Who's filling up the walls of VOV?



Artist/Type of Exhibit : Tammy De Roca

Date : July 4

Time : 6:00 PM

The habitat as subject makes the case for place-making one of the most touched upon topics in modern displays. With natural curiosity, we often look upon revelations of someone’s space to gather ideas about their more concealed personhood; the home as a reflection of one’s sensibilities. However remove the expressed sentimentality manifested in a setting and we shall properly arrive at a bleakness of a concrete box. A question follows: what shall then be collected from depictions devoid of direct personalization?

Tammy De Roca approaches this concept of looking upon residence for her exhibition Settlements, where instead of revealing the artist’s own exclusive space, De Roca virtually places the viewer before a barricade. Proceeding from a vantage of curious detachment, she reflects on her own history expressing her conscious lack of connection to past addresses. In her paintings, she makes references to local distinctions by portraying various tattered, makeshift entryways, allowing the viewer to know only as much as the artist knows herself. Isolated from the widely recognized concept of abode, presence before thresholds summons an observer’s curiosity as well as distinguishes the viewer’s physically delimited access or entry. This direct viewing reassignment

offers a contemplation on facades and disclosure. Such expressions made here extend, other than mystery, a visualized prompting of forbearance in uncertainty—projected charm and realism lend nothing absolute regardless of disposition.

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Composite Circuits

Artist/Type of Exhibit : Datu Arellano, Lesley-Anne Cao, Tad Ermitaño, Jett Ilagan, Ian Carlo Jaucian, Mark Rambo, Macatangay, Jon Romero, Richard John Tuason / Curated by Dayang Yraola

Date : June 7

Time : 6:00 PM

Composite is a curatorial series started in 2015. It is focused on performance art and performative art.

The first of the series is called Composite: Environment in Performance. It is a combination of workshop and performance of children of Kayan, Mt. Province, co-curated by Tetsuya Umeda, and world premiere of “Gong-Gong-an” a composition by National Artist for Music Ramon P. Santos, performed by students and faculty members of U.P. College of Music. This project was also participated by choreographer Myra Beltran, U.P. Dance Company, Airdance. A bamboo installation by Junyee, which was originally part of the event prior to Composite, was retained in the venue and was used as a backdrop for Composite. This was held at the University of the Philippines Amphitheater in 23 February 2015.

The second of the series is called Composite Noise(s). It is a cultural exchange between Hong Kong and Manila. Experimental musicians Dennis Wong and Chau Kin Wai from Hong Kong and Eric Chan from Macau, were joined by Manila’s Erick Calilan, Arvin Nogueras, John Sobrepeña and Teresa Barrozo. Fil-Am Alex Abalos also joined the roster. The aim of the project is to gather sounds from Cubao, use it in digital compositions, and stage a performance. The performance has two parts—first is performance of each team for recording; and two performance using Sonopoly (a Monopoly game, hacked to serves as ‘conductor’ of the performance). Audience were not invited for the first performance as the intention is to record. Meanwhile the second performance was intended to accommodate an audience. Audience or guests were also invited to participate in Tambarter (tambay+barter). Tambarter is an informal gathering to discuss various topics concerned in the practice and a barter of products to those who are present. This was held 6-8 January 2017.

This present edition, Composite Circuits, is an exhibit of sounding objects made by artists whose practice is devoted towards building, making or hacking (sounding) machines or (musical) instruments. This exercise recognizes the contributions of pioneers of the field like Luigi Russolo, Leon Theremin and Thaddeus Cahill, in exploring technologies serving dual purpose as a tool and an inspiration in various sonic and musical endeavors. Participating artists are Datu Arellano, Lesley Cao, Tad Ermitaño, Jett Ilagan, Ian Carlo Jaucian, Mark Rambo, Jon Romero and Richard John Tuason. Diversity in terms of exposure and preferred technology, were considered as main factors in choosing the artists. This group will exhibit works that may be classified in three sets—mechanical, electronic and digital. Mechanical works are objects that produce sound when parts are engaged using physical action. Electronic works, involves the use of microchips, integrated circuits, that controls and directs electric current to enable the object to make sounds. Digital works primarily relies on programs and algorithms. Tambarter and Sonopoly are scheduled for June 7, from 6:00PM onwards. Exhibit runs until June 30, 2018.



FIRST LESSONS / an after school special

Artist/Type of Exhibit : Anjo Bolarda, Roberto Sanchez, Dennis Bato, Chalk Zaldivar, Teo Esguerra, Miguel Paulo Borja / Curated by Gary-Ross Pastrana

Date : June 7

Time : 6:00 PM


Dear Artists,

Just to recap what we’ve set out to do for our upcoming show:

The main challenge is for everyone to create a work that is derived from the ‘real world’; something that is objective, factual, verifiable; something that is, perhaps, the product of research and analysis. Here, the terms ‘objective’ and ‘real world’ are precisely chosen to counteract and maximize contrast against specific things. We say real world mainly to distinguish from things that are, by large, products of our imagination, daydreaming or fantasy. We seek things that we can see, feel or hold. Concepts that we can observe and test, verify or disprove. An idea or an object from the everyday as opposed to something overarching, general or purely abstract. The word objective is used to provoke one to go beyond self-portraiture or the diaristic; to uncover new ways of approaching something that is not about ourselves or our impressions, feelings and immediate reactions to external impulses. Why not articulate in a different voice, in another man’s tongue? A shift in perspective, a metaphorical, out-of-body experience may open up new access points in understanding our own practice, how and why we create.

All this talk about shifting voices and change of perspective eventually lead us to look closer into narrative techniques, the various fictional devices that authors, filmmakers and other creators utilize in telling stories. We talked about Rashomon and its landmark use of multiple, contradictory accounts of a single incident. We also touched upon the non-linear structure employed in Pulp Fiction. There are countless other examples that we agreed to be conscious of or be in the lookout for and further study in our own time. The aim is for these storytelling devices to find their way into our working process and somehow inform how we approach the production of our upcoming works.

Please keep in mind that this is neither meant to change our usual, individual working processes nor to say that there is something wrong with it. This is just an exercise aimed at possibly developing new skills that we can later add to our so-called ‘toolkit’. Before we end, just a point of warning: there’s a slight danger that, due to the fact that we are attempting to look beyond ourselves and onto the world-at-large, we might fall into a kind editorial/socio-political vortex and that instead of working on something small, real and specific, we get drawn back to the big, vague and the abstract. Again, there is nothing wrong with this per se, only it would obviously derail us from course we charted in our current framework. (We acknowledge that there’s a time and place for this and perhaps this could even be the subject of our next exercise.) In the end, Just keep in mind that we are still making artworks that will be shown primarily in a gallery setting and will be seen for their formal, visual, tactile, and other similar qualities. Lastly, we created the parameters above in order for us to learn something new and in no way should they become traps that paralyze and hinder instead of helping us grow.



P.S.      In one of our meetings, we talked for a bit about the problem of representing the Filipino beyond the usual graphic and/or iconic markers like the jeepney, the flag or our heroes. Hopefully, some possible answers or even attempts at answering this will seep into our new projects.

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