"...when I leafed through Pilgrimage, I was astounded. There is an intimacy and quietness and reflectiveness that she hadn't revealed before, and one senses that this is an artist who was working through a challenging period in her life; her partner, Susan Sontag, had passed away, there was highly public and critical coverage of her financial woes, and all the while she was faced with raising her three daughters alone. For a notorious workaholic, Annie perhaps unsurprisingly looked for solace in her photography, choosing to focus on the natural world, traveling here and abroad to shoot landscapes and still lifes that are by turns epic, desolate, and arid, turning them into a balm to heal her feelings. I don't think she will mind my saying this, but for a woman whom I've never thought of as particularly peaceful, Pilgrimage suggests Annie has achieved a much-needed state of grace."-- Anna Wintour, Letter from the editor, Vogue, November 2011
Some of the photographs here.
Wednesday, March 7, 2012
ANNA ON ANNIE ] The editor on her favorite photographer's most personal body of work
Friday, March 11, 2011
THE FRAMES HAVE IT ] A cute new angle to your dark-rimmed specs
Most fashionably dressed young men in the city these days pair their slim outfits with black-rimmed glasses. Shireen Seno, who likes to shop for quirky things and slightly odd tchotchkes, suggests maybe its time to step out a little from that, ugh, frame of mind.
Let's begin with the glasses. Shireen's loot of black-rimmed eyewear, available from her online store As In and soon in her own shop of the same name in Mahabagin Street, offers new angles in your choice of specs. A filmmaker and mixed-media artist raised in Japan, Shireen, who sports an oddly-shaped bob, likes to wear a piece from her collection herself. "I got myself a pair a year ago when I was in Bangkok, shooting a documentary on Elvis impersonators and their kids. I'm a sucker for wood, so naturally that's what caught my eye."
What catches her eye most often, when shopping for personal effects, is a certain "youthfulness and timelessness. Simple designs with quirks that set them apart. Particular colors, shapes and proportions. Fine materials and construction. Ridiculous attention to detail. I think it has a lot to do with growing up in Japan, where most things are done with the utmost care and precision." She's planning to expand the range of the eyewear she carries by adding pieces in bamboo and horn. In As In, she also has shirts and jackets.
And accessories, a sample of which is one that is made of different kinds of plastic and wire. "The other necklaces are made out of wood, reed, shell, and other natural materials. I also have some made out of recycled newspapers and magazines. Others are cast in clay and painted." Shireen has added a new accessory herself to her personal everyday wardrobe of indie filmmaker chic--a marquise-cut diamond solitaire ring given to her by the filmmaker John Torres in an engagement party (complete with kundiman singers serenading) two weeks ago. "Oh wait, he actually gave me a different ring to begin with, and then two more to choose from! The marquise was an afterthought for him, but for me it was the one. I almost wish he had chosen it, as if it were a test and he guessed correctly.. but that's just me being a spoiled hopeless romantic. He amazed me just by giving me a choice."
Which is exactly what Shireen is giving the curious stylistas she wants to attract via As In. (A choice we mean, not an engagement ring.)
Visit As In Shop here. Or soon at the store located at 59 Mahabagin Street just off Maginhawa in Teacher's Village, Quezon City.
Wednesday, March 9, 2011
SENIOR MOMENT ] Senior Year director Jerrold Tarog on his own 4th year high--and lows
The third feature film from the director Jerrold Tarog, Senior Year, is out on SM cinemas today, and our friends who have seen it has called the work “superb” (Raymond Lee), “touching and funny” (Mario Cornejo), and “a heartfelt portrait of our inevitable ordinariness in the midst of a world that is far bigger than any high school campus” (Oggs Cruz). In this youth-oriented flick about the last colorful months of high school, Tarog leaves behind the serious motifs of his first two films—Confessional, the mock documentary about a videographer whose camera becomes witness to a wayward politician’s confessions, and Mangatyanan, about a photographer escaping the reality of her lensman father’s sexual abuse—to tell the interwoven tales of young love, self-exploration and peer pressure among a bunch of senior students from the fictitious St. Frederick’s High School.
We spoke to Jerrold, writer, director, musical scorer and editor of Senior Year, to try and spark a little confessional about teachers, that high school souvenir and, of course, high school love.
Saan ka nag-high school?
UP Rural High School in Los Baños, Laguna. I was a batch younger than Ebe Dancel of Sugarfree.
May favorite subject ka ba?
I loved the extracurriculars and nothing else. We had a music club back then and I was part of a band. Everything was cool and fun and dramatic. Loved it.
Favorite teacher?
I didn't have one favorite teacher in particular because I found all of them interesting in their own little ways. Yung mga weird teachers, mga inapi namin (yes, kami yung nang-aapi), teachers who did their best to inspire, teachers who inspired us to sleep.
Ano’ng pinaka hindi mo malilimutan sa panahong ‘yon?
Hmm...that I hated CAT with a passion? That I didn't know what to do with girls who had crushes on me and that I had so many awkward moments with them?
Jerrold Tarog declined to share his own photograph from high school, but here he is as he appeared on this blog.
Any souvenirs?
A small stuffed toy in the form of a cute devil. He was named Bogart for some reason. It was what led me to my first girlfriend.
In which character can we find you in Senior Year?
