Art, Exhibit, Main Gallery (Kawilihan), Museum, UP Vargas Museum

Dramaturgical Revelations of Everyday Life

Dramaturgical Revelations of Everyday Life

26 February – 1 June 2008 (Extended until 11 August)

Kawilihan Gallery, 2F

UP Vargas Museum, Roxas Ave., UP Diliman

Florentino Macabuhay

Siesta

1948

Watercolor on paper

58.5 x 53.8 cm.

In line with the College of Arts and Letters’ Komedya Fiesta 2008 and in celebration of the University of the Philippines’ Centenary, the UP Jorge B. Vargas Museum (UPVM) opens Dramaturgical Revelations of Everyday Life on 26 February 2008 (Tuesday), 5:30 pm. The exhibition features artworks from the UPVM Art Collection that focus on the dramatic representations of everyday life. It also addresses important issues on the links between modes of artistic representation and perception and brings to the fore a different curatorial style.

Dramaturgical Revelations showcases genre paintings done by early 20th century Filipino artists including Fernando Amorsolo, Dominador Castaneda, Ireneo Miranda, H.R. Ocampo, Florentino Macabuhay, Simeon Galvez, Lauro Alcala and Ricarte Puruganan. As everyday life is made familiar by these works, one questions whether the quotidian is defined by ennui/ malaise or nullity. The repetitiveness of work as revealed by the painted scenes of toiling farmers and fishermen, the despair expressed by beggars and the seeming boredom evoked by an afternoon nap or siesta seem to point to the unexciting tendencies of the commonplace. Yet, these works highlight the tensions evoked by everyday life by focusing on a specific moment and extending it, inviting the viewer to take part in its dramaturgical revelation. While genre paintings offer a glimpse into scenes from everyday life, they also merge the pictorial with the theatrical. H. R. Ocampo’s The Contrast for instance foregrounds a beggar in the artist’s characteristic emphasis on bold colors. The beggar’s skin is rendered luminous in yellow and highlighted by rich, bold red and orange. The fiery highlights on the skin emanating from the flame in a lamp render a dramatic composition, enhancing the character’s gauntness. A sense of theatricality is also evident in Simeon Galvez’ Banaba Tree where a woman washing clothes is eclipsed by an imposing tree and in Ricarte Puruganan’s Toilers of the Sea where fishermen in a boat are dwarfed by the majestic sea and rolling waves creating a sense of spectacle and picturesqueness.

But is perception limited by vision? Roland Barthes emphasized the plurality of media by defining theatricality as “a density of signs and sensations built up on a stage starting from the written argument.” What happens if the interplay of corporeal forms and elements such as light, value, space and color in genre paintings are welded with yet another level of sensory experience such as sound? This exhibition provides a multi-sensory experience for the audience by incorporating a series of field recordings plotting ambient aural phenomena such as people talking in a market place, birds chirping in the rural area and thunderstorm heard over rainfall. While complementing and expanding the artistic experience, the juxtaposition of visual and aural elements is non-linear and therefore neither situates nor shapes the historical context of the painted scenes.

Dramaturgical Revelations will run until 11 August 2008. For details, please contact Linda at numbers 928-1927 (direct line) / 981-8500 local 4024/23, or email us at vargasmuseum@gmail.com.

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About Jorge B. Vargas Museum

It aims to preserve its collection donated by Jorge B. Vargas and conducts research, exhibitions, publications, and educational programs. The Vargas Museum and Filipiniana Research Center houses a museum, archives, and library devoted to the Philippine history, art, and culture from the late 19th century until the post-war era. Its main beneficiaries are students, faculty, researchers and scholars of the Philippines and Asia.

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25-27 January 2018 | Thursday to Saturday, 3-5pm
An Ecological, The Obligatory Reading Series (Season 1)

Closing the first year of PCAN, the Public Engagement and Artistic Formation introduces an itinerant educational initiative in the form of a reading group, established to explore ideas and accommodate materials collected and discussed by the institution’s ongoing research. The reading group is a bi-monthly meeting, hosted in the last week of a month. 
The initial series of reading proceeds from the use of the term “ecological/ecology” in understanding practices of public engagement and artistic formation. In the first meeting (January 25), we will focus on Isabelle Stengers’ work that qualifies the scientific and political dimensions of the ecological as a method of creating relations and as a mode of understanding these relationships to the world. We will ask how these relations create ‘modern’ practices and their other through conceptual vectors utilized by Stengers, such as pharmakon, factishistic proposition, and constraints. The second meeting (January 26) will be an exercise on reading data and statistics about rice production and supply through Mark Sanchez’s project Rice Food Web (2017). Moderated by the artist, the session releases the interpretation of these articles into an open platform of alternative and multiple readings of information. We will ask the agency and dynamics of artistic research/artist-led research in the economy of ‘scientific’ information and policy-oriented knowledge production. In the final meeting (January 27), we will read into a history of an institution and institution-building through its documentation, collected and archived outside its context in Marawi. This session will be an encounter with the Dansalan Quarterly Journal, a community-based, interdisciplinary publication produced by the Dansalan Junior College (now Dansalan Research Foundation) in 1975. 
Session 1 | 3:30 – 5:00 PM, 25 Jan
Cosmopolitics I
Isabelle Stengers
Moderated by Renan Laru-An

