Carpenter, Welder, Mason, Weight-Lifter:

Sculptures from the Met Collection

Tall Galleries
December 04-29

In a 1989 interview, National Artist Napoleon Abueva described the laborious demands of his practice: “To be a sculptor, you have to be a carpenter, a mason, a welder, and a weight-lifter.”  This exhibition of sculptures from the MET Collection, builds on the production of three dimensional works, the manipulation of materials, and the errant elasticity of its occupation. Majority of the works are placed in the 1990s, highlighting the sculptors’ efforts in conceiving, assembling, carving and molding imagery and meaning from the natural state, making use of wood, metal, ceramic, stone, plasterwork and its composites as a trajectory towards permutations of idea and expression.

Juan Arellano:

Framing the Spectacle of Space

October 27- December 29, 2017

Juan Arellano’s corpus of work as an architect and a visual artist is suffused with a theatrical quality in which spaces are framed to embody spectacle and device of drama.  This exhibition probes the creative life and works of Arellano through the thematic lens of theater and theatricality within the matrix of colonial pageantry, Hollywood and Broadway amusement, and architectural scenography.  Theatricality is about spectacle, appearance and dramaturgy through the mediation and articulation of the lived space.

As an artist, Arellano portrayed paintings with episodic and impressionistic scenarios. His landscapes take on vivid scenographic auras, while his figures are discerned as compartmented forms. There are depictions in theatrical gestures and staging of scenes with architectural backdrops, framed by the symbolic proscenium.

Likewise, Arellano’s architecture, landscape design and urban form created spaces of spectatorship and performance, enframing everyday life and the spectacle of the nation. His designs for capital cities, capitol buildings and national monuments served as potent symbols of national power.

Nowhere is the construction of national memory more profoundly played out in state architecture than in Arellano’s Metropolitan Theater, completed in 1931. Located in present-day Lawton, Manila — where Arellano realized his vision with structures that stretch from the Pasig River to Taft Avenue — the Metropolitan Theater marks the history of the city as a center and as a vortex of a decline, or perhaps a metamorphosis, as its curtain rises again.

Muhon

Traces of an Adolescent City

Tall Galleries
October 27 – December 30, 2017

“Muhon: Traces of an Adolescent City” is a collaborative project and exhibition between artists and architects investigating the rapid changes of urban architecture and identity of Manila through the framework of history, modernity and conjecture. Its titular term “muhon”, is translated as “monument” or “place-maker”, and confronts the issues of Metro Manila faced with the loss of cultural heritage. The exhibition examines nine post-war buildings and urban elements within the city and presents conceptual interventions to address the public’s social consciousness.

The exhibition “Muhon: Traces of an Adolescent City” was featured as the Philippine Pavilion in the 15th Venice International Architecture Biennale.

Faces and Phases:

In Turbulence

Tall Galleries
September 9-23, 2017

Galeriya Banko Central ng Pilipinas

Bawat kultura ay lumilikha ng kanyang natatanging kahusayan.

Layunin ng koleksiyon ng sining ng Bangko Sentral ng Pilipinas, na pinalawig noong 1981, na makabuo ng komprehensibong koleksiyon ng mga pinta mula sa mga lalawigan. Ang mga likhang ito ay nagpapahiwatig ng mga pagkakaiba at mga malikhaing gawi na yumabong sa iba’t ibang panig ng bansa. Dulot ng malapit at likas na ugnayan sa kanilang mga paksa, kasamang inilarawan ng mga pintor buhat sa mga probinsya ang mga kawili-wiling detalye gaya ng kapitbahay na nakadungaw sa bintan, mga batang masayang naglalaro sa kalayuan, kababaihang naghuhuntahan, at maging mga alagang hayop.

Isang karangalan para sa BSP Art Collection ang pagkakaroon ng mga likha ng mga pintor mula sa mga lalawigan, kabilang dito ang noo’y di nakikilalang si Pedro Ardena ng Capiz, na nakapagtanghal sa St. Louis Universal Exposition noong 1904. Marangal at matagumpay na ipininta, ang mga natatanging kahusayang ito ay nagpapayabong sa diwa ng sining at pamanang Pilipino.

Every culture produces its distinct refinements.

