Gerry Leonardo, BONIFACIO MAQUETTE, 1999, Painted fiber glass, 28 x 23 x 47 cm

Looking for Juan: Revolution
Various Artists, co-presented by Canvas and Vargas Museum
May 31 – June 18, 2013

The UP Vargas Museum and the Center for Art, New Ventures and Sustainable Development (CANVAS) invite everyone to the opening of Looking for Juan: Revolution on 31 May, Friday, 4:00 PM. This year marks the fifth year of the Looking for Juan Outdoor Banner Project – CANVAS’s annual project designed to explore Filipino identity. Dozens of the country’s artists have been invited to participate and interpret the theme, “REVOLUTION”, as a tribute to Andres Bonifacio on his 150th birth year anniversary.

The original artworks will be showcased at the Lobby and West Wing Gallery of the museum. And as before, the images will be printed onto tarpaulin banners, which will then be installed around the magnificent, tree-lined 2.2km Academic Oval of the University of the Philippines. After the exhibition, the tarpaulin banners will be recycled into tote bags to support CANVAS’ projects promoting Filipino art and culture.

For more information, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 loc. 4024 (UP trunkline), (+632) 928-1925 (fax) or send an e-mail to vargasmuseum@gmail.com. You may also check our website at http://vargasmuseum.upd.edu.ph or like us at www.facebook.com/vargasmuseum.upd.

Dave Lock, Untitled 1 (2013)

Nameless
Dave Lock
Opens on May 31
3rd Floor Galleries

The UP Vargas Museum and the Center for Art, New Ventures & Sustainable Development (CANVAS.ph) invites everyone to the opening of Nameless at the 3F Galleries, on the 31st of May 2013, Friday, at 4:00 PM.

In this solo exhibition, Dave Lock illustrates verses from the 98B COLLABoratory in these works of oil on canvas – all untitled, hence: Nameless. A self-described “optimistic nihilist,” Lock’s work is permeated by his realizations of “an extreme termination to all living and non-living things,” which move from hand to brush to canvas, in fine strokes that illustrate the artist’s careful avoidance of disillusion and depression.

Without fully departing from the ”nightmare-infested creatures” formed by merging portraiture with organic forms in his earlier works, Nameless reveals softer edges in the blurring of boundaries between light and shadow; yet, these images retain their capacity to embed themselves in the viewer’s mind and encroach upon (and through) the imagination. As if to visualize trauma, Lock shows how even that which is without a name can leave an indelible mark.

The exhibition opens on the 31st of May, 2013 at the 3rd floor galleries. It is recommended, but not required, that guests RSVP through facebook.

For more information, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 loc. 4024 (UP trunkline), (+632) 928-1925 (fax) or send an e-mail to vargasmuseum@gmail.com. You may also check our website at http://vargasmuseum.upd.edu.ph or like us at www.facebook.com/vargasmuseum.upd.

14 May 2013, Tuesday
3:30 – 5:00PM

Join Kat Palasi on Tuesday, the 14th of May 2013, from 3:30PM onwards at the Vargas Museum, 3rd floor galleries, for a talk and walk-through of her current exhibition – The Last Pine Tree. Here, Palasi’s photographic works on paper and Duratrans highlight issues that are close to her heart, telling a story of industry through dispossession.

The Last Pine Tree documents a struggle between heritage and preservation and the forces of modernization and economic development. Palasi’s photographs show how land, language, and customs become “special pockets of resistance” through which an indigenous culture struggles to stay alive, even as it is pushed towards the margins.

For this, we invite not only fellow outdoor enthusiasts and photographers, but anyone concerned with the effects of marginalization and the patrimony of indigenous peoples everywhere.

Admission to the walk through is free. For more information, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 loc. 4024 (UP trunkline), (+632) 928-1925 (fax) or send an e-mail to vargasmuseum@gmail.com. You may also check our website at http://vargasmuseum.upd.edu.ph or like us at www.facebook.com/vargasmuseum.upd. This project is sponsored by the Prince Claus Fund for Culture and Development.

