2008-01-18
When the Revolution's Ends are Nowhere in Sight
Eileen Legaspi-Ramirez
Not unlike other artists wrangling with the power dynamics of the artworld and
beyond, Filipino contemporary artists continue to gnaw at the cracks of a system
that looks upon them either as impish provocateurs or labrats for the untried
but potentially next big thing.
Take the recent cases of a slew of Manila exhibitions illustrating how "in your
face" art sits perilously — deliberately so — amid seemingly incongruent pairings:
human rights advocates, mallrats, anti-art high street denizens, quick-on-the-draw
collectors, creative types with nary a regard for ultimate ends, and then some.
This combustible mix, which only further makes the case for how slippery these
art and non-artworld categories are in the first place, streams through a scene
that�s come to look at art with varying doses of awe, amusement, and pragmatism.
Guided by Sausage (November 7-27, 2007) was Manuel Ocampo's latest outing at
Finale Art File, a gallery which for most of the last two decades visibly became
a major node of conceptualist roosts despite its beginnings as a reliable source
of bluechip modernism. Here, as has been the case in the more prominent periods
of his production, Ocampo laces his literally humongous phallic imagery and linguistic
taunts with the language of the artworld that�s ironically made fodder of artistic
hubris demonstrated in deliberate invoking of political incorrectness — playing
favorably for Ocampo�s practice as it sent far-reaching ripples through Euro-American
markets and cultural institutions.
Together with the increased currency of artists� initiatives and an undeniably
Asian trend in the global art market over the past few years, Ocampo�s clearly
involved stance toward the development of young Filipino art and his decision
to regularly shuttle between continents and spend extended periods in Manila,
have manifested in the increased visibility of artists demonstrating an affinity
for the anti-institutional postures associated with him.
All Clues No Solutions (November 7-30, 2007), Jayson Oliveria's solo exhibition
at the still new Mo_space, in arguably the toniest spot in Makati, is a case in
point. While his roots are clearly established in the mentorship of Roberto Chabet
and the artist-run-space heyday of the �90s, Oliveria�s deceptively whimsical
pastiche of appropriated image and text demonstrates how, like Ocampo, artists
hereabouts are made to reckon with issues of agency and dealing with publics,
critical or otherwise. ...read more on C-Arts Magazine (ISSUE#01) read more in DISCOURSE @ C-ARTS VOLUME-01
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HIGHLIGHTS
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2011-03-30
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Van Gogh Alive – the Exhibition set to open on 16 April 2011
Singapore (30 March 2011) In commemoration of Van Gogh’s birth date today, the ArtScience Museum at Marina Bay Sands announced that it will host the world touring premiere of Van Gogh Alive – the Exhibition. Visitors will get to experience Vincent Van Gogh’s art work come alive in an exhibition that will combine the latest in sound and projection technology using images of Van Gogh’s masterpieces.
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2011-01-05
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Works by Vincent Leow A mid-career survey of Vincent Leow’s oeuvre marking a new direction in the artistic practice of Leow,
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2011-01-05
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Organized by Hou Hanru in collaboration with ShContemporary 9th September, 2010
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2031-01-01
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An interesting exploration into art in Singapore by nineteen artists, including seniors like Tang Da Wu, Jimmy Ong and Zai Kuning “who have lived
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2010-10-06
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The installations of Java’s Machine: Phantasmagoria by Augustinus Kuswidananto (a.k.a. Jompet) have been shown in a number of variations, exploring syncretism or strategies to reconcile
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2010-10-06
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Filipino artist Bembol Dela Cruz presents the concept of art reflecting art, with an explosive narrative that carves life out
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2010-10-06
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Islamic art in Indonesia used to be associated with religious calligraphy only, but in 2009 Lawangwangi’s exhibition of Contemporary Islamic Art showed that calligraphy is just a form of language.
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SPONSORED
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EMERGING ARTIST
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 There is a new epidemic trend in the contemporary art of Asia sweeping through the population of younger artists: Animamix Art.
Amalia Kartika Sari
Each artist has a full right, and at the same time an obligation, to explore forms and ideas continuously, although naturally there will be many obstructions and challenges along the way.
Hayatudin
“A community is often proud of a certain building, viewing it with a sense of grandeur. Meanwhile, a range of monumental idioms are often used to mark great moments in history.
Edo Pillu
 From different generations and cultural backgrounds, S Teddy D and Daniel Flanagan present together their collaboration on Transubstantiation.
Daniel Flanagan
From different generations and cultural backgrounds, S Teddy D and Daniel Flanagan present together their collaboration on Transubstantiation.
S Teddy D
 Not unlike other Filipino-Americans who journey to the Philippines to learn more about their roots, Hanna Pettyjohn undertook such a passage in reverse.
Hanna Pettyjohn
I do not wish to become a president, professor, doctor, governor, celebrity, corruptor, politic expert or anything else.
Nyoman Darya
Solo Exhibition:
1998 Urban Personality Exhibition, Chongqing, China
2001 Hangzhou Jincai Gallery
He Wei-Na
 Ong-Arj’s painting has point out thoroughly content in a society condition today. Even it express through looks weird human image.
Ong-Arj Loeamornpagsin
 Fazar paints with his heart. He believes that his interpretation is like “worship”. Any composition existing in his painting is his effort of concretizing what he feels.
Fajar Roma Agung Wibisono
 With great imagination, he has been using a very unique artistic language to express his very much primitive and strong emotion on the surrounding characters.
Yang Pei Jiang
 In Ardana’s works garlic becomes most artistic in various ways it is rendered whether it is presented individually or in groups of bulbs, cut open, blown up, its thin and transparent layers peeled, as well as severed and torn.
Dewa Ngakan Ardana
Filippo Amato Sciascia (born at Palma, Di Montechiaro, Italy, 1972) will present his solo exhibition of his recent works titled Lux Lumina at Kendra Gallery of Contemporary Art from the 12th December 2009 – 14th January 2010.
Lux Lumina
 Hui Xin’s art addresses both the phenomenon of our constant need for visual stimuli, as well as our desire to be surrounded by objects that give us pleasure. His new paintings and sculptures bring out a dichotomy between naive happiness and adult-themed amusements.
Hui Xin
Since childhood, Nano has enjoyed reading comics, even producing his own comic book in junior high school. Comics became the first visual art Nano came to know.
Nano Warsono
2002:"Ilusi Koran", Semarang Gallery, Semarang. "Transisi", Bentara Budaya Yogyakarta.
Budi Ubrux
 Selected Solo Exhibition
2005:“Paradoks Batas”, Edwin Galeri, Jakarta. 2003: “Painthink”, Edwin Galeri, Jakarta.
F. Sigit Santoso
 He got The Special Award From The 25th Exhibition of Contemporary art in 2008 and winner Prize from 11th Panasonic Contemporary Painting Competition when he postgraduate.
Chalermpon Ratanakomonwat
 The inspiration behind his recent paintings came in 2005 while he was observing his second child was a son. People say that when babies sleep they are guarded by angels. This common experience evoked a wave of questions: Was the baby dreaming? What was he dreaming about? What was he feeling?
WAHYU GEIYONK
 “Many artists like to ponder on the past and the present through the history of human civilization,” says young artist Wang Mian. “With pieces of information and inspiration they
WANG MIAN
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