The art collection of the Bangko Sentral ng Pilipinas, significantly expanded in 1981, intended to assemble a comprehensive collection of paintings from the provinces. These works intimate the various peculiarities and artistic tendencies that developed in the different part of the country. With personal and natural familiarity their subjects, the painters from the provinces included quaint details such as a neighbor peering out the window, children gaily playing in the distance, women huddled in chance conversations, and even cherished pets and animals.

It is a meritorious distinction of the BSP Art Collection to own works of painters and paintings from the provinces, including the likes of previously unacknowledged Pedro Ardena from Capiz, who exhibited in the St. Louis Universal Exposition in 1904. Painted with dignity and accomplishment, these distinct refinements contribute to the spirit of Filipino art and heritage.

Manila:

Hidden in Plain Sight

Open Galleries | White Cube Galleries
July 11- August 26

MANILA: Hidden in Plain Sight weaves the Bangko Sentral ng Pilipinas’ painting collection with the practices of contemporary art that reflects on the captured tenacity of Manila. The city’s confined spaces burst with a rich union of provincial, racial, and class diversity where the collective social memory is shaped by the urban landscape. Artists of the exhibition collect from the traces of material in response to the city that internalizes these transformations.

Unravelling Manila requires a glimpse on the movements of its dwellers that drove to pattern the flows of spaces all around them. The exhibit responds to these horizontal flows and elevation of structures, through its architecture, informal settlements, the condition of Manila’s major waterway, the Pasig River, and the removal of heritage edifices.

With the sensorial encounters of the city and the unconventional agency of Manila’s inhabitants, there is now an urgent need to contemplate their way of life and behavior as they respond to these alterations. The exhibit articulates on these underlying sensibilities of Manila’s life force through practices that challenge the notion of identity and place.

The participating artists for this exhibition possess collective reflections of the metropolitan form, engaging in a stream of thought towards a city that grows and decays in a cycle. This exhibition format will travel to public institutions to bring these artistic practices into newer spaces. Inviting new and younger voices in the narrative establishes a new fold of response in recounting the memories on the urban landscape.

DISTINCT REFINEMENTS:

PAINTING FROM THE PROVINCES

Tall Galleries
June 22 to November 18, 2017

Guest curator:
Professor Santiago Albano Pilar

DISTINCT REFINEMENTS- PAINTING FROM THE PROVINCES

Bawat kultura ay lumilikha ng kanyang natatanging kahusayan.

Layunin ng koleksiyon ng sining ng Bangko Sentral ng Pilipinas, na pinalawig noong 1981, na makabuo ng komprehensibong koleksiyon ng mga pinta mula sa mga lalawigan. Ang mga likhang ito ay nagpapahiwatig ng mga pagkakaiba at mga malikhaing gawi na yumabong sa iba’t ibang panig ng bansa. Dulot ng malapit at likas na ugnayan sa kanilang mga paksa, kasamang inilarawan ng mga pintor buhat sa mga probinsya ang mga kawili-wiling detalye gaya ng kapitbahay na nakadungaw sa bintan, mga batang masayang naglalaro sa kalayuan, kababaihang naghuhuntahan, at maging mga alagang hayop.

Isang karangalan para sa BSP Art Collection ang pagkakaroon ng mga likha ng mga pintor mula sa mga lalawigan, kabilang dito ang noo’y di nakikilalang si Pedro Ardena ng Capiz, na nakapagtanghal sa St. Louis Universal Exposition noong 1904. Marangal at matagumpay na ipininta, ang mga natatanging kahusayang ito ay nagpapayabong sa diwa ng sining at pamanang Pilipino.

Every culture produces its distinct refinements.

The art collection of the Bangko Sentral ng Pilipinas, significantly expanded in 1981, intended to assemble a comprehensive collection of paintings from the provinces. These works intimate the various peculiarities and artistic tendencies that developed in the different part of the country. With personal and natural familiarity their subjects, the painters from the provinces included quaint details such as a neighbor peering out the window, children gaily playing in the distance, women huddled in chance conversations, and even cherished pets and animals.

