tag:blogger.com,1999:blog-31497439722005857732024-02-07T20:19:08.005-08:002VIEW Exhibition2VIEW Exhibition by Rosscapili & Pinggot Zulueta
-Opening Cocktails on September 1, 2014, 6pm at the Galerie Francesca, 4th Floor, SM Megamall, Mandaluyong City Unknownnoreply@blogger.comBlogger32125tag:blogger.com,1999:blog-3149743972200585773.post-32062141005160944022022-07-13T23:53:00.006-07:002022-07-28T00:39:26.320-07:00<p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3H5y9rldtEFPjg7wHcFx3SwQtm6xU5RTt64apMoSvBKRIlqK4Cu1LSVeLz_8tBjfkw9prhrWt1HlNmOa3IuMmt86CUJD8S1IbGlt4Xn4tZNuiXy7-O4qMho_fh3w5UZZ8zWLiOdK-6lLSYJEMHU-JuRj4k09GVUpyRTlxgZUIOmbGULOe2OhzWTZw/s1500/Pinggot%20Zulueta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1200" height="568" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3H5y9rldtEFPjg7wHcFx3SwQtm6xU5RTt64apMoSvBKRIlqK4Cu1LSVeLz_8tBjfkw9prhrWt1HlNmOa3IuMmt86CUJD8S1IbGlt4Xn4tZNuiXy7-O4qMho_fh3w5UZZ8zWLiOdK-6lLSYJEMHU-JuRj4k09GVUpyRTlxgZUIOmbGULOe2OhzWTZw/w455-h568/Pinggot%20Zulueta.jpg" width="455" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: justify;"><span style="color: #ffa400; font-family: arial; text-align: left;">INFINITUM</span><span style="text-align: center;"> </span></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="separator" style="clear: both; text-align: justify;"><span style="color: #ffa400; font-family: arial; text-align: left;">Pinggot Zulueta </span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="color: #ffa400; font-family: arial;">7 July to 6 August 2022</span></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;"><span style="color: #ffa400;">West Gallery</span> </span></div></div></blockquote><p style="text-align: left;"> <span style="font-family: arial; text-align: justify;">INFINITUM, the artist Pinggot Zulueta’s latest art exhibition, is a continuation of his autobiographical journey into introspection. This exhibit is the fourth in a series - inclusive of ‘Melankolia’ (2020), Katharsis (2017) and Incepto (2016) – whereby the artist presents his inner upheavals as a sentient being. As the series matures, and with the passing of time, the artist has gained deeper insights through an ability to see the outside inwardly.</span></p><p style="text-align: left;"> <span style="font-family: arial; text-align: justify;">The meaning of Infinitum (or Ad Infinitum) is ‘without end or limit’. The adage ‘art imitates life and life imitates art’ is an endless philosophical loop, and one that the artist’s works corroborate with. However, ‘infinitum’ may be a difficult concept to grasp as the world continues to grapple with a pandemic. Amidst the crisis, artistic expressions have evolved, including those of the artist whose works had been subdued by intense questions about human existence and survival. In solidarity with various form of anguish, his artworks are presented in exuberant fields of black and white, as if shades of darkness are spreading into infinity.</span></p><p style="text-align: left;"> <span style="font-family: arial;">NFINITUM is a series of ink drawings on paper, a medium that allows the artist to devote himself to his craft for countless hours. The artworks present a confluence of emotions, including despondent expressions about the grim realities of this segment in human history. “During the years of isolation, my resolve was to document how the pandemic was affecting me and others, including the not-so-subtle realisation that our mortality is real. I had been more conscious of the creeping dangers to everyone, including to my family and friends. Sino ang may bertud at hindi tinatablan ng covid? Maraming kaibigan ang biglang naglaho … sino ang susunod? Panalangin ang palaging sinasambit upang mapakalma ang sarili. I saw the world in ‘black and white’, which disposition had resonated in my artworks.” The solitude and isolation from the seemingly endless days of the pandemic had been challenging; however, the artist had prevailed in projecting his mind forward to resist fixation on the immediate moment. </span></p><p style="text-align: left;"> <span style="font-family: arial;">INFINITUM is a collection of artworks depicting various states of intense and conflicting emotions. The artist used surreal symbolism to draw in viewers into an immersive visceral experience, whilst challenging their perceptions and perspectives. The artworks are expressions of the artist’s innermost thoughts and defy any categorisation. “My work is inherently subconscious. I get lost in the pure enjoyment of creating. Through the artworks, I have expressed and affirmed my sensibilities which otherwise would have eluded capture.”</span></p><p style="text-align: left;"> <span style="font-family: arial;">The artist believes that art has something to say about the human condition. Keeping our destructive instincts at bay is what we need to do if we wish to preserve the fabric of our society and the very essence of human survival. When we are in a state of mind, in which things are not resolved into conventional categories, we are more likely to see new possibilities. “I have always painted whenever I felt the need to understand the underlying forces around my existence. The recent pandemic has created a more intense awareness of our mortality, as we make deliberate choices as to what is important. In a way, there was this ‘collective introspection’ that happened, where human beings stopped to reflect on the little things that make a huge difference in our lives. It was a collective effort that unified the world into defeating the pandemic.” The artist invites the viewers to engage in a process of individual and collective introspection, and to allow various levels of contemplation to generate it. Together, our collective resilience and survival is limitless. </span></p><p style="text-align: left;"> <span style="font-family: arial;">The exhibition runs from 7 July to 6 August at the West Gallery, Quezon City.</span></p></div> <p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-70456081380579919932022-01-14T04:58:00.004-08:002022-07-13T23:55:44.458-07:00<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEieQf2ZnQK3r5ugCnNS84ynzWA5rI5izZxskvhFYliWEc8TcU8f-YBKh5srqQA5BnPkZqCMrpSOxODZeJdxSjwIPAXjeFetPEhQ8kORHXme2PHC0aIxi5EqMUj02stwXjIktxMlppBbEMonH7qzkh8sb8gxcDwyxGWdSllM0ET7QvzwznwLzguidepo=s5160" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5160" data-original-width="4308" height="614" src="https://blogger.googleusercontent.com/img/a/AVvXsEieQf2ZnQK3r5ugCnNS84ynzWA5rI5izZxskvhFYliWEc8TcU8f-YBKh5srqQA5BnPkZqCMrpSOxODZeJdxSjwIPAXjeFetPEhQ8kORHXme2PHC0aIxi5EqMUj02stwXjIktxMlppBbEMonH7qzkh8sb8gxcDwyxGWdSllM0ET7QvzwznwLzguidepo=w511-h614" width="511" /></a></div><span color="var(--primary-text)"><p><span style="color: #ffa400; font-size: medium; white-space: pre-wrap;">The Shadow That Looms Until The End of Light</span></p><p style="font-family: inherit; font-size: 0.9375rem; white-space: pre-wrap;"><span color="var(--primary-text)" style="font-family: inherit; font-size: 0.9375rem;">By Jose Tence Ruiz</span></p><p style="font-family: inherit; font-size: 0.9375rem; white-space: pre-wrap;"><span style="font-family: inherit; font-size: 0.9375rem;">It would seem salutary to suggest that we are woke, professing cognizance of an entire half millenium of having been molded and shaped by fellow humans coming in from outside our indigenous spaces. The Big Topic of the year 2021, aside of course from a persistently fatal virus that also drifted in from without, is a remembrance of 1521, when this archipelago which we inhabited since pre-history was to be changed by visitors from halfway across the globe. By 1521, these islands were not unused to foreigners : The Arabs, Austro-polynesians, Siamese, Chinese, Indians, they all came and found settlement and social exchange; It’s just that this wave of visitors from the Empires of the Baroque Era had designs to own us as a territory; Us, as a subjected peoples in extension and sustenance of their own progress, of their own growth, fed on resources taken from us. </span></p></span><div style="animation-name: none; font-family: inherit; transition-property: none;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;"><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_42u" style="animation-name: none; font-family: inherit; padding: 4px 16px 16px; transition-property: none;"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg" style="animation-name: none; display: flex; flex-direction: column; font-family: inherit; margin-bottom: -5px; margin-top: -5px; transition-property: none;"><div class="qzhwtbm6 knvmm38d" style="animation-name: none; font-family: inherit; margin-bottom: 5px; margin-top: 5px; transition-property: none;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j fe6kdd0r mau55g9w c8b282yb keod5gw0 nxhoafnm aigsh9s9 d3f4x2em iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" color="var(--primary-text)" dir="auto" style="animation-name: none; display: block; font-family: inherit; font-size: 0.9375rem; line-height: 1.3333; max-width: 100%; min-width: 0px; overflow-wrap: break-word; transition-property: none; word-break: break-word;"><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">Is this not the way to launch a meditation on 1521?</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">A cursory chat with three filipino artist contemporaries yielded a quaint, even giggly observation: All three of us, who are not of Iberian physiognomy, all bear hispanicized surnames ; Mr Jose ‘Pinggot’ Zulueta is rather quite bumi/austropolynesian, Mr Jose ’Bogie’ Tence Ruiz is more Ottoman/Chinese and Mr Federico ‘Pete’ Jimenez will definitely pass for Sino-Japanese. Yet we all move forward into 2022 with this cross pollinated bricolage of a self : That which sociologist historian Vincente Rafael describes as a product of the overlapping trajectories of three empires : Spain, America and Japan. And we belong to the converse of Empire, and, perforce, count ourselves as bred from Colony.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">And the mention of Colony corollarily conjures up discourses of subjugation, resistance, violent domination, exploitation, release, self-realization, parity, human justice, compassion and cruelty, mimicry, bondage, heroism and betrayal and an elongated list of subjects that extrude themselves whenever one segment of humanity overpowers the other. So we therefore come into this exhibit with this Galleon-load of baggage and dwell on the expressions that are thrown up in a review of the painful but also rivetting narrative of a self-proclaimed community, imagined as Benedict Anderson would call it, that has labored under the heel of one that has sought to reduce it to being merely a source of nutrition and sustenance, while draining this very sustenance from those who by fate were born or sited on these dominated territories.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">Thus does this show, which mainly deals with redolence, traces, effects, using the spanish line In the shadow of Colony, “ala sombra de la Colonia” unfold with works that can as well be mutating variants of redolence : Pinggot Zulueta has marked out some very intense black and white ink drawings that propose a visceral lens, with equally raw tropes that work to start newer conversations about the last 500 years, conversations from below, to lay down a perspective, from those whose lives were ravaged and brutally gobbled up to feed larger regimes. He posits that for a decolonization to be effected, courage, heroism, even martyrdom has to be relocated at the fore. He is aware that relations of subjugation are eroded by releasing suppressed histories, histories long referred to by national historian Renato Constantino as histories from beneath, from the subjugated breaking the silence of rule by force driven conquest. Zulueta presents the bovine carcass in a good number of his drawings, as if to suggest the domestication of the conquered, like humans domesticate cows for the table, and at the same time suggest individuals who have risen above this domestication to assert a decolonization, a realisation dreamt of, harking to the better f-word, freedom.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">Tence Ruiz had a father who looked primarily Chinese. His maternal grandfather, Victor Tence, born in eastern France into the poverty of uphill farming, came over as infantry with the American General Dewey’s occupying forces. Tence Ruiz speculates on the dilution, if not the drowning of culture with dominance. He re-creates familiar poses of what were once Filipino heroes in the continuum of self definition but layers on them a pathetic corruption and </div><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">re-assignment into the desires of empire: Proto-heroic Andres Bonifacio is relegated to a Superman look-alike in a massagic purgatory, Revolutionary General del Pilar transmutes into a Hollywood leading man on an equestrian monument of exploited agriculture and the sublime intellectual Mabini, looking unnervingly close to a Chinese martial arts idol, is grafted onto the prurient equivalent of his namesake, that which thrust prostitution onto the laps of returning strangers, now re-christened as sex tourists.The narrative of A. Mabini as red light haven for the ‘puti’, whites, is a cautionary tale of twisted hospitality and the resultant degradation of otherwise noble lives into the infamy of subjugation. </div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">His largest work for ‘Colonia’ is a florid kariton-katedral, harking to both the Illusory Garden of Eden and the Islamic firdaus, that ramrods a foreign one sided contract of a heavenly reward onto the oppressed in exchange for all their worldly ownings and dignity, while climbing on a stage crafted from the debris of denuded forests of exploited timber and industrially profitable minerals.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">Pete Jimenez leavens the opprobrium of his showmates with wittily reassembled avatars of cultural notions evolved in the engagement with conquest: the ‘Sardinas’, comical metonym of overpopulation, bestowed with an elevating, if Euro-Olive oil imbued but homegrown Spanish snobberry; the robot-like remnants of ruthless Japanese severity, both as rulers and as defeated targets of the Americans; the superficial pacification of a whole people under a transplanted Educational system, even the prospect of a future loss of sea resources to the newly aggressive and determinedly growing Beijing-run Empire of Command Capitalism. He touches on grave topics with droll humor and irony, and spans the near erased past as well as the fearful future, a fraught span of time where the inhabitants of our Archipelago are unyeildingly besieged by those who would covet our naturally endowed treasures, above and into the soil, beneath the seas, and now, burrowing deep, into our demarcated continental shelf. Jimenez’ wit with discards also mirrors the self serving upitty attitudes that the elite of these islands have grown like a keloid to assuage and justify their consistent betrayal of the majority in favor of being surrogates/collaborators for and with the invaders, offering their feasance for uninterrupted economic and social ascendancy. Or to explain why someone once wanted to rechristen us Islas de las Ladrones.</div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">The entire schema of dominance, of the large consuming the small, is generally undesirable in a proportional humanized proposition of ideal existence, but it does exist and looms, grand and imposing. Colonization is not new to homo sapiens, who from the individual to the tribal to the national to the global has always had to deal with one segment eating up another, or feeding from it in an unequal relationship. In our Utopian aspirations, we yearn for a state of being free from capture, but those of us thrown into the crucible of realpolitik have come to recognize that eternity is a concept that none of us will ever live to reach, that immortality is a conceit, and that the Utopian project of being in unfettered liberty is constantly vulnerable to siege from those who entertain the illussion that their power is equal to and a signal of their magnanimity. Tyrants, or colonizers for that matter see themselves as gods bequeathing to the Promethean among the masses, and this cycle of dominance and repression will accompany Humanity for millenia to come, at whichever planet we as a race might touch down on . </div></div><div class="cxmmr5t8 oygrvhab hcukyx3x c1et5uql o9v6fnle ii04i59q" style="animation-name: none; font-family: inherit; margin: 0.5em 0px 0px; overflow-wrap: break-word; transition-property: none; white-space: pre-wrap;"><div dir="auto" style="animation-name: none; font-family: inherit; transition-property: none;">This exhibit exists within this contentious universe of emancipation and captivity, and our three quaintly surnamed exhibitors struggle to articulate, to give imagery to these tides of conflict between individuals, states, continents, later even planets in a way germane and thus emotionally resonant and authentic to their memories and modes of comprehension. Colonia will always hover over humans, maybe as an irreversible complement of their ability to grow. Power is said to be beneficial until it outpaces its needs, and the freedoms of people, to ever be realized, will always have to contend with the sysiphean processes of recognition and resistance.</div></div></span></div></div></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-39223818623725962712020-03-03T17:27:00.015-08:002020-08-15T03:03:39.778-07:00MELANKOLIA Exhibition<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-FyBW65PN8TbCgPc88Oh5JyG_wT1spDqs06cqIWZVbcdMBYvhhXBNhlL54exBcTtXZFDw8kq43H2dbEOtKmcnEr-bPuiPNNXz9I_Z6HOXTzlEy3CkF0zNlDUEcw_4y7PhS9NXsifnI44/s2048/Melankolia06x.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1423" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-FyBW65PN8TbCgPc88Oh5JyG_wT1spDqs06cqIWZVbcdMBYvhhXBNhlL54exBcTtXZFDw8kq43H2dbEOtKmcnEr-bPuiPNNXz9I_Z6HOXTzlEy3CkF0zNlDUEcw_4y7PhS9NXsifnI44/s640/Melankolia06x.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
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<span face="" lang="EN" style="font-family: arial, sans-serif; line-height: 115%;"><span style="color: orange;">MELANKOLIA: New Works
in Black and White</span><b style="font-size: 14pt;"><o:p></o:p></b></span></div>
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<i><span face="" lang="EN" style="font-family: arial, sans-serif; font-size: 12pt; line-height: 115%;">"</span><span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;">Pain, pleasure
and death are no more than a process of existence. The revolutionary struggle
in this process is a doorway open to intelligence." - Frida Kahlo</span></i></div>
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<span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;">In his latest solo
exhibition, <i>‘Melankolia</i>’, Pinggot Zulueta continues with his
autobiographical theme of understanding the inner self. Following on from his
previous works (‘<i>Incepto</i>' presented in 2016, and ‘<i>Katharsis</i>'
exhibited in 2017), the artist lingers on his journey of introspection. His
latest exhibit consists of a series of drawings which evoke complex emotions,
intense sentiments and memories from his sojourn. <o:p></o:p></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKHW1sYTeDr3zzWmGzzi8OYF8c1YIGno2qNECBEX31z8kpAxXZV7BBf-LPXdnleeZMYxepVfA6iuD2yII3deGRwzekOOR0wXesLp5d3FS9MIJxZVPeG-dHqUqq8kuCJnHY1xAoRluJcw/s2048/Guardian+of+Dreams.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1433" data-original-width="2048" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQKHW1sYTeDr3zzWmGzzi8OYF8c1YIGno2qNECBEX31z8kpAxXZV7BBf-LPXdnleeZMYxepVfA6iuD2yII3deGRwzekOOR0wXesLp5d3FS9MIJxZVPeG-dHqUqq8kuCJnHY1xAoRluJcw/w512-h358/Guardian+of+Dreams.jpg" width="512" /></a></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none; text-justify: inter-ideograph;">Guardian of Dreams, Ink on Paper, 2019</div>
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<span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;">‘<i>Melankolia</i>’
incessantly returns the artist to some of the more intimate segments of his
existence. Through a process of mindful reflection,<span style="mso-spacerun: yes;"> </span>he has produced works that are imbued with a
melancholic temperament ... highlighting negative and positive sentiments in
almost equal measure. This uplifting temperament continues to inspire him as a
visual artist<i>. “I started with this series of drawings back in 2003, when I
was a newly-arrived migrant in New Zealand, and was faced with the much known
struggles of integrating, coping and belonging in a new country”. </i>At that
time, his situation was compounded with the misfortune of losing his father and
not being able to come back home. He turned to paper and ink to express his
sadness and solitude<i>. “I expressed my intense emotions on paper canvas as
part of my grieving process. I had to look for inspiration in my art in order
to move forward. I created drawings based on my emotional experience and imagination.