Two faces of development: The mines of Itogon [above] and the galvanized iron rooftops of Baguio

By using photography to highlight issues that are close to her heart, Kat Palasi’s The Last Pine Tree portrays the face of industry through a story of dispossession. In Palasi’s words, the people of Benguet province have become “disenfranchised by the many ‘development’ projects that have been imposed on them for many decades”.

Compared with the other provinces in the Cordilleras, Benguet has the most degraded land and the least amount of forest cover, both on account of a long history of mining. As a child in Itogon (a municipality of Benguet), Palasi recalls playing with the colored stones in a grey river, not realizing that the water had turned grey because of the mines in the mountains.

The Last Pine Tree is the result of Palasi’s many other realizations about heritage and preservation in the midst of massive development. In this series, she shows how land, language, and customs become “special pockets of resistance” through which an indigenous culture struggles to stay alive, even as it is pushed towards the margins. Through her work as a photographer and outdoor enthusiast, Palasi attempts to reinforce these narratives surrounding Benguet cultures that are slowly being eroded—as is the case with the patrimony of many indigenous peoples everywhere.

This project is sponsored by the Prince Claus Fund for Culture and Development. The exhibition opens on the 25th of April, 2013 at the 3rd floor galleries, and runs until May 20.

The UP Vargas Museum invites everyone to the opening of Anton del Castillo’s solo exhibition at the GF Lobby and West Wing Gallery on 25 April 2013, Thursday, 4:00 PM.

Anton Del Castillo puts together images in which he attempts to create harmony, or in some cases, braves to impose harmony. His composition, either an organization of images that gravitate around a central image or one strong image that stares the audience directly in the eye, ends up as highly narrative paintings or assemblage.

In Buenviaje, del Castillo’s central image is a cattle caravan usually seen peddling native handicrafts in the streets.  Del Castillo brings the peddler caravan into the museum as a gesture of deconstruction — from its original form as a utilitarian icon into an objet d’art. Using the cattle caravan as a platform and a metaphor, he puts together the medium and technique that he had used in previous works (gold leaf relief-painting, metal build-up sculpture, assemblage of found objects and video).  Buenviaje is hence del Castillo’s ode to a good voyage, the caravan and his art practice.  The ‘buenas/good’ largely refers to a harmony of series of choices, events and conditions, rather than plain and simple good fortune.

Anton del Castillo (born 1976, Manila) had formal training in the arts from the University of the Philippines, where he completed his Bachelor of Fine Arts and Master of Fine Arts in 2005. He received a number of prestigious awards in the arts including a citation as finalist for Sovereign Art Contest in Hong Kong and grand prize winner from Metrobank Foundation in 2003. He is a recipient of Asian Cultural Council, the Sovereign Art Foundation Fellowship and residency in the International Studio and Curatorial Program New York USA in 2006. Since 2005, he has had several solo exhibitions and participated in group shows in Beijing, Hong Kong, New York, Malaysia and Manila. He is currently an assistant professor at the University of the Philippines Integrated School.

Buenviaje: An Ode to Good Voyage runs until 20 May 2013 and is curated by Dayang Yraola.

The UP Vargas Museum opens Diokno Pasilan’s Ganta on Wednesday, 20 March 2013, 4:00 PM, at the Ground Floor Lobby and West Wing Gallery.

A word referring to an act of measuring or signifying a quantity, the title Ganta derives from Pasilan’s appropriation of a local device used to gauge the volume of grain. In this exhibition, the artist transforms the cube-like form of the gantangan into lightboxes evincing images of indigenous houses. These glowing cubes become modules arranged in an installation revealing the artist’s engagement with the material culture of various locales he inhabits.

Kinalawang Larawan, 2013, Iron dust on archival paper, 45″ x 45″

Recent and new works in the exhibition enrich the metaphors he explores in his art practice about people and communities, with portraits of the elderly that vividly capture precarious conditions as well as endurance, and sculptures depicting organic and abstract forms. In this entire assemblage of works, the artist weaves stories and narratives, responds to local conditions, and plays the role of a visitor who is neither distant nor alien from his subjects. This exhibition brings together an assortment of objects and images that inspire the artist’s practice.