I have a soft spot for Henry (the valedictorian) and Bunda (the tall, quiet girl). Of course, I was miles away from being the valedictorian. It's just that I could relate to his nerdiness. Bunda, for her internal strife and composure.
Nalungkot ka ba no’ng graduation?
I don't remember anymore. I might've been relieved because all the drama was finally over (but, of course, college had even worse drama). I was probably scared and excited too because I didn't know what I was going to do in college. This was before I shifted to Music in UP.
Tell us about your high school love, how it began and how it ended.
Met my first girlfriend in 3rd year high school, I think. We lasted around three years or maybe four, basta well into college. I was playing the drums for the cheering squad during 3rd year Intrams when she walked over and picked up Bogart (who was sitting on top of the bass drum). I said something, she said something, at doon nagsimula. It ended when she fell in love with a guy who was so opposite of who I was in college. Buti na lang because they're good together and they're obviously happy. In fact, they ended up marrying each other. I wish them all the best. As for me...I'm still looking. Or to be more exact, I'm still waiting.
Itals on "waiting," Jerrold's own. Here, a note from Jerrold the night before the film's commercial run.
Senior Year is showing at SM City Fairview Cinema 11, SM City Manila 7, SM City North Edsa Cinema 9, SM City Sta. Mesa Cinema 8, SM Mall of Asia Cinema 6, SM Megamall Cinema 7, SM Southmall Cinema 2.
Friday, July 23, 2010
NANA'S NOTE ] Because she forgot to bring her statement on opening night
They're not here but the photographs in Working Class: A Reportage by Nana Buxani are moving, depressing, heartbreaking. We were there last Friday to give her a hug. Go see them at Manila Collective in Cubao X--so you can also read what she wrote.
The photographer will have a talk on Wednesday, July 28, 8pm in the same venue.
OBSESSED MUCH? ] Think you already live and breathe cinema? Here, meet SOFIA
In 1993, a group of professionals who were engaged in some form of archiving organized the Society of Film Archivists, the original name of SOFIA. Without funds, much less its own office and archiving facilities, the group members were fueled simply by their passion for film and their resolve to preserve the film heritage of the country.
SOFIA identified specific needs for the retrieval and restoration of endangered films. It also organized short-term training workshops in preservation and collection management, and offered to advice various institutions in their archiving programs. With the assistance coming from the National Commission for the Culture and the Arts, SOFIA was able to program the restoration of some landmark films, including the first film produced by LVN in 1938-1939 and some key films by major filmmakers like Gerardo de Leon, Lamberto Avellana, Lino Brocka and Ishmael Bernal.
Philippine cinema is almost a hundred years young. In Asia, Filipino filmmakers were among the pioneers, its film industry among the largest in the world in terms of output for a good number of decades.
Of the roughly 8,000 plus full-length films produced in the first century of local cinema, many have been irretrievably lost, rendering moot anyone's judgment as to their artistic merits. Just as bad are the forgotten status of numerous talented filmmakers from way back, whose best works and once promising careers have fallen off the radar film history.
This film series, called Overlooked, Underrated, aims to re-assess certain films and filmmakers, by taking a second look at their unjustly neglected bodies of work, and even restore a few reputations in the process. This will help to expand the repertoire of Philippine cinema, by going beyond the programming of the usual auteurs and masterpiece titles. There will be much to discover, and rediscover, by rounding up not the usual suspects.
For now, the initial batch of films/filmmakers will be limited to six. As more "lost" and neglected films come to the surface from here and other parts of the world, this film series will continue to run, without an expiry date. Happy re-viewing!
Thursday, July 22, 2010
BERLIN BOUND ] Artworks to be raffled off in fundraising to help send artists to Freies
On August 10, 6pm at Blanc in Shaw Boulevard. 30 artworks from Argie Bandoy, Poklong Anading, Bea Camacho, Lena Cobangbang, Maria Cruz, Pow Martinez, Robert Langenegger, David Griggs, Romeo Lee, Jayson Oliveria, Jucar Raquepo, Gaston Damag, Gerry Tan, MM Yu and Manuel ocampo will be raffled off.
To buy or reserve raffle tickets email info@blanc.ph or lcobangbang@yahoo.com. This is to raise funds in support of the participating artists who will show at the Freies Museum is Berlin in October.
CLOTHES ENCOUNTER ] Robert Alejandro sketches from The Sartorialist
"I never heard of the website "The Sartorialist" - not until I saw the book at a bookstore. I didn't want to buy the book - I already made purchases and my bag was extremely heavy. But then, I loved the photographs, I loved how the people looked in the photographs and I thought it would be such a joy to draw them. Here are the sketches I've made and sure enough, it is a joy to draw and sketch these wonderful people photographed by Scott Schuman.
"If you get the chance, do take a look at this book, "The Sartorialist". The fashion sense of some people are AMAZING! I love it when someone isn't afraid of color, texture, being noticed or stared at!
"I think I'm SO fashion backward. My closet is full of black, brown, gray and more gray. I wonder whether I'll ever get over the fear of people noticing me.
"I don't dress well and I know it (my mom used to complain about it but she has given up on me). In one word, I dress sloppy. But this book, the Sartorialist has made me think, that I should do better. I should take better care of myself. I should dress better. I especially like the photographs of mature men who make an extra effort in looking real sharp and real cool. I think, I'd love to grow old this way."