"Ang pakiramdam ko ay para silang mga sugat na ayaw maghilom at kinakalkal
pati ang kailaliman ng aking bituka”,</i> he intimated. <o:p></o:p></span></div>
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<span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;">By immersing in his
past experiences from a distance, the artist has given them a place in his
life’s story, therefore achieving a sense of connection and harmony with his
past. <o:p></o:p></span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Nsp1rtIoTvzTtekmAUO1E8BzNa5tIFWMrr5zWtwdqiO94TB4kQ3xJHGTvpRtGLgdqhEdRxRgIKyAr9OSoW4MJ08u-AkrykUf2UM9aSmq7H8CsufPbe0X5RIrlCfGwoKryDOyn-FuBQ8/s2048/Forest+Nymph.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1424" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Nsp1rtIoTvzTtekmAUO1E8BzNa5tIFWMrr5zWtwdqiO94TB4kQ3xJHGTvpRtGLgdqhEdRxRgIKyAr9OSoW4MJ08u-AkrykUf2UM9aSmq7H8CsufPbe0X5RIrlCfGwoKryDOyn-FuBQ8/w356-h512/Forest+Nymph.jpg" width="356" /></a></div></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none; text-justify: inter-ideograph;"><span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;">Forest Nymph, Ink on Paper, 2019</span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none; text-justify: inter-ideograph;"><i style="font-family: arial, helvetica, sans-serif; text-align: justify;">Melankolia’ </i><span style="font-family: arial, helvetica, sans-serif; text-align: justify;">is
not a debilitating state of resignation, but rather a reflective and uplifting
experience. Its contemplative feature, and association with people and places,
triggers an aesthetic response. The concept of melancholy has been explored in
various art forms, both in the modern and classical, and has brought
distinctive pleasure to artists and their viewers.</span></div>
<div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span face="" lang="EN" style="font-family: arial, helvetica, sans-serif; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>In his new exhibit, Pinggot Zulueta presents
twenty-one (21) drawings - some of which are vividly real, while others are
intriguingly faint and sketchy<i>. “In this series of drawings, I have combined
both surreal and symbolic styles - there are no colours, only black and white
hues on canvas. I hope the audience will identify with the contemplative
perspective of each of the drawings, and dwell in the stillness of each visual
aria for some time ... even after the exhibit is long gone."<o:p></o:p></i></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><span lang="EN" style="line-height: 115%;">The exhibit runs from
16 to 31 January 2020, at The Saturday Group Gallery on the 4th level, East
Wing, Shangrila Plaza, EDSA, Mandaluyong City</span><span lang="EN" style="mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">.</span></span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;"><span lang="EN" style="mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">_________________________________________________________________</span></span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif; text-align: left;"><br /></span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif; text-align: left;">MELANCHOLY IN ART IS A MATURE EMOTION’ </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;"><span face=""><span lang="EN" style="mso-ansi-language: EN; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-justify: inter-ideograph;"><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">By Sara Grace C. Fojas</span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">January 20, 2020</span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">Start the year with a bang, as the saying goes. And that’s what Manila Bulletin Lifestyle’s resident photographer and artist Pinggot Zulueta did. He opened the year with “Melankolia,” a collection of his black-and-white drawings, an expression of his “complex and intense emotions.” His 21-piece exhibit, currently displayed at The Saturday Gallery of EDSA Shangri-la Mall until Jan. 31, represents memories and imaginings of distant places. </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">“It’s a contemplative body of works that is meant to be introspective and uplifting. ‘Melankolia’ is not just my story, it is also yours. It is about finding a connection with our inner selves and with others. It is about coming to terms with the struggles and difficulties we experience in life,” says Pinggot. “We all have moments when we experience sadness and futility—to acknowledge this and understand that other people might be going through similar struggles is something art can help us with. Melancholia in art is a mature emotion in which reflections calm a turbulent soul.” </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">The exhibit is a follow through on the melancholic temperament of the artist’s earlier exhibits, “Incepto” in 2016” and “Katharsis” in 2017. It is a collection of various elements ranging from hearts to vultures to moons and inner organs, even including the Mexican painter Frida Kahlo and Belgian artist Rene Magritte. His Haunted Heart displays how the heart takes over the body, with an eye that sees only what it wants. On the other side of the room is the same heart, The Heart that Rules the Head, but this time the heart is already wrapped in thorns. But in The Wedding (Homage to Frida Kahlo and Magritte), two hearts are connected with these pains and thorns, and that makes them one—one with the struggles and fullness of life.</span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none; text-justify: inter-ideograph;"><div class="MsoNormal" style="line-height: 13.8px; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">“Although my art has relative insignificance to the bigger issues of today, its theme ‘Melankolia’ may resonate more profoundly,” Pinggot says. “Life is complex, full of constant change no matter how we control it. There are times life tears us down, then we rebuild, and move forward. My heart goes to all those affected by the Taal Volcano eruption, and the many others in our country who continue to suffer from poverty, exclusion, and injustice. I continue to have faith in the Filipino spirit—and that we are capable of perseverance in the face of adversity. It is imperative that we maintain hope even when the harshness of our reality may suggest the opposite. Together we can create positive energies based on positive feelings of appreciation, gratitude, and compassion. I hope that this exhibition can be anchor for self-reflection and expression.” </span></div></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">All of these humble masterpieces are created with pen and ink on paper, with some spilled with a splash of coffee. The effect may be a little morbid at first, in every small and intricate detail. Yet as you go through the collection and reflect, you’ll find that life indeed is full of change, and in the end all we want is peace. Pinggot, in his years of creating art, has become one of the most recognized artists in the country. He has a gift of being out of this world, with a unique imagination that makes his art extraordinary. He’s not afraid to use different mediums from oil paint to found objects to words, and now back to the basic pen and paper. That makes him unique.</span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;"> </span><span face="" style="font-family: arial, helvetica, sans-serif;">But more than his art, Pinggot never fails to recognize the work of his fellow artists. He created a book Filipino Artists in their Studios Volumes I and II, a collection of the artists’ stories, with their respective artworks and photographs, in cooperation with the Manila Bulletin Publishing Corporation. </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">“I am an artist because it is simply what I need to do and what I do best. Emotion equals art, the brush on the canvas expresses my emotions,” Pinggot says. “It is my wish you would dwell in the stillness of each of the drawings and reflect on their meanings long after this exhibit is over. And I hope that you will find that the underlying message in all of the works is our collective ‘oneness.’” </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><span face="" style="font-family: arial, helvetica, sans-serif;">‘Melankolia’ runs until Jan. 31 at The Saturday Group Gallery, Shangri-La Plaza, EDSA, Mandaluyong City. </span></div><div class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none; text-justify: inter-ideograph;"><br /></div></div></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-6942474851587590412018-04-05T13:22:00.013-07:002020-09-27T07:59:59.369-07:00 UMBRA + PENUMBRA<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJXpcz9LJ10Cbak0aajFqI-euSXD9OtIIOr5WTKx5KezDPPxDUDWsPSi-Zic4UHxVASeKfoYI7L8c_tXyorsJ9oGSAxJltwOKXCtbUZRpZCGNAE1mA5Yo7HXw7ZYVgvljwKEN7MJN6FXk/s2048/umbra_penumbra03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJXpcz9LJ10Cbak0aajFqI-euSXD9OtIIOr5WTKx5KezDPPxDUDWsPSi-Zic4UHxVASeKfoYI7L8c_tXyorsJ9oGSAxJltwOKXCtbUZRpZCGNAE1mA5Yo7HXw7ZYVgvljwKEN7MJN6FXk/s640/umbra_penumbra03.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div>
<div class="separator" style="clear: both; text-align: left;"><span style="font-family: arial;">Kaida Contemporary presents Pinggot Zulueta's recent works in Umbra+Penumbra this Sunday, April 8, 2018 at 6PM. Zulueta plays on the familiar and the nostalgic as he presents monochromatic abstractions of mixed media, woodworks and assemblages. Found objects from his childhood countryside home make their way into his pieces, creating works that are partly autobiographical while touching on themes of attachment and abandonment, contrasting innocence with maturity, belongingness with alienation. Umbra+Penumbra is on show until May 25. Please come visit!</span></div><div style="clear: both; text-align: left;"><br /></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif" style="font-weight: normal;">_________________________________________________________</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif" style="font-weight: normal;"><br /></span></div><div style="clear: both; text-align: center;"><span face=""><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif" style="color: #ffa400;">UMBRA + PENUMBRA</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">For his first solo show this year, visual artist Pinggot Zulueta gives light, or rather, casts a shadow to the obscurities of his life through “Umbra+Penumbra.” Umbra is the Latin word for “shadow,” which is also the term used to describe the innermost part of it, a place of total darkness. The Penumbra, on the other hand, is the region in which only a portion of light is stained by an occluding body. But the body in the umbra is also within the penumbra.</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">“Umbra+Penumbra” is, in a way, Zulueta’s stygian look back to when he dreamed and came of age. In the exhibition, he takes us back to his childhood home in the countryside, where he often spent afternoons in the middle of crop fields and farmhouses, and nights musing in his room, calling for the moon as his solitary companion. </span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">Evident in the mixed media assemblages included in the collection, is Zulueta’s masterful utilization of found objects he deems familiar. The abstract sculptures are dressed with relics from both his childhood and adulthood such as wooden figures, tattered cartons, miniature toy soldiers, ropes, an umbrella, a typewriter, newspapers, and antiquated books. The inclusion of these objects make the works even closer to him and much more autobiographical.</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">Zulueta plays on nostalgia, the familiar, and the past to cast a shadow on the crushing adversaries, which he experiences in his day-to-day life. </span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5YqXfzBb447zdImwycTJnDYHBHFcUKE7nOc8y5l5fWlpZyWHNxdqa0QE_5Z2rLle9zpV2BCeTkZx_YTIhCUWI8mryHz5cUTIKAlMbJP_eQxx_QflXrwdri99Xxw2VcAUygPnLL86qwM/s2048/1+Summer+Night+Bloom%252C+Mixed+media+Assemblage%252C18x24in%252C+2018.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1557" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf5YqXfzBb447zdImwycTJnDYHBHFcUKE7nOc8y5l5fWlpZyWHNxdqa0QE_5Z2rLle9zpV2BCeTkZx_YTIhCUWI8mryHz5cUTIKAlMbJP_eQxx_QflXrwdri99Xxw2VcAUygPnLL86qwM/w390-h512/1+Summer+Night+Bloom%252C+Mixed+media+Assemblage%252C18x24in%252C+2018.jpg" width="390" /></a></div><span face="arial, helvetica, sans-serif"><div style="text-align: center;">Summer Night Bloom, Mixed media Assemblage,18x24in, 2018</div></span></div><div style="clear: both; text-align: left;"><br /></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">Unlike his recent shows in which he unleashed his sentiments in a cascading downpour, “Umbra+Penumbra” highlights the obscurities of his emotions spiritedly. According to him, this is his way of playing as a child again, carelessly tarnishing the sharp white background, reuniting himself with his toys and youthful soul. And like an eclipse, the two shadows, Umbra and Penumbra, silently dance within these monochromatic abstractions. </span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">With mixed media wood works and assemblages capitalizing on old discarded and found objects, Zulueta flirts on themes of attachment and abandonment, contrasting innocence with maturity, belongingness and alienation—“Umbra+Penumbra” is fueled with contradictions. </span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">All of these done by playfully creating tension between black, white, and gray</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">“I just want to play with shapes and forms, a way to escape from serious topics,” he says. </span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">“Through the abstract form, I channel my focus in trying to unearth and interpret my personal experiences and perspectives, which are buried deep within me.”</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif">------------------------------------------------------------------------------------------------------</span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><br /></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif" style="color: #ffa400;">'<span>Pinggot' goes back to childhood</span></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><span style="color: #ffa400;"><br /></span></span></div><div style="clear: both; text-align: left;"><span face="arial, helvetica, sans-serif"><div style="clear: both;">Text by Lester Babiera</div><div style="clear: both;">Phil Daily Inquirer</div><div style="clear: both;"><br /></div><div style="clear: both;">Jose 'Pinggot' Vinluan Zulueta has been moving constantly these past few years. The photojournalist-artist has been mainly based in Manila, but he has been across the region-from Australia to New Zealand and Cambodia. But he has always tried to moor his photojournalism and art in the Philippines.</div><div style="clear: both;"><br /></div><div style="clear: both;">In his latest solo exhibit at Kaida Contemporary titled 'Umbra+Penumbra,' Zulueta tries to merge his photojournalism and artistic practice. Perhaps drawing from black-and white photography he paints polychrome mixed-media works consisting of relics of the past.</div><div style="clear: both;"><br /></div><div style="clear: both;">'In this exhibition, I am trying to reconnect my childhood by going back to my hometown and create memories by piercing together relics of the past through art,' Zulueta said.</div><div style="clear: both;"><br /></div><div style="clear: both;">Pinggot reminisces his coming-of-age years living in Tarlac. Back then, everything was not yet complicated, he wistfully says. He recalls an easy life in Paniqui playing with whatever simple things he finds at home or in his neighborhood. It was a bucolic existence, he says. He was at peace with nature.</div><div style="clear: both;"><br /></div><div style="clear: both;">As a result his latest mixed-media paintings are culled not exactly from found objects but from vestiges of the past. The artist explains he went back to his ancestral home and neighborhood and gathered from there remnants of his childhood and incorporated them in his art.</div><div style="clear: both;"><br /></div><div style="clear: both;">For example, 'Starry Night' collects his toy guitar, an old hanger, and even discarded wood in his house painted in different shades of gray. Gray presumably dovetails with the 'Umbra and Penumbra' of the title since the two distinct parts of the shadow almost always have only two colors, black and white, or a gradated merging of the these.</div><div style="clear: both;"><br /></div><div style="clear: both;">The pieces as a result reek of nostalgia. 'Summer Night Bloom,' a work that shows a bouquet of fake roses placed beside a withered palaspas (Palm Sunday frond), reminds one of those tacky decorations in the provinces and of Holy Week during summer break.</div><div style="clear: both;"><br /></div><div style="clear: both;">Zulueta is known for his abstractions. But he literally goes representational and figurative in his latest series, and since he's tackling something very close to his heart, his works in the new series are personal and nostalgic.</div></span></div></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-12113712506385253792017-12-12T03:23:00.026-08:002020-08-15T03:17:11.921-07:00Ka.Thar.Sis<div class="MsoNoSpacing">