It also features a collaborative performance with fellow migrant artist in Australia, Martin Heine.

Diokno Pasilan (b. 1963) lives and works in the Philippines and Australia. He received a Diploma of Fine Arts from the Western Australian School of Art, Design & Media in 2000. He was also one of the founding members of the artist-run space Kurb Gallery in Perth. His art production includes painting, installation, video, performance, and music. He was involved in the musical groups Asin and Pinikpikan.

The exhibition is open for viewing until 20 April.

For more information, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 loc. 4024 (UP trunkline), (+632) 928-1925 (fax) or send an e-mail to vargasmuseum@gmail.com. You may also check our website at http://vargasmuseum.upd.edu.ph or like us at www.facebook.com/vargasmuseum.upd.

The program is designed to give students an overview of museum practices from collections management, curation and exhibition coordination, and developing and implementing educational programs. Interns will be exposed to the following:

1. Curatorial work

• Interns will work with the staff in preparing for contemporary art exhibitions in April and May

2. Education

• Interns will be involved in the planning phases of the Junior Museum Guides Workshop. They will work with the staff in designing new activities and participate in the graphic design and layout of workshop kit and other collateral
• Interns will co-facilitate the Junior Museum Guides Workshop (workshop for students ages 9-14 years old)
• Interns will be trained as docents/museum guides for permanent and temporary exhibitions

3. Collections Management

• Interns will assist in handling artworks; learn to accomplish basic reports to monitor the entry and exit of objects and fill out condition report forms

Successful applicants are required to complete 120 hours of museum work for the covered period.  Internships are unpaid.  A certificate will be issued upon completion of the program.

Applications (letter of intent and resume) can be submitted via e-mail at vargasmuseum@gmail.com. Two applicants will be accepted.

For more information about the internship program, please contact the Vargas Museum at 928-19-27, 981-85-00 loc. 4024 or e-mail vargasmuseum@gmail.com.

13 March 2013, Wednesday
2:30 – 4:00PM

Join artist Emmanuel Garibay on 13 March 2013, Wednesday, 2:30 – 4:00PM at the Vargas Museum as he shares his insights and practices on art, society, and divinity and how these are reflected upon in his works for the exhibit Walang Sinasanto.

The retrospective exhibit Walang Sinasanto embraces an entire range of allusions and references that straddle the realms of the mundane and the divine. It can denote the loss of sanctity, deeming no one or nothing sacred; it can also describe a condition where authority and hierarchy are challenged, or imply a condition of social and moral decadence. This set of meanings opens up a rich plane for discourse, which Garibay elaborates on his canvases.

Admission to the walk through is free. For more information, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 loc. 4024 (UP trunkline), (+632) 928-1925 (fax) or send an e-mail to vargasmuseum@gmail.com. You may also check our website at http://vargasmuseum.upd.edu.ph or like us at www.facebook.com/vargasmuseum.upd.

Days:
Tuesdays (once a week, total of 8 sessions)
April 2, 9, 16, 23, 30, May 7, 14

The 8th session (group work) will be held on June 1, Saturday, from 9:00 am to 3:00 pm at the MAB Hall of the Philippine Heart Center, East Avenue, Q.C.

Time:
9:00 am – 11:30 am (Beginner)
2:30 pm – 5:00 pm (Advance I)
2:30 pm – 5:00 pm (Advance II)
2:30 pm – 5:00 pm (Advance III)

*Please take note that morning classes are for the Beginner level and afternoon classes are for the Advanced levels

Place:
Vargas Museum, Roxas Avenue, University of the Philippines, Diliman, Quezon City

Participants:
6 years old and above

Lessons:
Drawing and painting still life, landscapes, seascapes, portraits, figure and other interesting subjects

Activities:
Indoor and outdoor painting, group work, art contest and exhibition, distribution and awarding of medals and certificates to outstanding students

Fee:
P 4,000.00 excluding art materials

Reminder:
Only limited participants will be accepted so please register early
FOR INQUIRIES, PLEASE CALL Linda or John (UP Vargas Museum) 928-1927; 9818500 local 4024