"Have I made an effort? Sometimes I wear a hat - and that is already a big thing for me."
For more of Robert's sketches of people from The Sartorialist, click here.
Wednesday, July 14, 2010
BRING YOUR ERMATS ] Or just bring a drink. The Living Room screens Tisoy
Nonoy Marcelo by Ishmael Bernal produced by Nora Aunor. Enough said.*
Tomorrow, July 15, Thursday at 8:30pm, The Living Room will be screening Tisoy. Bring a bottle or something to munch on. The Living Room is Unit 24, North Syquia Apartments, 1991 MH del Pilar, Malate, Manila.
*But if you want to read more about Nonoy Marcelo, and a little about Tisoy the comic strip, Joan Orendain wrote this piece on him following his death in 2002.
THIS WEEKEND AT NOVA ] William Gaudinez on his explorations on Philippine folk traditions
"Folk Art in the Philippines represents diversity on various materials such as Philippine hardwood, capiz, mother of pearl, carabao bone, carabao horn, etc. Folk artisans re-create church retablos, pillars, furniture, and vestments that even if they lack formal art training, have never ceased to amaze me. As a neo-folk artist, I am fascinated with the works of these unknown artisans, that has encouraged me to find experimental, innovative ways to make my own interpretations while focusing on the traditional methods such as woodcarving, inlaying, incising, and paintings which I have adapted as my personal quest for identity and aesthetic direction through researching the works of the folk artisans of Bohol, and the indigenous works of the Bukidnons, Tausugs, Maranaos, and of the North such as the Ifugaos and Kalingas.
"In my own small way, I’m striving to present a timeline of certain periods of our ruch cultural heritage, history and lessons based on the pre-Hispanic period up to the time of colonization by Spain and America. I have incorporated bits and pieces of our folk beliefs and customs such as the role of the stars in harvesting, planting, fishing, and the prominence of the phases of the moon and the stars/galaxies in our day to day existence. I’m also keenly interested in presenting contemporary interpretations of the retablos and urnas fused with inlaid materials as vehicles to present these timelines and also show ironies on history’s bitter twists and turns."
William Gaudinez's show Alay Sa Lemuria runs from July 17 to August 4, 2010 at NOVA Gallery, Warehouse 12A, La Fuerza Compound, 2241 Don Chino Roces Ave., Makati City. All images by William Gaudinez courtesy of Nova Gallery.
Friday, July 9, 2010
SEVEN ON SIXTH ] The 7 reasons why we're going to Cinemalaya this week
1 Because we want to see The Cinema of Celso Ad Castillo, a documentary on the director's life by Ron Bryant, the indie director who gave us that underrated and memorable Cinemalaya entry from 2006 called Rotonda (which also starred Castillo). But we're watching, of course, because we are Celso Kid fans. From the bits we saw, big names from local cinema (Ricky Lee, Peque Gallaga, Mel Chionglo et al) discuss his contributions to Philippine film history, take us back to that momentous and controversial Metro Manila Film Festival in 1977 where Da Kid's Burlesk Queen won all, if not most, of the awards. Castillo, who was once touted local cinema's enfant terrible, gave us such unforgettable film images as the wet T-shirt catfights involving Elizabeth Oropesa and several other kamisa-clad women, the unbelievably beautiful young Gloria Diaz riding a horse on the beach, and the gorgeous vision of a shirtless Vic Vargas---and that's just from Ang Pinakamagandang Hayop Sa Balat ng Lupa. Da Kid also gave us the insanely passionate Tag-ulan sa Tag-araw, the weird and poetic Pagputi ng Uwak, Pag-itim ng Tagak, and, well, Virgin People. Tipiti-pitim-tipitim, anyone?
2 Because Mario O Hara has a film. Its called Ang Paglilitis Kay Andres Bonifacio. We're discouraged by the title, and encouraged to watch only because he gave us Tatlong Taong Walang Diyos and that other film with Tatlo and Nora Aunor in it, a personal favorite, Tatlong Ina, Isang Anak.
3 Because they’re screening the good films we’ve missed last year: Engkuwentro, Last Supper #3, Ang Panggagahasa Kay Fe, Colorum, and, yes, Here Comes the Bride. How do we know they're good? Because our friends said so--and our friends are the biggest snobs.
4 Because they’re showing all 20 shorts that comprise the ANC pre-election project Ambisyon2010, about 18 of which are surprisingly good. Our favorites: the amazingly cool and exhilarating Ayos Ka by Brillante Mendoza, the heartbreaking Lupang Hinarang by Ditsi Carolino and the charmingly simple Di Ako Makatulog Dahil Wala Ka Sa Tabi Ko by Jade Castro.
5 Because an insider who's read the scripts have given us the titles to watch out for. From the Directors’ Showcase, Two Funerals (screenplay by Eric Ramos), Sigwa (Boni Ilagan) and Donor (Mark Meily). And from the New Breed category: Limbunan (Gutierrez Mangansakan II), The Leaving (Ian Lorenos), Sampaguita (Francis Xavier Pasion) and Si Techi, Si Technoboy at si JuanaB (Art Katipunan).