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<font color="#000000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1576" data-original-width="1600" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7lm0j7iAecV2rpS783OdcoDodq2K2Z-jIXkVvNipzIrETxiCzpYoRqgpcfWFyT9Jzu48fBLQQUzyWXVxYk9ES9VIdceQvuESyAA-Mnxm1XNo00Qs9e65oe9DD3FjUE14MQMwssvcXkpM/w400-h393/Katharsis_pinggotvz01+copy.jpg" width="400" /></font></div>
<div class="separator" style="clear: both; text-align: center;"><span style="color: orange; font-family: arial; font-size: 12pt; text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: orange; font-family: arial; font-size: 12pt; text-align: left;">Ka.thar.sis by Pinggot
Zulueta at The Saturday Group Gallery, ShangriLa Plaza</span></div><div class="separator" style="clear: both; text-align: center;"><p style="clear: both;"></p><div style="text-align: left;"><span style="font-family: arial; text-align: justify;">Purgation and purification – Catharsis, in its original Greek form,
denotes a release of emotions. A metaphor coined by Aristotle, pertained to in
the Poetics, Katharsis emerged following a comparison on the “tragedy on the
mind of a spectator to the effect of a cathartic on the body”. Pinggot Zulueta
further expanded on this idea in his latest exhibit, Ka.thar.sis,, through his
thoughtful reflections on alienation, solitude and loss of identity.</span></div><font face="arial"><span style="mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"><div style="text-align: justify;"><br /></div></span><span><div style="text-align: justify;">Ka.thar.sis essentially presents itself
a visual dialogue, wherein the artist, in a candid and refreshing manner,
shares feelings of vulnerability particular to those who have ventured into new
environments. Drawing from his experience moving back to Australia, Zulueta
channelled his personal epiphanies on the existential crisis that comes with
being far removed from the favoured and familiar, and the disquiet it triggers
within one’s soul.</div><div style="text-align: justify;"><br /></div></span><span><div style="text-align: justify;">While the collection is distinct in its merit, the show serves as a sequel to
his last show, “Incepto”. As the last collection touched upon his internal
struggles, Zulueta further expanded on this concept and moved towards a more
holistic and philosophical discussion on alienation and identity through the
physical vehicle, the face.</div><div style="text-align: justify;"><br /></div></span><span><div style="text-align: justify;">Zulueta is no stranger to portraits being a seasoned photographer with a
colorful career documenting the evolution of the Philippine art scene, however,
in his paintings his approach towards portraits take in a more intimate
dimension. Instead of zeroing in on his own representation of himself, he
shares his reimagining’s of other people, to further build upon these themes.</div><div style="text-align: justify;"><br /></div></span></font><font face="arial"><font color="#000000" size="2" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1177" data-original-width="1600" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh73-hucZjPrkK8XFEJScV7aI_bv4jGTacYdBu5hLHFv7yY9kBJQczurBefR5kIqKKb67LQSI__-Cs4asxMM6_WWiA6_20tdtWhdV98C8JZMcdxm_dX20iuyjl_5uXCkE8xeBDotKJiTF8/w625-h460/Pinggot+2-1bcxmm.jpg" width="625" /><br /></font></font><p style="clear: both; text-align: justify;"><span style="font-family: arial;">In the pieces set to be exhibited, Zulueta shares a fascinating discourse on the capacities of the face. Through the silhouettes of the figure, the seductive chaos of colour and lines alludes to the inner turmoil within the subject. In removing traditional features of the face, he delved into the soul, sometimes in a mood of despondency but always looking at life with equal parts seriousness and absurdity. Furthermore, he elevated the face as a vehicle for communication and a reflection of physical, spiritual and artistic disposition. In ka.thar.sis., Zulueta highlights the duality of the face as he elevates its ability to both reveal and conceal.</span></p><p style="clear: both;"></p><div style="text-align: justify;"><span style="font-family: arial;">In homage to the endless enchantment associated with the face and to further voice out the sophisticated angst within his works, he turned to the words of luminaries such as George Bernard Shaw, William Shakespeare, Bob Dylan, among other personalities that are similarly reflected on the complexities of life, to title his works, adding another aspect to the thought process within each piece and the ubiquitous quality of such ideas.</span></div><div style="text-align: justify;"><span style="font-family: arial;"><br /></span></div><font face="arial"><div style="text-align: justify;">Above this, however, it is important to note that remaining true to the original concept of Catharsis, the ultimate aim of this emotional and spiritual purge is towards renewal and restoration. In Zulueta’s decision to bare the most personal and private battles, he serves as a mouthpiece for these universal struggles, highlighting that one must embrace the dark night of the soul in order to summon rebirth.</div><div style="text-align: justify;"><br /></div><font style="font-weight: normal;"><div style="text-align: justify;">The exhibit runs until December 30, 2017 at The Saturday Group Gallery 4th level, East Wing, Shangri-la Plaza, EDSA, Mandaluyong City.</div></font></font><p></p><p style="clear: both;"></p><p style="clear: both;"></p>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-81157022423105618852017-06-12T23:08:00.010-07:002020-08-15T03:19:30.806-07:00Aligned 2: Imperfect Balance, Abstractions and Assemblages<h3><font color="#ffa400" face="arial" size="3" style="font-weight: normal;">About the Exhibition</font></h3>
<h4><font color="#ffa400" face="arial" style="font-weight: normal;">
Aligned 2: Imperfect Balance, Abstractions and Assemblages</font></h4>
<h4><font color="#ffa400" face="arial" style="font-weight: normal;">
Opening Reception – 8 November 2016, Tuesday, 6PM</font></h4>
<h4><font color="#ffa400" face="arial" style="font-weight: normal;">
Exhibition runs until November 21, 2016</font></h4><div><font color="#ffa400" face="arial" style="font-weight: normal;"><br /></font></div><div><span style="font-family: arial;">In Aligned 2:Imperfect Balance, Pinggot Zulueta and Demosthenes Campos explore themes of attachments, junctures, growth and expansion, with abstractions that rework images of mundane objects,reshaping them for visual expressions brought about by personal association and significance.</span></div><div>
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Zulueta draws from his recent experiences abroad and the memories triggered by going back to his childhood home as he seemingly recreates parts of a new sanctuary made easier for relocation. His pieces may be imagined as movable walls that suit his transient lifestyle as he shuttles between Manila and Sydney after living in Cambodia. Assemblages made with concrete mix, sand, old wood, and found objects are encased under portable recollections that may be flat-packed and shipped, to serve as repositories of one’s history elsewhere.</span><div><br />
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A fishing basket’s round bamboo cover, hand-made by the artist's father,is transformed into a native dream catcher. An old violin has played its Last Melody and is now embedded with discarded wood into cement and petrified for eternity.The artist’s own jacket is embellished with artificial flowers and a nest of dried twigs, breathed new life as Bird’s Sanctuary, while Keeping Faith bears religious objects such as rosaries and scapulars in coconut husks combined with mud from the earth, worked by man to appeal to the heavens.</div><div><br />
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An old carved chair back is presented as The King’s Throne as a testimony to power, authority and strength, balanced by the graceful swirls of a piece of crocheted fabric and the hardy, textured weave of a jute sack, bound together by abaca string. Flattened strips of canvas painted black serve as ground, which may be likened to an art practice or nameless vocation receding from one’s vision in reverence. As Zulueta fashions snippets of a past life with found objects he transforms function and meaning through his calculated compositions, advancing stories that he has introduced in his previous exhibitions.<br />
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Campos, meanwhile, uses acid-bathed metal cuttings, juxtaposing them with fibers secured with tin, textured panels, grassy carpets, and bunches of cut wire that evince hope blossoming and persistent growth overcoming odds amid today's harsh social and political climate.<br />
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His Sibol series have wire cables opened up to resemble blooms with fine filaments installed above fleecy white clouds, the stuff of dreams, maybe even products of snow, smoke or a floating hydroponic garden. As artificial materials bring forth and nourish practically indestructible metal and plastic, he creates glimpses of a better and stronger future. <br />
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Suburban Life, a verdigris-tinted piece, has more of Campos' wire flowers, sparse yet still showing signs of life despite the confinement simulated by vertical bars. His other mixed media works such as Antigen echo these elements as well, combining them with plastic ties and plush carpet pieces evoking synthetic forests with shifting colors, this time in bloody red. Shrubbery comes not just in the expected shades of green, but in various permutations of hues associated with the different seasons.<br />
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With subtle elegance and restraint, the artist's multilayered applications of peeling and textured paints are offset by the painstakingly hand-effloresced metal foliage. One work, Pointing to Success, stands out, however, as it is crafted with just the minimal rendering of an arrow that points onward, with faith bearing the anticipation of better things to come. Compared to the other pieces, it might appear understated and basic, yet it speaks just as loudly with the artist's voice. <br />
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For Zulueta and Campos, imperfect balance might seem enough for now as they constantly seek alignment in their art practice by using their skills to manipulate materials to bring light to concepts rarely brought to the fore by other noble professions. In seeking equilibrium between one's duties to family and country, and the sometimes thankless undertaking of the artist's life -- that of bringing beauty and dignity to society with their utmost capacity -- their relentless pursuit of the artist's odyssey to bring balance and harmony through works of art remains to be unceasing. </div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-41911982679552727532016-12-08T01:55:00.008-08:002020-08-14T03:58:18.623-07:00Abstractions and Assemblages<div class="separator" style="clear: both; text-align: center;">
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<h4 style="text-align: left;"><div style="font-weight: 400;"><span style="color: #ffa400; font-family: arial;">Aligned 2: Imperfect Balance, Abstractions and Assemblages</span></div><div style="font-weight: 400;"><div><span style="color: #ffa400; font-family: arial;">Opening Reception – 8 November 2016, Tuesday, 6PM</span></div><span style="color: #ffa400; font-family: arial;"><div>Exhibition runs until November 21, 2016</div><div><br /></div></span></div></h4>
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<div style="text-align: left;"><br /></div><div><div class="separator" style="clear: both; text-align: center;"></div><span style="color: #ffa400; font-family: arial;"><div style="text-align: left;">Kaida Contemporary presents Aligned 2: Imperfect Balance, Abstractions and Assemblages by Pinggot Zulueta and Demosthenes Campos at the ArtistSpace of the Ayala Museum this November.</div></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;">With mixed media works and assemblages using old discarded wood, textured fabric, carpet, string, wire cables and a miscellany of found objects, Zulueta and Campos explore themes of attachments, junctures, growth and expansion, with abstractions that rework images of mundane objects, reshaping them for visual expressions brought about by personal association and significance.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">As Zulueta draws from his recent experiences abroad and the memories triggered by going back to his childhood home, he seemingly recreates parts of a new sanctuary made easier for relocation. With sand, cement, scrap wood moldings, and even junked items such as an old violin and discarded bamboo cover for a fishing basket, he fashions snippets of a past life, transforming function and meaning. Campos, meanwhile, uses acid-bathed metal cuttings, juxtaposing them with fibers secured with tin, textured panels, grassy carpets, and blooms of wire that evince hope blossoming and persistent growth overcoming odds amidst today's harsh social and political climate.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Aligned 2: Imperfect Balance, Abstractions and Assemblages will launch art the ArtistSpace on the 8th of November, Tuesday, at six o'clock in the evening. The pieces will be on show until November 21, 2016. For more information on the exhibition, please contact Kaida Contemporary at +639279297129 or email kaida529@yahoo.com.ph.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">ArtistSpace is at the Ground Level, Ayala Museum Annex, Makati Avenue corner De La Rosa Street, Greenbelt Park, Makati City. For more information on the ArtistSpace, please contact Lorraine Datuin, gallery coordinator at (02) 759-8288 or email artistspace@ayalafoundation.org.</div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-72966137513390578732016-03-02T07:17:00.010-08:002020-08-15T02:59:05.583-07:00Incepto Exhibition<div class="separator" style="clear: both; text-align: center;">
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<span><span face="" style="color: orange; font-family: arial, sans-serif; font-size: 12pt;">INCEPTO</span></span><br />
<span style="color: orange; font-family: arial;"><i><span face="">“Thinking is
preeminently an art; knowledge and proportions which are the products of
</span><span face="">thinking, are works of art” (John Dewey, 1929)</span></i></span></div>
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<span face="" style="font-family: arial, sans-serif; line-height: 150%;">Human
beings are consciousness in motion. We are essentially embodied beings defined
by the layers of memories, emotions, imagined fears and sensory pleasures that we
believe make up our existence. Imprisoned by our wild thoughts, we are left
with the intelligence to both perceive and create beauty as well anticipate and
recognize the grotesque. It is this very duality that Pinggot Zulueta has
