Google Google+ Philippine Photography Blog: 2010

Monday, August 30, 2010

Aninag.org: an online magazine on Philippine Documentary Photography


ANINAG is to SEE. To be VISIBLE.

ANINAG.ORG is an online magazine on Philippine Documentary Photography is now up and is on soft launch! The site, formed by Estan Cabigas and two other Manila based photographers, Buck Pago & Gigie Cruz, will feature photo documentary works through a series of releases or issues over the next few months.

Documentary Photography has long been a tradition in the Philippines with several photographers creating meaningful works. However, opportunities for publication and exhibition of such works are limited.

The idea of forming a platform for Philippine Documentary Photographers came independently to Estan Cabigas and Buck Pago. Both recognize the importance of internet communications technologies that can be utilized to showcase the works of Filipino photographers as well as to encourage documentary photography in the country.

In 2009, we both separately initiated dialog with fellow photographers but nothing came out of it. In April 2010, through photojournalist and mentor, Jimmy Domingo, we unified our efforts and vowed to make this idea to fruition. Gigie Cruz, a mutual friend, development worker and fellow documentary photographer came on board to complete the trio.

Aninag will focus on documentary photography in the Philippines by Filipinos.

Sunday, August 29, 2010

Chobi Mela VI Update


© Lawrence Dizon Sumulong

Got an email today from Chobi Mela VI and immediately browsed the list of selected artist for print exhibition and digital presentation. Am glad to see a photographer from the Philippines made it. Below is Lawrence Dizon Sumulong's ongoing project which made it to ChobiMela VI.

“The Vocative” is an ongoing project interpreting the current and evolving state of New York City's Chinatown in the Lower East Side. My photographs puzzle over the idea of gentrification as a compressive and catalytic force on the residents, businesses, and landscape of Chinatown.

While this series functions as a type of ode and elegy to the living community, I envision the completed project to follow the poetic and antithetical logic of the duilian, the Chinese couplet, by presenting a sequence of diptychs.

Through the diptych's collapsing of time and space, I find a strange and contemporary sense of emotional realism.

Tuesday, August 17, 2010

Out of the ordinary/ Extraordinary + Reaction Shots at The Met

In case you're looking for a photography show, here's a two-in-one you shouldn't miss. The Japan Foundation, Manila (JFM) and the Metropolitan Museum of Manila, in cooperation with the Embassy of Japan present, “out of the ordinary/ extraordinary” a Japanese Contemporary Photography Exhibit featuring the works of eleven Japanese photographers who confront the complexity of an increasingly complicated world by coming up with new forms of expression. Alongside this exhibition is the Reaction Shots: Frankie Callaghan, Wawi Navarroza, Rachel Rillo, Steve Tirona and Denise Weldon.

The 102 works by featured artists include Ishiuchi Miyako, Chin Yo Mi, Okada Hiroko, Sawada Tomoko, Takano Ryudai, Sugiura Kunié, Yokomizo Shizuka, Motoda Keizo, Hishikari Shunsaku, Onodera Yuki and Yoneda Tomoko, present different series of photographs of young women with heavily tanned face, light colored make-up and bleached hair; strangers who agreed to be photographed standing in their own homes with their windows opened; and young people who resort to tattoos, body piercing and strange hairstyles in order to express their individuality.
The Out of the ordinary/ Extraordinary exhibit will run until September 30, 2010 while the Reaction images will be curated in a slideshow and exhibited from August 19 until September 06 at the Upper Galleries (Calma, Ho and Luz Galleries) and the Catwalk Gallery of the Metropolitan Museum of Manila. The Metropolitan Museum of Manila is located at the Bangko Sentral ng Pilipinas Complex, Roxas Boulevard, Manila.  It is open from Monday to Saturday, 9 am to 6 pm.

Wednesday, August 4, 2010

Call for Proposals: Nothing to Declare, Manila 2011

Update: Submission of proposal was extended until September 30, 2010!

We are initiating an independent project entitled Nothing to Declare, an International Contemporary Art Exhibition in Manila, Philippines from 25 October to 25 November 2011 with the possibility of traveling the exhibition to select countries in 2012 and 2013. Nothing to Declare will host a roster of international and local artists. We will also organize teachers’ training workshops, artist talks and group discussions as satellite activities to the program.

In brief, Nothing to Declare revolves around the following interrelated themes:
  1. Shifting geographies emerging from diasporas, migrations, overseas work
  2. Shifting identities arising from movement, mobility, displacement, exchange; implying a sense of rooted-ness and slippage, identification and estrangement, familiarity and alienation, entitlement and distance
  3. Shifting spaces, connoting not just physical relocation, but mental and spiritual dis/position, as well as dislocations, gaps and silences that take place in immediate, virtual and hyper-realities
  4. Shifting positions, implying an appreciation of difference and a willingness to dialogue, work together, listen and engage.
  5. Shifting power relations, connoting multiple flows and streams of choices, constraints, control and conditions of creation, dissemination and reception
  6. Shifting possibilities, connoting transformations and breaking grounds where marginality – of having nothing to declare - IS source of intervention and strength, of loss as well as triumphs.
To participate in Nothing to Declare, please send us a proposal of, (preferably recent) artwork you would like to show OR a proposal for new work you will make and would like to exhibit. Include medium resolution (75-100 dpi) photographs or drawings to illustrate your proposal including installation requirements, size of the artwork, medium, etc.

