It was in 2009’s {Un}Common that Jose John Santos III first introduced us to his fascination with objects. Almost exactly two years later, Sneak Peek, his first solo show since then, affirms that this has not waned. This time around, John opts for simple, quiet compositions for his paintings. Originally installed at the gallery of Sitio Remedios, the beautiful Ilocos beachside resort of art patron Dr. Joven Cuanang, this exhibit travelled to Art Informal in Greenhills, a concession to allow Manila-based enthusiasts a chance to view the latest from John. Continue reading →
Joven Mansit ends the year with a tribute to Jose Rizal’s sesquicentennial. The exhibit’s title, Dimasalang, which translates to untouchable, comes from one of two pseudonyms that Rizal adopted for his writings in the struggle against Spain. Joven’s suite of medium-sized and small-scale paintings reexamines the cult of our National Hero, one whom we regard as the father of our nation. “I wanted to challenge the common representations of Rizal”, he explained in the vernacular. “We have so many urban legends about him…They reveal more about ourselves, how we assess our history, and how we look at our past.” Continue reading →
“The Philippines is a very particular place”, observed Hervé di Rosa over Thai food. “One foot in the west, and one in the east”, he added, stomping his feet in turn to make his point. “I also notice that the tradition of painting is very strong here, with young artists still taking it up.” Continue reading →
Troy Ignacio considers himself a social realist. His distorted, caricature-like portrayals of the people he encounters daily belie the seriousness with which he views issues such as poverty and injustice. He has adopted a stark, black and white palette to underscore how ordinary and matter-of-fact we look at situations that should cause outrage. A little girl allowed by her parents to dress as scantily as the dancers on a daily television variety show, or an old man forced to eke out a living hawking cigarettes, have been some of the subjects rendered in his oil on paper paintings. Continue reading →
Ronald Ventura changes gears once again for Humanime at the Fine Art Center in Tainan, Taiwan. In this one-man show, which ended this week, Ronald exhibited large-scale paintings and life-sized sculpture, embracing an aesthetic that hews close to the superflats of artists like Takashi Murakami and Aya Takano. He has incorporated anime elements in most of his recent works, but this marks the first time he has mined this concept so thoroughly. Ronald enjoys a tremendous following in Taiwan. He pulled out all the stops for this exhibit, opening with a live performance involving models costumed in the cutesy-provocative style of Harajuku girls, an event duly covered by the city’s media. Continue reading →
It must have been ages since Ronald Ventura mounted a show of mostly small works. We’ve come to associate his astronomical auction prices to equally colossal pieces. Whether or not he conceptualized his paintings and sculpture for Converging Nature with an eye towards making them accessible to his Manila collectors, I thought that their scale worked very well with the gallery’s space. I even felt that his bond paper-sized paintings trumped his bigger ones in terms of subject and detail. Continue reading →
Two ladies, both counted among the most exciting visual artists working today, take over SLab and 20Square to give us two very distinct experiences: Continue reading →
Riel Hilario, "Gazing into the horizon while it gazes back at you", carved and polychromed friutwood, 70x24x20 cm
When sculptor Riel Hilario sits before a chunk of wood, he has no preconceived forms in his head. Like a shaman, he lets the wood guide him, allowing it to tell him what to do. On occasion, he even lets his dreams dictate the directions of his hands. What he consciously aspires for is the creation of contemporary sculpture using the woodcarving traditions he grew up with. In this exhibit of new works at The Drawing Room, Riel taps into his Ilocano heritage to once again bring us his rebultos, art that is in the round, derived “from the block”. Continue reading →
Julie Lluch, "Aba's Yellow Christ", terracotta and acrylic
Being with family means having the freedom to relax, get goofy, be yourself. It implies the comfort to do as one pleases. Where else would Kiri Dalena, artist and activist who takes us to the scenes of massacre and murder, show her irreverent side other than with her family? Or will her sister Sari share a self-portrait that unabashedly glories in her protruding pregnant belly? Home Works, at the AFM Total Gallery, captures the
Julie Lluch, "Cat", terracotta and acrylic
casual, humorous, and playful atmosphere of a family get together. The group exhibit presents works by the celebrated sculptor, Julie Lluch, and her three equally-talented daughters.