chosen to explore in his latest works.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">Pinggot
Zulueta will be showcasing a series of portraits on paper and canvas, in
"INCEPTO: Ink Drawings" on March 10-24, 2016 at the Art Cube Gallery,
Glorietta Makati. The title is Latin in origin,
which means to “begin, undertake or attempt.” It serves as a fitting moniker to
signal the audiences’ entry into the thoughts residing deep within the artist’s
soul.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">In
what can be considered his most personal collection to date, Pinggot Zulueta
unveils raw visual products shaped by the innermost workings of his mind. As a
widely prolific visual artist, his latest collection offers a peek into his
intimate musings on the internal struggles of man.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">Showcasing
manic ink figures in jet black, the subject of the pieces conforms to and are
characterized by the artists own emotional struggles and pains. Zulueta chooses
to delve into the most haunting aspects of the human psyche scrutinizing his
own personal challenges as part of his philosophical contemplations. Serving as
an autobiographical account, the collection is rooted in the period of depression
and loneliness the artist experienced during his solitary days.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">Gleaned
from the visual ideas that emerged in his dreams during these times, a slew of
revelations came upon the artist who embraced these figures from his
subconscious and launched it into the temporal world. The result are images
that speak of the primal and internal fears that plague all of mankind, with his
contemplations on the universal derelict state of existence imbibing the works
with a powerful energy and a strong impact.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">More
than a visual catharsis, Zulueta gives a voice to the anxiety experienced by
many people in the shadows. Yet through these very figures, Zulueta offers a
hope for redemption as it also serves as a celebration of people’s capacity to
transcend these thoughts as he himself had done by asserting his passion for
his artwork. It is an ode to human sensibility, for all the faults it may
present, and the infinite potential that lies within.</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">In
the end these figures do not represent the demons of man, but rather man’s
ability to stand in the face of it with a battlecry, “<i>Incepto ne desistam</i>” (May I not shrink from my purpose!)</span><span face="" style="font-family: arial, sans-serif; line-height: 150%;">“We are artists of our own
lives, and however we make of it will determine the kind of masterpiece that we
are working on.”- Pinggot Zulueta</span><br />
<span face="" style="font-family: arial, sans-serif; line-height: 150%;"><br /></span>
<span face="" style="font-family: arial, sans-serif; line-height: 150%;">INCEPTO: Ink Drawings"
will be on display from March 1<a href="https://www.blogger.com/null" name="_GoBack"></a>0-24, 2016 at the Art Cube
Gallery, Glorietta Makati</span><br />
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<span face="" style="font-family: arial, sans-serif;"><span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-size: x-large;">Incepto: Ink Drawings</span></span></div><div class="MsoNormal"><span style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-size: x-large;"><br /></span>
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;">Text by Rhea Gulin </span></span></div><div class="MsoNormal"><span style="font-family: arial, helvetica, sans-serif;">Photos by Monica Pantaleon</span></div><div class="MsoNormal"><span style="font-family: arial, helvetica, sans-serif;">March 14, 2016 | Manila Bulletin</span><span style="font-family: arial, helvetica, sans-serif;"><br /></span>
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span>
<span face="" style="font-family: arial, sans-serif;">In his own words, Pinggot Zulueta defines his latest exhibition as “mga delubyong napagdaanan ko sa buhay.” More than any advanced art endeavor, Zulueta’s Incepto: Ink Drawings is an expression- at the deepest and darkest sense of it.</span></span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span>
<span face="" style="font-family: arial, sans-serif;">Through his 28 artworks, Zulueta was able to document the various turbulence he had experienced in his life which unraveled the best of his artistry. His raw emotions were justified by an equally raw medium: pen and ink. The audience was left with nothing but pure images of an artist’s mind.</span></span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span>
<span face="" style="font-family: arial, sans-serif;">Zulueta is not a beginner in the world of arts. The opening reception of Incepto was not only packed with local art enthusiasts but critically acclaimed artists as well. Each and every one of them exclaimed that Incepto is Zulueta’s best project to date.</span></span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span></span>
<span face="" style="font-family: arial, sans-serif;"><span face="" style="font-family: arial, helvetica, sans-serif;">“Naipakita niya kung gaano kapowerful and composition,” said Filipino painter Fil Delacruz. “Nakita ko na yung earlier paintings niya, mga colorful. Pero this time, itong exhibit niya, black and white drawings, dito nadisplay niya yung kanyang virtuosity sa pen and ink na drawing.”</span></span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span>
<span face="" style="font-family: arial, sans-serif;">Delacruz also added that through using a minimalist medium, Zulueta was able to display the best of his craftsmanship..</span></span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, sans-serif;"><br /></span>
<span face="" style="font-family: arial, sans-serif;">“Malakas. Very emotional. Alam natin na may bitbit na lakas yung mga imahe ng works ni Pinggot kaya ang gaganda ng mga kinalabasan, ”</span>however, Ching also said Zulueta’s exhibition may be improved if he transfers works to bigger canvasses. “Kung mapapalaki, mas mapapalakas.”</span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"><br />
<span face="" style="font-family: arial, sans-serif;">“I am quite impressed na kahit doodle, may composition, which is expressing something. Pen and ink is a good way of doing something na hindi ganoon ka-complicated, but he was able to express yung gusto niyang idea,” Ramon </span>Orlina also vowed that Incepto is only the beginning of Zulueta. “With his love for the arts, we are going to see more of Pinggot’s work later on.”</span><br />
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<span face="" style="font-family: arial, sans-serif;">Pinggot Zulueta’s Incepto: Ink Drawings runs until March 24 at Art Cube Gallery, 3/F Glorietta 4, Ayala Malls, Makati City.</span></span><br /></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-2391778883052756872015-12-16T20:56:00.030-08:002022-07-28T00:47:08.933-07:00Filipino Artists In Their Studios<h4><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn_ZWVvJfg_W0jsHMlxoz520qaPZvJK5kOvnaC0gD5q44W5KL33RmO4-TmVMuimj4LMYo9yaM9zphrznJn3PJKcW-7ysT2zpXxIXloWxt1BHiQcDwsoP7fIyPDicCdvHFOA4x_Eg-ZYHBK9C_Mng_r-jcPY-ocWLF5FRE5O14cYyhfENtnvTNAdaoJ/s1539/Screenshot_2015-11-11-15-11-36-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1539" data-original-width="1079" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn_ZWVvJfg_W0jsHMlxoz520qaPZvJK5kOvnaC0gD5q44W5KL33RmO4-TmVMuimj4LMYo9yaM9zphrznJn3PJKcW-7ysT2zpXxIXloWxt1BHiQcDwsoP7fIyPDicCdvHFOA4x_Eg-ZYHBK9C_Mng_r-jcPY-ocWLF5FRE5O14cYyhfENtnvTNAdaoJ/w441-h628/Screenshot_2015-11-11-15-11-36-1.png" width="441" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><span style="color: orange; font-family: arial; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: orange; font-family: arial; font-weight: normal;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: orange; font-family: arial; font-weight: normal;"><span style="font-size: medium;">Artists and their ateliers featured in book</span></span></div></h4>
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By Amierielle Anne A. Bulan and </div><div style="text-align: left;">Ma.Czarina A. Fernandez</div>
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A NEW coffee-table book on Philippine art by former Varsitarian artist and photographer documents through beautiful photography and informative text the ateliers or work studios of 75 of the country’s foremost artists, what critics have described as a very helpful “archival” project to record the creative process that goes into masterpieces of the visual arts.<br />
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“Filipino Artists in their Studios” is published by the Manila Bulletin and conceptualized and photographed by visual artist-photojournalist Jose Vinluan “Pinggot” Zulueta, a BS Fine Arts in Advertising Arts graduate of the old UST College of Architecture and Fine Arts.<br />
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“Our goal is to give a glimpse of the artists’ lives, not just a usual profile presentation of them with their artworks,” Zulueta told the Varsitarian during the book launch last Oct. 30 at the Fiesta Pavilion of the Manila Hotel.<br />
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The 324-page book is not only a compilation of photographs by Zulueta that originally appeared in the C’est La Vie or lifestyle section of the Bulletin. It is also accompanied by insightful texts and captions written by writers and journalists such as Paul Zafaralla, Barbara Dacanay, Dennis Ladaw, and Isabel de Leon.<br />
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“Usually, the audience see just the artwork alone, mounted or framed in an exhibit,” said CJ Tañedo, one of the artists featured in the book. “But once they get to see the studio, they can see the artists in a new light, and they can see his work habits and the natural setting in which he works.”<br />
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Tañedo, a winner of the Metrobank art awards back in the late 1990’s, himself is a Thomasian.<br />
De Leon, a News staffer of the Varsitarian during her student days and now the news editor of the Bulletin and a former Malacanang assistant press secretary, compared an artist’s studio to a bedroom which is “not accessible to anyone.”<br />
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“We were very humbled when they allowed us to enter their spaces,” De Leon said. “Not everyone can be granted the opportunity to enter an artist’s sacred space.”<br />
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Art enthusiasts like Silvana Diaz, who owns Galleria Duemila, the country’s longest running gallery, said the book gives new perspective on Philippine art.<br />
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“He [Zulueta] brings the client and the public who are not well versed in art into an intimacy and place where they see the artist in their environment. When you don’t have art education or study art history, you may penetrate into their intimate life this way,” Diaz said.<br />
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25 alumni artists<br />
Among the 75 artists featured in the book, 25 are notable Thomasian alumni mostly products of the old College of Architecture and Design. Sculptor Ramon Orlina, National Artist for Visual Arts Arturo Luz, the late abstractionist Romulo Olazo and father of Philippine conceptual art Roberto Chabet are featured along with Antonio Austria, Manuel Baldemor, Gabriel Barredo, Andres Barrioquinto, Salvador Ching, Fil Delacruz, Danny Dalena, Mideo Cruz, Igan D’Bayan, Edgar Doctor, Alfredo Esquillo Jr., Raul Isidro, Prudencio Lamarroza, Julie Lluch, Sofronio Y Mendoza, Mario Parial, Mario de Rivera, Jose Tence Ruiz, CJ Tanedo, Ronald Ventura, and Juvenal Sansó.<br />
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Ruiz, who was part of the creative team behind the Philippine Pavilion in this year’s Venice Biennale, recalled the time when the book was still an idea.<br />
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“Why don’t I make a more active documentation of what’s happening in our art scene?” was the question asked by Zulueta to Ruiz back in 2008.<br />
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According to Ruiz, Zulueta was given the go-signal by the Manila Bulletin to start the project, and from there started a weekly feature in the newspaper that puts the spotlight on a local artist and his or her works.<br />
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“He would bring a young writer, and he himself was the photographer. Little did we all realize that that would be a book seven years later. It was all a happy accident,” Ruiz said in an interview.<br />
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The book has long been awaited by artists and art enthusiasts. Isidro, an abstractionist and a former fine arts dean of the Philippine Women’s University, said that the publication was “overwhelming.”<br />
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“Although there were books published before, this is different as it takes on a personal and intimate relationship with the artist,” Isidro said.<br />
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Meanwhile, veteran watercolorist Edgar Doctor said that this book is a breakthrough in the Philippine art scene because it gives recognition to local artists.<br />
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“It’s always the art more than the artist, and now the Filipino artist is given recognition,” Doctor said.<br />
“Filipino Artists in their Studios” is available in leading bookstores nationwide.<br />
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<span face="arial, helvetica, sans-serif">The Varsitarian I 11/27/2015 I 7:23</span><div><font face=""><br /></font><span face="arial, helvetica, sans-serif">-------------------------------------------------------------------------------------------------------<br /></span>
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<font color="#ffa400"><span style="font-size: x-large;"><span face="arial, helvetica, sans-serif">That’s Pinggot Zulueta, the man behind Filipino Artists in Their Studios</span><br /></span><br /></font><span face="arial, helvetica, sans-serif">Text by AA Patawaran</span></div><div><span face="arial, helvetica, sans-serif">Published May 6, 2018</span><span face="arial, helvetica, sans-serif"><br /></span>
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<span face="arial, helvetica, sans-serif">I’m writing this straight out of the launch of the second volume of the artist and Manila Bulletin Lifestyle resident photographer Pinggot Zulueta’s monumental Filipino Artists in Their Studios at the Fiesta Pavilion of The Manila Hotel.</span><br />
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<span face="arial, helvetica, sans-serif">This book, along with the first of the series, is now available by order at The Manila Bulletin and soon also at National Book Store. Like the first, this hefty second volume features 75 artists of various mediums, but mostly visual. In all, the books have so far showcased 150 of the Philippines’s most important artists, established and emerging, from National Artists to very young artists who have shown great potential in pushing the envelope in Philippine art.</span><br />
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<span face="arial, helvetica, sans-serif">Kudos to Pinggot Zulueta for coming up with this book project! As a photo-journalist, who never quite forgot his calling as an artist, he had to be at the very least two people at once in order to come up with such a compendium. He was both creator and chronicler, looking from the inside out and from the outside in.</span><br />