Email proposals and inquiries to nothing2declare2011@gmail.com by the deadline on 30 August 2010.

For video works, please limit works to only single channel, and since video projection on screens are limited to availability, please allow works that can be displayed on LCD and/or on screen

For photography, works should be printed on aluminum without frames or mounted on foam.

Selected artists will be invited to come to Manila. Traveling expenses costs for shipping and insurance of the artworks and minor living expenses will be borne by the artists. We will host accommodations and some meals from 22 October to 7 November 2011.

= ==== =

NOTHING TO DECLARE
Curatorial Brief
Flaudette May V. Datuin

Overview

Nothing to Declare is a Contemporary Art Exhibition aiming to exhibit artworks by international artists, who are enjoined to collaborate and interact, not only with each other but also with their host communities. The pedagogic / educational aspect of the project is an integral component that aims to conduct art educators’ training workshops, essay writing contests and artist talks for children / adolescents in high school and college levels.

The tentative target date is 25 October to 25 November 2011, in several venues in Manila, Philippines, with a possibility for the exhibition to travel to some of the participating artists’ countries in 2012 to 2013.

Project Objective

Nothing to Declare is a project that aims to explore the creative process of visual artists who come to Manila with their cultural specificities and span of professional experience that is varied and diversified.

The project is designed to allow selected international artists to mingle with selected local Filipino artists and share their artistic practices and know-how as regards concept and craft.

This exchange among artists provides the starting point for pedagogical, art-critical and art-education activities.

Nothing to Declare’s exhibition and workshop is expected to be documented in a full color book/catalogue that will comprise critical texts, academic essays, artists’ statements, photo-documentation of the workshop, the community activities as well as of the round-table discussions.

Themes and Discourse

Through the selected works of international and Filipino artists, Nothing to Declare will explore issues of identity, gender, migration —broadly defined as movement not just across waters, land, and air, but also across immediate, virtual and hyper realities—and shifting societies. The title pays particular attention to the role of migration in shaping those social changes by continuous movement, a movement characterized by breaks, dislocations, absences, and silences of those who have nothing to declare.

In an uneven global system where people’s ways of sensing and feeling are de-synchronized and fractured, irreducibly plural, discontinuous and non-homogenous, Nothing to Declare plans to address such phenomena in workshops and round table discussions.

Such disjointed perceptions —which become concretely apparent in states of trance, possession, daydreams, jokes, manic and epileptic seizures— can be understood under the thematic of “picnolepsy”, a category we borrow from Paul Virilio to explain experiences that exist as a series of vacancies and absences, configured in shifting and provisional arrangements, rather than coherent unities, ordered and logical thought.[i] This project is thus interested in those picnoleptic vacancies and absences, the un-saids in human perception and the gaps in human experience, particularly of those at the fringes who fall between the cracks of the “real,” the rational and the visible in a global culture of unequal access amidst material excess, of want and poverty amidst waste and plenty.

The project’s first stopover and point of entry for engaging with and making sense of these gaps and disappearances is Manila, the capital city of what is referred to as “a nation of nannies,”[ii] of exported overseas workers, whose remittances to those they leave behind supposedly keep the economy afloat. [iii]

Project Location

As pilot site for Nothing to Declare, Manila is place as well as metaphor for understanding a particularly nomadic, migratory sensibility characterized by displacements, of absences, and of slippages, that are lived in very real, concrete, at times painful terms in the everyday. “Livedness” and “lived realities” for these families do not only refer to the immediate, the concrete. In life until death, the bodies of these so-called citizens of the world present concrete examples of contradictions, of absent people who are made present through money coming through the wires, a lifeblood circulating —from birth to death— through impersonal, electronic banking and financial circuits of exchange.

For example, there is now a funerary service advertised as “Cyber-Burol” (cyber-wake), where the webcam and the computer can relay images of the bereaved and the dead, a situation where grief and feelings of loss, and pain are played out virtually.

Such virtual realities become very real and pervasive, especially in political circuses, such as elections, which for the first time have become “automated” in 2010 —a development that gives rise to the possibility of failures in elections, a danger that WJT Mitchell[iv] characterized no longer of “things falling apart” —of wars and mass destruction or mass malfunctioning of machines— but of things coming alive: the creation of new, ever-vital, virulent images and life forms: of computer viruses, terrorist sleeper cells, of warlord cells, of smart bombs, and in the case of Philippine elections, of automated Garcis (short for Garcillano, the election commissioner linked to the vote rigging in the presidential elections that in 2004).

Similar circus elections and migration of labor phenomena are found in the homeland of some of the invited artists, from Egypt as a sample of Middle East countries to several Latin American and African nations. Nothing to Declare takes careful note of these movements across realities: movements where copies and objects that, despite or maybe because of having nothing to declare, nonetheless have realities and lives of their own.

As site of political and cultural power, Manila is the seat of the nation-state, one that is constantly challenged by political, cultural and social forces within and without. As source of exported labor and goods, Manila exists in the margins of global politics and economy as well as in relative geographic isolation from the rest of mainland Southeast Asia’s capital cities. However, as port of entry to the rest of the Philippine Islands, Manila is also the junction towards the rest of Asia. As the first destination for Nothing to Declare, Manila becomes a meeting place where people from various points of origin can work together, listen and tell stories of loss and leavings, as well as gains and triumphs.