6 Because if all else fails, there is the always dependable sweet spaghetti in the CCP cafeteria. So hindi ka pa rin uuwing luhaan.
7 Because this is that one week, well 10 days, in a year where the entire CCP comes alive and it just feels good to be around all that energy from film workers and film fans who are discussing movies and not, thanks heavens, show biz.
For more information on the 6th Cinemalaya Independent Film Festival and Competition, visit their website and Facebook page.
CUBAO NEXT ] Jake Verzosa serves muffins, espresso and real life in Manila Collective
It’s been awhile since we last ventured into Cubao X, and it’s nice to know there have been movements within its artsy, endearingly scruffy enclave—despite our long absence (Jejeje). The whimsical furniture store Heima has opened its second floor to serve as its manlier showroom. Right across it, Mogwai has expanded its ground level space to include the area that the gallery Blacksoup Project used to occupy. And then, most recently, there’s photographer Jake Verzosa’s café taking over the space of the hip curio store Vintage Pop.
Jake’s space, which is also a gallery, is called Manila Collective Photospace + Café. It is a small white box that, like most of the artist-run establishments in the Cubao X cluster, has a cool, homey, DIY feel to it. The space opened last May with an exhibition of Jake’s photographs of last January’s Feast of the Black Nazarene. Jake has been devotedly covering the prusisyon for the past six years, but this year decided to use a stereo camera. Hence, the 3D glasses provided the guests during opening night (Forgive our cluelessness, but we just checked out the photos in the website using a pair of 3D glasses we found lying around in the office—-pretty cool.)
Next to grace its walls are the journalistic photographs of Nana Buxani, depicting working class life. July 17 and August 14 are the last of the four Saturdays that renowned documentary photographer Alex Baluyut is holding master classes on documentary photography.
For more information on Manila Collective, it's all in their website.Photographs courtesy of Jake Verzosa.
Wednesday, July 7, 2010
JUSTIN TIME ] Mark Salvatus speaks Bieberish
In his latest design for his Boy Agimat Boutique, the artist Mark Salvatus, using his favorite homegrown magic charm emblem, gives Justin Bieber more than enough peepers so that the twink popstar doesn't keep brushing off his stupid bangs. Babeh, babeh, oh.
Available soon in black, white, red, brown, green, and yellow gold.
Tuesday, July 6, 2010
BRANCHING OUT ] Sound designer Corinne de San Jose's fine art photography
What's with the fascination for dead trees?
To be honest hindi ko na rin alam. Medyo weird na nga eh. It probably started when I was a kid and I wanted to learn how to draw, so my parents bought me a drawing book. In the first few chapters, the book teaches you how to draw a silhouette of a dead tree. It was so easy to draw. I’d get lost drawing branches and twigs. Medyo hypnotic. And actually, I never finished the book so for the longest time it was the only thing I could draw. And ever since, every time I see a dead tree, i have to look. It pops out to me. And then i picked up photography and whenever i see one i have to take a picture.
Are these new images, or images taken over a long period of time? When did you start taking photographs of these trees? Where are they located?
The large prints (there are five), the ones taken at night, were taken early 2009. I started working on this series during a class I took at Silverlens under Isa [Lorenzo, the photographer, and owner of Silverlens]. Then I set it aside muna and started working on my first show. It felt unfinished pa. After my show, I showed them to Rach [Rachel Rillo, who is also a photographer and Isa's partner at Silverlens] and started shooting the rest na.
When I was shooting I had these self-imposed rules. And one would be that I have to shoot within Metro Manila lang. I wanted to look for these trees where it wasn’t so easy finding them. I would’ve had more trees to choose from if I allowed myself to shoot out of the city but it felt important to me to look for them here. So 'yon. Parks, villages, sa tabi ng daan. Basta within manila.
How did you get into photography?
In college. We were required to take three units of photography for Comm Arts. I loved my first photography class right away! I think I ended up taking 20 plus units in photography/photography-related electives. Hindi pa kasi uso sa La Salle ang photography majors non.
Do you remember the first photographs you took? What were they like, and what were they about?
I remember digging up my dad’s old rangefinder with my sister when i was about 12 or 13, tapos we shot black and white photos of each other from our bedroom. We used aluminum foil as a reflector. Ang pangit ng photos so we put back the camera in its hiding place. In college, it was a portrait of a friend in different lighting situations, as a lighting exercise for class.
You recently had a show before this, what was that one about?
The title of the show was It All Goes Slo-mo. The short answer is, I intended to shoot the view from my window, but I ended up shooting just my window. For the long answer, here’s a link to the work with the artist statement.
What camera do you use? And did you use film for these photographs? And did you develop them yourself?
I use my Canon 40d most of the time, lalo na for advertising/product shots etc. For this series, I used that, and a film camera, a Rolleiflex 3.5f. I did not develop the film myself, i brought it to a lab. The last time I developed my own roll was mga four years ago na.
How do you begin your day?
Go online tapos a cigarette and coffee.
And how do you end it?
A cigarette ulit.
Who are your influences in photography?
I love looking at old black and white photos of the masters. I can’t say I like one person more than anyone. Been looking at works of Siskind and Szarkowski a lot lately. (And of course there’s Ansel Adams, but that’s like the equivalent of a beauty queen saying she wants world peace. Plus, bumababa ang self esteem ko after looking at his stuff.)
