Exhibitions

Who's filling up the walls of VOV?


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CR CR

Artist/Type of Exhibit Carlo Ricafort & Christian Rothmaler

Date : Nov 14

Time : 6:00 PM

CR CR is double, yet no copies.  Masked raiders 7 finger handed. Broken eagle drowning eyes drones.  Fractured street life under a moon, which is either conquered by CR or world’s futurous comfort room.

With this exhibition, Carlo Ricafort and Christian Rothmaler present a playful challenge that questions authorship and artists’ egos.  So, CR & CR had to leave their comfort rooms and put themselves into another CR:

Confrontation Room / Creation Room / Confusion Room / Copy Room / Challenge Room

Thus, creating a hybrid or new disorientation between the two makers.

Viewing the works certain shapes look familiar, but it leaves a fractured impression, as form and content got shaken in a drift of translation.

While so called social media through the internet floods our brain with truthless positivity and advice for creating more and more comfort zones, the paintings in this show become another social media, which questions through semi-abstract se(e)miotics and claim paintings’ potential be at least as virtual and as real as those virtual realities made of 1 and 0.

Hamburg and San Francisco coalescing in Manila; cities by water, porous for exchange.  In this case – visual translations which may be misinterpreted, have room for glitches and imperfections – a possible way nature asserts itself in this digital world.

Look down, count your fingers, take of your mask and think!

And if one is still craving for advice, step out of your comfort zone and do as CR & CR did: “working twice as hard, to be half as cool” ™.


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Private Agenda, Hidden Property

Artist/Type of Exhibit : Van Tuico

Date : October 13

Time : 6:00 PM

Trespassing (Not) Allowed:

Private Agenda, Hidden Property by Van Tuico

In this suite of new works for the exhibition, Private Agenda, Hidden Property, Van Tuico quotes the signs—and signage—of contemporary life, as expressed through and by both the literal and figurative urban fabric: cement, asphalt, brick wall, warning sign, and most certainly the grid, which is the basis of painting and urban planning. Exposed, recognizable, and accessible, these slivers of the city are understood to belong in the public sphere, to be used and enjoyed by everyone.

These works, however, are fitted with steel matting, which establishes the barrier between the viewer and the piece. What is being presented is simultaneously being withheld. The steel matting gestures at the gates, fences, and any and all forms of demarcation drawing the line between the outside and the inside, between public and private. Its mere presence signifies that ownership is being asserted and that to peer through, to look past the border is tantamount to trespassing.

Just like how it is in the actual, day-to-day conduct of our lives, barriers paradoxically make what they are concealing more visible, igniting and drawing curiosity instead of thwarting it. A few may step back and move on but most of us will attempt to investigate as if to not assuage the desire to look harder becomes all the more intolerable. Barriers, such as in these works, may signify “protection,” a symbol “to keep one’s property safe and secure,” but they also provide the evident line to transgress. Vandalism, such as graffiti, becomes all the more irresistible exactly because it is forbidden.

Aside from bringing the viewer into an acute awareness of these lines, the artist also formalistically asks questions about the nature of perspective. Instead of providing a comfortable distance between the viewer and the work, the perspective in the pieces “distorts the view” and “disquiets the mind” as it eschews a sense of illusory depth, confronting the viewer with the materiality of the medium. While the works adhere to the tenets of abstraction, they signify not merely environments but a landing place to a vision that sees these paintings as continuities of the world.

Through a deft manipulation of materials, techniques, and the resulting perception, Private Agenda, Hidden Property revivifies our connection to the sights, sounds, and textures of the cityscape that has become so banal and repetitive in our everyday encounter with it. By denying immediate access to their subject matter, these works offer us the opportunity to see these continuities of the world with a new pair of eyes, charged with an inquisitiveness that we accord to things that are at once mysterious and equally elusive.

 

-Carlomar Arcangel Daoana

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Relative Judgement

Artist/Type of Exhibit : Dennia Bato & Jood Clarino

Date : October 13

Time : 6:00 PM

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