Tatong Recheta Torres, "Fandom Vulgaris", detail
Three confident artists make for three fearless exhibits. These three don’t shy away from taking their art to new directions. Whether or not their explorations work, the attempts in themselves make their shows worth visiting. Continue reading
I look forward to the Ateneo Art Awards every year. I believe that it does a credible job of recognizing the best works by young visual artists. I do not always agree with their
Bembol dela Cruz and Kawayan de Guia
selections, and I do have an issue with the awards’ age limit. But overall, I still find it relevant and prestigious, a worthy acknowledgement of efforts undertaken in the past twelve months. All the chatter that rolls in along with the announcement of winners just adds to the fun! Yes we get names that appear every year— but doesn’t that just prove that those who always make it to the shortlist consistently do great work? A key component to the judging process requires artists to recreate an exhibit for the benefit of the panel of jurors. Yes, this imposes an onerous burden on the artists, one that the galleries must pitch in for. Having exhibits properly documented certainly helps. But it does prove difficult to capture an exhibit’s original flavor, despite the galleries’— and the artists’—best efforts. Perhaps, this should be addressed.
Mariano Ching, "Under The Western Sky Series 3"
The exhibit’s title did puzzle me, but it should have clued me in. Clint Eastwood in Hats On, Bottoms Off shows works inspired by Westerns—the cowboys and Indians variety, an odd, unexpected choice of concepts. But a chat with artist Allan Balisi, who had thought this up with Cos Zicarelli, revealed that there is nothing more to this than a bunch of cowboy movie enthusiasts getting together to produce work. Everyone in the group was game enough to stick to the plan. Continue reading
More than twenty years ago, writer and art critic Alice Guillermo defined social realism as “…a shared point of view which seeks
YOUTubia
to expose or lay bare the true conditions of Philippine society as well as to point out solutions by which these conditions are changed…” Social Realism, or SR, has always had a strong presence in the Philippine art scene. Artists don’t exist in a vacuum. And just as in any community, some show more concern than others for politics and social justice.
I have always looked forward to the group exhibits by the Social Realism stalwarts: Antipas Delotavo, Jose Tence Ruiz, Renato Habulan, and Pablo Baensantos. They come together on an almost annual basis, mounting shows of mostly large-scale paintings. I have seen some pretty important pieces come out of these SM Art Center displays. Among them, Biboy Delotavo’s unforgettable Diaspora, his 2007 mural on departing Filipino overseas workers, and Bogie Tence Ruiz’s first forays with the Kotillion in 2008.
Renato Habulan, detail, "Liwanag 1"
YOUTubia continues this tradition of the SR barkada. The show’s title plays on the word utopia, the ideal social, political, and moral state. In this age of the internet and global interconnections, one’s concept of utopia has broadened to embrace technological advances. Social realism must also keep up with the times. Thus, aside from the Fab Four, this show includes work by Neil Doloricon, younger activist-artists Mideo Cruz, Iggy Rodriguez, and Buen Calubayan, as well as less militant contemporary art practitioners Tatong Recheta Torres, Constantino Zicarelli, Christina Quisumbing Ramilo, and Jay Pacena.
Renato Habulan, "Liwanag 1" and "Liwanag 2"
Bogie Tence Ruiz on curating the show: “I gave them no other brief other than think about the present, where You Tube has infected UTOPIA. It is not Dystopia, just YOUTubia, which is not a failure or a disappointment, but an eye-opener to a new reality, unfolding, mutating, intimidating, still untested and unqualified, but true and undeniably pervasive and contemporary, about as contemporary as all the Internet, Facebook, Twitter etcetera etcetra.”
Christina Quisumbing Ramilo, "Karaoke Art Project"
This unusual combination of artists actually works for me. It is perhaps a testament to the respect accorded to Bogie that the artists produced significant pieces. Not many group shows can boast that achievement. I especially enjoyed Ling Quisumbing Ramilo’s Karaoke Art Project. She altered the background images of karaoke songs to that of Philippine art pieces, uploading more than 4,000 photos from her colleagues. Through this project, she brings art to a new audience, those unable to visit galleries and art spaces.
Tatong Recheta Torres, "Untitled"
For Ling’s other piece, her Static Series, she spent hours in front of the t.v., waiting to photograph faces distorted by static. She arranged her photos to form a life-sized frame of an empty computer screen, a comment on today’s sensory and information overload.
I also loved Tatong Recheta Torres’ untitled portrait of a disintegrated face. Frankly, I’m not sure how this relates to You Tube and Utopia, but it is a beautiful painting nevertheless. He pays tribute to a beloved father figure who passed away last year. Tatong also reveals that with this piece, he went back to his original process, painting without photo references or grids.
At foreground, Christina Quisumbing Ramilo, "Static Series"
Bogie introduces his caballeros, solo paintings of FPJ and Erap borne by steeds. They flank a diptych of a mob of movie villains, contravidas slain by the two movie idols in the course of their cinematic careers. Unfortunately, their prowess could not extend to life beyond the big screen. Both of them have been browbeaten by a petite adversary, the head of state who takes pride in her resemblance to Nora Aunor. No description can do justice to Bogie’s wonderful use of colors for these three pieces.
By Jose Tence Ruiz
A protest cannot be complete without a burning effigy, and sure enough, EfPIDGEE, burns close by.
Jose Tence Ruiz, "Kabalyero Sa Dalampasigan Sa Tabing Na Bughaw"
There’s a good reason why we’re missing Biboy Delotavo’s murals for this show. At the end of April, he brings a show of large-scale paintings to the National University of Singapore (NUS). What we see here are two pieces from his 2008 Artesan show, also in Singapore. I had only seen photos of these before, and enjoyed this chance to see them in the flesh.