Corinne de San Jose worked as an audio engineer for many years, and did the sound design for the acclaimed independent films Endo and Baby Angelo. Corinne's show, Some Die Young and Some Die Old, opens tomorrow evening at Silverlens Gallery in Pasong Tamo Extension.
All images by Corinne de San Jose, courtesy of Silverlens.
Sunday, July 4, 2010
WHERE WERE YOU? ] Manila Circa '46 from the lens of Teodulo Protomartir
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.
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.
The Images of Being There 1946: The Legacy of Teodulo Protomartir were printed by Billy Mondoñedo.
For inquiries, contact Silverlens Gallery at 2/F YMC Bldg. II, 2320 Pasong Tamo Ext., Makati, 816-0044, 0917-5874011, or manage@silverlensphoto.com.
Images: Teodulo Protomartir, courtesy of Silverlens Gallery.
Monday, April 5, 2010
THE ANNIV ] A year's wealth of quips, epiphanies, inspiration and damn smart advice
From the birth of an idea to how to write a eulogy. We've covered so much, and yet still so little, the past 12 months of this blogzine's existence. Here, we gather the gems that we've harvested. Browsing through a year's worth of posts, we feel deeply proud about the names who have contributed one way or another to this humble endeavor. This doesn't mean the rest of it went in one ear and out the other, but what follows are what made us hehe, crinkle our noses, say 'Aaaaw,' and remain unplucked from our very short memory.
As far as an accessory, I still check out a man's watch. If you can't afford the expensive one, then go with something really sporty, like a Timex. It will make everyone think you're just athletic, and the good watch is at home.--The Guwapo Guide ] J.Lee Cu-unjieng on how to look good in a depression
Oh hair is so SEXY! Have you ever tried shaving a man before? That sharp object against his neck. Yummy.—The Double Life ] Christina Dy's split decisions
I think pole-dancing took the sex out of my art.—The Double Life ] Christina Dy's split decisions
“The misery of the pressure cooker can be a good thing,” says (Bogie Ruiz) this veteran of putting out several illustrations a day when he used to work as a cartoonist for the newspapers. He says the only way to deal with it is to simply do the job, one’s personal style will almost always show no matter how short the time in which the work was accomplished. What terrifies him is “how to run the machine,” to be able to make exhaustive use of the tools technology has made available for him now, “a machine that is complete” as opposed to the “incomplete” ones in his younger years. Still, he keeps at it, and is avoiding the temptation of “retirement depression.” He reminds his friends who have succumbed to it that it is a silly state, especially when, as he puts it, “You’re so much younger than the planet and it hasn’t retired yet.”—The Challenge ] The blank canvas
Appropriating your own uniform doesn’t mean you’ve given up finding your own style. Infact, it could only mean you’ve found it.—Style Suggestion ] Wear a uniform
I'm a gun for hire and anyone can do whatever I do.-The Hotshot ] Mark Nicdao
They were wearing all these colourful outfits in a very colourful world. Because that was how I thought the kids saw their world, parang ‘70s, like some wonderful acid trip.—Yellow Wristbands, Orange Chucks ] Butch Garcia on creating the Bagets world
Every year, the invite to the winners implore everyone to come in formal attire. Still, some winners attend dressed up like they came straight from 12-hours of soccer practice. Come on, people. Give the respect that the ceremonies deserve. And don’t think that we don’t know that you're excited to attend the ceremonies. Besides, you're a starving artist. You need to eat. The buffet is pretty good.—The Practical Palanca ] Nick Pichay on how to be the smart literary hopeful
It’s the Bingo socials of the literary world.—The Practical Palanca ] Nick Pichay on how to be the smart lietrary hopeful
The first thing you should do is look at the art.—Carlo Tadiar, The Advice ] How not to make a fool of yourself in an art opening
Aside from my sculptures, I also make rust paintings. I'm sort of a pioneer, if not 'the father of rust painting.' Inangkin na e no?!--Beautiful Things ] Kin Misa's functional sculptures
"What have I discovered from this inquiry? Among other things I have learned that although Digimon came after Pokemon, the latter are still valid while the former are obsolete...that the opposable thumb that has served us well in our descent from the trees has evolved into an instrument of texting and game-playing and is hard-wired to a different part of our brain in a younger generation of Homo sapiens...that manga: comicbooks as anime: cartoons...that we may never know if the graphic novel is an extended comic book or a narrative fiction with cartoons...that the impetus to play and explore remains the fundamental reason that I continue to make photographs.—Lego Memories ] Neal Oshima gets nostalgic
Simple doesn't work for simple people. They need a little bit of styling, a little upping the glamour ante. If you make a peasant wear a peasant blouse, it ceases to be a peasant blouse--it's a uniform.—The Partial Observer ] Lessons from a week's worth of occasionally glancing at the telly