Nothing to Declare is thus a contribution to contemporary discussion on migration, not only of people across borders, but of forms and realities across time and space, with the dysfunctional city of Manila as initial site. But instead of the subaltern who cannot speak[v], the project focuses on those who have nothing to declare –those whose marginality is source of intervention and strength, of subterfuge and resistance, of constraint as well as change.

[i] Paul Virilio. The Aesthetics of Disappearance. USA: MIT Press, Cambridge, Mass. And London, 2009.
[ii] Sheila Coronel , April 2, 2005. http://pcij.org/stories/a-nation-of-nannies/
[iii] Data from 2003-2009 of the Bangko Sentral showed that there has been increasing remittance flows from OFWS . In 2003, total remittance was USD7.6 billion. In 2009, total remittance reported was USD17.3 billion. Data on Oversea’s Filipinos Remittances by country, by source are available at http://www.bsp.gov.ph/Statistics/keystat/ofw.htm ADB notes that, in the long term, remittances will not help rebalance economic growth as the bank did not find evidence that money sent home by OFWs enhances human or physical capital. See new article on http://www.tripleiconsulting.com/2010/02/01/ofw-remittances-not-sufficient-for-long-term-growth/.The article also cites that The Commission on Filipinos Overseas (CFO) estimated that almost 10 percent of the Philippine population lives outside the country. The latest estimate puts the population at about 92 million. A copy of the study by the ADB entitled “Remittances and Household Behaviour in the Philippines” is available at http://ideas.repec.org/p/ris/adbewp/0188.html Southeast Asian Migration and Remittances. Workers Remittance Flows in Southeast Asia, ADB, 2006. While the data may be dated, the study is quite comprehensive and includes migration trends in Southeast Asia. The study also cites that nearly 2 million largely women immigrants remit more than USD3 billion from Hong Kong, China, Japan, Singapore and Malaysia. A full copy of the study is available in pdf format at http://www.adb.org/Documents/Reports/workers-remittance/workers-remittance.pdf
[iv] WJT Mitchell. “the Work of Art in the Age of Biocybernetic Revolution,” What Do Pictures Want? Chicago and London: The University of Chicago Press, 2005.
[v] Gayatri Spivak, “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. C. Nelson and L. Grossberg, eds. Basingstoke: Macmillan Education, 1988.

Source: Flaudette May Datuin Facebook Page

Tuesday, July 13, 2010

Alliance Française de Manille-Philippine Artist Residency Program

To commemorate the 90th anniversary of its founding, Alliance Française de Manille (AFM), the French language school and cultural center, is pleased to announce the establishment of the Alliance Française de Manille-Philippine Artist Residency Program (AFM-PARP).   AFM is launching the grants program as its latest initiative in the pursuit of its mission to promote cultural exchange between the Philippines and France through language training and art-related programs.

The AFM-PARP offers Filipino visual artists the possibility of a structured visit to France for a period of two to three months.  The residency will be hosted by a French non-profit cultural organization, artist residence, or artist-run initiative.  It is conceived as a professional opportunity rather than a project-based grant.  Its aim is to enrich the experience of local artists by affording them the opportunity for contact with the contemporary art scene in France. The objective of the program is to broaden professional networks between contemporary art communities in the Philippines and France.  

The AFM-PARP is open to Filipino visual artists: painters, sculptors, multimedia artists, photographers. One residency will be offered annually, to take place in the spring months of April to June or the autumn months of September to November.  The AFM-PARP will provide a financial grant to cover costs of travel and living expenses.   The grantee may also avail of a free one-month French language course at AFM.  These resources are expected to afford the recipient the opportunity for stimulating cultural exchanges and collaboration with other artists, and uninterrupted creative time.  During the residency period, the grantee is encouraged to give talks and workshops to the public, depending on the needs of the host organization.

Qualifications and Procedure

Qualifications for Applicants:
  • Must be a bona fide Filipino citizen
  • Must be 45 years or younger as of the month of July of application year
  • Must have at least two (2) years of formal art schooling
  • Must have held at least one (1) solo exhibition in a reputable art space 
Application Procedure

Applicants must submit the following:
  • Accomplished Application Form (available at AFM or can be downloaded from its website (www.alliance.ph)
  • Proposed host – may be a school, university, artist residence or artist-run initiative (AFM may assist applicant in identifying appropriate host)
  • Program of residency – A brief statement (500 words) on why you think the residency would be valuable and how you hope to achieve the rationale and objectives of the residency
  • Curriculum Vitae (A4 paper size)
  • Documentation of sample works (A4 paper size)
    If the work is static, six (6) images – digital (JPG or TIFF format) and 5R prints
    If the work is time-based or animated: up to five (5) minutes of footage on a CD or DVD (.MOV or .WMV)
  • Image list and description of no more than one (1) page (Arial, 11 point size, 550 words) which includes a short description to accompany images; correct dimensions and medium of work corresponding to the order of images presented
Applications and support material should be addressed to:
AFM-PARP
Alliance Française de Manille
209 Nicanor Garcia Street
Bel-Air II, Makati City 1209

N.B.  All applicants must comply with the above requirements in order to be considered eligible. Support material submitted will not be returned to applicant.