It is a meritorious distinction of the BSP Art Collection to own works of painters and paintings from the provinces, including the likes of previously unacknowledged Pedro Ardena from Capiz, who exhibited in the St. Louis Universal Exposition in 1904. Painted with dignity and accomplishment, these distinct refinements contribute to the spirit of Filipino art and heritage.

Abot-Tanaw:

Tracing Local Horizons

Tall Galleries
May 08-June 23, 2017

“Abot-tanaw: Tracing Local Horizons” (Abot-tanaw: PagtahaksaatingmgaGuhit-Tagpuan) ay eksibisyong tumutunghay sa likas na kagandahan ng Pilipinas mula sa mga lente ng mga potograpo’t kanilang paglilibang. Kuha mula sa mga sikat na lugar sa ating kapuluan, ang mga larawan ay nagpapamalas ng kaakit-akit na ugnayan ng mga tanawing kubkob ng langit at lupa. Makikita ang mga kilalang istruktura, monumento, at mga gamit sa hanap buhay na nagpapahiwatig sa mga bakas ng gawain at sigla na sumasalungat sa matamlay na lokasyon at pamayanan. Parating makikita sa mga larawanang mga yugto ng dapit-hapon mula sa paglubog ng araw hanggang takip silim, ang paglipas ng panahon, at angkaakit-akit nitong pagpapalit. Ang interpretasyon sa abot-tanaw ay higit pa sa pangunahing paglalarawan. Tinatahak nito ang pagpapahayag ng malalim na diwa ng pag-asa at paghinagap sa bukas.

“Abot-tanaw: Tracing Local Horizons” is an exhibition that looks to the natural beauty of the Philippines, seen through the lens of avocational photographers. Taken from popular locations around the archipelago, the vistas create a picturesque continuity between sweeping landscapes enveloped by the sky and earth. Capturing recognizable architectural structures, monuments, and objects of livelihood suggest a footprint of activity and energy that contrasts the lull of the location and community. Consistent among the photographs are the cyclical phases of the twilight from sunset to dusk, relating to the passage of time, and the beauty in its interlude. The interpretation of abot-tanaw or horizon goes beyond its principal description to express a deeper sense of hope and anticipation for the future.

This exhibition is presented as part of the National Heritage Month celebration.

SEASCAPES:

Tranquility and Agitation

Galeriya Bangko Sentral ng Pilipinas

March 22 to May 6, 2016

SEASCAPES- Tranquility and Agitation

Ang kapuluan ng Pilipinas ay tahanan ng ilang mabungang pananahan sa Timog Silangang Asya. Batay sa kasaysayan, ang kapuluang ito ay tagpuan ng palitang ekonomiyal at kultural, nagtataglay ng masiglang pag-agos ng kalakalang pandagat, kolonisasyon, at mga ugnayang tawid-rehiyonal. Sa pamamagitan ng kultura’t tradisyon, pumukaw sa pagdagsa ng iba’t ibang aktibong anyong-sining at pagsungaw ng mga kaisipan sa paglalayag. Ipinapahayag sa Tanawing-dagat: Payapa at Balisa ang dalawang anyo ng tugunan sa pagitan ng mga tema at larawang kaugnay ng karagatan at kalapit usapin. Ilang pinta ng tanawin ang naglalahad ng payapang kapaligiran, mula sa mga tahimik na ibabaw ng mga burol at labangan hanggang sa mga nakikitang kabuhayan ng mga pamayanan. Gayun pa man, kasabay nito ang umiinit na tensyon sa mga karagatan kawing sa laro ng kapangyarihan, teritoryo, at pagkakakilanlan. Nagtatagpo ang karaniwan at ligalig samantalang tinatalakay ang sandali sa pagitan ng luma at kasalukuyang katangiang heopolitikal.

The Philippine archipelago is home to several fertile habitations in South East Asia. Historically, the island cluster is a locus of economic and cultural exchange, possessing a dynamic current of maritime trade, colonization, and cross-regional connections. Through culture and tradition, it stimulated the coming of many vibrant art forms and nascent thoughts of sea fare. Seascapes: Tranquility and Agitation expresses a twofold correspondence between motifs and images in connection with the seas and its immediate contentions. A series of landscape paintings convey these peaceful sceneries, from its lulling crests and troughs to the visible activity of local livelihood. Concurrent to this, however, is the brimming tension of the seas interlocked with power-play, territory, and identity. The familiar meets the turbulent while touching on a juncture between old and current geopolitical strains.

