Sa Dagat at Bundok:

Wynn Wynn Ong

Basement Galleries
November 12, 2018- March 02, 2019

Wynn Wynn Ong’s Sa Dagat at Bundok collection is a tribute to the diversity of the Philippines – from endangered species of flora and fauna as well as newfound species – and spans across the highlands, midlands, and coastal areas of the archipelago. The title can be traced to a line from the Philippine national anthem, as well as to the scope of species represented within it. The collection is an homage to the ebbing art of the passing of Filipino folktales, myths, and legends from one generation to the next.

Fourteen months of research and design has led to the creation of this special collection wherein each piece is handmade. They were crafted using traditional methods of jewelry-making, such as sculpting, repousse, reticulation, chasing, metallurgy, and gilding, as well as the archaic method of lost wax casting.

The pieces are primarily made of Philippine silver, and are formed using elements of brass, copper, and other metal alloys. They were then plated with 24-carat gold and applied with gold leaf. The gems used to embellish the pieces include the following Philippine minerals: pyrite, agate, hematite, and jade. Non-local gemstones such as garnet and topaz can also be found among some of the pieces. The narra and kamagong wood used in the works are recycled from the demolished old houses in Ilocos and the Cagayan Valley, while, the acacia wood pieces were from the trees felled by typhoon Milenyo.

Coalescences

60 years of Hau Chiok

Tall Galleries
Novembver 16, 2018- Junary 15, 2019

Ginugunita ng eksibisyong ito ang ikaanimnapung anibersaryo ng iginagalang na pintor at guro ng pintang-Tsino sa bansa na si Hau Chiok. Habang ang bawat dekada ng kanyang maunlad na propesyon ay lantad sa koleksyong ito na binubuo ng humigit sa isang daang pintang tinta, lumilihis ang eksibisyon sa paggunitang kronolohikal at sa halip ay gumagalugad sa mga paghuhugpong na likas sa mga likha at pagkatao ni Hau Chiok.

 

Kakikitaan ng mga pagsasanib ang mahahalagang aspeto ng buhay ni Hau Chiok. Ang kanyang mga ugat sa kultura at lugar bilang Filipino-Chinese ang humubog at nagsisilbing saligan niya. Ang kahusayan niya bilang alagad ng sining ay hindi maihihiwalay sa kanyang dedikasyon bilang guro at tagapayo sa libo-libong mag-aaral mula pa noong 1965. Ang propesyunal at ang pribadong bahagi ng kanyang buhay ay magkaiisa sa asawa at katuwang niya sa sining na si Sy Chiu Hua.

 

Bilang manlilikha, kasapi si Hau Chiok sa Lingnam School of Painting na pinagsasanib ang mga paraan sa sining at sensibilidad ng Tsina at ng Kanluran. Pinagsasama nito ang luma at bago, at pinaglalapit ang mga agwat ng sining ng mga Intsik at ng di-Intsik; ng Silangan at Kanluran; ng tradisyunal at kontemporaryo. Pinagsasanib ni Hau Chiok ang iba’t ibang anyo, paraan, at mga konseptong ito sa kanyang sensibilidad bilang Filipino.

 

Sa nakalipas na animnapung taon, naglalalang si Hau Chiok ng mga pinta na pamilyar, ngunit kakaiba sa pananaw ng mga Filipinong nasanay sa Kanluraning anyo ng sining. Ang mga imahen sa mga pinta niya ay detalyado ngunit malawak, mala-sulyap ngunit di maikakailang may angking husay. Walang hirap silang namamangka mula sa natural patungo sa halos abstrak at pabalik, na nanghihikayat ng pagninilay na susundan ng pagtawag pabalik sa pisikal na daigdig ng ngayon. Maraming salik ng sining at buhay ang nagsasanib-sanib kay Hau Chiok, at nagbubunga ito ng lupon ng mga likhang tumitibok ng samu’t saring diwa sa mga paglipas ng mga dekada.

This exhibition marks the 60th anniversary of Hau Chiok, respected practitioner and teacher of Chinese painting in the country. While every decade of his flourishing career is amply represented in this collection of more than one hundred ink paintings, this exhibit veers away from a chronological retrospection, and instead explores the coalescences pervasive in Hau Chiok’s art and being.