AFM-PARP schedule
  • Application period: August to October
  • Deadline for application: October 31
  • Evaluation period: November to January
  • Announcement of selected grantee: February
Post-Residency
The grantee is required to hold an exhibition at the AFM Total Gallery within one (1) year following the end of residency.  One work from the exhibition to be chosen by the AFM Board of Directors will be donated to the AFM-PARP.   

For more details, you may visit the AFM website at www.alliance.ph. Alliance Française de Manille is located at 209 Nicanor Garcia St. formerly Reposo St.) Bel-Air 2, Makati City. Office days and hours:
Monday to Thursday, 9am to 6pm; Friday and Saturday, 9am to 5pm; and closed on Sundays and Holidays. 

Download AFM-PARP Application Form here.
Download AFM-PARP Info Sheet here.

Wednesday, July 7, 2010

Chobi Mela VI


Chobi Mela VI: International Festival of Photography 2011
Theme: Dreams
Submission Deadline: 7 August 2010

Chobi Mela VI will be launched on 21 January 2011. The theme of the festival is Dreams. Photo practitioners are invited to submit work on the theme, and are encouraged to explore the boundaries of their medium. Guidelines for both online and offline submissions are provided below.

Last date for submissions is 7 August 2010. Participants will be notified by email by 21 August 2010. Participants may continue to work on their proposed projects, but will need to submit prints or camera-ready artwork or high resolution digital files suitable for printing, by 21 September 2010.

Apart from solo exhibitions, collective work are also welcome. Photographers, whether they are fine artists, documentary photographers, or from any other field of photography can participate individually or in groups. Non-photographic work that has a direct relevance to the theme of the festival may also be acceptable.

The festival will feature:
  • Exhibitions (solo/collective)
  • Digital presentations
  • Workshops
  • Discussions/Seminars/Lectures
  • Presentations by Picture Libraries/Agencies
  • Review of image-related publications
  • Publication ceremony
  • Product Demonstrations
  • Film-shows
  • Video Conferences
  • Display/Sales stalls
Chobi Mela retains the right to publish photographs and text from shows selected for exhibit, in promotional material relating to the festival. Such content will not be used in any other form, unless specifically authorized by the artist as in the case of a calendar.

Chobi Mela does not sponsor shows and no fees will be paid to artists. However for work that is selected, Chobi Mela expects to receive digital files for printing and the organizers will bear the cost of printing. The festival will organize gallery space and an opening reception for selected exhibitions.

Chobi Mela will also publish a catalogue and posters for the entire festival, which will feature all participating artists. Selected exhibitions will be toured internationally. The presence of local and international media partners will ensure extensive coverage in media.

Artists may take their prints back by paying for courier charges at the end of the festival or after touring the exhibition.

See festival guidelines here.

Saturday, July 3, 2010

Galerie OneWorkshop at ManilArt10

Slated for a four-day public run at the SMX Convention Center at the Mall of Asia Complex, Pasay City from July 30 until August 1, 2010, MANILART 10 will kick-off with an exclusive by invitation-only preview on July 29th.

Galerie OneWorkshop will be representing 8 Contemporary Artists including the National Artist BENEDICTO (BENCAB) CABRERA's giclee edition print, BIEN BAUTISTA's print on wood, ROSSCAPILI's mixed media on canvas, LUIS MARTIN HARDER's fine art photographic giclee, BETH PAROCHA DOCTOLERO's fine art illustration giclee, RICK HERNANDEZ's assemblage, RESTY TICA's oil on canvas and JEI PANGANIBAN's fine art photographic giclee.

More than sixty of the country's most prestigious art galleries are coming together via ManilArt 10 to stage what promises to be the Philippines' biggest art fair.

Now on its second year, ManilArt10 aims to paint a broad mosaic of the Philippines' visual arts landscape by showcasing a wider spectrum of creative works, ranging from paintings and sculptures by up and coming artists to rare masterpieces by esteemed national artists.

The annual art event also aims to make Philippine art more accessible to the general public. Serious art collectors and ordinary art lovers are in for a visual treat as the country's major art houses put their collections of the best in contemporary art on view.

MANILART 10 promises to dazzle art lovers and enthusiasts with the best and broadest examples of Philippine contemporary art. Over 1,000 visual arts by 400 of the country's brightest talents will be on display and over 60 of the finest art galleries participating, thus making the fair the biggest ever in Philippine history.

Monday, June 14, 2010

Placing the Transition, A Talk by Carlos Celdran


Placing the Transition 
A Talk by Carlos Celdran with an Introduction to Teodulo Protomartir by Uro dela Cruz
July 1, 2010, Thursday @ 6-8pm

Teodulo Protomartir was there in 1946 when the Americans gave the Philippines its independence. On July 4, he witnessed the birth of the Philippine Republic. For the first time, the Philippine flag flew alone and free. The Filipino crowd cheering by, planes flying overhead, floats lining the parade...a celebration it was. And Protomartir caught it all on still camera.

Almost sixty-fours years to the day, on July 1 will be a talk by Carlos Celdran, celebrated tour guide and authority on Manila's history. Entitled Placing The Transition, the talk bridges 1946 and 2010 with photos of the places Protomartir photographed as they are today. Uro dela Cruz will also be giving an introduction to Protomartir.

