Art, Exhibit, North Wing Gallery (Landing), South Wing Gallery

Enjoy Division

ENJOY DIVISION: Projectiles
13 October – 03 November 2011
3F North and South Wing Galleries

The Kitchen Sink

This exhibition was initially hosted late last August by Light & Space Contemporary, an artist-run space. Two days after the exhibition opening, the gallery, in an exercise of managerial fiat, banned the show’s curatorial essay and took it down without prior consultation or discussion. This lack of consultation prompted the publication of the essay online accompanied by a call for dialogue.  When asked for an explanation by the exhibiting group, the gallery responded to the group in private and cited its right to remove any material that they deemed harmful (nakakasira) to the gallery and persons associated with it. The question of why and how the said essay warranted such a response was never sufficiently answered.  Upon being told that the essay was integral to framing the exhibition’s critical stance, the management responded only by saying that if that was the case, the show itself was “lame.”  With this, the artists collectively decided to pull the exhibition out of the gallery.

Apparently unsettled by the position they found themselves in, and facing inquiry from the artistic community, the management failed to produce any coherent defense of their actions. What ensued instead was a confused mix of profanity, attempts to defame (calling us anarchists, thieves, vandals) and discredit (accusing us of groupthink), red baiting (calling us communists), and threats of violence, all while invoking the gentrified auspice of “maximum respect.” It was also suggested that we find another gallery to ‘play with.’  We did.

The Book

The exhibit was initially conceived as an opposition to the self-serving distortions foisted upon the Philippine art scene by persons such as Malaysian curator Adeline Ooi whose statements in a local daily sought to promote a particular group of artists by smugly denigrating another.  As such, the exhibit sought to present the possibility of critical exchanges between different approaches and modalities of practice while espousing a broader examination of the interpenetrating influences that inform Philippine contemporary art.

Since then, the actions of the gallery management have exposed their cooland pluralist pose of tolerance as part of that old courtly sham that allows artists and audiences to elide debate and criticism in their exchanges.  Pending a concrete basis for rejecting the exhibition’s critical stance, we cannot but surmise that by their actions they sought to protect their interests as a commercial space at the cost of fostering criticality.  While this may be expected of highly commercial galleries and showrooms, this puts paid to any pretense of Light & Space Contemporary being an ‘alternative’ space.  Such a mix of censorship and thuggery, masked by an appeal to “maximum respect,” contributes to an anti-intellectual climate that stifles discourse and critical exchange.  This cannot be abided. Criticism, as an intervention in the ways with which we see, think, and act upon the world, as the evaluative mirror and discursive hammer that shapes thought and guides action, is indispensible to social practices such as art production.Put simply, those who suppress criticism and discourse outright have no business running a gallery, and cannot but renounce any claim to art.

In remounting this exhibit, we do not merely wish to recoup lost exhibition time.  We wish to stress the importance of a vigilant engagement with art practices, be it in terms of producing objects, performances, or texts, or in the varied relationships and interactions that constitute the field of art.  It is with this vigilance as well as the possibility of discourse and criticism upon which it is founded that we are able to render the field of art legible and cogent, give it conceptual shape and gravity, and make matter out of so much light and space.

-Antares Gomez Bartolome

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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.

Discussion

One thought on “Enjoy Division

  1. “Intuitive space” is merely the illusion space created by using artistic methods to trick the viewer into seeing depth, volume and mass on a two dimensional surface. Intuitive space is sensed or ”felt” on a two dimensional plane. Intuitive methods of space control include overlapping, transparency, and other applications of spatial proportion. In a “Theory of Light and Shade” I will show how to create intuitive space by using “Light Logic”.

    Posted by las artes | November 12, 2011, 6:10 am

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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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