"But this is a case of the chicken or the egg for me. Do I remember the smoking or do I remember her flashing her pussy? I remember both. Why are both images etched in my mind? One cannot do without the other. The scene wanted to say that Catherine was a bad bad girl, but just lighting up during an interrogation was not enough to say that she was a bad bad girl. So, uncross the legs and show the bush! Then again, couldn't she just have flashed her pussy and done away with the cig? No. That would have been crass and too "direct," if you know what I mean. Having her smoke while flashing it made it cool. Smoking was as important as the exposure of her pussy. She had to look cool about it. I'm actually rambling trying to explain something the director probably did not belabor in his mind. He was most probably ruled by his gut and told her to smoke and expose her pussy because it just looked and felt perfect."—Ricky Villabona, The Pleasure Principle ] Memorable smoking scenes on celluloid
I love the way fashion makes and remakes itself, constantly trying to make itself relevant and desirable. Clothing telegraphs in an instant certain assumptions about the wearer, sort of like subliminal calling card. I think that's powerful stuff.—The Multi-tasker ] Marlon Rivera and the story of a collection
You know you're still living in the '90s when you have...Potpourri on the breakfast counter, the coffeetable, the bath. Oh how people got carried away with the bath, especially when rose petals floated in them…Sepak takraw balls, arranged on a wide shallow bowl…an Ivan Acuna painting, or some orangey abstract…And this one takes the cake: The picture frame divider. –The Don't List ] You Know You’re Still Living in the ‘90s when…
Don’t believe anyone who tells you that you need to know about apertures and shutter speeds to take good photos. You don’t.-Aperture My Foot ] Eric Cabahug's Photography for Dummies
I get advice from my mother all the time who's also a director, pero other than her siguro ang susunod na natatandaan kong advice talaga ay galing kay Direk Marilou Diaz-Abaya. I dont remember the exact words (I'm forgetful talaga) but it was how when you write, or when you're directing a scene and you're choosing your shots, laging: "WHO do you LOVE, and what are the sacrifices you make for the one you love?" Sa akin nagstick talaga yun sa utak ko when I was making the film. Lalo na't Labing-Labing is a film about love. Siguro magkaakibat na rin ‘to at yung sinabi ni mommy kamakailan lang na, kapag wala kang malakas na mensaheng kailangang sabihin, that would be a good reason for you not to make a film.—7 Questions ] Ina Feleo on directing, bribing dad and a damn smart advice from Laurice
Piolo played a baluga in the Jaguar part. Not just a baluga but a dumb baluga. That's a little racist. A dumb baluga with a raised collar. Now that's just wrong.—View from the 4th Floor ] On the Cliff’s Notes that is Manila
We told the director Milo Sogueco a couple of months back, in La Union--we were drinking vodka, he was having wine, we were facing the dark ocean--'You have to make sure it's a good film. Otherwise, how do we face you after the premiere? How will we drink?' Because that happens quite often at the Cinemalaya screenings, people know everyone and you're bound to bump into the director whose film you just saw and abhorred. What will you tell him? How do you shake his hand?—Unang Kilatis ] The early word on Milo Sogueco’s Sanglaan
"Pag malinis ang porma mo, dapat medyo bastos ang buhok mo. Pag bastos ang porma mo, dapat malinis ang buhok mo." --Mang Artem, Rules of Style ] Damn smart advice from a barber
Because you wear it like a man: chest out and ready for battle.
Because you wear it, it doesn't wear you.
Because everything else feels like a purse.—Bring it Back ] Our pitch for the return of the knapsack
What does success taste like?
Chicken! Everything tastes like chicken!—Steaming Hot ] Chris Martinez, the writer of Kimmy Dora, and the smell and taste of success
The one who grapples with words in the face of death grapples with the difference between truth and art. Which is which, what is what? If I had the answers I would charge you for it.—The Decent Goodbye ] Carlo Tadiar on how to write a eulogy, or why bother
Kasi mura ang beer, puwedeng magyosi, disente ang pulutan, puro matatandang de-pomada ang mga kostumer, at maigsi ang palda ng mga supladang waitress na makapal ang makeup. Lalabas lang ako pag may "videoke" break na sila: 3-4 songs ng isang featured singer na bakla. Suot niya floral na dilaw na polo. Ka-boses niya si Jun Polistico.—Best Place to Write ] Lourd de Veyra for Bamboo City
But when a painting is difficult or takes time to look at, why would you buy it? Why would you own a mangy dog? Is it because you sympathize with its pathetic neediness? Or you cant stop your heart bleeding out of guilt? Or it is your compensatory act of not being a complete dick?—Lena Cobangbang, Lena on Jason ] On the occasion of the opening of his new show
There is the kind of human drama that extends beyond tragedy and plants its feet firmly in the territories of madness. In my film Mondomanila, I strived to present the truth as gleaned from the cracks in the celluloid curtain. But the “truth,” it is not "out there," as pundits from the outer realm put it, but in one’s own backyard. And backyards can shock, specially if one doesn't go out much. I believe that Mondomanila offers one of the most horrifying backyards in the tradition of films made by one of the foremost Filipino directors, the late Lino Brocka. If Brocka's films a decade ago talked about the wounds of Manila, I would like to believe that Mondomanila belongs to new breed of storytelling that makes one feel as if one has actually touched that wound, a close-up view of all that gangrene and pus.—Khavn dela Cruz, Welcome to Mondomanila ] O kung paano ginawa ni Khavn dela Cruz…
Jean-Luc said once that all a movie needs to sell tickets is a girl and a gun—a theory that somehow applies to everything.