Beyond historical evidence, the significance of Protomartir's images is meaningful. Protomartir hands to the Filipino people cultural treasures that should remain part of Filipino identity and memory. Sixty-four years later, we celebrate Protomartir. We celebrate Manila. We celebrate Philippine Independence.

The talk will be on July 1, Thursday, 6-8pm at Silverlens Gallery. This event is free of charge. RSVP call 8160044 or email manage@silverlensphoto.com

Being There 1946: The Legacy of Teodulo Protomartir is on display until July 3,2010.

Wednesday, June 9, 2010

MANILART 2010


All Set for a Bigger & Better ManiART 10 

After the astounding success of last year’s MANILART 09, the Bonafide Art Galleries Organization (BAGO), teams up once more with the National Commission on Culture and Arts (NCCA) and the Department of Tourism (DOT) to showcase the finest in Philippine visual arts via the bigger and better MANILART 10, the 2nd Philippine International Art Fair.

Slated for a four-day public run at the SMX Convention Center at the Mall of Asia Complex, Pasay City from July 30 until August 1, 2010, MANILART 10 will kick-off with an exclusive “by invitation-only” preview on July 29th.

MANILART 10 promises to dazzle art lovers and enthusiasts with the best and broadest examples of Philippine contemporary art. Over 1,000 paintings and sculptures by 400 of the country’s brightest talents will be on display and over 60 of the finest art galleries participating, thus making the fair the biggest ever in Philippine history.

“In the first year of MANILART, it took us three long months to fill up the 40 exhibition booths planned,” says BAGO president Jonathan Sy. “This year 70 of the booths snapped up within two days by some of the most prestigious galleries nationwide. We post a 40% increase in the participation with half of that number getting double-sized booths.”

The BAGO also expresses its gratitude to the management of the SMX Convention Center as the space more than doubled and more importantly for agreeing to lease Hall 4 at a subsidized rate owing to their support to Filipino art and artists.

Exciting activities such as painting demonstrations, on-the-spot competitions, “how-to” lectures and many more are lined-up. That is why the BAGO is very pleased that the NCCA Committee on Art Galleries headed by Lyn Yusi initiated the approval of a larger grant for MANILART 10.

Asian News in Pictures

'Gagamboys' © Estan Cabigas

Asian News in Pictures
An exhibit of the Konrad Adenauer Asian Center for Journalism at the Ateneo de Manila University

7-30 June 2010
MVP Student Center for Leadership (formerly Colayco Hall)
Ateneo de Manila University
Loyola Heights, Quezon City

Asia's rise to power in the 21st century continues even as it grapples with poverty, social inequity, conflict, a changing climate, and institutions that are being altered by information technology.

The pictures in this exhibit capture the immense diversity of issues confronting Asia. They are among the best single pictures and photo stories in the portfolios submitted by students as a final requirement to earn the Diploma in Photojournalism (DPJ).

Sunday, June 6, 2010

Making Choices, Making Pictures

(click image to enlarge)

MAKING CHOICES MAKING PICTURES
presented by The Picasso Boutique Serviced Residences & Art Cabinet Philippines

8 June 2010, 6-8PM
3/F Art Gallery, The Picasso Boutique Serviced Residences
119 Leviste Street, Salcedo Village, Makati City
Phone: +632 8284774

Artist Talk
26 June 2010
3-5PM
3/F Art Gallery

Thanks to Kidlat De Guia for the heads up!

Tuesday, June 1, 2010

A Photo Exhibit on the Effects of Climate Change

A Photo Exhibit on the Effects of Climate Change
7 June 2010 3PM
Main Atrium, Mall of Asia

In cooperation with SM Supermalls, Epson Philippines will showcase the Epson PRO, and their vision of climate change in a photo exhibit at the Atrium of the SM Mall of Asia on June 7, 2010 at 3pm.

Epson Philippines will also launch the Toner & Ink cartridge collection and recycling campaign, and expand it to include partners, distributors, retailers and customers. The expansion of this program, which Epson Philippines has already implemented internally for the past 3 years, is expected to create a much greater impact on its environmental goals.

Through these efforts, Epson enjoins everyone to make their choice to change-to make environmental protection not just a by-word, but a way of life.

Wednesday, May 26, 2010

Teodulo Protomartir

Old Sta. Mesa by Teodulo Protomartir (see image source here)

Teodulo Protomartir is one of the first Filipino photographer who popularized the use of 35mm cameras during the 30's and 50's - a time when large format was the norm (source).  Some of his work will be shown in an exhibition titled 'Being There 1946: The Legacy of Teodulo Protomartir' at Silverlens Gallery on the 9th of June 2010.

Can't wait to hear Uro dela Cruz talk about Protomartir - the man who accidentally found Protomartir's work in a thrift shop in Manila.




Being There 1946: The Legacy of Teodulo Protomartir

Being There 1946: The Legacy of Teodulo Protomartir
June 9, Wednesday | 6-9pm
Silverlens Gallery

Teodulo Protomartir was there in 1946 when the Americans gave the Philippines its independence. On July 4, he witnessed the birth of the Philippine Republic. For the first time, the Philippine flag flew alone and free. The Filipino crowd cheering by, planes flying overhead, floats lining the parade…a celebration it was. And Protomartir caught it all on still camera.

