2013

Looking for Juan: REVOLUTION, May 31 – June 18, 2013

Looking for Juan: REVOLUTION

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.


NAMELESS | Dave Lock, May 31 – June 18, 2013

NAMELESS | Dave Lock

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.


The Last Pine Tree | Kat Palasi, April 25 – May 20, 2013

The Last Pine Tree | Kat Palasi

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”.


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BUENVIAJE: An Ode to Good Voyage | Anton del Castillo, 25 April to 20 May 2013

BUENVIAJE: An Ode to Good Voyage | Anton del Castillo

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.
Curated by Dayang Yraola


Invite 2013_Ganta

Ganta | Diokno Pasilan, 20 March-20 April 2013

Ganta | Diokno Pasilan

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.


Invite 2013_Curiosities

Curiosities | Geraldine Javier, 13 February – 15 March 2013

Curiosities | Geraldine Javier

In Curiosities, Geraldine Javier explores the idea and process of collecting as a form of a human-object relationship. It focuses on the ties a collector creates with artifacts, relics and artworks Javier as an artist has collected, a condition that blurs the boundaries between collecting and art production. This relation is further illustrated in the juxtaposition of Madame A’s collection and Jorge Vargas’s memorabilia in the Museum. Their collections are representations of themselves as these objects play out as bearer of agency as construed by the artist.


Invite 2013_Walang Sinasanto

Walang Sinasanto | Emmanuel Garibay, 13 February – 15 March 2013

Walang Sinasanto | Emmanuel Garibay

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.


Invite 2013_Pres Office

THE PRESIDENT’S OFFICE, 8 January – 9 February 2013

The President’s Office

It is with consideration for this character of Malacañang as an imaginative blind spot that the participating artists took on the task of representing the Presidential Office. Their construction of the interior features and contents of the Presidential Office are informed by their perceptions of its functions, significations, and history. In turn, as representations that serve as reflections of their own imaginations, the works also function as indices of the expectations, fantasies, and perceived relationships that overlay our collective imaging of the seat of power.
A group show curated by Antares Gomez Bartolome


Invite 2013_Lupa
Lupa: Struggle for Land

Comprising works in various media made by two generations of visual artists, Lupa: Struggle for Land weighs on the states of oppression and exploitation that the peasantry—the country’s most populous social sector—faces. The exhibit looks back on the decades of landlessness, usury, land grabbing by both the colonial and native elite, natural resource plunder, and worsening poverty and their effects on society and the generations to come.


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@upvargasmuseum and @metmuseummanila open two new shows on 21 April, Saturday, 4:00 p.m at the ground floor galleries of the MET. "Fascination with Filipiniana: The Vargas Museum Collection" and "In the Wake of War and the Modern: Manila, 1941 to 1961" feature the comprehensive collection of the Jorge B. Vargas Museum and Filipiniana Research Center of the University of the Philippines in Diliman, Quezon City. Drawing reference from the collection’s roots, "Fascination with Filipiniana: The Vargas Museum Collection” examines the artworks and archives that comprise the Vargas Museum collection, and Jorge B. Vargas’ place in the history of Philippine art and culture. Fascination, a translation of his compound fondly called Kawilihan, not only alludes to Vargas’ instinct, habit and passion for collecting, but also includes the word “nation,” a discourse relevant to him at a time when he was both a government official and a collector. "In the Wake of War and the Modern: Manila, 1941 to 1961" explores how the collections of the Vargas Museum and the Bangko Sentral ng Pilipinas interconnect, and the historical context that surrounds their respective formations. Framed by the years when Vargas was appointed Mayor of Manila, until the time when he became Regent of the University of the Philippines, the period also marks the emergence of both the modern and the so-called “Mabini Art” from Manila before, during, and after the Pacific War. "Fascination with Filipiniana: The Vargas Museum Collection" and "In the Wake of War and the Modern: Manila, 1941 to 1961" will run until July 21, 2018 For more information, please contact the Metropolitan Museum of Manila at 708.7829 or send an email to info@metmuseum.ph.
@upvargasmuseum and @metmuseummanila open two new shows on 21 April, Saturday, 4:00 p.m at the ground floor galleries of the MET. "Fascination with Filipiniana: The Vargas Museum Collection" and "In the Wake of War and the Modern: Manila, 1941 to 1961" feature the comprehensive collection of the Jorge B. Vargas Museum and Filipiniana Research Center of the University of the Philippines in Diliman, Quezon City. Drawing reference from the collection’s roots, "Fascination with Filipiniana: The Vargas Museum Collection” examines the artworks and archives that comprise the Vargas Museum collection, and Jorge B. Vargas’ place in the history of Philippine art and culture. Fascination, a translation of his compound fondly called Kawilihan, not only alludes to Vargas’ instinct, habit and passion for collecting, but also includes the word “nation,” a discourse relevant to him at a time when he was both a government official and a collector. "In the Wake of War and the Modern: Manila, 1941 to 1961" explores how the collections of the Vargas Museum and the Bangko Sentral ng Pilipinas interconnect, and the historical context that surrounds their respective formations. Framed by the years when Vargas was appointed Mayor of Manila, until the time when he became Regent of the University of the Philippines, the period also marks the emergence of both the modern and the so-called “Mabini Art” from Manila before, during, and after the Pacific War. "Fascination with Filipiniana: The Vargas Museum Collection" and "In the Wake of War and the Modern: Manila, 1941 to 1961" will run until July 21, 2018 For more information, please contact the Metropolitan Museum of Manila at 708.7829 or send an email to info@metmuseum.ph.
Christmas Eve, Emilio G. Santiago, 1942 opens on Tuesday, 10 April, with a public reception on Saturday, 14 April at 4pm. The project follows through the Art History Series that tries to curate works of the Vargas Museum according to art-historical methods. Earlier efforts zeroed in on the thematic, monographic, and diachronic approaches.
Christmas Eve, Emilio G. Santiago, 1942 opens on Tuesday, 10 April, with a public reception on Saturday, 14 April at 4pm. The project follows through the Art History Series that tries to curate works of the Vargas Museum according to art-historical methods. Earlier efforts zeroed in on the thematic, monographic, and diachronic approaches.
UP Vargas Museum, in cooperation with ARCHIVO 1984, presents Vic Delotavo: Posters for Philippine Cinema on 14 April, Saturday, 4pm at the 1F Galleries of the museum. Reception is open to the public. Image: "Paalam… Bukas Na Ang Kasal Ko!" directed and written by Emmanuel “Maning” Barloza, Regal Films, 1986 #SnookySerna #RichardGomez
The 2018 Summer Art Workshops by Fernando B. Sena resume on 10 April. Registration is ongoing. The workshops are for kids (8+), teens, and adults. Schedule: Every Tuesday 9-11:30am (Beginner) 2:30-5pm (Advanced) Each level is a total of eight sessions. For details, please contact Mr. Sena at 376-2196 or 0918-951-9989 or the Vargas (Glenn/Linda) at 928-1927 during office hours.

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