A girl and a gun, yeah. Shooting at the walls of heartache. Bang bang.—You Don't Love Me Yet, Dodo Dayao, The New Wave at 50 ] Ricky Torre + Dodo Dayao pay homage to film's most stylish movement
I always believed gifts are born from inspiration—a shirt that reminded you of someone, a beautiful bag that so impressed you that you wanted to share it, a crafty artwork you made yourself. Inspiration, not obligation. But if you do feel obligated, it wouldn’t hurt to remember this: the thought only counts when there was actually thought put into it.—The Thought That Counts ] As we officially close the holidays, a belated note on gift-giving
What's the best thing about what you do?
R: Being able to do what we love to do everyday and seeing we can do it forever.—Ryan Vergara, Ryan+Garovs ] They Shoot Everywhere, Don’t They?
Sunday, April 4, 2010
LONDON CALLING ] Help Tate get a taste of Green Papaya, or the other way around
Green Papaya Art Projects, the artist-run initiative/artspace of Norberto “Peewee” Roldan located at T.Gener Street near Kamuning, has been selected to participate in the No Soul for Sale (NSFS) Festival at the Tate Modern in London. NSFS: Festival of the Independents is a gathering of about 50 independent spaces and artist-run initiatives from around the world. Without government and corporate funding, it’s a long shot for Green Papaya to bring contemporary art to such an important global event. Your contribution of P1000 will not only get you a shirt and a bag (by Ireland-based artist Conrad Velasco) but it will help the good people of Papaya from Kamuning, Quezon City to Bankside, London where the festival will be held.
To reserve, please text 09189457387 and 09175326598.
Tuesday, March 30, 2010
ARTIST IN RESIDENCE ] Patty Eustaquio and her dear, sweet, not-so-filthy new space
The first time I saw an exhibition of works by Patty Eustaquio, it felt like I suddenly was allowed entry into an empty auditorium and, while there was no orchestra or some sort of piped-in music, an aria was definitely being sung somewhere--you almost expect a soprano to enter from the backroom. It mattered little that the venue, the sLab space of the Silverlens galleries, used to be an auditorium and piano school, and that the title of the exhibition was Death to the Major, Viva Minor.
It was a rare occasion of fabulosity in the usually same-same mood of art openings. There was something so grand about the atmosphere that evening, the space full of beautiful things. Open hearts of animals in canvases the shape of fowls in graceful flight. A white violin sliced to reveal what seems to me a heart. A crochet lace piano cover--dyed the color of tea to make it seem old, soaked in epoxy so that it stands as if draped into an invisible piano. Everything evocative of the things one associates with Patty: a penchant for old things, a languorous femininity, a beautiful kind of sadness.
Her new show, also at sLab, which I haven't seen, seems a continuation of the motif that began with that show from 2009. In this one, however, the music is specific. She has chosen Elvis Costello's "Dear Sweet Filthy World" (also the title of the show) to become sort of a musical score for her new works: oil paintings, cardboard sculptures, and boats cut from felt and, much like her much-loved 'piano,' cast in epoxy resin.
We asked Patty about her new works, her new studio (photographs of which she very kindly snapped for Swank) and the lyrical quality of her pieces.
Describe your new space, the size of it, the look---from when you found it to how it looks now.
I love my new space because I've never had so much space to work in. It's a high-ceilinged open type space. It was a storage room when I found it, so it required a lot of work: a lot of cleaning, plumbing. I built rooms just so I have some privacy, but the entire flat is my work space.
How much time do you spend in your workspace?
I hardly ever leave the studio.
The show in Silverlens were all created in this new space? Would you say the space in a way have touches of influences on the works?
Yes, I made everything in the new space. I don't think I would have managed to make such big pieces if I didn't have the new space. But I did already have all the works in mind, which is why I was in such a rush to move in.
What drew you to Costello's "Dear Sweet Filthy World," a suicide note with music?
I love Elvis Costello--three out of four solo exhibits were titled after his songs. But I particularly cling to "Juliet Letters" because I love the irreverence of the content, the mix of violins with this sound that still sounds new to me, even if I've heard it a million times. "Dear Sweet Filthy World" is just so melodramatic that it's funny. Not laugh-out-loud funny, but the kind where you shake your head and say I can't believe someone can sing and play this mockery so beautifully like Elvis.
The first time I went inside sLab and you had a show, there was something not just plain musical, but operatic about the entire space and the pieces (and not only because there was a crocheted piano)---do you like working with music? Is it an essential part of how you work?
I do listen to music while I work, and usually when I'm feeling particularly dim about my work, I go about searching for new music to listen to. I'm drawn to music with beautiful lyrics--- probably because I spend nearly all my time alone so it's almost conversation. But also because I find that new music challenges me to put things together in a way I haven't tried. I do like songs that have an operatic feel, Costello is a lot like that. Antony and the Johnsons is an artist I listened to 24/7 a couple of years ago until I tired myself out. I think I like music that feels big and old, but is also so contemporary in its sensibility so that you feel like there's an amplification of what's going on, albeit a non-mainstream event.
Since we're talking about your new space, what's your favorite area/element in it?
I have tall windows lining an entire side of the cube, so I get lots of light all day. I have a view of parts of the gritty city, but there are hills beyond, Laguna de Bay and Makiling in view especially on a clear day. It's quite something to wake up to. It gives you perspective of where you are and what you have.
