Who's filling up the walls of VOV?
Artist/Type of Exhibit : Various Artists
Date : October 26, 2016
Time : 6PM
The limitations of the physical space we occupy provide layers of triviality to our reality, influencing predispositions and affect our expectations and reactions. The same restriction taunts its occupant to fully recognize the lurking possibilities within the very obstruction that holds him captive. 112,712cm2 utilizes the designated space’s dimensions as its title, as a genesis for inspiration, making it a place beyond a room within a gallery. Artists Rene Bituin, Jan Balquin, Bjorn Calleja, Lec Cruz, Neil Dela Cruz, Edric Go, and Joel Quiñonesconverge under this theme, staging a multifaceted vantage point where the only limit is their own creativity, allowing artistic identity and diversity coalesce in a space.
In 112,712cm2 the space becomes the ground zero where Quiñones claims the floor space for his site-specific work, expanding its depth beneath the surface with his abstraction resembling an engulfing yet subservient sea. Calleja surveys the theme using territorial markers seen in parking spaces, appropriating found objects as works of art examining claimed spaces. The act of removing and displacing these markers is his act of liberating the spaces; the same liberation we find in each canvas and surfaces where fingernail sized characters are painted as if claiming their own unhinged territories. Bituin extends this act by creating abstracted images; from his wall mural analogous to a bridge leaping outside, connecting to the unknown; to his wood panel paintings that seamlessly constructs pockets of spaces lengthening the restrained area’s width. Balquin further confronts the spatial limitation through her paintings of blank canvases as her own subject matter. Through her works, the dreadful sight of an empty canvas transforms into poetic gesture of conquering an object’s daunting presence.
Seen as a setting for human psyche and behavior, Go investigates the confined space through the lens of own culture, challenging its symbolic significance through his works. His paintings convey a narrative exploring the possibilities beyond a temporal space. The psychological implications of a space are further explored in Cruz’ paintings of surreal and absurd scenarios. In his works, he depicts the removal of boundaries between places, infusing a misplaced imagery in a displaced space. Dela Cruz’ collage of combined garish and monochrome magazine cutouts reveals images of fractured reality of society. The totality of his abstraction commands attention and if scrutinized closely, each cutout mirrors certain parts of our reality as if fitted in small fragments of spaces.
In 112,712cm2 the gallery space does not become a mere location, or an enclosed space with rectangular dimensions. The gallery space is reimagined as infinite vacant lot, a place where something may occur, an idea may exist and persist without dimensions.
Artist/Type of Exhibit : Everywhere We Shoot
Date : October 6, 2016
Time : 6PM
Having your picture taken for professional or legal identification feels like a gamble — it is never guaranteed that the results will be satisfactory. Hair swept to the side, ears sticking out, imperfections digitally smoothed out. Oddly, a picture that is supposed to validate your existence becomes a non-flattering representation of yourself.
Everywhere We Shoot playfully takes this experience and turns it into a comical process. I Just Like To Look at Pictures, Pictures is an assembly of sixty 1×1 portraits, taken similarly to shopping mall photo ID services. By manipulating the photos to create new and warped identities, Everywhere We Shoot offers an experimental perspective out of a common and formal image.
Artist/Type of Exhibit : Jobert Cruz
Date : October 6, 2016
Time : 6PM
The thrill, excitement, the anticipation, the danger and awareness, all these feelings occur when you step upon the territory of Divisoria. It is a place with little room to walk and navigate unto due to the place being packed up with stalls upon stalls of merchandise varying from clothes to toys, school/office supplies to kitchen equipment, seasonal items, plastic wares to mobile gadgets ranging from low grade to stolen ones, pirated DVDs, street foods, fruits and vegetables, and a lot of other things people who like bargained things so much enjoys, but would surprise a few for how contracted the place is. But Divisoria isn’t just a place of commodities where you’ll go home happy and contented to all the things you have purchased. It is a place of opportunity, in a negative sense, to some which is quite a danger for those who are a first time visitor. It is also a place of survival to those who have to wait for alms or until when the garbage is taken out; a place of chances for the tradesman wanting to earn an honest living for their family. But it’s a different story for each and everyone who lived most of their lives there.
In Diviserye,Jobert Cruz narrated visually how he perceived the things he encounters almost everyday as he was growing up in Divisoria. The things mentioned above were not merely ideas to the artist rather they were experiences and accounts translated into thoughts which is then translated into an optical allegory. What the exhibition presents is not an introduction to Divisoria for we are all too familiar with it unless one is too detached from the realities of the world and of this country being a third world nation. The works look at the peculiarity and familiarity of the events and people that occur there, things that accumulate by and by, things that made little change or none at all. In Divi, as referred to in street slang, all sorts of botchery transpires in every street with all sorts of people: the villains, the disfavored, the dealers, the hagglers, novices, the hundred isles of shops selling almost the same things, the malls only a less different from the stalls outside, all of those things didn’t escape the scrutinizing eye. Cruz analyzes the diversely cluttered community from its habitant’s pattern of living to its mode of survival in a constructive and adverse method true to the roots of the matter without preconceived notions. The exhibition is a string of stories that will be a sort of assessment, a denunciation, to some but to some it is nevertheless home.