I received my 15th year service pin ( it is a loyalty badge) from the University last July. I have always been proud to be part of a dynamic and quite diverse department. I look up to my senior colleagues for their steadfast commitment, and scholarship that spills over the confines of classroom walls. For them, scholarship is committed practice and practice is articulation of scholarship.
Let us continue to learn from them in a lecture series colleagues and I organised for 18 September 2018, Tuesday at the UP Vargas Museum
Islands are at the core of this exhibition project as it crafts and proposes new imaginaries of place-histories.
Islands connote origins and leave-takings. Islands are simultaneously finite and endless because bound by land and open to sea. They intimate grounding yet their very nature is movement: the shifting of earth, the crawl of clouds, the crash of waves, the very weather itself.
Islands are malleable and allow ‘grand designs’.These designs shape the investigations the exhibition will take, as it lays out a trail marked by imposing and beguiling structures and forms. Image, sound and movement will be explored in a site-specific and site responsive installation project, an immersive environment to simulate a voyage – an island hop. The trail will consist of tableaus: expansive sceneries that combine history, fantasy and myth; signposts to our histories, an archipelago strung along a fraught past and uncertain future, burdened by the legacies of colonial history and the weight of protracted modernity.
Island Weather also references a vernacular quip for the fleeting nature of power. It deepens artist Mark Justiniani’s investigation of vision and its role in the construction of truth. It is aimed at deepening our conversations on ways of seeing and means of perception, the nature of space and the constructs of time. In a piece where stillness and movement are combined and contrasted, where journeys are simulated, the history of a nation is refracted to conjure an image of radical hope.
The journey the art project will take will be on islands drifting on bodies of water, in a manner similar to the way art buoys the spirit, its capacity to keep us afloat. Imagination’s terrain cannot be fully charted as do the edges and limits of the human will.
Art after all, remains the last frontier of an agency rooted in imagination and mobilised through hope.
The skies were fickle – clearing one moment and pouring the next but our enthusiasm was steadfast. Encounters happened as planned last 13 June! It was choreographed by Ea Torrado and performed by Daloy Dance Company.
with co-curator Cecile De la Paz
Artist Agnes Arellano, dancer choreographer Ea Torrado
The rain rendered the performance vigour. Ea Torrado likened it to ‘dwelling the womb’ specifically when the dancers entered the grove, alternating between movement and stillness, flitting in and about the goddesses, rendering air and space legible with movement and voices.
They emerged from the Vargas Museum’s west porch in two files, chanting and marching. Their animal heads were curious, if not amusing counterpoints to their martial like movements. All was pulsing energy pronounced through strength of limbs that sliced rain and air, the rhythm of dancers’ voices lent spark to a fast encroaching night.
It is this straining against odds and the very elements that was the most remarkable character of the performance. We were drenched but oddly entranced by bodies weaving in and out of the grove, around the goddesses’ inert and viewers’ unsettled yet expectant bodies. This atmosphere of chance placed in relief the exactitude the piece demanded of dancers. The dimming skies and pouring rain echoed their feral cries and sober silence, their rolling and falling forms contrasted strongly with austere marches and lively gestures.
It was an evening of strong and memorable contrasts, the weather and the piece coming together fully, eliciting from us a similar straining – because how else can life be without constraints? It is only in the latter where we come together through the wholeness promised by the goddesses Pleiades, however fleetingly.
Encounters was a singular offering to this moment.
The LAWAS curatorial team has organised a series of events around the works Pleiades, Pagpamulak and Pusod.
The first collateral event happens on June 13, Wednesday 6PM at the Vargas Museum Grounds and CAL Lawn. Encounters is a piece by contemporary choreographer Ea Torrado.
It developed around Agnes Arellano’s suite of goddess sculptures Dakini, Innana, Kali and Magdalene. The goddesses appear descended in a grove at the Diliman campus, strong verdigris forms amidst lush green growth.