Convergences prominently mark key aspects of Hau Chiok’s life. His Filipino-Chinese cultural and geographical roots mold and ground him. His excellence as an artist is inseparable from his passion as a teacher and mentor to thousands of students since 1965. His professional and private life unify in his wife and artistic collaborator, Sy Chiu Hua.

As an artist, Hau Chiok belongs to the Lingnan School of Painting that merges Chinese and Western art techniques and sensibilities. It blends the old with the new, and bridges the many polarities that separate the art of the Chinese from the non-Chinese; the East from the West; the traditional from the contemporary. Hau Chiok fuses these various forms, techniques and concepts with his Filipino sensibilities.

For the past sixty years, Hau Chiok has been creating works that feel intimately familiar yet strangely different to the Filipinos’ Western art-trained eyes. His images are observantly detailed yet expansively broad, impressionistic yet incontestably masterful. They effortlessly shift from the realistic to the almost abstract and back, inducing inner retreat then stirring back to the physical world and its present cares. The manifold elements of art and life that coalesce in Hau Chiok result in a body of work pulsating with great variety through the decades.

Art in Focus:

Selected Artworks from the MET collection

White Cube Gallery

October, 2018

Bilang pagdiriwang ng ika-42 taong anibersaryo ng Museong Metropolitano ng Maynila, ang eksibisyon ay maglalahad ng mga mahahalagang obra ng mga kababaihan’g manlilikha ng sining, kumakatawan sa pangunahing buod sa koleksyon ng museo ng modernong sining ng Pilipinas. Binuo noong 1995 sa tulong ng mga handog ng mga manlilikha ng sining, kanilang tagapagmana, at iba’t ibang mga kolektor. Nagsimula rin magkaroon ng mga bagong pagtamo ng mga obra noong 2014, nagpapaigting sa salaysay ng pagkakatawan sa mga kababaihan’g manlilikha ng sining. Ang masiglang pagkakaiba sa istilo at personal na pakiramdam ay sumasaklaw mula sa abstrak na pagsasaliksik tungo sa realismong panlipunan, lumalawig higit pa sa usaping pantahanan, at bumabagtas sa paglilimi sa kalikasan, peminismo, at pagkakakilanlan.

In celebrating the 42nd anniversary of the Metropolitan Museum of Manila, this exhibition will present the critical works of women artists, embodying a major core of the museum collection of Philippine modern art. Formed in 1995 through donations by artists, their heirs, and various collectors, the collection has since included new acquisitions in 2014, strengthening the narrative of represented women artists. The vibrant diversity in style and personal sensibilities range from abstract explorations to social realism, extending beyond matters of domesticity, and intersects with contemplations on nature, feminism, and identity.

Ties of History:

Art in Southeast Asia

Ground Floor Galleries
August 08- October 06, 2018

Itinatanghal ng Pilipinas ang eksibisyon ng kontemporaryong sining sa Timog-Silangang Asya sa Maynila bilang paggunita sa ika-50 taon ng Association of Southeast Asian Nations (ASEAN). Pinamagatang Ties of History: Art in Southeast Asia (Pinagbigkis ng Kasaysayan: Sining sa Timog-Silangang Asya), tinitipon nito ang sampung manlilikha ng sining na kumakatawan sa mga estadong kasapi ng organisasyon. Hango mula sa Deklarasyon noong 1967, ang pariralang ito ay nagpapahiwatig sa mga kaloob at pasanin dulot ng pagkakabuklod at ng pagkakaiba-iba sa isang rehiyon na inaakalang napagbabahiganan. Tumatalakay ang mga gawa ng mga manlilikha ng sining sa masalimuot at produktibong kondisyong ito samantalang ipinapamalas ang mga pamamaraan kung saan ang iba’t ibang hibla ng pagkatao bilang mga mamamayan at manlilikha ng sining ay hinahabi at kinakalag sa layuning lumikha ng pagkakakilanlan sa mga itinakdang lugar, lumikha ng mga bansa sa isang pandaigdigang mundo, at lumikha ng mga rehiyon sa gitna ng mga gubat at kapuluan sa heopoetikong gawi ng kontemporaryong sining.