—

MATERIALS FOR BEGINNERS
1.  6B pencil (COLLEEN), sharpener
2.  kneaded eraser (MAPED)
3.  20 pcs. oslo paper
4.  10 pcs. bond paper
5.  1 long brown envelope
6.  1 long plastic envelope
7.  1 sketch pad (BEST BUY Sketch Pad, 50 leaves)
8.  1 set oil pastel (18 or 25 colors;  brand:  MAPED or PENTEL)
9.  1 set watercolor (tubes, 12 colors;  brand:  PEBEO)
10. 1 mixing plate for watercolor (plastic)
11. 2 pcs. chinese brush (1 small and 1 big)
12. 1 set of pentel pen (12 colors or more; brand: BEST BUY)

MATERIALS FOR ADVANCE I
1.  6B pencil, sharpener
2.  kneaded eraser
3.  20 pcs. oslo paper
4.  1 ballpen (blue or black)
5.  1 charcoal pencil (soft)
6.  1 whole felt paper (dark or light color)
7.  1 set oil pastel (25 colors or more;  brand:  PENTEL or JUNIOR)
8.  1 set watercolor (tubes, 14 colors;  brand:  PENTEL)
9.  2 pcs. chinese brush (1 small and 1 big)
10. 1 sketch pad (size: 12” x 18”, any brand)
11. 1 mixing plate for watercolor
12. 1 whole watercolor paper
13. 1 set colored pencil (brand: BEST BUY, 12 colors)

MATERIALS FOR ADVANCE II (ACRYLIC PAINTING)
1.  Canvas, primed (size:  9’’ x 12” and 12” x 16”)
2.  1 clean rag
3. 1 mixing pan
4.  Brushes (1 small and round flat; white-haired, size:  ¼”,  ½” and  ¾” width;  brand: ETERNA)
5.  1 set of Acrylic color (24 colors or more,  brand: PEBEO)

MATERIALS FOR ADVANCE III (ACRYLIC PAINTING)
1.  Canvas, primed (size:  9” x 12” and 12” x 16”)
2.  1 bottle linseed oil
3.  1 bottle paint thinner or kerosene
4.  ½ kilo of hubbok paste (white)
5. 1 set of oil colors (brand: PEBEO, 18 colors)
6. 1 clean rag
7. 1 mixing pan
8. Oil brushes (1 small and round flat; white-haired, size:  ¼”,  ½” and  ¾” width;  brand: ETERNA)
9. Palette cups

NOTE:   FOR ADVANCE II & ADVANCE III, PARTICIPANT MAY CHOOSE ACRYLIC OR OIL PAINTING ACTIVITY 

Opening cocktails
13 February 2013, Wednesday, 4PM

The Vargas Museum opens Walang Sinasanto by Emmanuel Garibay on Wednesday, 13 February 2013, at the Ground Floor Lobby and West Wing Galleries.

Ama Namin, 2012, Oil on canvas, 121.92 x 121.92 cm

A potent phrase in the vernacular, the exhibit’s title Walang Sinasanto embraces an entire range of allusions and references that straddle the realms of the mundane and the divine. It can denote the loss of sanctity, deeming no one or nothing sacred; it can also describe a condition where authority and hierarchy are challenged, or imply a condition of social and moral decadence. This set of meanings opens up a rich plane for discourse, which Garibay elaborates on his canvases.

Shaped by his background in art, sociology and divinity, Garibay’s exploration of this subject offers a  compelling imagery that investigates questions about Philippine society and identity, such as folk Christianity, hybridity, incursions of the foreign into the ethnographic, and notions of reverence, sufferance, and devotion.

Emmanuel Garibay completed his Fine Arts degree at the University of the Philippines and his masters degree in Divinity at Union Theological Seminary. He received the Thirteen Artists Award from the Cultural Center of the Philippines in 2000 and Diwa ng Sining Award from the National Commission for Culture and the Arts in 1994. He has had exhibitions in Connecticut and New York, the Netherlands and Sweden.

Walang Sinasanto runs until 15 March 2013.