Mapping the Philippine Seas:

Maps and charts of the Philippine archipelago from the 16th to the 19th centuries

Tall Galleries
March 15 to May 31, 2017

Ang Mapping the Philippine Seas ay eksibisyon ng mga natatangi’t makasaysayang mapa at karta ng kapuluan ng Pilipinas at mga karatig karagatan mula unang bahagi ng ika-16 hanggang sa wakas ng ika-19 na siglo. Tampok dito ang 165 orihinal na mga mapa at karta ng mga karagatan mula sa pribadong koleksyon ng mga kasapi ng PHIMCOS, mula sa GSIS, at isang reproduksyon ng Mapa ng Selden mula sa Bodleian Library sa Oxford.

Sa pamamagitan ng kartograpiya, ipinaliliwanag sa eksibisyon ang makasaysayang kahalagahan ng lokasyon ng Pilipinas sa mga ruta ng kalakalan sa karagatan ng Silangan at Timog-Silangang Asya. Tampok din ang mga paglalakbay sa pagtuklas at paggamit ng mga ruta ng kalakalan ng mga Europeong manlalakbay, mananakop, at mangangalakal sa paghahanap ng bago, mabilis, at higit na ligtas na rutang pangkaragatan sa pagitan at loob ng kapuluan ng Pilipinas; at ang paggamit ng siyentipikong hidrograpiya upang mapabuti ang mga karta at gayundin ang kaligtasan ng mga mandaragat.

Nagsisimula ang eksibisyon sa mga mapa ng ika-16 na siglo na gawa ng mga manlalakbay na Portuges, Kastila, at Olandes, kabilang si Ferdinand Magellan. Makikita rin ang mga magarbong mapa mula Ginintuang Panahon ng kartograpiyang Olandes mula sa ika-17 siglo, kasama ang mga detalyadong kartang pangkaragatan inilathala sa Italya noong 1646. Sa bahagi ng ika-18 siglo tampok ang natatanging halimbawa ng kilalang mapa ng Pilipinas ni Padre Pedro Murillo Velarde, gayundin ang mga kartang Ingles ni Alexander Dalrymple at mga pangunahing manlilimbag ng mga kartang pangkomersiyo sa Londres. Ang ika-19 na siglo ay kinakatawan ng malawak na seleksyon ng mga kartang inilathala ng mga almirante ng Espanya, Britanya at Pransya, at ang kartang kaugnay ng Kasunduan sa Paris noong 1898.

Mapping the Philippine Seas is an exhibition of rare historical maps and charts of the Philippine archipelago and its surrounding seas from the early 16th century to the end of the 19th century. The exhibition showcases 165 original maps and sea charts from the private collections of PHIMCOS members, from GSIS, and a reproduction of the Selden Map courtesy of the Bodleian Library in Oxford.

Through cartography, this exhibition explains the historical importance of the Philippines’ location along the maritime trade routes through East and Southeast Asia. It highlights the voyages of discovery and use of trade routes made by European explorers, colonists, and traders, the search for new, faster and safer sea passages around and through the Philippine archipelago, and the use of scientific hydrography to improve the charts and thereby the safety of seafarers.

The exhibition starts with maps of the 16th century made by Portuguese, Spanish and Dutch explorers, including Ferdinand Magellan. Highly decorative maps from the Golden Age of Dutch cartography in the 17th century are displayed, together with detailed sea charts published in Italy in 1646. From the 18th century the exhibition includes a rare example of Fr. Pedro Murillo Velarde’s famous map of the Philippines, as well as English charts by Alexander Dalrymple and the principal commercial chart publishers in London. The 19th century is represented by a wide selection of charts produced by the admiralties of Spain, Britain and France, and the chart attached to the Treaty of Paris of 1898.