Tinutuonan ng eksibisyon ang mga pangangailangan ng bawat manlilikha ng sining at tinatangkilik ang sari-saring ugnayan ng mga anyo sa magkakaibang lugar gaya sa isang museo ng moderno at kontemporaryong sining, sa museo ng isang korporasyon, at museo ng isang unibersidad. Kumikilos ang mga anyong ito sa isang masiglang espektro: mga pinta at iskulturang bunsod ng akademikong pag-aaral at kulturang popular; instalasyon ng mga kakaibang materyales tulad ng kusot at tela; butas-butas na kambas; bidyo at pagganap; potograpiya; guhit; at mga tunog. Sila ay hinubog ng pagsasaliksik, aktibismo, gawaing pangkalinangan, at marubdob na pagsasalin ng kaalaman at karanasan sa isang rehiyong binuo mula sa mga mariringal na tradisyon, sunod-sunod na kolonyalismo, at maligalig na daloy ng mga buhay at kalakal.

The Philippines presents an exhibition of contemporary art in Southeast Asia in Manila to mark the 50th year of the Association of Southeast Asian Nations (ASEAN). Titled Ties of History: Art in Southeast Asia, it gathers ten artists to represent the member-states of the organization. Taken from its Declaration in 1967, the phrase may allude to the blessings and burdens of being together and being different in a region that is thought to be shared. The works of the artists speak to this complex and productive condition as they express the many ways by which the various strands of subjectivity as citizen-artists weave and unravel in the project of making selves in particular places, making nations in an international world, and making regions across forests and islands in the geopoetic gestures of contemporary art.

The exhibition is attentive to the interests of each artist and appreciates the different relationships among forms in diverse settings of a modern and contemporary art museum, a corporate museum, and a university museum respectively. These forms play out within a dynamic spectrum: painting and sculpture informed by academic education and popular culture; installation from ingenious materials like sawdust and fabric; perforated canvas; video and performance; photography; drawing; and sound scape. They are shaped by research, activism, cultural work, and intense translations of knowledge and experience in a region built on the great traditions, successive colonialisms, and hectic traffic of species and commodities.

Touch the Artist’s Vision

Art beyond Sight

White Cube Gallery

June 25 – July 24, 2018

The MET aims to sustain its ‘Touch the Artist’s Vision’ program, which supports people with disabilities through interactive exhibits, tours, and workshops. Since 2008, the museum worked closely with organizations that support the blind and the visually impaired, developing significant programs and collateral materials such as tactile diagrams and Braille captions for major exhibitions. Promoting our vision of “Art for All”, the MET continues to develop accessible spaces to broaden the reach of contemporary art to the wider public.

This exhibition celebrates the 10th anniversary of the Touch the Artist’s Vision program, showing select paintings and sculptures from the MET collection enhanced with collateral materials for the blind. The works evoke a dreamlike atmosphere, conveyed through its familiar yet solitary characters, while reflecting on the notion of intimacy and restraint. Tactile readings shall enhance the discussion of tangible concerns and key visual elements. This exhibition highlights important photos mined from the MET Archives, showing early iterations of programming for the visually impaired.

Touch the Artist’s Vision: Art beyond sight will feature new acquisitions from the art collection with tactile and Braille materials. By acquainting the visually impaired with sensorial interpretations of art, the MET uplifts their museum experience and lets their voices to be heard once more.

Glenda Leon:

‘Hablando Con Dios’

2018 MET international artist in residence

Ground Floor Galleries
January 22 to March 28, 2018

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.

Up front

Encountering the Sacred

White Cube Gallery

May 10 – June 09, 2018

Ang eksibisyong ito ay nagtatampok sa 40 larawan ng patsada at paligid ng mga simbahan sa Pilipinas, kinunan sa mga magkakaibang anggulo, oras at panahon ng mga taong nahihilig sa potograpiya gayundin sa pagsusulong ng turismo ng bansa.