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<span face="arial, helvetica, sans-serif">While pursuing his own art, which so far appears very fluid and open, readily shifting from traditional to experimental, from ink and pencil to oil and acrylic, from paper and canvas to wood, Pinggot has also spent the last decade invading the very private spaces of our artists at work. Armed with his camera and his unquenchable thirst to see art make its way from intention to expression, to watch his fellow artists struggle with the brush or the chisel and their thoughts on a quest to express what in many cases is inexpressible. Hence, the full-pager “Artist at Work” in Manila Bulletin Lifestyle’s arts and culture pages every Monday. H</span><span face="arial, helvetica, sans-serif">ence, this all-important record of the artistic ruminations of our time, Filipino Artists in Their Studios, volumes one and two.</span></div><div><span face="arial, helvetica, sans-serif"><br /></span></div><div><span face="arial, helvetica, sans-serif"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPeliBGyfQuS4u9wv3STkeSRW1QnQJWS5XILKK9fIReZUI_XtukCQ0ic3uf6RxeH6y_N8QiVfyVzfqkRTH4D32DYGLbdmC6iNI0CuvdpVO_YGgOJoCWWLGVMZYjEX_0Kh5NeSHzwxF90E/s2048/oct+26+mon+E1-E4xx.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1205" height="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPeliBGyfQuS4u9wv3STkeSRW1QnQJWS5XILKK9fIReZUI_XtukCQ0ic3uf6RxeH6y_N8QiVfyVzfqkRTH4D32DYGLbdmC6iNI0CuvdpVO_YGgOJoCWWLGVMZYjEX_0Kh5NeSHzwxF90E/w470-h800/oct+26+mon+E1-E4xx.jpg" width="470" /></a></div><span face="arial, helvetica, sans-serif"><br /></span></div><div>
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<span face="arial, helvetica, sans-serif">There are many people to thank for this grand endeavor that redounds to our cultural benefit as a people, such as The Manila Bulletin management, particularly Emil C. Yap III, who has championed and nurtured it since “Artist at Work” was first introduced to Manila Bulletin Lifestyle, and everybody who put into words what Pinggot so poetically captured through his lens, writers like Jacky Lynne Oiga, Sara Grace C. Fojas, Pam Brooke A. Casin, and Hannah Jo Uy, also Terence Patrick Repelente, who stayed by Pinggot’s side day and night to proofread everything in the run up to the publication of this second volume. Credit must also go to Isabel de Leon, my predecessor as lifestyle editor, during whose term “Artists at Work” was born and the book idea was conceived. Erstwhile Manila Bulletin Lifestyle artist Eloisa Bernabe designed volumes one and two, the latter she did from start to finish, through unholy hours, though she is already employed elsewhere. And, of course, each of the 150 artists who make up these two volumes, who allowed Pinggot to penetrate their sanctum sanctorum, the very sacred space in which they would give birth, excruciating labor and all, to their art.</span><br />
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<span face="arial, helvetica, sans-serif">But all this is really just Pinggot. At the launch of volume two, I felt all awkward when several artists, many of whom were strangers to me beyond their exalted names, would ask me to sign their books. I would tell them “I’m no artist, in case you think I am” or “I have little to do with this book, except as an editor of some portions” because I felt unworthy to sign my name next to Pinggot’s, whose blood, sweat, and tears are the very ink in which this cultural gem is written.</span><br />
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<span face="arial, helvetica, sans-serif">Nevertheless, I am proud to have played a small part in Pinggot’s success. Filipino Artists in Their Studios is more than a compendium of Philippine art and artists. It is, in fact, a celebration of the process by which art is made. Other than the artist and his artwork, the focal point in these books, if I may say so myself, is his process (and place of work), the sweat in his brows, the oil stains on his fingers, the ink on his hands, the hours and the minutes he pours into his medium, not to mention the compulsions the artist has to grapple with in creating his art to question the status quo, to shake up the system, to break all records, to push envelopes, to open eyes and hearts and minds, to expand the soul, to ponder life and social justice and poverty and riches, to enrich our experience of life as humans and Filipinos.</span><br />
<span face="arial, helvetica, sans-serif"><br /></span><span face="arial, helvetica, sans-serif">Do not fear, Pinggot. Though we drink over it to drown our fears and we smoke through it to blur your doubts, I have very little doubt that you will live forever!</span></div><div><font face=""><br /></font></div><div>-----------------------------------------------------------------------------------------------------</div><div><span style="color: #ffa400; font-family: arial; font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="color: #ffa400; font-family: arial; font-size: x-large;">Taking portraits of the Filipino artist</span></div><h3 style="text-align: left;"><span style="font-weight: normal;"><span style="font-family: arial; font-size: medium;">Text by Krizette Chu</span></span></h3><div><div><h3 style="text-align: left;"><span style="font-family: arial; font-size: medium; font-weight: normal;">Published March 3, 2018,</span></h3></div><div style="text-align: left;"><br /></div><div style="text-align: left;">For someone who professes to not caring about his own legacy, who shies from speaking about his “identity,” the artist, painter, and veteran lensman Jose “Pinggot” Zulueta has ironically made it his life’s mission to chronicle those of his contemporaries.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As the creator and photographer behind the bestselling coffeetable book Filipino Artists in their Studios, Pinggot has invaded the most personal ateliers and workshops of some of the country’s most legendary painters, sculptors, and mixed media artists.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">His labor of love is a massive 323-page book published by The Manila Bulletin that featured industry greats like Napoleon Abueva, BenCab, Federico Alcuaz, Manuel Baldemor, Renato Habulan, Raul Isidro, David Medalla, a paean to 75 of the greatest Filipino artists that ever lived.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Ambitious in scope, comprehensive by nature, painstakingly curated, this kind of project has never been attempted or done before.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">The book gave the Philippines’ art fans an exclusive look at the spaces where great art is made, providing a glimmer of understanding of the idiosyncrasies, processes, and quirks of the artists. (Do you know Bencab’s studio is as huge as a full size basketball court and Antipas Delotavo’s, famous for his expansive murals, is the size of a small box, but brilliantly utilized with the use of mirrors?)</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Within the year, the next volume, the second edition, is scheduled to be released, featuring yet another batch of the country’s most important artists. This time, there will be more of those young contemporary artists, the current toasts of the art world and the crème de la crème of today’s new generation, who are coming into an industry that only as recently as 10 years ago was tough to break into and survive in.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">With today’s artmosphere more appreciative of new talent, and with a more competitive market, readers can expect a different kind of story and flavor from the 75 artists of volume 2. How will the new blood define their experiences and set up their work spaces?</div><div style="text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicfYBpLo-XubjQAWtWziGn9ECAXtmRRm5xWBlozVaMrHMZ4E9Ik-TnTvKoZTm7jKP4goSXKP7MAJSHzDc7Fm3qHUdIdQM8_LD5UmKh05c0qPn0al1SVDzo6dqGYJukndLtMpozon1QApU/s2048/pinggotz01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1447" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicfYBpLo-XubjQAWtWziGn9ECAXtmRRm5xWBlozVaMrHMZ4E9Ik-TnTvKoZTm7jKP4goSXKP7MAJSHzDc7Fm3qHUdIdQM8_LD5UmKh05c0qPn0al1SVDzo6dqGYJukndLtMpozon1QApU/w283-h400/pinggotz01.jpg" width="283" /></a></div><div style="text-align: center;"><span style="color: #3d85c6;">Portrait by Sara Black</span></div><div style="text-align: center;"><br /></div><div style="text-align: left;">Apart from paying homage to his colleagues, what drove Pinggot to create something this monumental?</div><div style="text-align: left;"><br /></div><div style="text-align: left;">“When I was a kid going into arts, we were discouraged by our parents because arts didn’t seem like a viable livelihood. Parents used to tell their kids, ‘anything but Fine Arts,’” says The Manila Bulletin photographer.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Pinggot, too, has a unique vantage point. His day job is as photojournalist for The Manila Bulletin, which puts him in an enviable position of having, in his own words, “a foot in the door of publishing, another foot in the door of the art world.”</div><div style="text-align: left;"><br /></div><div style="text-align: left;">He continues, “By putting this together, I wanted to inspire the next generation to believe that they can pursue their dreams as artists. By telling the stories of those who have come before them, of those who struggled not just individually but collectively as they pushed the industry to a better place, I hope the young ones learn from us.”</div><div style="text-align: left;"><br /></div><div style="text-align: left;">As he himself, Pinggot says, has been inspired in the course of doing the book. “As an artist myself, I had to be extra careful not to be too inspired that I start following their styles,” he laughs. “But when you’re there, seeing them work, seeing the masterpieces created in their studios, it’s like you inadvertently pick up their styles, their mood, their energy, and I have to be careful! I am inspired by just how brilliant our artists in the Philippines are. I am inspired by how we can’t fit all these artists in one book.”</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Visiting the studios also illuminate his own creative process. It helps him deal with his own work and, in some ways, sets him free to pursue his own art sans fear and pretensions.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">His latest show, slated on March 8, called “Blinders,” features a series of paintings he calls his “most honest and raw” yet.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Along with Spanish artist Cesar Caballero and British artist Simon Mortimer, Pinggot will continue from where he left off from his last show “Catharsis,” using images of the human face to denote the purge of emotions. Only this time, the paintings focus less on the face, and more on the process of creation. “The artmaking,” he says. Here, the textures, materials take center stage. The face taking shape is an afterthought.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">On a still unfinished piece, paint is splattered violently across the canvas—done almost in a state of mental fugue. “Under those colors are my emotions,” he says.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In this series of five paintings, Pinggot reveals his truest self. “They’re all self portraits,” he admits wryly. “Five portraits that show my loss of identity, my overwhelming sadness, my intense longing for my family.”</div><div style="text-align: left;"><br /></div><div style="text-align: left;">He whips himself into frenzy, working odd hours, from 2 a.m. until he exhausts himself. When he is done, he feels a cathartic sense of relief.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">“This melancholia has followed me all my life, and it has become a part of me, there’s a longing I cannot explain,” he says. He has tried to subdue it, dabbling in cheerful geometric abstractions to drive away the somber mood that he feels has started to define his life and his works—and which he pursued for at least two years from 2014 to 2016—but finds himself staring forlornly at his canvas, with an urge to paint what he truly feels.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">“I tried to veer into the non-representational, but I give up,” he shrugs, “I am drawn into doing autobiographical paintings.” Unlike other artists who have decided on a certain style to be identified with, Pinggot has swung on both ends of the pendulum, from abstractions to social realism, from painting seascapes to painting gory and dark shapes, to even creating installations out of found objects.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">One of the biggest things he learned in pursuit of stories for the book, is that the only way a great artist stays true to his craft is to ignore the mechanisms of marketing in his work—ignore “branding,” ignore consciously crafting an identity, which runs counter to the basic tenets of selling their work.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">“I do not create to sell, but to express, and I have come to accept that now, even when I was torn about it before,” he says. “My art speaks to those it resonates with. Life is too short to care about branding. Art is about who you are.”</div><div style="text-align: left;"><br /></div><div style="text-align: left;">And his book is an emphatic reminder—and a celebration—that one only needs to run on talent.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">“The Filipino artist stands out—just look at the works of Jose Tence Ruiz, Rodel Tapaya, Ronald Ventura—our works are full of content and has an intellectual approach,” Pinggot says. “I’ve exhibited everywhere, from New York to New Zealand, and you could see how the Filipino artist has assimilated the best of our colonial cultures and made it their own. There is no artist like the Filipino artist.”</div></div><div>
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-19054341509319167002015-12-10T08:24:00.006-08:002020-08-14T04:57:50.789-07:00Papelismo<h4><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7GSfnwp8AQ7AAp7pe6zknCc9ewghm-kkOlNTTXQzLWNMnogVgaAArLrzwXx_HwOIk3pwCEWsdIiDs5pMgxWY9BMY0AYH4gX5AYPl7ZZlleHiXHvdYU2BXAyJY_Br1nC_UEXw1K7Gzl4/s2048/2015e.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7GSfnwp8AQ7AAp7pe6zknCc9ewghm-kkOlNTTXQzLWNMnogVgaAArLrzwXx_HwOIk3pwCEWsdIiDs5pMgxWY9BMY0AYH4gX5AYPl7ZZlleHiXHvdYU2BXAyJY_Br1nC_UEXw1K7Gzl4/w410-h410/2015e.jpg" width="410" /></a></div><span style="color: orange; font-family: arial;"><div style="text-align: left;"><br /></div></span></h4><h4 style="text-align: left;">