Protomartir, the photographer who first brought the 35mm format to the Philippines and actively promoted photography through his photo club and radio show, shows us a monumental event in Philippine history and the Manila that enveloped it. Considered as the Father of Philippine photography, Protomartir captured the city in ruins from the Second World War, its battle wounds and its restoration – scenes we thought only survived in memory.  He captures post-war Manila’s architecture and landscape, with Filipinos going about their daily business in familiar places such as Intramuros, Luneta, Ermita and Quiapo as well as in buildings and bridges that are no longer, including the old Sto. Domingo Church, which is one of the six Churches that once stood in Spanish Intramuros. For almost four centuries there stood the home of Our Lady of La Naval before it was bombed in 1941.

Beyond historical evidence, the significance of Protomartir’s images is meaningful. Protomartir hands to the Filipino people cultural treasures that should remain part of Filipino consciousness and memory. Sixty-four years later, we celebrate Protomartir because through him we were there too.

Complementing this exhibit is a talk on July 1 by Carlos Celdran, celebrated tour guide and authority on Manila’s history. Entitled Placing The Transition, the talk bridges 1946 and 2010 with photos of the places Protomartir photographed as they are today. Uro dela Cruz will also be giving an introduction to Protomartir, the man behind it all. The talk will be on July 1, Thursday, 6-8pm at Silverlens Gallery.

The Images of Being There 1946: The Legacy of Teodulo Protomartir were printed by Billy Mondoñedo.

Words: Bea Davila, Image: Teodulo Protomartir, 4 (top left), 12 (top right), 417-418 (bottom), 1946

Source 

Sunday, May 23, 2010

Manila from the Sky: A Photo Exhibit by Pierre-Emmanuel MICHEL


KAIDA Gallerry
June 6, 2010 at 6:00-9:00 pm   
26 Scout Torillo Corner Scout Fernandez, Sacred Heart, Timog
Quezon City, Philippines

Pierre-Emmanuel MICHEL, a french graphic designer based in Manila, has an enduring fascination and warm affinity to Philippines's people and culture. He shows a bird’s eye view of Manila’s patchworks of color and life, graphic impressions, structural labyrinths, and the people traversing its wide avenues and entangled street alleyways. From the mysterious early morning grays cloaking the city to the pulsating neon lights that beckon at night, he captures a spectrum of action and calm from a vantage point rarely seen by passersby.

Freezing moments, places and characters with large-format printouts on archival paper, Pierre-Emmanuel’s jaunts on camera translate into an infinite quest for what makes Manila -- the saturation of colors that come with the light, changing each moment of the day; the lines and structures that intersect and weave, creating shapes that slice and dice at visual perception; the depths, angles and dark corners that invite further scrutiny, never exposing too much: from a distance, beguiling in its mystery, Manila from the Sky demands a closer look.

See  Pierre-Emmanuel Michel website here.

Manila Collective

Manila Collective is a venue that aims to showcase relevant narrative works of Filipino photographers through exhibits, events, slideshows and publication. It is a place for dialogue towards progressive collaboration, exploring new ways to move forward together while retaining each photographer's aesthetic sensibilities - be independent without being alone.

Join Manila Collective Facebook page.

Sunday, May 16, 2010

Sining Ugnayan: Creating the NCR Visual Artists’ Directory

“Sining Ugnayan: Creating the NCR Visual Artists’ Directory” is a project that will identify, locate, and record in writing and document in photographs the existing visual artists and artists’ groups all over the Metro Manila. There are 16 cities and 1 municipality that make up the geographical basis for the project’s methodology. National Capital Region (NCR) or Metro Manila is composed of 16 cities and 1 municipality (the cities of Manila, Quezon City, Pasay, Caloocan, Malabon, Mandaluyong, Marikina, Paranaque, Valenzuela, Makati, Pasig, Muntinlupa, Taguig, San Juan, Navotas and Las Piñas and The Municipality of Pateros).

Qualifications (any of the following):
1. Professional Visual Artists working in Metro Manila
2. Practicing Visual Artists who are residents of Metro Manila
3. Art Groups/ Organizations established in Metro Manila

Visual Arts/ Painting (Traditional Media/ Mixed-Media)/ Illustration/ Graphic /Digital Design/ Sculpture/ Installation Art/ Photography/ Animation/ Printmaking/ Art Educators/ Art Groups/ Organizations (and other related visual arts field)

Please sign-up here before 31 May 2010

More info can be found here and here.

Friday, May 14, 2010

Felix Laureano

From the book "Recuerdos De Filipinas"by Felix Laureano

I've been wanting to know more about the work of photographer Felix Laureano who, in 1895, published a book titled 'Recuerdos De Filipinas' (said book was re-published by Instituto Cervantes last 2008) where he showed scenes of everyday life and landscapes from Panay. It is said that much of his work is in the National Library of Spain and largely comes from the Philippine Exhibition 1887.

Though conflicting statements concerning his nationality can be found here and here.

 photo STICKER_web_zpschwrgl9d.jpg

Thursday, April 29, 2010

Nominations Now Open for the 2010 Ateneo Art Awards: Shattering States


On its fiftieth anniversary, the Ateneo Art Gallery announces that "Shattering States" has been selected as the theme of this year's Ateneo Art Awards, in response to the museum’s pioneering efforts in championing the cause of modernism in the country.