Aba Lluch Dalena, "Buhay Aso", terracotta and acrylic
Julie brings out intimate pieces, clay and marble renditions of domestic animals and decorative objects that one encounters within the sphere of one’s home. As we enter the main exhibit area, her sculpture of a startled cat greets us. Produced in what has now been recognized as a Julie Lluch trademark, she depicts the animal with its hackles raised, its teeth bared, half snarling, half surprised. The cat’s comical expression in the many versions of this piece never fails to get a laugh out of me.
Julie Lluch, "Crucifix After Aba", terracotta and acrylic
Nearby, as a counterpoint to Cat, we see the first of Aba Lluch Dalena’s works: two dogs joined together, caught in flagrante, seemingly oblivious to the humans in their vicinity—just as they would be in real life. Three versions of a crucifix adorn one of the gallery’s walls. Aba’s Yellow Christ is the only one of the three where Julie completes the details of Christ’s head and face. While I have seen several of Julie’s crucifixes, I have not seen any of these particular ones before.
Aba’s sculpture has been set amongst her mother’s work.
Aba Lluch Dalena, "Home Works 2 (Daddy in Pakil, Laguna)", terracotta and acrylic
Along with Askal, another stray pup, and Palaka, a giant green toad, she created four miniature tableaux full of wonderful detail.
Home Works 2 (Daddy in Pakil, Laguna) shows their father at work, the great Danny Dalena seated before a canvas. It includes a small facade of Pakil’s famous cathedral, echoing
Aba Lluch Dalena, "Home Works 1 (Mommy and her Cacti Heart Sculptures)", terracotta and acrylic
the actual view from the Dalena ancestral home. Home Works 1(Mommy and Her Cacti Heart Sculptures) is my favorite. It depicts Julie amidst many of her most recognizable work: the busts of Van Gogh and Gauguin, spiky cacti, her clay hearts. Both pieces include playful dogs wiggling on the floor.
Kiri Dalena, "Five Words To Read Aloud (After Daddy)", neon
I thought Kiri’s work the most surprising of all. Her pieces in this show depart completely from the socio-political commentaries we have come to associate with her. She cast three larger than life blown up condoms in resin, painted in baby pink, black, and white. The three have been placed before a neon sign with the
Kiri Dalena, "White Condom (After Daddy)", resin and automotive paint
words teeth, thing, mall, lamb, bought. If we do as the title suggests, Five Words To Be Read Aloud (After Daddy), we realize why her condoms have such odd shapes!
Exhibit installation of Kiri's work
Beside the condoms, Kiri’s Penis Line (After Mommy) forms a single procession along the entire length of the wall. Dozens of thumb-sized terracotta penises appear to wiggle, bow, or stand in attention. One can choose to acquire them singly or in groups. Take your pick!
Two self-portraits complete the show. One of them is of Julie, an acrylic painting from 1972. In contrast, Sari represents herself in video, a piece for the 21st century.
Kiri Dalena, "Penis Line (After Mommy)", detail
Home Works runs from 5 to 28 October 2010 at the AFM Total Gallery, Alliance Francaise de Manille, 209 Nicanor Garcia St., (Formerly Reposo St.), Bel Air 2, Makati. Phone (632) 897-7757 or visit http://www.alliance.ph
Kiri Dalena, "Penis Line (After Mommy)", terracotta and acrylic
Julie Lluch, "Self Portrait", acrylic on canvas, 1972
I got lost getting to LOST. I made a wrong turn the first time I dropped in on LOST Projects, Manila’s newest alternative art space. I came two days before the venue formally opened, and the sign outside had still been covered up. The ground floor gallery slash artist’s studio smelled faintly of paint, and its walls dazzled with a fresh white coat. Continue reading →