Encounters explores dualities of human existence and is rooted in Ea Torrado’s exploration of dance as emancipatory ritual. In it, dancers descend into the depths of being with the body as channel for the divine. The encounter is coming together of corporal flesh and greater divinity.
The dance performance is shaped by active energy and force, listening and rest, presence and song. The intervals are marked by dancers heeding the call of the goddesses and becoming like prophets conveying a holy secret. It reflects on human anxieties and the speed we careen towards greater progress or utter destruction.
Agnes Arellano’s goddesses remind us to be rooted – perhaps, that which we frantically seek is in all of us.
Choreographer Ea Torrado is the recipient of Alvin Erasga Tolentino Koryograpiya Award in 2014, Remedios De Oteyza Choreography Award in 2016 and Asian Cultural Council Grant in 2017. Her creations manifest in choreographies, film, installation, site-specific work, and improvisational performance. She is the Artistic Director of Daloy Dance Company.
Daloy Dance Company interweaves dance, theatre and improvisation to create daring and evocative contemporary dance. Since its establishment in 2014, Daloy has made waves in the Manila art scene with critically acclaimed and exceptionally varied body of work. With its strong collaborative thrust, the company has worked with notable visual artists in various museums and galleries in the Philippines, and has enjoyed diverse audiences and performed in a range of dance and art festivals locally and abroad in Japan, Thailand, Korea and USA.
We formally launched three art projects inside the Diliman campus yesterday.
Pagpamulak means ‘to blossom’. The work gathers white painted concrete body parts at the edge of the Sculpture Garden. The pieces make a playground, where we can climb a belly, see saw on a pussy, and rest on a penis. These pieces take from artist Lee Paje’s 2011 project where vagina shaped chocolates filled with rice wine were offered to audiences during an exhibition opening.
Mark Justinian’s Pusod (navel) is at the UP Lagoon, a reflective disk during the day and a marvel of coloured reflections at night.
Agnes Arellano’s goddesses Pleiades descend from the heavens, their ethereal forms render the grove otherworldly.
LAWAS comprises three public art projects for the 2018 UP Diliman Festival of Culture and the Arts. Pleiades, Pusod and Pagpamulak explore the intricate process of dwelling the body. All three are located at visible and accessible areas inside the sprawling Diliman campus.
The intimate registers of the senses, faith and the sacred feminine, and play through vision are expressed in art pieces by Agnes Arellano, Mark Justiniani, and Lee Paje. They probe the limits of the body, often imagined a vessel or a contained space. How can art whether installation, sculpture, or site specific forms become extensions of the human body through experience? Art that incorporates multi-dimensionality in its engagement of body and space becomes a technological cipher by which the human form is reworked and imagined, beyond containment and towards amplification.
Artist Agnes Arellano gathers her goddesses in a grove. Pleiades are cast stone goddesses, four of seven of the open star cluster most visible to the naked eye. The works follow the artist’s lifelong search for the sacred feminine. Through them, she hopes to rekindle the age old values of nurturing, generosity, and compassion.
Lee Paje constructs a playground of intimate forms in her Pagpamulak project. It means ‘to blossom’ in the vernacular. It takes from a 2011 series where vagina-shaped chocolates were filled with tapuy or rice wine and were eaten during the exhibition. Viewers will be invited to not only sit and lie on but also play with the stylised sculptures that mimic the body’s intimate parts.
Mark Justiniani installs Pusod at the UP Lagoon. The reflective disk rests on earth and reflects the skies above. It is likened to an orbit in a frozen moment, a well of clouds becomes close to eye and touch during the day, while a deep crater is revealed at sun down. The structure is a navel, an invisible umbilical cord between the heaven and earth.
LAWAS is curated by UP Department of Art Studies faculty Tessa Maria Guazon and Cecilia De la Paz. The works will be publicly launched11 April 2018 and will be on view until end August 2018. A series of events will be organized during June, July and August.