<span style="color: orange; font-family: arial; font-weight: normal;">More Thomasians featured in 'Papelismo'</span></h4><div style="text-align: left;">By Ma. Czarina A. Fernandez</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">THE PAPER as a premier medium in Philippine art was the focal point of Papelismo 6, a group exhibit at the Nova Gallery, Makati City.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Thomasians Thomas Daquioag, Pinggot Zulueta, Benjie Cabrera and Melvin Culaba were among a dozen artists who explored the creative possibilities of paper as an art medium.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Daquioag, a Painting alumnus of UST, shows social realism in “The Heir” and “The Heir 2,” which portray a child on the floor and a woman sitting on a couch.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">His other featured work, a watercolor on arches or air-dried paper titled “ABAKADA Series” features a family making their way through a flood.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">“Working on paper as compared to other mediums presents a more difficult challenge,” Daquioag said. “Paper requires a degree of perfection that you don’t necessarily employ in other mediums.”</div><div style="text-align: left;">Meanwhile, Pinggot Zulueta’s black-on-white-ink-on-paper works, reflect his life as an illustrator and newspaper cartoonist back in the 1980s.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Zulueta’s “Talking to Basquiat,” “Knowing Francis Bacon” and “Dialogue with George Condo” are explorations of faces and portraits using the forms and shapes of artists like Picasso and Condo.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">“I borrowed art styles from renowned artists and incorporated them with my own style,” Zulueta said. “It’s like a conversation of art between my style and the style of others.”</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Zulueta also expressed his preference for paper as a medium since he is known for sketches and illustrations.</div><div style="text-align: left;">“With paper,” he said, “art is boundless. You can sketch, cut, fold, or literally do anything that doesn’t limit your art.”</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Meanwhile, engraving artist Cabrera’s works titled “Unexpected Visitor,” “Garden Delight” and “Erratic Self-Reflection” deal with themes of creation, preservation and destruction.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">“My works in this edition of Papelismo tell the story of evolution where spectators can see the process of life growing and decaying,” Cabrera said.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Despite using engraving in most of his works, Cabrera does not mind using other mediums such as paper, which to him is special if not superior to other mediums.</div><div style="text-align: left;">Culaba’s charcoal-on-paper works delve on religious themes. “Patakam sa kung ano ang kinain… bago kumain” depicts the Crucifix mounted on a wall, among various framed religious icons like the Virgin Mary holding the Infant Jesus.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Culaba’s “Patatawarin po” shows a capped face, resembling the figure of Martin Luther, leader of the Protestant reformation, flanked by a horde of demon-like creatures in the background, in what seems chaos and hellfire.</div><div style="text-align: left;">Renato Habulan, the exhibit curator, told the Varsitarian that he wants to change the mindset of people who think of paper as a second-class artwork.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">“We want to challenge the market, that paper is as durable as canvas,” Habulan said.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Ali Alejandro, director of Nova gallery and also a practicing artist, emphasized how paper is a staple in the art scene and how it will always hold a purpose despite arising forms of new mediums.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">“Working on paper is a one-act job which requires perfection because committing one mistake will mean you have to start all over again,” Alejandro said.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">The group has expanded to 12 artists for this year’s show from the initial five in their 2012 exhibit originally titled PapelMismo.</div>
<div style="text-align: left;"><br /></div><div style="text-align: left;">Posted on 11/27/2015 - 07:18 The Varsitarian</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-4894322705886143512014-10-30T05:22:00.005-07:002020-08-14T01:40:58.563-07:00Fixation Exhibition<div class="separator" style="clear: both; text-align: left;">
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<span face="" style="font-family: arial, helvetica, sans-serif;"><span face="" style="font-family: arial, helvetica, sans-serif;"> </span>Convergence II, mixed media, 2014</span><span face="" style="font-family: arial, helvetica, sans-serif;"> </span><br />
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<span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-weight: normal;">Fixation at KAIDA Contemporary</span></h3><div><span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-weight: normal;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"> Fixation gathers works that evoke the obsession of featured artists <b>Demosthenes Campos, Noell El Farol, Jethro Jocson, Jemina Reyes </b>and<b> Pinggot Zulueta</b> to express their concepts, sensibilities and life principles through abstract painting. Colors, forms and lines are interpreted in myriad renditions, visually enticing the audience to explore the depths of artistic expression.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">In <b>Noell El Farol</b>’s Stratigraphy series, he explores the recovery process in archaeological practice in retrieving artifacts with a painstaking process involving wet sieving and flotation. El Farol manually produces handmade paper from juice and milk packages and collected papers from studio works, then marks them with natural pigments. As such, the output may be considered as field notes with its own set of recovered, then reconstructed, footprints. </span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"><b>Jethro Jocson</b>, on the other hand, continues to delve into his scrutiny of value and worth as he questions "If matter is anything that occupies space and has weight, what matters most?" in Perseverance and Compatibility with process colors carefully swathed on stark white canvas.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">In <b>Demosthenes Campos</b>’ Detached, he halves his plane of textured and unbleached Titanium White with a floating patch rendered in different colors.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"><b>Jemina Reyes</b>, meanwhile, in Beyond, fixates on the spiritual. She closes off the center of her painting with a light border suggesting that the physical world is bound by limits, yet there are things beyond the human plane of awareness.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"><b>Pinggot Zulueta </b>introduces a network of thin lines forming a multi-planed enclosure that seemingly captures<b> </b>blocked off shapes and dashes in Convergence 11, and utilizes slashes and stripes that give a visual rendering of beats and free rhythms in Straight Line from the Heart. </span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">Whether inspired by processes used in archaeology, valuing worth in matter, minimalist detachment, longing for the beyond, or simply celebrating bursts of lively colors and musicality in form, the paintings are exposed to one's personal signification -- interpretation fully depending on the viewers, their compulsions and inclinations, what they hold fast and what they are willing to let go of.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">Fixation will be on show until November 12, 2014. Kaida Contemporary is located at 45 Scout Madriñan St., South Triangle, Quezon City. For inquiries, please contact +637090289 or +639279297129, and email kaida529@yahoo.com.ph.</span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-68046673229470228542014-10-30T00:26:00.015-07:002020-08-15T03:37:58.547-07:00Langkawi Art Biennale 2014, Malaysia<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSk0ZojOpDqUABZVzz5AJSJSvLXug8KmkxW8-X4v64NsAHYR8ZAjPIoQVrKCGvbuUvKkXmBN3DQTHYXPTc2YXNtjzVfLHPEbVXM2RCJ8MmEugyVhycJYJ1OI-L3oCEPq1ua_5TbbIdoU/s1600/LangkawiBienalle2014+1112x.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSk0ZojOpDqUABZVzz5AJSJSvLXug8KmkxW8-X4v64NsAHYR8ZAjPIoQVrKCGvbuUvKkXmBN3DQTHYXPTc2YXNtjzVfLHPEbVXM2RCJ8MmEugyVhycJYJ1OI-L3oCEPq1ua_5TbbIdoU/w331-h400/LangkawiBienalle2014+1112x.jpg" width="331" /></a></div>
<span face=""><div style="font-family: arial, helvetica, sans-serif; text-align: left;">with former Malaysian Prime Minister Mahathir Mohamad at the Langkawi Art Bienalle 2014.</div></span></div><div style="text-align: justify;"><div style="text-align: center;"><h3 style="text-align: left;"><span style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-weight: normal;"><br /></span></h3><h3 style="text-align: left;"><span style="color: #ffa400; font-family: arial, helvetica, sans-serif; font-weight: normal;">Art in Migration</span></h3><div style="text-align: center;"><p style="text-align: left;"><span style="font-family: arial;">Text by Jacky Lynne A. Oiga</span></p><p style="text-align: left;"><span style="font-family: arial;">October 13, 2014</span></p><p style="text-align: left;"><span style="font-family: arial;"><a href="http://www.mb.com.ph/art-in-migration/">http://www.mb.com.ph/art-in-migration/</a></span></p><div style="text-align: justify;"></div></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Visual artist and photographer Pinggot Zulueta along with other renowned and up-and-coming Filipino artist come together to represent the Philippines at the Langkawi Art Biennale 2014 (LAB 2014) that opened yesterday and will run until Oct. 21 at the Langkawi Lagoon Resort in Pulau Langkawi, Kedah.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">The first Malaysian Art Biennale, LAB 2014 was organized by the ArtMalaysia Association, supported by the Ministry of Tourism and Culture Malaysia to see out possibilities for expression in contemporary art within the context of Langkawi by showcasing the work of local Malaysian artists and international artists from over 40 countries. It is Malaysia’s first distinguished platform for international dialogue in fine and contemporary art. LAB2014 aspires to offer new exposure for artists, art associations, and businesses, at the same time infusing deeper public engagement with the arts.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">With the theme “Migration,” Zulueta, together with Darby Alcoseba, Frank Caña, Rosscapili, Joel Cristobal, Buds Convocar, John Dinglasa, Joel E. Ferraris, Merlito Gepte, Rick Hernandez, Rem San Pedro, Celso Pepito, Fe Madrid Pepito, Simkin de Pio, Jik Villanueva, and Sonia Yrastorza, each came up with three art pieces that reflect cultures that meld together in a constant state of influx. The theme is also symbolic of artists coming together to a new destination that offers nature, beauty, and inspiration.</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">Among the activities lined up for the 10-day biennale are Peletakan Orang-orang (Interactive Installation of Scarecrows), Gotong-royong Angkat Rumah (an old Malaysian custom where villagers gather to help some move his house, similar, albeit purely literal, to the Filipino concept bayanihan), and the Malaysian and Chinese exhibition “Friendship is Forever.”</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-24841554320068848572014-09-04T02:45:00.008-07:002020-08-14T01:58:10.048-07:002View Exhibition <h3 style="text-align: left;">
<span face="" style="color: orange; font-family: arial, helvetica, sans-serif; font-weight: normal;">Ross Capili, Pinggot Zulueta celebrate abstraction in joint show</span></h3>
<span face=""><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">By Dexter R. Matilla </span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Philippine Daily Inquirer8:45 am </div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">Monday, September 1st, 2014</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Ross Capili and Pinggot Zulueta are stalwarts in photography and photojournalism, but both have also a growing abstract art practice.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">Individually, they translate the process of photography into abstracted forms that reveal intellectual depth and technical talent.</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">The exhibition “2View” brings these two artists together for the first time. It will open at Galerie Francesca-Megamall today, Sept. 1, at 6 p.m.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">Multiawarded artist Capili uses the flowing nature of Asian calligraphy as an inspiration for his new works. Using the spontaneity associated with Chinese and Japanese calligraphy, Capili works with glass and lacquered acrylic to bring about a different kind of art.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">The series was first conceptualized in 1998 for a show in Ayala Museum. However, the lacquer fumes were difficult to deal with. So Capili spent the next few years working on the series, and the works in the exhibition will be the first time the public can view them.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">With over 30 exhibits, Capili’s works in the exhibit not only reflects on the entirety of his oeuvre, but his philosophy as well.</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">“Floating Thoughts,” for instance, gives off a “soft” touch and radiates tranquillity.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">“Song Imprints” is an abstraction of what Capili feels when listening to one of his cherished vinyl records.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Producing portraits of newsmakers is hardly an effort for Jose “Pinggot” Vinluan Zulueta. But then again, this veteran lensman is hardly just that. How he got his break in newspaper drawing editorial cartoons is known mostly to his colleagues and close friends so his foray into painting was to be expected.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">Zulueta would be the first to admit to uncertainty as to how his abstract works would be accepted by the audience. Even before joining the press, he was already a painter of representational works along the Social Realist vein.</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">His representational phase extended to his abstraction.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">“It was full of human drama and emotion,” Zulueta says. “I was conscious to try and evoke Social Realism, and now that I look back, I realize my works were sad.”</div></span><div style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div><div style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div><div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EiM3Wm75ruT8xb7l-mLuYiQkjDkeLVsXg8IKRmD0XLyc3O5SbViZzFS0Ho4d9mbBAD4v_9hSu5aQ9fl0EzBhqiWutF_TPhFDPTXWi-UrasFOX9U0a28DASKONTv4thENLc86niMI5cc/s1556/Untitled+Ia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1556" data-original-width="1370" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EiM3Wm75ruT8xb7l-mLuYiQkjDkeLVsXg8IKRmD0XLyc3O5SbViZzFS0Ho4d9mbBAD4v_9hSu5aQ9fl0EzBhqiWutF_TPhFDPTXWi-UrasFOX9U0a28DASKONTv4thENLc86niMI5cc/w450-h512/Untitled+Ia.jpg" width="450" /></a></div></div><div class="separator" style="clear: both; text-align: left;"><br /></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">In his upcoming show with Capili, Zulueta is now more freewheeling as an abstractionist. Now, the photographer-artist concentrates more on the process rather than meaning.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">His fascination with lines and geometry continues and while these elements are the main focus of this new collection, the vibrant colors that encompass the surrounding space prove that Zulueta has evolved as an abstractionist who’s no longer constrained by fear and uncertainty.</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">“I’m just enjoying painting now,” Zulueta says. “The works are nonrepresentational and it has no narrative and I guess as I grow older I realize that the struggle is over and it’s only right that I am able to express myself through this. It’s my commitment to myself.”</div></span><div style="text-align: left;"><br /></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Capili understands this sentiment quite well. He deals with a medium that’s difficult to control primarily for its permanence.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">“It’s irreversible, using lacquer and enamel,” Capili explains.</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Capili says he is guided by the spontaneity of intuitive calligraphy.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">With layers upon layers, Capili says he builds up his work into a complete piece that’s both fragile and intimidating. The separation of colors gives credence to his attempt to create a painting within a painting.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">“It is an intuitive expression in abstract,” Capili says. “Different medium, different approach. You can see the abstractionism but it’s not the type that disturbs.”</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">The show “2View” will serve as a precursor to the two artists’ participation in the 2014 Langkawi Art Biennale and the 2014 Malacca International Contemporary Art Festival in Malaysia. “2View” will run until Sept. 15.</span></div>
<span face=""><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;">Galerie Francesca is at 4/F, SM Megamall Building A, Mandaluyong City. Call 5709495; e mail galeriefrancesca.mega@gmail.com.</span></div>
<span face=""><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div></span><div style="text-align: left;"><a href="http://lifestyle.inquirer.net/170304/ross-capili-pinggot-zulueta-celebrate-abstraction-in-joint-show" style="font-family: arial, helvetica, sans-serif;">http://lifestyle.inquirer.net/170304/ross-capili-pinggot-zulueta-celebrate-abstraction-in-joint-show</a></div>