Traversing the range and scale of art practice, the 2010 edition of the Awards actively underscores the transgressive nature of artists, and resists the tendency to nurture ideas of stasis or permanence that usually accompany milestone celebrations. Ceaselessly challenging traditional media forms, this year presents an explosive array of artists whose works in one way or another hybridize manifestations that delineate and define the cutting edge.

Beyond the parameters of the object and its creator, "Shattering States" is also an ongoing reflection about time and place: a mental mapping of links that connect local and global concerns. As Philippine society finds itself yet again at the crossroads, art ultimately harnesses and realizes the potential of the imagination to create a wishing space that will
effectuate lasting change.

The Ateneo Art Awards are given to Filipino visual artists below the age of 36 foro utstanding works in an exhibition between 2 May 2009 and 1 May 2010. Nominations are accepted from visual artists, curators, museum and gallery directors, members of the present and former juries, art educators and art writers. Nomination forms are available at the Ateneo Art Gallery , Ateneo de Manila University, Katipunan Avenue , Loyola Heights , Quezon City; at Casa Gorodo Museum, Cebu City; or from the website http://gallery. ateneo.edu

All nominations must be received at the Ateneo Art Gallery before 5 pm on 31 May 2010. For more information, please contact Ian Carlo Jaucian at +6324266488 or mobile +639178878956 or emailijaucian@ateneo.edu. Exhibition of the works of the artists short-listed for the Awards will be at the Grand Atrium of the Shangri-la Plaza Mall, Shaw Blvd , Mandaluyong City from 6 August - 16 August 2010.

Thursday, April 22, 2010

Daylight Magazine CDS Photo Awards

In recognition of our mutual interest in documentary and fine art photography, Daylight Magazine and the Center for Documentary Studies at Duke University have started an international competition, the Daylight/CDS Photo Awards, to honor and promote talented and committed photographers, both emerging and established.Two awards, a PROJECT PRIZE and a WORK-IN-PROCESS PRIZE.

Guest Jurors:
VINCE ALETTI, writer/critic; DARIUS HIMES, editor/curator; JULIE SAUL, gallery owner/director; ALEC SOTH, photographer; HANK WILLIS THOMAS, photographer; JAMIE WELLFORD, international photo editor, Newsweek; with TAJ FORER and MICHAEL ITKOFF, editors, Daylight Magazine, and ALEXA DILWORTH, publishing director, and COURTNEY REID-EATON, exhibitions director, Center for Documentary Studies at Duke University.

To enter the competition, click here.

Tuesday, April 20, 2010

Photography in the Digital Age

Filipinas Heritage Library
May 6, 2010
1:00-5:00 p.m.

This symposium takes a closer look at how digital technology has changed photography in the Philippines. Find out the different thoughts and challenges of those who are making, viewing, and mediating photography in the advent of digitization.

Topics:

Photography and Visual Perceptions
by Joey Tañedo, a professor at UP College of Fine Arts

Visions in the Making
by Gunther Deichmann, an international multi-awarded photographer

Challenges of participating in a group photo exhibition

by Jaime Zobel and Manny Illana, participating photographers of Artisans at Work

Ethics in Photography in the Digital Age
by Harvey Chua, a professor at De La Salle University-College of Saint Benilde
and owner of Adphoto

Intellectual Property Rights for Photographers
by Atty. Louie Calvario, Head of Copyright Services
Intellectual Property Office
    No admission fee will be collected. Interested participants are requested to reserve a seat prior to the symposium.

    For more details, please call 892-1801, send an SMS to 0917-559-4417, e-mail cruz.ct@ayalafoundation.org, or visit www.filipinaslibrary.org.ph.

    Friday, March 19, 2010

    UNNAMEABLE at Manila Contemporary

    UNNAMEABLE
    27 March - 18 April
    Manila Contemporary

    Taking off from the final book in Samuel Beckett’s dark trilogy, The Unnamable, the new exhibition curated by Roberto Chabet is a gathering of works that explore the paradoxical nature of human existence. Similar to Beckett’s disjointed run-on sentences and manic breathless prose, which ends famously with the line - “I cant go on, I’ll go on”, the works in the exhibition point to the downward spiral to confront silence and failure in art. By peeling back layers of poetry, formal structures and grand narratives, the artists in The Unnamable attempt to reveal the starkest of truths.

    Participating artists include Ronald Achacoso, Catalina Africa, Poklong Andaing, Felix Bacolor, Argie Bandoy, Ringo Bunoan, Bea Camacho, Roberto Chabet, Lena Cobangbang, Louie Cordero, Al Cruz, Cian Dayrit, Lara delos Reyes, Nona Garcia, Nilo Ilarde, Robert Langenegger, Pow Martinez, Jet Melencio, Jayson Oliveria, Mawen Ong, Gina Osterloh, Gary-Ross Pastrana, Raul Rodriguez, Gerardo Tan, Gail and Marija Vicente and MM Yu.

    MANILA CONTEMPORARY is a large high-ceiling space of 300 sq. meters located in White Space Manila, located at 2314 Pasong Tamo Extension. A section of the gallery is devoted to private showings and sales of classic paintings and objects which is headed by the gallery’s resident consultant, John L. Silva.

