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The best of contemporary art

1335MABINI supports contemporary art through educational programs, art exhibitions, and studio direction. Its objective is to stimulate reflexive thinking and critical awareness through community dialogue and the presentation of strong artistic statements while offering informational and practical workshops that encourage professional development and quality studio production to meet the demands of contemporary art now.
Pussymiss, Oil on canvas
B.A.R., Zn and the studios at 1335MABINI constitute an art-specific infrastructure for the model allocation of space related to exhibition, technology, methodical support and knowledge sharing. The diversity of its components lend to 1335 MABINI’s flexible programming of social research, critical independent thinking and dynamic interaction. Zn showcases artists who work primarily with video, film and new media. It also seeks to set art as a platform for discussing contemporary issues in its universality and specificity. The program includes regular talks/seminars conducted by exhibiting and visiting artists, screenings of rarely seen video works and films. The Bureau of Artistic Rehab, or the B.A.R., is an alternative exhibition space founded by the artist Manuel Ocampo, showcasing a diversity of expression and curatorial programs that represent Manila’s best emerging talents side by side with worldwide partners and institutions. The B.A.R.’s goal is to establish a distinct social and artistic identity firmly set amidst the backdrop of globalized pluralism.  

Remove

All Warning Labels

For its inaugural exhibit, B.A.R. proudly presents for the works of Jayson Oliveria in the show Remove All Warning Labels. The collection explores contemporary painting’s condition of subjective nihilism countered by strategies of aesthetic pluralism through the application of random texts and images painted over abstract fields of expressive mark making and figurative compositions.
Not At All A Misleading Portraiture, Oil on canvas
Oliveria’s approach abandons the timidity of correction, where he allows any artistic error to remain within the work so as in time they will generate their own artistic autonomy, incorporated henceforth as aesthetic taste, and thus made available within the embrace of art’s vast historical progress that goes in cyclical fashion. The artist has a remarkable awareness of art’s history, with the way he quotes or reacts to the pictorial tricks of the work. For example, Oliveria references Rembrandt’s Nightwatch, with its glistening helmets that shine like the fish’s scales in one of his paintings, or the shallow perspective within his picture that makes the fish seem to jump out of the picture the same manner as Rembrandt’s painting that does come alive as if coming out of its window frame and catching the viewer by surprise. Like a fish jumping out of the water. With his clever insight, Oliveria makes a visual connection with the fish that projects towards the viewer and the proverbial desirable fish caught between the shapely legs of a woman which also catches our attention. Oliveria applies end game strategies for making paintings and incorporates objects or sculptural elements to betray the uniformity of painting. Like most works that straddle along the discourse of the end of art, the works have an internal logic to them that only the artist could explain—if it can be teased at all. Rather, there is a sense of gamesmanship and perhaps, dandyism where the artist knows all the contradictions within the work while displaying a keen taste for the obsolescence of style. Oliveria was a CCP Thirteen Artist awardee in 2006 and was among the first batch of resident artists from the Big Sky Mind Artists Projects Foundation in Cubao from 2003 to 2004. The following year he was sent to Fukuoka, Japan for an artist residency facilitated by curator Mizuki Endo in Tetra Art Space. In 2004, he was among the first recipient of the annual Ateneo Art awards for his exhibit Instinct vs. Learning held at Mag:net Gallery in Quezon City, and in the following year was nominated for the same award for his solo show Killa Foto at Green Papaya Artists Projects. Consistently being exhibited extensively both locally and abroad, he has been featured in a handful of important survey shows such as in Nadi Gallery in Jakarta, in Tate Turbine Hall in London, in Sydney and Tasmania, in HK, in the USA, and in Beijing, China. He most recently had two solo shows for Galerie Zimmermann Kratochwill in Graz, Austria.  

Art Death

Still from the single-channel video  ArtDeath
Zn proudly announces Poklong Anading: Art Death as inaugural exhibition within the new premises of 1335MABINI from Tuesday, Feb. 12 to Saturday, March 30. Poklong Anading (born in Manila, 1975) received his BFA from the University of the Philippines in 1999. He first focused on experimental video projects and increasingly explored installation, painting and conceptual works. Concepts are often based on an interactive approach, encountering and offering the possibility of participation to the viewer and carry autobiographical characters. A respective body of works of his relies on the discarded, unwanted object or—in a more human reference—on the irrational, from force of circumstances or inconsiderate behaviour. What he does is telling stories or conducting those within the field of media that is offered to a conceptual artist in this era; material and technique compliments sound and image and not at the least the recipient or participant, respectively, is incorporated in the concept. Art Death reveals Anading’s production design background as having been part of a multimedia production outfit collectively formed by friends from film school. Hence, the title is rooted from an insider joke about the very nature of doing production design work and/or being part of the art department (“art dept/art death”). It also becomes a running commentary on creative work turned in such context as becoming procedural instead. Anading’s inaugural exhibition foregrounds collaborations or the mechanics of collaborative work in problematizing the boundaries and definition of cooperation itself and individual authorship. Anading also involved collaborators (Jun Sabayton, Pol Mondok, Enteng Viray, Jennifer Berklich, Emmanuel Migriño) within the process of the development. The exhibition consists of one video installation and two video projections. Central is an old piano purchased for a shooting. In Art Death this piano acts now as a proper tool, instrument and metaphor, intercutting through the many layers of engagement with the piano. Depending on the level of such engagement, it becomes subject and object. Poklong Anading’s first solo exhibition in Manila took place in 2004. Since then he was invited to join group shows in several institutions worldwide. Anading is a two-time recipient of the Ateneo Art Award (2006, 2008) and the Studio Residency Grants in The Kings Cross Art Project (Sydney, Australia) and the Common Networks Foundation (Bandung, Indonesia). He is awardee of the 12th Gawad CCP (Manila, Philippines) for Experimental Video in 2000 and of the Thirteen Artists Awards (Manila, Philippines) in 2006. Poklong Aading was invited to join the 9th (2012) and 4th (2002) Gwangju Biennale (South Korea). He was invited to the Jakarta Biennale in 2009 (Indonesia). In 2012 Anading was invited to the exhibition Phantoms of Asia: Contemporary Awakens the Past in the Asian Art Museum in San Francisco (USA). Poklong Anading is part of No Country: Contemporary Art for South and Southeast Asia in the Guggenheim New York (USA) (Feb. 22 to May 22).
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