2017 MET International Artist in Residence

presents

Maria Jose Arjona

Open Gallery

February 11 to May 04, 2017

2017 MET International Artist in Residence

May pagtukoy ang salitang Practice sa kilos at sa espasyo, nagbibigay-daan sa paguugnayan ng pagtatanghal at ng kaalaman. Sabay nitong pinasisimunuan ang pagsasagutan sa pagitan ng dalawang tunggalian. Sinusuhay ang halaga ng banggaang ito, at hinahatid sa isang kalawakang bumubuo ng malikhaing kaisipan sa pamamagitan ng panahon.

Sa kapanatagang ang mga prosesong rasyunal ay nakabigkis sa depinisyon ng kaalaman, ipinapalagay ng Practice ang pagsisiyasat ng mga tagpuan kung saan ang katawan ay bumabagtas sa rasyonalidad, upang makintal ang kamalayan ng mas komprehensibong pagtangkilik sa mga posibilidad ng malikhaing pag-iisip.

Ang katawan – bilang isang nilalang sa loob ng mapang-angkop na ligid ng mga ideyang nabanggit – ay nagiging topograpiyang lugar ng tunggalian, at samantalang tagapagtaguyod ng kapwa rasyunal at di-rasyunal na kaalaman.

Ipinapahayag ng Practice ang katawang kumakandili sa kaisipan, sa pamamagitan ng danas ng arawang pagpapalitan. Kasabay nito ang pagbuo ng mga banghay ng pakikisalamuha sa panahon ng pamamalagi ng manlilikha. Mahalaga ring mabatid ang pilosopiyang dumadaloy mismo sa payak na tekstong ito, dahil umiiral lamang ang kaisipan sa pagpili at pagkilala sa ating kapwa.

“May bagay sa daigdig na pumipilit sa ating mag-isip. Hindi ito dulot ng pagkakilanlan, kundi ng isang makabuluhang pagtatagpo.”

Gilles Deleuze

 

PRACTICE

The actual application or use of an idea, belief, or method as opposed to theories about such application or use. Repeated exercise in or performance of an activity or skill so as to acquire or maintain proficiency in it. habitually/ regularly / training /rehearsal/ repetition/ preparation/ application / exercise/ use/ operation/ implementation/ execution.

The word Practice functions as an action and as space, allowing a basic relation to happen between performance and knowledge. It simultaneously triggers an interaction between two bodies, underlining the relevance of that encounter and transforming it into a plane where creative thought is produced within the frame of time.

Having the contingency of rational processes tied to the definition of knowledge, Practice pretends to explore the paths by which the body overpasses rationality in order to incorporate awareness to a more comprehensive approach to what creative thinking could be.

The body, perceived as entity within the flexible borders of these ideas, becomes metaphorically speaking, the topography where the encounter happens at the same time the enabler of both rational and non-rational knowledge.

Practice announces the body fostering thought via the experience of daily exchanges while delivering maps of human interaction during the stay of the artist. It is also important to underline the philosophy running underneath this simple text, since thought can only exist when we chose to acknowledge the other.

“Something in the world forces us to think. This something is an object not of recognition but of a fundamental encounter”

Gilles Deleuze

RONALD VENTURA

SHADOW FOREST: ENCOUNTERS AND EXPLORATIONS

Open Gallery
Jan  30- March 04 2017

Out of the shadows, into the forest, the art of Ronald Ventura turns to the half-light to shape its gesture, to explore and encounter whatever it is that matters. The silhouette is sharply cast, even as the figure is equally strongly formed. There is play between what is merely recognized and what lies faintly beyond the image, the palimpsest, or the simulacrum of ancestors and aliens.  This exhibition revisits the artist’s cherished graphic talent, his fundamental affection and skill for drawing that have led him to sketch out, fill in, round out, mess up, lay open, close up, and finally pull together the various persons and things that he chances upon or makes up. While the singular stroke is vital in the practice, Ventura has also harnessed this remarkable graphic intelligence to bring forth multiples in a decisive display of the reprographic potential of his fertile imaginarium. Intense virtuosity with lively line inflects inventiveness in generating artificial appearances. Thus, early drawings of pen on paper mingle with prints, figurines, sculptures, industrial stuff from cement to plastic. Graphite shares space with lithography, fiber glass, steel, lantern, and the ubiquitous digital image. All this Ventura has animated in his early experiments with material and his more recent fairground spectacles of monuments and carousels, in both totem and swarm rendered with diligence and whimsy.