Session 2 | 3:30 – 5:00 PM, 26 Jan
Reading the Web
Moderated by Mark Sanchez

Session 3 | 3:30 – 5:00 PM, 27 Jan
Dansalan Quarterly Journal Traversals/Trajectories: Expansive Localities
Curator’s Walk-through 
and Conversation with Martin Lorenzo De Mesa and Kat Palasi

25 January 2018| Thursday, 2:30-5pm, 1F Lobby

Tessa Maria Guazon, coordinator of the Exhibition and Curatorial Analysis component of PCAN, shares her ideas and processes through a curatorial walk-through of "Traversals/Trajectories: Expansive Localities" at the 1F Lobby of Vargas Museum. The exhibition explores ideas of the region and the different “practices of placeness” in Philippine contemporary art by tracing numerous strains of place making in the works of artists from different localities across the Philippines.

A conversation with two of the thirteen featured artists of Traversals/Trajectories follows the curator’s walk-through; visual storyteller and textile artist Kat Palasi and interdisciplinary artist Martin de Mesa offer insights into their art practice as well as their specific local contexts.

Place of Region in the Contemporary, the initial project of the Philippine Contemporary Art Network (PCAN), closes with several activities on the last week of January 2018. The four exhibitions currently on view at the Place of Region in the Contemporary introduce the four nodes of the network. 
All events are free and open to the public. Pre-registration via vargasmuseum@gmail.com preferred. Contact during office hours: 928-1927

https://pcan.org.ph/
Main event page of project on UP Vargas Museum: https://www.facebook.com/events/585701778427439/ 24 January 2018
Wednesday, 10-11:30am
Art Historiography Series: Jess Ayco in Philippine Art

The Knowledge Production and Circulation component of PCAN, coordinated by Roberto G. Paulino, identifies research themes and topics pertinent to the vision of the proposed network. For its pilot research project, it undertakes archival research on Philippine artists Jess Ayco (1916-1982), Santiago Bose (1949-2002), Abdulmari Imao (1936-2014), and Junyee (Luis Yee Jr) (born 1942). The first lecture of Roberto G. Paulino in the Art Historiography Series of PCAN through the Place of Region in the Contemporary focuses on the study of the Filipino modernist Jess Ayco who lived and worked in Bacolod.

Place of Region in the Contemporary, the initial project of the Philippine Contemporary Art Network (PCAN), closes with several activities on the last week of January 2018. The four exhibitions currently on view at the Place of Region in the Contemporary introduce the four nodes of the network. 
All events are free and open to the public. Pre-registration via vargasmuseum@gmail.com preferred. Contact during office hours: 928-1927

https://pcan.org.ph
Main event page of project on UP Vargas Museum: https://www.facebook.com/events/585701778427439/ The project Place of Region in the Contemporary is closing next week. Activities from 24 to 27 January are free and open to the public. Please check UP Vargas Museum page for full details. **25 January 2018** Thursday, 2:30-5pm
Traversals/Trajectories: Expansive Localities
Curator’s Walk-through and Conversation with Martin Lorenzo De Mesa and Kat Palasi

Tessa Maria Guazon, coordinator of the Exhibition and Curatorial Analysis component of PCAN, shares her ideas and processes through a curatorial walk-through of "Traversals/Trajectories: Expansive Localities" at the 1F Lobby of Vargas Museum. A conversation with two of the thirteen featured artists of Traversals/Trajectories follows the curator’s walk-through; visual storyteller and textile artist Kat Palasi and interdisciplinary artist Martin de Mesa offer insights into their art practice as well as their specific local contexts.  The exhibition explores ideas of the region and the different “practices of placeness” in Philippine contemporary art by tracing numerous strains of place making in the works of artists from different localities across the Philippines. Collateral activities are organized with the exhibition, including a discussion platform to examine impulses underlying the curatorial —those that frame and activate localities in their assertion of claims to place against an overarching globality.

https://www.facebook.com/vargasmuseum.upd/posts/10155899791262667 Roberto G. Paulino coordinates the Knowledge Production and Circulation component of PCAN. For Place of Region in the Contemporary, Paulino initiates an archival research on Philippine artists Jess Ayco (1916-1982), Santiago Bose (1949-2002), Abdulmari Imao (1936-2014), and Junyee (Luis Yee Jr) (born 1942). Born or based in the regions of Bacolod, Baguio, Jolo, and Los Baños, the artists represent the disparate conditions and production in Philippine modern and contemporary art. *****************************************24 January 2018
Wednesday, 10-11:30am
Art Historiography Series: Jess Ayco in Philippine Art

The first lecture of Roberto G. Paulino in the Art Historiography Series of PCAN through the Place of Region in the Contemporary focuses on the study of the Filipino modernist Jess Ayco who lived and worked in Bacolod. Place of Region in the Contemporary is on its last ten days of viewing. At the Sensorium of the museum's third floor, texts about artist-curator Raymundo Albano are displayed alongside his poetry and curatorial and graphic design. Visitors are encouraged to spend time to read at this area. 
Place of Region in the Contemporary is the initial project of the Philippine Contemporary Art Network (PCAN). https://www.pcan.org.ph

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