Jose Tence Ruiz, "Kabalyero Sa Puwang ng Gabi't Takipsilim"
Jay Pacena mounts an impressive assemblage of his painted digital prints of subjects on a freefall. Neil Doloricon also uses digital prints painted over with acrylic for U.S. Diplomacy and Na-Edsahan Tayo. Unlike Jay’s monochromatic grays, he has chosen neon colors to give his pieces a pop, graphic feel.
Jose Tence Ruiz, "Miting De Atrazo"
Mideo Cruz paints! His Laissez-Faire shows mirror images of the iconic Eddie Adams photograph of a South Vietnamese general executing his Vietcong prisoner. Portraying a horrific act twice makes it ubiquitous, and consigns it to the commonplace. We viewers becomes inured to such despicable deeds.
Antipas Delotavo, "P2Pass" and "White Edifice"
My only complaint about the Pablo Baensantos piece, Labor and Monkey Business, on monkeys as politicians (or are the politicians monkeys?) swinging from an LRT station is that it was mounted high on the wall; too high to get a good view of its details. Fortunately, you do not encounter the same problem with Renato Habulan’s Liwanag 1. You can relish every tattoo on his skinhead’s sinewy arm .
By Jay Pacena
Cos Zicarelli’s two works on paper seem like movie stills to me. From Bogie: “Iggy Rodriguez’s painting is about the powerful moloch lording over the destruction of the small and weak. Buen Calubayan presents a cycle of death, consumption, and tribute with his images of dead laboratory mice, wakes, and a video of a boa constrictor devouring another mouse.”
Neil Doloricon, "US Diplomacy" and "Na-Edsahan Ka"
In YouTubia, you get a blend of the traditional and the more contemporary, various interpretations that somehow gel into a satisfying mix. SR moves on.
Mideo Cruz, "Laissez Faire"
YOUTubia New Works, Effigies, and Videoke runs from 8 April to 2 May 2010 at the Finale Art File, Warehouse 17, La Fuerza Compound, 2241 Pasong Tamo (Chino Roces Ave.), Makati. Phone (632) 813-2310 or visit http://www.finaleartfile.com
Pablo Baens Santos, "Labor Monkey Business"
Buen Calubayan, "Unrehearsed Jazz"
Constantino Zicarelli, "After White Zombie" and "After (After White Zombie)"
Iggy Rodriguez, "Dante's Rest Day"
http://www.youtube.com/watch?v=ZVuf6cz–So
Tatong Recheta Torres, "All Star Cast"
At foreground, Leeroy New's "Rust Cloud"
As a child growing up in downtown Manila, Tatong Recheta Torres would escape into the world of movies. Enveloped in
Exhibit installation
the darkness of Recto Avenue cinemas, his imagination transported him from the bustle of a congested city. Off he went, out into the realm of Bioman, and Godzilla, Darna and Valentina.
Leeroy New, "Red Venus"
In this show, Odeon Universal Galaxy, Tatong teams up with Leeroy New. Their first exhibit together takes its name from the most well-known movie theaters in Avenida. They take us into a flick of their own making, one that brings us to the world of sci-fi, horror, and Japanese anime they devoured as kids.
Leeroy New, " The Thing From the Deep"
When you walk into Blanc Compound’s main exhibit space, you feel just like Obi Wan and Luke as they enter the cantina in search of Han Solo. Only a bit less PG. Tatong’s painting on the center wall, All Star Cast, depicts backstage of a beergarden somewhere across the Milky Way from Pluto. Leeroy’s human-sized creatures mill around, enjoying the entertainment.
Another view, "Red Venus" and "The Thing From The Deep"
Detail, "The Thing from the Deep"
Leeroy, himself reared on Blade Runner and The Thing, allows his imagination to take flight once more. This time, his fiberglass and polyurethane sculpture have more detail. You can’t help but scrutinize and enjoy the clear figurines he piles atop two of his works, like some sort of space age barnacles.
Leeroy New, "Fear and Desire At the Gate"
It would’ve been good if Tatong had one other painting. But perhaps that couldn’t have been helped. Tatong and Leeroy should make movies more often. This was so much fun!
Tatong Recheta Torres and Leeroy New
Odeon Universal Galaxy runs from 24 August to 10 September 2009 at Blanc Compound, 359 Shaw Blvd, Mandaluyong City. Phone (632)750-0032 or visit http://www.blanc.ph
Suspension
Until he was 11 years old, Tatong Recheta Torres wished he could be a superhero and fly, take himself off into another realm, transform. Instead life happened, bringing with it all its attendant ordinariness
Blame It On The Mirror
and routine. Lucky for us, despite the physical impossibility of fulfilling this childhood desire, Tatong- the-now- grown-up- artist wistfully revisits these long-ago longings in his latest exhibit, The Most Genuine Regret, on view at Art Informal in Greenhills.
Tatong’s art has always been about his incursions into a fantastic, alternate world, at once fascinating and
Duo Eradicat
horrifying. He transfixes as much as he makes us recoil, until slowly, we come to accept this parrallel reality. What at first seems like pistules festering on rotting flesh acquire the patina of the commonplace. Decayed matter turn into objects of beauty, leaving us captivated. Tatong sucks us into his universe. And here, enthralled, we choose to stay.
The Great Reward
Red Card Galore
Figure 1 to 5
Fly Factotum
The Most Genuine Regret by Tatong Recheta Torres is at Art Informal from 11 December 2008 to 11 January 2009, 227 Connecticut St., East Greenhills, Mandaluyong City, phone (632)725-8518 or visit http://www.artinformal.com