, please call +632 4305202 or via email at lightandspacecontemporary@gmail.com

Julius Redillas  Light & Space Contemporary.

work by Julius Redillas