Ang mga larawan ng mga lumang gusali ay madalas nag-uudyok ng pangungulila sa lumipas: buhay na payak, masaya, ligtas, malumanay. Gayun pa man, inaanyayahan tayo ng eksibisyong ito na lumayo mula sa pinagandang pananariwa ng kahapon at makibahagi sa mga tahasang talastasan ng nakaraan, kasalukuyan, at hinaharap; tungkol sa kasaysayan at lipunan; tungkol sa ating sining at pamana ng lahi. Tulad ng harapan ng mga simbahan na nagsisilbing pasukan patungo sa mga banal na espasyo sa loob, ang mga larawang ito ng mga patsada ay humihimok na ating pagnilayan ang mga aral na kanilang taglay.

This exhibition features 40 images of Philippine church facades and exteriors taken at various angles, times and seasons by individuals with intertwined interest in hobby photography and promoting Philippine tourism.

Images of old structures often induce nostalgic longings for the past: life that was simpler, happier, safer, gentler. This exhibition, however, invite us to remove the illusory frames of nostalgia and engage in more upfront conversations about the past, the present, and the future; about our history and society; about our art and heritage. Just as church fronts serve as the principal entry point to the sacred spaces inside, this congregation of facade images call on us to meditate on the messages they carry within.

In the Wake of War and the modern:

Manila, 1941 to 1961

Ground Floor Galleries

April 23- July 21, 2018

Upang siyasatin ang ugnayan sa pagitan ng mga koleksyon ng Vargas Museum sa Unibersidad
ng Pilipinas at ng Bangko Sentral ng Pilipinas, pinagtutuunan ng eksibisyong ito ang relasyon ng kolektor na si Jorge Vargas at ng Lungsod ng Maynila. Ukol dito, dalawang aspeto ang nangingibabaw: ang ginampanan ni Vargas sa pulitika bilang Punong-Lungsod ng Maynila noong panahon ng Hapon at ang pagsibol ng tinatawag na ‘Mabini Art’ sa Maynila. Ang mga likhang-sining ay inilako sa kalye ng Mabini, nakilala sa pagiging komersyal, maaari din namang iugnay sa pagprotesta ng mga di umano’y konserbatibo mula sa patimpalak ng Art Association of the Philippines noong 1955. Masalimuot nitong tinutukoy ang modernismo bilang kaisa-isang pamamaraang estetiko na humubog sa produksyon ng sining at kulturang biswal matapos ang Digmaan sa Pasipiko.

Binibigyang-diin ng eksibisyon ang 1961 bilang mahalagang taon kay Vargas. Itinalaga siya bilang Rehente ng Unibersidad ng Pilipinas kung saan niya ipinagkaloob ang kanyang
koleksyon, isang institusyon na unang itinayo sa Maynila. Noong 1941, hinirang siyang Punong-Lungsod ng Maynila ng pamahalaang Hapon. Kaakibat si Vargas bilang tagapagbunsod ng malalim na pagsusuri, ang koleksyong ito ng likhang-sining at sinupan ay humihikayat ng talakayan sa kasaysayan ng pagkolekta sa Pilipinas sa konteksto ng pamumuhay ng mga pulitiko tulad ni Jorge Vargas at ng mga institusyong tulad ng Vargas Museum at ng Metropolitan Museum of Manila, ng Unibersidad ng Pilipinas, at ng Bangko Sentral ng Pilipinas.

To explore the angle of interaction between the Vargas Museum of the University of the Philippines at Diliman and the Bangko Sentral ng Pilipinas collection, the exhibition focuses on the relationship between the collector Jorge Vargas and the city of Manila. In this regard, two aspects surface: the political role of Vargas as Mayor of Manila during the Japanese period and the emergence of so-called Mabini art in Manila. The art peddled along Mabini Street, thought to be predominantly commercial, may be traced to the walk-out of the so-called conservatives from the Art Association of the Philippines competition in 1955. It complicates modernism as the only aesthetic system that shaped the production of art and visual culture after the Pacific War.

The exhibition marks 1961 as an important year for Vargas. He was appointed Regent of the University of the Philippines to which his collection was donated, an institution that had its origins in Manila. In 1941, he was named Mayor of Manila by the Japanese occupying forces. With Vargas as a fulcrum of critical reflection, this collection of art and archive initiates a conversation on the history of collecting in the Philippines in the context of the life of political figures like Jorge Vargas and institutions like the Vargas Museum and the Metropolitan Museum of Manila, the University of the Philippines, and the Central Bank.

