Iloilo Variants by Antipas Delotavo localises his juxtapositions as he renders recognizable architectural landmarks in the industrial and commercial history of his hometown. This exhibit also depicts the impact of Antipas Delotavo's 5- decade recognizable practice through relevant observations and criticisms of social realities.
In the Visayas, “Kaon na ta!” is understood to be an invitation to share and partake a meal. It may be a simple phrase, yet it is satiated with mutual respect and generous hospitality. This utterance encourages a gathering – be it through mind, body or spirit. Hence, the artists involved in this exhibition, congregate and participate through their creations. It is a banquet composed of paintings, drawings, sculptures, photography, installations, videos, collage and other mixed media works.
Kaon Na Ta! | A Melding of Visual Flavors attempts to decentralize the artistic discourse prevailing in Manila through collaboration and grounded conversations between selected artists from Manila and Western Visayas. It focuses on the idea of an “aesthetic cuisine,” where the mixture of different “tastes” fuse as one – to produce something fresh and daring. “Food” is used as a metaphor for: cultural consumption, community and identity, and originality and invention. As a potluck that serves a diverse array of responses, it touches upon the ingestion of cultural stimuli to its excess and expenditure. Collectively, it explores the production of hybrids and multiple artistic tongues as it critiques official and conventional hierarchies.
Kaon Na Ta! | A Melding of Visual Flavors hopes to create a sustained engagement, where knowledge production, ethical practices and cultural capital are equitably and meaningfully shared between artist communities. Each artist contributes their “dish” based on their own experiences, circumstances, ideas or perspectives; proffering to bring forth a buffet of visual dialogues towards reciprocal understanding.
Nunelucio Alvarado, Poklong Anading, Kristoffer Ardeña, Argie Bandoy, PJ Cabanalan, Valeria Cavestany, Charlie Co, Lena Cobangbang, Eyecan Creatives, Mike Crisostomo, Jigger Cruz, Idan Cruz, Maria Cruz, Patrick Cruz, Da Da, Marvin Dalisay, Tracie Anglo Dizon, Jeanroll Ejar, Noel Elicana, Orland Espinosa, Tyrone Dave Espinosa, Kinno Florentino, Arvin Flores, Robert Langenegger, Romeo Lee, Bryan Liao, Kat Malazarte, Pow Martinez, Barry Matthew Namo, Manny Montelibano, Arvin Nogueras, Jayson Oliveria, Neil Pasilan, Roselle Perez, Carlo Ricafort, Jason Rufino, Geremy Samala, Gerardo Tan, Janine Tolores, Marija Vicente, MM YU, Jeona Zoleta
BRIDGING GAPS: Possibilities, Identity, Struggles, and Agency
“On this important day, let’s join hands across generations to break down barriers, and work as one to achieve a more equitable,
just and inclusive world for all people.”
United Nations (UN) Secretary-General António Guterres
Investing in the essential asset of the youth as well all recognizing the incredible challenges they face in the various aspects of life
exacerbated by the pandemic, the Iloilo Museum of Contemporary Art (ILOMOCA) in partnership with Gamot Cogon Waldorf School (Gamot Cogon) envisages Curatorial Laboratory for the Youth (CurLab).
CurLab is designed as an educational platform and a curatorial workshop for seventeen Senior High School students from the Gamot Cogon, Zarraga, Iloilo. Upholding the UN’s vision for youth: Working With And For The Young People (Youth 2030), CurLab is guided by the principle of empowering young persons to achieve their potential as positive agents to bridge gaps in various aspects of the Philippine
society, especially in the domestic, educational, and cultural spheres. CurLab is also ILOMOCA’s commemorative project for the
Declaration and the Convention on children’s rights every November 20 by United Nations General Assembly.
The proponents of CurLab design the learning modules, either in online and/or onsite modes, for the participants to have a foundational knowledge of some current curatorial practices and a substantial understanding of art criticism through formal and contextual analysis. Secondly, the four intensive workshops provided sufficient skills in organizing the various phases of the exhibitions from curatorial,
exhibition design, marketing/promotions, to educational programs through the mentoring process of the professional curatorial team. Lastly, through the brief yet sustained engagement with the participants, CurLab instills the attitudes of care, concern, and conversations on art and culture in their locality.
The exhibition entitled BRIDGING GAPS: Possibilities, Identity, Struggles, and Agency is the result of CurLab’s intensive workshops,
developmental modules, and mentoring sessions. The subthemes, namely, 1) infinite possibilities, 2) identity in relation, 3) cyclic struggles, and 4) personal agency are developed from the individual reflection and focus group discussion on important topics relevant to the youth in Iloilo City and Panay Island in general.
