My Top Three For 2011

Louie Cordero, "My We", image from www.singaporebiennale.org

Manila’s art lovers will remember 2011 as the year when Rodel Tapaya made us proud with his APB Signature Art Prize win, Roberto Chabet proved that he’s still at the top of his game after fifty years, and Mideo Cruz exposed the need for Filipino audiences to encounter more varied forms of artistic expression to broaden their perspectives.

In his video review of Tacita Dean’s Turbine Hall installation at Tate Modern, Richard Dorment, art critic of the UK’s Daily Telegraph, defines the art he likes as art that “…may not be immediately understood, but must be immediately gratifying.” I look back at 2011 and remember it for three pieces, my favorites from all that I’ve seen these past twelve months, works that allow me to share in Mr. Dorment’s sentiments:

1. My We

Louie Cordero

Singapore Biennale

Singapore Art Museum

13 March to 15 May 2011

A satire on the emotions aroused by Frank Sinatra’s My Way in karaoke bars around the country, where conflicts on the proper way to interpret the ditty have led to fatal consequences. Louie delivers blood, gore, and music in neon brights. What’s not to like?

"My We", detail

2. Miracle Healing And Other Hopeful Things

Poklong Anading

MO Space

9 July to 7 August 2011

The transformation of the lowly basahan into pieces that bring on a wonderful experience, a lively, jaunty landscape, one that I had previously described as a carnival of colors. This is a show that I still wish I had seen more than once, that deserves to be reprised, where I thought Poklong gave the likes of Phyllida Barlow a run for their money.

"Miracle Healing And Other Hopeful Things" installation view

"Miracle Healing And Other Hopeful Things", detail

3. “The Trojan Horse”

Kawayan de Guia

A Lot of Sound And Fury Signifying Nothing

The Drawing Room

17 September to 10 October 2011

My kingdom for this magnificent horse–although, come to think of it, it does not seem to have a name! I’ve referred to it as “The Trojan Horse” because Kawayan described it thus when his exhibit opened. He had movies on his mind for that show, lamenting the disappearance of Manila’s theaters, some of the city’s architectural marvels, through mixed media, wall-bound works. He also explored the cult of the celebrity with portraits made from captured flies.

This enormous equine sculpture, however, received and deserved all the attention. In the pre-digital age, reels of discarded film would be made into horns, torotots, that street vendors would then hawk around town. Kawayan fabricated the piece from commissioned torotots, but not before recording the images they contained in a video he played during the exhibit’s run.

By the way, the torotots actually work. Place your lips on one of the mouthpieces and blow: happy new year!