Fascination with Filipiniana:

Vargas Museum Collection

Tall Galleries
January 22 to March 28, 2018

Itinatampok sa eksibisyon ang mahalagang seleksyon mula sa Jorge Vargas Collection ng Unibersidad ng Pilipinas sa Diliman. Ang koleksyon – masinop na nilikom bago, habang, at matapos ang Digmaan sa Pasipiko – ay binubuo ng mga likhang-sining, memorabilya, selyo, barya, at mga libro.

Tumutukoy ang pamagat sa dalawang saligan. Kawilihan ang salin sa wikang Filipino ng Fascination, ito rin ang pangalan ng malaking bakuran at galeriya ni Vargas kung saan nakalagak ang kanyang koleksyon bago ito inilipat sa Unibersidad ng Pilipinas. Ipinahihiwatig din ng ‘kawilihan’ ang likas na pag-uugali, gawi, at masidhing hilig ni Vargas sa pangongolekta. Ang salitang fascination ay nagsasangkot din sa “nation,” usaping pinagtuonan ng pansin ni Vargas noong siya ay naging kawani ng pamahalaan at bilang isang kolektor.

Isa pang nag-uudyok ay ang Filipiniana. Ito ay tumutukoy sa kabuoan ng mga kagamitang nakolekta ni Vargas sa paglipas ng panahon. Sa pagsasama ng “fascination” at “Filipiniana,” binabaybay ng eksibisyon ang ginampanan ni Vargas sa kasaysayan ng sining at kultura ng Pilipinas. Dito nagsasalubong ang estetiko at ang pulitikal sa layuning tipunin ang mga piraso ng isang bansa mula sa guho ng digmaan, ang pangako ng isang bagong Republika, at ang simula ng isang museo.

The exhibition presents a significant selection of the Jorge Vargas Collection of the University of the Philippines at Diliman. The collection — gathered diligently before, during, and after the Pacific War — consists of art, memorabilia, stamps, coins, and books.

The title speaks to two references. Fascination is a translation of the Filipino word Kawilihan, the name of Vargas’s compound and gallery that housed his collection before it was transferred to the University of the Philippines. Kawilihan underlies Vargas’s instinct, habit, and passion for collecting. The word fascination also implicates “nation,” the discourse with which Vargas was concerned when he performed various roles as a government official and a collector.

The other impulse is Filipiniana. This refers to the corpus of materials that Vargas had collected over time. In bringing “fascination” and “Filipiniana” together, the exhibition rounds out Vargas’s place in the history of Philippine art and culture. Here, the aesthetic and the political intersect in the project of gathering the pieces of a nation amid the ruins of war, the promise of a modern Republic, and the birth of the museum.

ELMER BORLONGAN

An Extraordinary Eye for the Ordinary

Ground Floor Galleries
January 22 to March 28, 2018

ELMER BORLONGAN

With an extraordinary eye for the ordinary, Elmer Borlongan re-presents the Filipino going about life. A tradition that goes back to: Damian Domingo, Jose Honorato Lozano and Justiniano Asuncion whose depictions of 19th century Philippine life have come down to us as Tipos del Pais (Country Types), but where the founding fathers of this style of painting left off Borlongan set off inspired by 20th century masters: Onib Olmedo, Danilo Dalena, and Jaime de Guzman breathing new life into genre with: color, form, and a trademark humor that elevates the familiar into Art.

Inspired by the work of National Artist Carlos V. Francisco best known for his murals that highlighted slices of life from Philippine history and his own backyard in Angono, Borlongan drew his early imagery from the backstreets of Nueve de Febrero in Mandaluyong, his coming of age, in life and art, formed by the political upheavals that saw the beginning of the Marcos dictatorship in 1972 and its end in 1986. From EDSA I, II, and III to Duterte, Borlongan brought his art from urban to rural and back to the urban such that he returned to the place where he started but saw it anew, like the first time producing past, present and future merged seamlessly in his works.