Infinite Possibilities. For the participants, the contemporary world offers a lot of possibilities for young people. Instead of being a favorable opportunity, there is a sense of loss and confusion in this complex and conflicted world. Precision in thought, speech, and action enables the youth to discern their path and find their purpose.
Identity in Relation. In the monotony of everyday life characterized by standards, stereotypes, and serials, especially during the pandemic, personal identity is compromised and self-confidence is lost. How does the youth negotiate their identity in relation to societal norms?
How can they exercise freedom of expression that benefits their community?
Cyclic Struggles. Based on their experience and observation of other young people, the participants articulated the various forms of
impoverishment they experienced from material poverty to emotional insecurity. Because of the lack of awareness of this crisis, denial of urgent needs, and scarcity of available resources, their struggles continue. Personal Agency. In often bombarded with societal demands and familial expectations, the youth’s potential to pursue their passion, express their creativity, and carve their future is restricted and even repressed. They consider self-reflexivity, introspection, and solitude as healthy exercises to cultivate one’s agency to think, choose, and act.
Thus, in the gaps they discern in the current society, the young participants offer this exhibition as a bridge for dialogue, engagement, and collaboration. The interactive space for meditation allows the audience to consider the questions as prompts toward self-examination and societal transformation. The information they offer for each artwork triggers a deeper consideration of art and its relevance in society and in the struggles of people. The keywords mounted on the wall are like seeds to be sown so that in nurturing them, they bear fruits a
The whole experience of CurLab does not provide infinite possibilities but some particular perspectives to be considered. In searching for one’s identity, the show explores manifold affinities to find inner resonances and deeper connections. The impoverished situations of young people may not be directly dealt with by the program but surfacing their struggles is the right step forward. CurLab, in the end, hopes that through this educational and curatorial platform of learning, the youth are not the only ones being empowered. May our thoughts be heard, feelings felt, and our desires are granted. (AM+DG 2022)
- Fr. Jason Dy, S.J
Malayo na ang nalab-otan sang taliambong gikan sa Bisayas Nakatundan, apang indi man mahimutig nga malawig pa ang kinahanglan nga subayon agod mapakita ang nanari-sari nga posibilidad sa padayon nga pagbalay sang mga laragway. Diri nasandig ang Handurawan, sa pagpati nga padayon nga nagabag-o ang sining, ang imahinasyon, kag memorya agod ipatpat ang nagliligad, ang subong, kag ang palaabuton gamit ang lente nga ginapangayo sang tion kag kinahanglanon.
Gani, isa ka makabag-o nga pagmapa sang mga inagyan sa tagsa ka tion ang Handurawan, paagi sa lente sang inagyan sang mga dibuhista nga Ilongga.
Ginakilala sang art exhibit nga ini ang nangin kontribusyon kag representasyon sang isa ka babaye agod padayon nga pasangkaron ang mga dibuho nga nakahangop kag nagakilala sa kinamatarong kag kinahanglanon sang tagsa ka bata nga Filipino subong.
Ginapakita sang Handurawan nga wala nahamulag ang handom kag laragway sang isa ka pungsod nga may pag-amlig sa mga bata samtang ginapasundayag ang pagkasagad sa pagbalay sang mga sinadto nga sugilanon, apang wala nagakalipat sa obligasyon sa iya sosyodad, ang responsibilidad nga amligan ang mga kubos nga sektor kaangay sang mga kabataan kag kababainhan.
Ginakilala sang Handurawan ang sining bilang isa ka pamaagi sa pagsabat sa hangkat sang tinion, ang pagpakilala sang tingog sang mga babaye nga dibuhista, ang pagsulat kag pagbalhag para sa mga bata paagi sa namat-an nga pulong, kag ang nagapadayon nga isyu sang kinamatarong sa pag-access sa libro, edukasyon, kag isa ka tampad nga komunidad nga nagakilala sa kinamatarong sang mga alagad sang sining, bata, kag kababainhan.
Ginahangkat kita sang Handurawan agod padayon nga hibaluon ang responsibilidad sang aton sining, gikan sa estetika tubtob sa cross-examination sang kabangdanan sang pagpasad kag padayon nga pag-uswag sini tubtob subong. Kabay pa nga mangin isa ka pamaagi ang Handurawan agod padayon pa naton nga mapasanyog ang pagsulat, pagdibuho, kag pagbalhag sa pungsod para sa mga kabataan nga Filipino.