How do you begin a day?
Two espresso shots, toast and fruit. I'm a creature of habit. If something ruins my routine, I find it hard to work the rest of the day.
Dear Sweet Filthy World is on exhibit from March 17 to April 17, 2010. It runs simultaneously with POSTLOCAL: Painting with Bruihn, Nona Garcia, Anna Varona, curated by Isa Lorenzo; A Country
Road. A Tree. by Jet Pascua.
On April 17, Saturday from 3-5pm Eustaquio elaborates on Dear Sweet Filthy World, where the construction of memory is built alongside her narrative "to convey the irony of our feeling towards reality, the realities in life, the world."
Thursday, March 4, 2010
MODERN LOVE ] Tomorrow night, Paulino Que is bringing out the jewels from his palace
Finale Art File is proud to showcase “Meaning To Be Modern”, a selection of Philippine paintings from 1907 to 1959. The exhibition presents a vital part of art patron Paulino Que’s vast collection of Philippine art and antiquities. It focuses on the early periods of Philippine modern art, spanning the initial phases of the movement with Victorio Edades, his precursors Juan Arellano and Diosdado Lorenzo, and peers Galo Ocampo and Carlos Francisco, as well as the developments thereafter: the Thirteen Moderns, incipient and late neorealism, and abstraction on the cusp of the Sixties. 
This collection is exceptional and exemplary, surveying the watersheds of Philippine modern art, from the early part of the 20th century to the Sixties. The Fifties may be considered the high point of the process of modernity in Philippine art, preceded by years of debates with the Amorsolo conservative school of romantic realism, experimentation with a range of styles from the school of Paris, and the formation of a distinct visual idiom of modern art that was cosmopolitan and uniquely Filipino. 
Aside from the art works, this collection also brings to light the significance of the Paulino Que collection, which is one of the most indispensable in private auspices and could rival the combined treasures of public institutions of modern art collection such as the National Museum, the Cultural Center of the Philippines, the Ateneo Art Gallery, and the Vargas Museum. Featuring 36 artists and 80 works, it promises to be an event in itself, a rare occasion in which a private collection becomes public discourse as students, scholars, and supporters of Philippine art gain access to it and hopefully engage it with the same discernment that went into its shaping.
The exhibition will run from March 6 to 31, 2010 at Finale Art File, Warehouse 17, La Fuerza Compound, (enter Gate 1), 2241 Pasong Tamo, Makati City. Student tours are welcome. Should you request a guided tour, call 8132310 or email finale@pldtdsl.net. Admission is free. Finale Art File is open Monday to Saturday, 10am to 7pm.
Wednesday, March 3, 2010
FRESH PAPAYA ] A favorite space undergoes a little retweaking
Of the local galleries, Green Papaya holds a distinguished spot. It can be outrageously intellectual one moment, say, in exploring the interrelationship between performance and dialogue (“The snobbish tone of a roundtable discussion belies the possibility of taking something much seriously than how it already appears to be because surely there is nothing as tedious than witnessing steadfast attempts of repeating patterns to the point of their own exhaustion.” Whew, ka-exhaust.) Or when talking about the annual Serial Killers group show (“Serial Killers is a response to parallel notions of seriality, non-seriality, or counter-seriality.”). Still, from that high up, nowhere in the art scene is the atmosphere most grounded than at the rough-around-the-edges halls of this space near the corner of T. Gener Street and Kamuning Road in Quezon City.
Here, far from the polished, finished walls of the spaces everywhere else, despite the occasional presence of collectors and other demigods, the artist surveys the new works of their colleagues, then parties about unencumbered, owning the space like home. Maybe it’s the artists who run it. Maybe it’s the San Miguel. The thing is, no matter the culprit, Green Papaya is—to use a not-very-cool description—fun. And now that the space is on its third incarnation—as a full-fledged bar but with art on the side—the interiors remain possessed of its original resolve: to carry the best and, ugh, wasak in contemporary art, and to give the community an all-embracing second space to come home to.JG 
Green Papaya Art Projects is located near the corner of T.Gener Street and Kamuning in Quezon City. It's open from 4pm onwards Wednesdays, Fridays and Saturdays.
Photographs by Rico Quimbo.
Tuesday, March 2, 2010
ARTIST STATEMENT ] Argie Bandoy will give you a topic. 14 topics. Discuss.
2. Painting is Brash and brute and dirty.
3. A Bad painting is a good painting.
4. Painting by manhandling the paint.
5. A good painting only exists in the imagination.
6. Painting always asks for more.
7. Painting is superficial.
8. Painting demands the painter’s flesh and blood.
9. A painter is a delusional being.
10. A Painting always contradicts the painter.
11. Aiming for Beauty produces unpleasant results.
12. Repulsive is better than playing nice.
13. Bad humor is always the best.
14. Painting is a cerebral activity.
Artist Argie Bandoy will show his new collection of works entitled “A discourse on bad taste and guilty pleasures” this Friday, March 5 (will run up to the 25th) at the Nova Gallery, La Fuerza Compound, 2241 Don Chino Roces Ave., Makati City. For more information call 392-7797 or send an electronic mail to gallerynova@gmail.com.
And since we're on the discussion of discussions, what do you think of this?