    Tuesday, February 2, 2010

    Strip 2010


    STRIP 2010
    February 19, 2010, Friday
    6-9pm

    There is nothing in the world more interesting than people. And documentary photographers, Tammy David, Jake Verzosa and Veejay Villafranca know it.

    Launching STRIP, a new annual photography show by Silverlens Gallery, are three young photographers who are all about documenting the here and the now. In a time when photojournalism has been replaced by video and live coverage of world events and everyday news, David, Verzosa and Villafranca hold on to the power a photograph has in telling a story. Their stories are still about bridging the gap between subject and audience, but this time with more emotion and revelation.

    Pointing the camera at herself, David’s work, It takes an island; or how to be alone, is personal and honest. Her documentary is not the Kodak moment or the Facebook profile type; instead she rids of the picture perfect circumstances to reveal a part of her life story only a select few (if at all) have seen. She lays it out for us. She looks like that when she wakes up; she exercises in her bathtub; she has a habit of pulling her hair. No touch-ups and no styling, David invites the audience to look at her. Putting an honest face to documentary photography, she shows that the simple truth is as good and as relevant a story as any other.

    Verzosa’s work entitled Communal Identity documents the different faces of the indigenous peoples of Southeast Asia- faces the world seldom gets to see, much less get to know about. Bearing witness to the living cultures of the region, Verzosa’s work records the details of the people’s everyday lives, from their clothes and chores, to their homes and landscapes. His ethnographic theme is strong, but is not limited to documenting the ‘other’. Also looking inward, Verzosa’s documentary makes it clear that the differences between people are circumstantial, and therefore not prime in understanding human nature. Everyday life is the same everywhere. There is routine; there is a need to make a living; and there is a want for expression.

    Completing the trio is Villafranca, whose work, Marked: the gangs of Baseco, documents the story of the forgotten. Immersing himself in the world of the Baseco compound in Manila, which is rift in poverty, violence and stagnancy, Villafranca exposes the life of a gang member- from the rehabilitated ones seeking decent livelihoods to the compound’s children so vulnerable to the lures of gang life. Knowing his subjects are hardened to vulnerability and honesty, Villafranca spent much time with the gang members and acquainted himself with the neighborhood to reveal stories so potent and ripe with patience. Villafranca’s work witnesses the struggles the people of Baseco must face everyday to find dignity and acceptance, only to reveal that their story echoes throughout the world.

    The work of David, Verzosa and Villafranca define the integral in documentary photography: accessibility is key. Forging a connection or relationship between subject and photographer, they strip the artificiality and manipulation this technological age has generated to highlight what is right there…such that in their case, exposure is much more than technical process of photography.

    Image: (from left to right), Communal Identity by Jake Verzosa, Marked: The Gangs of Baseco by Veejay Villafranca, It Takes an Island; or How to be Alone by Tammy David

    Tuesday, January 19, 2010

    PhotoWorld Asia 2010

    Trade Show: Jan 28 – Feb 2, 2010 at the Glorietta, Ayala Center Makati
    Convention: Jan 29 – Feb 1, 2010 at the Asian Institute of Management, Makati

    Online registration for PhotoWorld Asia 2010.

    For more details, click here.

    Friday, January 15, 2010

    Filipinas Heritage Library: Call for Exhibition Proposals

    Filipinas Heritage Library’s The Alcove is calling all photographers and camera clubs interested in displaying their artworks at the pocket gallery of Filipinas Heritage Library.

    Applicants are requested to submit a proposal letter with the following:

    • Photographer’s resume, including affiliation with photography- related organizations
    • Sample works
    • Preferred exhibition schedule
    • Brief outline and concept of the proposed exhibit
    • Contact number and address

    The complete exhibit guidelines are available upon request.

    For more details about exhibiting at the gallery or registering for the workshop, please call 892-1801, text 0917-5594417, email cruz.ct@ayalafounda tion.org, or visit www.filipinaslibrar y.org.ph.

    Tuesday, January 12, 2010

    Sign up now! - Petition to allow unrestricted access to photograph public places in Manila

    Today, there are existing restrictions limiting public photography in several parts of Metro Manila. Some places may require permits that take forever to process, while others simply won't allow it. There have even been several reported instances of harassment by police or security personnel on photographers, artists, and even tourists as a result of this.

    Let's make a stand and let our voices be heard. Sign our petition to allow photography in all public places. This petition will be sent to the League of Mayors so that they know this is an issue. The bigger we get, the stronger our voice becomes.

    In the example of famous architectures like The Eiffel Tower in Paris, The Petronas Twin Towers in Malaysia, The Sydney Opera House in Australia or even the Golden Gate Bridge in San Franciso - taking photos is very much allowed and encouraged. What is not allowed is to sell these photos for profit without the city's permission.

    Our appeal isn't about allowing people to photograph inside malls or private properties. Our appeal is a lot simpler. We'd like to take photos on public streets, avenues, and other PUBLIC PLACES OF INTEREST. We see no issue why these should not be allowed.

    We appeal to you - the everyday photographer, the artist, the traveler, and even the curious. Sign our petition today and let others know about our cause.

    Sign up now!

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