<div style="text-align: left;"><br /></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-79412148082804007112014-08-13T00:37:00.002-07:002020-08-14T02:00:35.179-07:00Galerie Francesca presents 2 View<div class="MsoNormal">
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<div class="MsoNoSpacing" style="text-align: center;"><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><span style="color: #ffa400;">"2 VIEWS" TWO-MAN EXHIBIT OF WORKS BY ROSS CAPILI AND PINGGOT ZULUETA OPENING AT GALERIE FRANCESCA ON SEPTEMBER 1</span></span></div>
<span face=""><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Abstraction requires a certain mindset. The artist needs to balance his emotions with an affinity for his chosen medium. It also requires a desire to experiment and push the boundaries of what his practice can accomplish. What more when two abstractionists hold an exhibition together?</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Philosopher Jean Piaget said that, "Reflective abstraction, however, is based not on individual actions but on coordinated actions." Perhaps this is the best way to describe the two man show of artists Ross Capili and Pinggot Zulueta. The two artists are stalwarts in the field of photography and photojournalism, but both have burgeoning abstraction practices that are complex and highly nuanced. Individually, they translate the process of photography into abstracted forms that reveals both intellectual depth and technical talent. The resulting show is a combination of these two practices of like-minded artists, using their artworks as a staging point into a larger discourse into the nature of balance.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">The exhibition, entitled "2 Views," brings these two artists together for the first time. It will open at Galerie Francesca in Megamall on September 1 at 6:00PM. Galerie Francesca is located on the 4th floor of SM Megamall Building A, Mandaluyong City. They may be reached through their landline phone at (632) 570-9495 or email at galeriefrancesca.mega@gmail.com.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">Multi-awarded artist Ross Capili uses the flowing nature of Asian calligraphy as an inspiration for his new works. Using the spontaneity associated with Chinese and Japanese calligraphy, Capili works with glass and lacquered acrylic to bring about a different kind of art. The series was first conceptualized in 1998 for a show in Ayala Museum. However, the lacquer fumes were difficult to deal with. So Capili spent the next few years working on the series, and the works in the exhibition will be the first time the public can view them. </div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">With over 30 exhibits under his belt in a career that spans decades, Capili's works in the exhibit not only reflects on the entirety of his oeuvre, but his philosophies as well. "Floating Thoughts," for instance, can be viewed through the prism of emotional calm. Like many of the works, the painting wasn't planned, giving it a "soft" touch that radiates with tranquillity. Likewise, "Song Imprints," is an abstraction of what Capili feels when listening to one of his cherished vinyl records. </div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">The works of Jose "Pinggot" Zulueta, on the other hand, is an evolution of his abstract practice that now examines the role of geometric figurations to the concept of balance and harmony. The UST-educated Zulueta is ostensibly known for his Manila Bulletin series on the work spaces of visual artists, Zulueta's concern is of the multidude of perspectives that abstraction can afford. "Chasing Lines I" is representative of this approach. Against a purely abstracted backdrop, Zulueta uses lines in ever-changing viewpoints that allows the viewer to consider the very nature of perspective.</div></span><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;">The works of both Ross Capili and Pinggot Zulueta come together in this one-of-a-kind exhibition that also serves as a precursor to their participation in the 2014 Langkawi Art Biennale and the 2014 Malacca International Contemporary Art Festival in Malaysia. "2 Views" is an art event that definitely should not be missed. </div></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-86822632168224040952014-08-12T21:44:00.004-07:002020-08-14T02:08:02.591-07:00‘What you see is what you see.’ - Frank Stella<div class="separator" style="clear: both; text-align: left;">
<span style="color: red;">PREVIEW</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UERF8pV9gXPKWD-WQkgI_PBx8ZNW82ad3Hl9ccvExul6aUi16JqLffrJ6kMtKajBOKsU2bnSVfFLEtO5yfCYF0OxcH8iXEIQtR6nRONZCnz4tgbiK0FGiMfk_cqhc8rQtkRMmtEqLyQ/s1600/Untitled+V,+3x5ft,mixed+media,+2014.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UERF8pV9gXPKWD-WQkgI_PBx8ZNW82ad3Hl9ccvExul6aUi16JqLffrJ6kMtKajBOKsU2bnSVfFLEtO5yfCYF0OxcH8iXEIQtR6nRONZCnz4tgbiK0FGiMfk_cqhc8rQtkRMmtEqLyQ/w373-h625/Untitled+V,+3x5ft,mixed+media,+2014.jpg" width="373" /></a></div>
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Above Us Only Sky, 3x5ft, mixed media, 2014<br />
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<i><span face="" style="color: orange; font-family: arial, helvetica, sans-serif;">“Line is a rich metaphor for the artist. It denotes not only boundary, edge or contour, but is an agent for location, energy, and growth. It is literally movement and change - life itself. “ – Lance Esplund</span></i></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">The words of noted art critic Lance Esplund perhaps best represents the natural evolution of Pinggot Zulueta’s work into what it is today. His latest collection depicts the product of his latest visual contemplations. Coming fresh from an exhibit last year in which he explored connecting his impressionist figurative works with diptych lines. Since then, Zulueta has been fascinated and drawn to lines. </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Lines, being the very foundation of all artworks, became the very idea that he wanted to bring into the foreground as it is the corner stone of every image. In a way, as Zulueta goes back to the basics, removing all pretentions and reverting to the raw skeleton of every artwork, it is evident that he is also unleashing the most primal elements of his emotions in color and strokes to contrast the disciplined and imposing connotation of the line.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">The geometric structures become the very subject of his collection as central in composition, he pays homage the ever dependent and often under appreciated line. </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">There are no pretentions to his work, it does not claim any narrative or message, it has no hidden meanings or manipulations, no agendas or accusations. It simply revels in the very being of aesthetics, and in the words of Frank Stella, ‘What you see is what you see.’</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-44676394866445655052014-08-12T03:50:00.001-07:002020-08-14T04:10:44.068-07:00Chasing Lines<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-CoOOyCwbkid35Qg5A0yaMn8wRr2-ii4RUswy55WxfWgqMfNNbD93ZGf_4XTTUS7LjDVDBNKFy_fTx1AsvHIAmuQMVbNNIyivIxAIiJKKwaJjdNrjBmxlTTufRMtrFdtiwDXRUGSnlU/s1600/triphych01x.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-CoOOyCwbkid35Qg5A0yaMn8wRr2-ii4RUswy55WxfWgqMfNNbD93ZGf_4XTTUS7LjDVDBNKFy_fTx1AsvHIAmuQMVbNNIyivIxAIiJKKwaJjdNrjBmxlTTufRMtrFdtiwDXRUGSnlU/s1600/triphych01x.jpg" height="260" width="640" /></a></div>
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Chasing Lines, triptych, 30x102in., mixed media, 2014</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-67706808492063160312014-01-02T15:15:00.015-08:002020-08-15T04:05:18.120-07:00Makatulog Ka Pa Kaya? at the Crucible Gallery<div class="MsoNormal"><div style="text-align: left;"><span face="" style="color: #ffa400; font-family: arial, helvetica, sans-serif;">New Works by Pinggot Zulueta in collaboration with Virgilio S.Almario, National Artist for Literature at the Crucible Gallery, SM Megamall, Mandaluyong City. November 5-17, 2013</span></div><div style="text-align: left;"><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5dy2Zkch73Rx72TzSFPz20nzoXDqm0dsnA1ikcguyyI4_p803DLdwHpflQzzONeK5CjM4sSvLrkJsv9qKj2M2zB4HkGif5Zpe7TXQMTdOA7PnIwtgjcNYdZWdbBZZPm-eqsD2K2T9ks/s1600/invite02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5dy2Zkch73Rx72TzSFPz20nzoXDqm0dsnA1ikcguyyI4_p803DLdwHpflQzzONeK5CjM4sSvLrkJsv9qKj2M2zB4HkGif5Zpe7TXQMTdOA7PnIwtgjcNYdZWdbBZZPm-eqsD2K2T9ks/s1600/invite02.jpg" width="400" /></a></div>
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<div class="MsoNormal" style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;">About the Exhibition</span></div>
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<span face="" style="color: orange; font-family: arial, helvetica, sans-serif;">VISION AND
VERSE</span></div>
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<span face="" style="color: orange; font-family: arial, helvetica, sans-serif;">By Patrick
D. Flores</span></div>
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<div style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;">Poet
and photographer come together to reflect on images. These are scenes of
everyday life in the dense city taken by Jose Zulueta, speaking of conditions
that are testimonies as much to sordidness as to survival. They are portraits
of how people have been refused and how they have prevailed. This situation is
a demolition of houses and thus evokes homelessness and eviction, the struggle
to live with dignity and the authority of the state to carry out a policy on
housing and urban development. </span></div></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzZ_imt_5Ecaq15tIBctQ30ZCF0fvpeoSRdLCewSxLKYRMeQXD38Gz2Njj7zofM7C8TLwpYk0ZC5oKL_lprFaGMWWxYFpUtuw6ghlMAuWmaAa1dny6EIto3TX2_WlxBceM5LU75NJ4sc/s1600/eksibit_crucible+008pz.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrzZ_imt_5Ecaq15tIBctQ30ZCF0fvpeoSRdLCewSxLKYRMeQXD38Gz2Njj7zofM7C8TLwpYk0ZC5oKL_lprFaGMWWxYFpUtuw6ghlMAuWmaAa1dny6EIto3TX2_WlxBceM5LU75NJ4sc/w394-h500/eksibit_crucible+008pz.jpg" width="394" /></a></div><div class="separator" style="clear: both; text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;">The
photographer keenly registers their presence and discerns a part of their
sentiment. This is the first moment of the gesture: the rendering of the stark urban
world in black and white. As if the latter were so benighted and so explicit,
he chooses to mediate the imagination. The second moment of the impulse is to
offer an overlay of artistic disposition: graphic details of geometric motifs in
acrylic paint that invariably frame, disrupt, adorn, embroider the photography.
(What is the urge of this intervention, we might ask. Is this a sign of
optimism? Or just index of experiment?) </span><span face="" style="font-family: arial, helvetica, sans-serif;">The photographic image, however, has
undergone levels of mediation itself: it is printed through ink jet and then
painstakingly transferred on canvas with the aid of emulsion. The tedious toil that
goes with it is the photographer’s commitment to an artistic process.</span></div></div>
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<div style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;">Finally,
the third moment comes with words. The poet Virgilio S. Almario, the National
Artist who is also known as Rio Alma, writes around the edges of the
photographs telling verses from his copious corpus; these converse with the
images that try to elicit sympathy and engagement. They look like marginalia
but are actually central to sensing the ties between the languages of light and
thought, reality and realization, the handwriting of a poet and the vision of
the photographer, both grasping with patience the woes of the world.</span></div></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQIplMF35zN76U0_RKSAPa4dkLTBjRAEDghkWiNS3FuknlE9iZZCKg-n5xkDtsaCqj8WUxoOkFBUGPv5_F4iVmKipOD5Bxq36wLIN6_EvT38iVHU1Mb7tlrHOZnnSJxF7Mzxeubo2JU4/s1600/eksibit_crucible+002pz.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyQIplMF35zN76U0_RKSAPa4dkLTBjRAEDghkWiNS3FuknlE9iZZCKg-n5xkDtsaCqj8WUxoOkFBUGPv5_F4iVmKipOD5Bxq36wLIN6_EvT38iVHU1Mb7tlrHOZnnSJxF7Mzxeubo2JU4/w398-h500/eksibit_crucible+002pz.jpg" width="398" /></a></div>
<br /></div><div class="MsoNormal"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: orange; font-family: arial; font-size: x-large; text-align: left;">Photography and Poetry</span><span style="color: orange; font-family: arial; font-size: x-large; line-height: 115%; text-align: left;"> </span></div><p style="clear: both; text-align: left;"></p><div style="text-align: center;">By Jasmine T. Cruz</div><div style="text-align: center;">BusinessWorld / <span style="font-family: arial;">November 12, 2013</span></div><p></p><div>
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<div class="MsoNormal"><span style="font-family: arial;">AN
EMACIATED child with pleading eyes looks at the camera. The child’s gloomy
world is captured through a black and white photo that was transferred on
canvas. As though hoping to inject color into this somber world, the artist
used acrylic paint to superimpose colorful geometric lines and shapes on the
image. Then on the edges of the canvas are written words that say, “</span><i style="font-family: arial;">Ang
pangarap ng ulan, maglaro sa putikan, bago kunin ng araw</i><span style="font-family: arial;"> (The dream of
the rain is to play in the mud before it is taken by the sun).”</span></div>
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<span style="font-family: arial;">Photojournalist Pinggot
Zulueta’s work features poetry by National Artist Virgilio Almario.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: arial;">This is a piece by
photojournalist Pinggot Zulueta done in collaboration with National Artist for
Literature Virgilio Almario for the exhibit </span><i style="font-family: arial;">Makatulog Ka Pa Kaya?</i><span style="font-family: arial;"> at
the Crucible Gallery. Curated by Renato Habulan, the exhibit employs photos
from a demolition in Taguig, Metro Manila.</span></div><div class="MsoNormal" style="margin-bottom: 0.0001pt;"><span style="font-family: arial;"><span face="">
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In a phone interview with <i>BusinessWorld</i> on Nov. 12, Mr. Zulueta
recalled what it was like when he took the photos in 2008. It happened just two
days after he arrived from living in Australia, and he was shocked by the
poverty that he witnessed. “<i>Galing ka sa magandang bansa tapos ’yun ’yung
unang bumulaga sa akin</i> (I came from a beautiful country then that’s
the first thing that I saw),” he said.<br />
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From these photos, he submitted one entitled <i>Taguig demolition
Philippines </i>to the Institute of Housing and Urban Development Studies photo
competition in Rotterdam, Netherlands and won a special award. This photo is
now included in the exhibit as a reworked piece entitled <i>Diyos Na Ang
Bahala</i>.</span><br />
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On the choice to include Mr. Almario’s poetry in his work, Mr. Zulueta said, “<i>Ayoko
kasi na tignan yung mga litrato ng isang saglit lang</i> (I don’t want
people to look at the photographs in just one moment),” explaining that he
wants the viewer to spend time looking at the photo and to think about it.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjryxwuNq5D5ZSPEA8WbxhteD_Oe38s_LCzqV4FMJiYJlh7QsMRAAptZE0e-__AcMLur0Kch0oICHv54dNaTOaYP7VEP-WZNZjkJOwbGu3b0epTEZKcY6zeyhMc1UfMh0kAWyTFcnk_ZgE/s1600/eksibit_crucible+023pz.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjryxwuNq5D5ZSPEA8WbxhteD_Oe38s_LCzqV4FMJiYJlh7QsMRAAptZE0e-__AcMLur0Kch0oICHv54dNaTOaYP7VEP-WZNZjkJOwbGu3b0epTEZKcY6zeyhMc1UfMh0kAWyTFcnk_ZgE/w500-h393/eksibit_crucible+023pz.jpg" width="500" /></a><span style="font-family: arial; margin-left: 1em; margin-right: 1em;"></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<span style="font-family: arial;"><span style="line-height: 115%;">Mr. Zulueta had previously worked with Mr.
Almario -- the National Artist was his editor back when he was making editorial
cartoons in the 1980s and ’90s. “</span><i>Sanay na
siya sa mga tema ko kaya madali niyang natutulaan</i><span class="apple-converted-space"> (He
was already used to the themes that I do so it was easy to make the poetry),”
he said.</span><br />
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The geometric lines and shapes on the photos are
an expression of Mr. Zulueta’s sympathy for his subjects’ plight. “<i>Pilit kong binubura ang kanilang kahirapan at pinapalitan ng
isang</i><span class="apple-converted-space"> imaginary<span class="apple-converted-space"> </span></span><i>at makulay na buhay</i><span class="apple-converted-space"> (I am trying to erase their poverty
and replace it with an imaginary colorful world),” he said.</span><br />
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The exhibit will run until Nov. 17. with cocktail
reception on Nov. 13 at 6p.m. The Crucible Gallery is located at the 4th Level,
SM Megamall, EDSA corner Julia Vargas Ave., Mandaluyong City.</span><span face="" style="font-family: arial, helvetica, sans-serif;"> </span></div></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-48547568972271502812013-12-21T18:56:00.011-08:002020-08-14T02:41:23.971-07:00Makatulog Ka Pa Kaya?<h3 style="text-align: left;"><span style="font-family: arial; font-weight: normal;"><span style="color: orange;">Art – triangle on poverty and hope: <br /></span></span><span style="font-family: arial; font-weight: normal;"><span style="color: #ffa400;">Pinggot Zulueta’s mixed-media paintings and Virgilio S. Almario’s poetry</span></span></h3><div><span style="font-family: arial; font-weight: normal;"><span style="color: #ffa400;"><br /></span></span></div>
<div><span style="color: orange;"><span style="font-family: arial;">Text by Filipina Lippi</span></span></div><span style="color: orange; font-family: arial;">December 16, 2013 / Manila Bulletin</span><div><span style="color: orange;"><br /></span>
In an art exhibit entitled “How Will You Sleep Tonight?” at Crucible Gallery in SM Mandaluyong last November, photographer and painter Jose “Pinggot” Zulueta fused for the first time photos and paintings to depict homelessness, poverty, and hope. He has been separately working with the two mediums with great skill in the last three decades.<br />
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Zulueta’s artworks included photos of families who lost their shanties in a demolition that he covered in a slum area near a railroad track in suburban Taguig in 2008. “That was after my arrival from Sydney where I stayed with my family for two years. We were in New Zealand earlier for four years. In Taguig, I encountered the same images of poverty that I left behind in Manila in 2002,” he recalls. One of his “demolition photos” received a special award in the Rotterdam Institute of Housing and Urban Development Studies’ photo competition in 2008.<br />
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Last August, when he went back to his family in Sydney, he brought the colored photos with him to prepare an art exhibit. He printed them in black and white and transferred them on canvas through a process called emulsion transfer. He dissected the middle part of his canvases using a network of colorful lines. Then he added abstract forms of houses, stilts and scaffoldings, including geometrical forms: squares, rectangles and trapezoids – within which the poor and the homeless could be viewed as if they were no longer sheltered by a wide sky above and an empty railroad track around them.<br />
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Zulueta’s profuse overlay of abstract elements on his photos creates a meditative texture and an external scar. It is a willful “inward” navigation toward understanding the heart and predicament of the poor and the oppressed, he says. His abstract overlay of scaffoldings over the photos initially look like barricades (or scars) that also symbolize his wish: “I want them to have their own homes where they can eat, live, love, pray, and sleep.”<br />
<br />Critics usually presume that photographic images of poverty should be projected to prick the conscience of the viewing public. But for Zulueta, the concern is, first, to reveal his conscience (his understanding and relationship with the poverty he has captured in photos) and not to project poor people as poverty object. For him, understanding and relating with the images — not projecting poverty per se as art — is the more important thing.<br />
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He thus creates a moral universe for the poor – aided by photos – in his artworks. “I want to enhance the soul of the images by showing my stand (or how I feel) with the poor people I have encountered,” Zulueta says. It took years for him to dare transform his photos into artworks that reflect a photographer and an artist’s life-changing encounter with poverty.<br />
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“Pure photographic forms of poverty benumb and create reality-fatigue. To hide the starkness of poverty and oppression a little bit can entice viewers to a closer look so that they meditate on what they see. This way, they will not take for granted what they encounter. Through my artistic embellishments, I think they can experience my own encounter with the subjects in my photos.” he adds.<br />
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<span style="color: orange;"> Justified and ethical style</span><br />
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Zulueta’s aim in creating tight and contrasting layers of reality and possibilities justifies his method of blending photos and paintings.<br />
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As a photojournalist who peripatetically takes photos of rich and poor people alike, Zulueta has enough stock to fuel his artworks towards an attitude of class struggle. His use of photos that are patently his intellectual property – in his artworks, is more ethical than the habit of other modern artists who rampantly source from everywhere the “found objects” that they use for artistic projects.<br />
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<span style="color: orange;"> Almario’s poems on Zulueta’s artworks</span><br />
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Poet Virgilio S. Almario, also known as Rio Alma, National Artist for literature in 2003, has added to Zulueta’s artworks lines from his own poetry.<br />
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“When I made poems for the exhibit, I sought the meaning of his photographic images underneath the layers of colorful lines,” Almario says. The poet’s words therefore do not become mere captions for Zulueta’s photos-cum-paintings. They appear in Almario’s handwriting — permanent and autonomous calligraphic art at the borders of Zulueta’s canvases. The jamming of Zulueta’s art works and Almario’s poems has interesting results.<br />
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<span style="color: orange;">Abject reality</span><br />
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Zulueta’s images of two men staring straight across the canvas, entitled “Titig sa Kawalan (Staring at Nothing),” for example, makes Almario despair about the predicament of poor people: “Wala. Walang kabilang buhay para sa daga, maliban kung nakatakdang angel ang pusa (No. There is no after life for rats. Unless cats are destined to be angels),” he says in his poem.<br />
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Zulueta’s image of a sleeping man, in “Humahabi ng Panaginip (Weaving Dreams),” is accompanied by Almario’s sarcastic lines on inequity: “Pag nawala ang pobre, sino pa ang kliyente ng mayamang teknokrat at manedyer ng World Bank? (If the poor disappear, who will be the clients of the rich technocrat and the World Bank manager?”<br />
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<span style="color: orange;"> Necessary revolution</span><br />
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What about revolution, the staple of conscientious art? Zulueta’s image of a poor couple entitled, “Naghihintay ng Himala (Waiting for Miracle), triggers Almario’s impatience and he writes about a sense of possibilities and defiance of one’s mortality: “Di naghihintay ang oras. Humihinto lang sa wakas (Times does not wait, but only stops in the end),” is his comment.<br />
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Zulueta’s inscrutable faces of father and child, entitled “Kapalaran (Chance),” become a platform for Almario’s prediction that poor people’s outrage has only one logical and bloody end. “Sampisik lang kalawang kakain balang araw sa sambundok mang bakal (The tiniest bit of rust will eat a whole mountain of scrap),” the poet blathers.<br />
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<span style="color: orange;">Life versus revolution</span><br />
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But Almario also opposes rage and revolution when writing lines inspired by Zulueta’s images of innocent, poor, and young children.<br />
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Zulueta’s photo-portrait of a wide-eyed young girl, in “Tadhana (Fate),” makes Almario caution against violence: “Kung may mata, magmasid, kung may taynga, makinig, bago sundin ang bibig (If you have eyes, see. If you have ears, listen. Before doing what you say).”<br />
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The image of a young girl entitled “Liwanag (Light,” causes Almario to plead for peace over war, forgivenes against hatred: “Ano ba ang dahas? Isang bisig ng poot, kapanalig ng lakas, at kabiyak ng lungkot. (And what is violence? An arm of rage, a co-believer of force, a spouse of sorrow).”<br />
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A powerful close-up shot of a young boy, in “Musmos,” prompts Almario to compare youthful “rain-dreams” with elders’ sun-drenched labor.<br />
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Zulueta’s photo of a young girl carrying a school bag bearing a picture of Snow White, in “Kinabukasan puno ng alinlangan (A future full of doubts),” makes Almario quip, “Ito’y museo ng mundo sa bulag at pusong bato (This is the world’s museum for the stone-heart and the blind).” It sounds like an ironic description of art with conscience, which is Zulueta’s advocacy in this art exhibit.<br />
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Another photo-portrait of mother and child in “Pighati (Lament) provokes Almario to wonder: “Hindi kaya Diyos mismo ay nabagot sa ganito (na imahen ng kalungkutan)? (Didn’t God himself tire of this daily labor?).” The poet’s reaction suggests revolutionary fatigue. This nails an argument for life and sheltering, just like Zulueta’s need for nests for the homeless.<br />
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<span style="color: orange;">A kind of art-triangle</span><br />
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The show’s multi-media presentation of poverty – a kind of art triangle – brings back to life a fascination that once challenged young social realist artists to flirt dangerously with class struggle in the ‘70s.<br />
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Marne Kilates’ English translation of Almario’s poems was in the exhibit’s catalogue. Social realist artist Renato Habulan was the exhibit’s curator.<br />
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As a political cartoonist in the ‘80s, Zulueta also identified with the social realist artists. In recent exhibits, he has depicted migration issues, based on his experience as a Filipino immigrant in New Zealand and Australia.<br />
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<br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-90511929079900060762013-12-21T18:26:00.008-08:002020-08-14T02:48:13.970-07:00<div class="MsoNormal" style="text-align: left;">
<a href="http://lifestyle.inquirer.net/tag/makatulog-ka-pa-kaya">http://lifestyle.inquirer.net/tag/makatulog-ka-pa-kaya</a></div><div class="MsoNormal" style="text-align: left;"><br /></div>
<div class="MsoNormal"><h4 style="text-align: left;"><span style="color: #ffa400; font-family: arial; font-weight: normal;">Mixed-media portraiture converges with literature to give face to the homeless</span></h4></div>
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<span style="line-height: 21px;"><div style="font-family: arial, helvetica, sans-serif; text-align: left;"><br /></div><div style="font-family: arial, helvetica, sans-serif; text-align: left;">By Lester G. Babiera</div></span></div>
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<span style="line-height: 21px;"><span face="" style="font-family: arial, helvetica, sans-serif;">Philippine Daily Inquirer</span></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">On a mission to give a face to the homeless and displaced, José “Pinggot” Vinluan Zulueta mounts his fifth exhibition in collaboration with National Artist for Literature Virgilio Almario, titled “Makatulog Ka Pa Kaya?”</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">It will be on view Nov. 5-17 with cocktail reception on Nov. 13, 6 p.m., at Crucible Gallery (L/4, SM Megamall, Mandaluyong City).</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">In this exhibit, Zulueta presents black-and-white portraits of people whose houses in Taguig were demolished in 2008. That year, one of his photographs received a special award from the Institute of Housing and Urban Development Studies photo competition in Rotterdam, The Netherlands.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Five years later, despite government commitment t</span><span style="font-family: arial, helvetica, sans-serif;">o provide safe and decent housing, there remains inadequate response to the plight of the marginalized.</span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">The experience of missing what is right before our eyes as a result of misplaced focus is known as inattentional blindness. In our society today, there are various forms of collective blindness. One such phenomenon is the seeming invisibility of the homeless and displaced.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Curated by Renato Habulan, the exhibit invites the audience to acknowledge the constitutive relation between themselves and the portraits. Zulueta (no rela</span><span face="" style="font-family: arial, helvetica, sans-serif;">tion to the editor of t</span><span style="font-family: arial, helvetica, sans-serif;">his subsection) begs us to ask ourselves: How does your own perception and experience shape the way you look at the images? Whose perception is missing from the images, and whose presence continues to be invisible?</span></div><div class="MsoNormal" style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgLdvzUbDQeNQ2DKQeozwpUWmiswRs2g-uVaGX5_jguBqpON2pBmYM9r9rVueGI7kG53SDVyQwXAwVCRVSvE1n9fx9qG6o57VAE6ykbcMFbcHAMIprJNBoptovHsLMOBMCxjBCBI6Igs/s1600/eksibit_crucible+019pz.jpg" style="font-family: "Times New Roman"; margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgLdvzUbDQeNQ2DKQeozwpUWmiswRs2g-uVaGX5_jguBqpON2pBmYM9r9rVueGI7kG53SDVyQwXAwVCRVSvE1n9fx9qG6o57VAE6ykbcMFbcHAMIprJNBoptovHsLMOBMCxjBCBI6Igs/w323-h400/eksibit_crucible+019pz.jpg" width="323" /></a></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">In his mixed-media works, Zulueta used the surfaces of the photographs as a base layer, then painted geometric lines and shapes that intersect through the images.</span></div><div class="MsoNormal" style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Rio Alma, the nom de plume of Almario, wrote his poetry on canvas and is integrated into the artworks. By recomposing the images and integrating poetry, Zulueta has contravened from usual practice and blurred the distinctions between photography and painting.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Zulueta believes the convergence of image and text enhances the depth and meaning of the artworks. However, at the heart of the creative articulation is the artist’s profound desire to depict the plight of the homeless and displaced.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">“The person in the portrait is a real human being whose life</span></div><div class="MsoNormal" style="text-align: left;"><span face="" style="font-family: arial, helvetica, sans-serif;"> can be transformed. In reality, it is our own prejudices and inaction that make the homeless invisible,” said the artist.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">For further details on the exhibit, contact Chari Elinzano at 6356061.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-72813518250222824912013-12-21T18:13:00.003-08:002020-08-14T02:50:30.396-07:00<h3>
<span face="" style="font-family: arial, helvetica, sans-serif; font-size: small;"><a href="http://www.mb.com.ph/encountering-the-face/" style="font-weight: normal;">http://www.mb.com.ph/encountering-the-face/</a></span></h3>
<h3 style="text-align: left;"><span style="color: #ffa400; font-family: arial; font-weight: normal;">Encountering the Face</span></h3><span style="color: #ffa400;">
by Hannah Jo Uy<br />
November 11, 2013</span><br />
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According to the ethics of French philosopher Emmanuel Levinas, the face is central to responsibility. We encounter others, through the face. Their lips, their nose, their eyes, these are the words that make up the story of their lives. The face of the Other “orders and ordains” us to serve them. When we encounter the face, we are immediately meant to claim the responsibility of that encounter, the responsibility of the Other. However, our apathy has turned us away from the Other and our responsibility to it, and the result are the faceless statistics of the underprivileged and the overlooked. It is by this very philosophy that artist, Pinggot Zulueta and National Artist for Literature Virgilio S. Almario have collaborated to put together a captivating and intriguing show that will bring us face to face with the Other.<br />
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Aptly titled, “Makatulog Ka Pa Kaya?” two artists come together to present us with a visual and literary presentation that aims to move our hearts and our minds to a greater awareness of the people who suffer under the urban decay of our time, artfully encouraging us to remove the shackles that limits our view of the world we live in.<br />
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Everyday, society goes about its daily routine, and in the midst of the morning rush hour traffic, and the cigarette breaks are men, women and children who are dressed in the grime of the city remain invisible to the very world they inhabit. Through the collection of mixed media works that will showcase Pinggot Zulueta’ aesthetic sensibilities and highlight the handwritten poetry of the literary gem that is Virgilio S. Almario, this exhibit aims to bring about a certain sense of consciousness to the world around, a call to self awareness and reflection.<br />
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The show is composed of black and white portraits of the poverty stricken individuals whose homes were demolished in Taguig, Metro Manila in 2008. As a photographer for a major newspaper, Zulueta was moved with this encounter, realizing that a factor in their suffering is the lack of their acknowledgment. Therefore, he brings about this acknowledgment and call to social and personal movement in the only way he knows how: Art.<br />
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“The person in the portrait is a real human being whose life can be transformed. In reality, it is our own prejudices and inaction that make the homeless invisible,” explains Zulueta.<br />
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To create more of an impact, Zulueta employed his artistic composition and included bright and arresting geometric lines in the photographs that are transferred to the canvas with emulsion transfer process. And on the products are the ever powerful poetry of Almario, thoughts made more sincere as it fills up the white spaces and the crevices of the images with his own handwriting.<br />
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Together they bring us stunning words and images to help us awaken to reality. The cause to give the homeless and marginalized a face runs deep within the artists, who, through the show, champion the possibility of art as a tool to effect change; and this change begins with one question, “Makatulog Ka Pa Kaya?”<br />
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“Makatulog Ka Pa Kaya?” exhibition is supported by the Philippine Charity Sweepstakes Office and is now ongoing at the Crucible Gallery, 4th Level, SM Megamall, Mandaluyong City with cocktail reception on November 13, 2013,6pm, Wednesday. For inquiries, please call Chari Elinzano at (632) 635- 6061.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-89708145933654415942013-02-21T00:09:00.001-08:002020-08-14T02:51:13.440-07:00<div>
<h3 style="text-align: left;"><span face="" style="color: orange; font-family: arial, helvetica, sans-serif; font-weight: normal;">INKCANTO | Lent, bikini wax penance, and Pinggot Zulueta’s ‘Viajes’</span></h3>
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<span face="" style="font-family: arial, helvetica, sans-serif;">By Ramil Digal Gulle, InterAksyon.com · </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Thursday, February 21, 2013 · 8:30 am</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;">The paradox at the heart of the OFW phenomenon is that so many Filipinos have to leave their families to provide for their needs and their future. Leaving home is the most difficult decision for a Filipino, for whom family is the end-all and be-all of existence. The psychological and emotional effects of this separation are well-document in the sometimes sad, sometimes tragic stories of our OFWs.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">In the fourth solo exhibition of visual artist, photojournalist, and printmaker Pinggot Zulueta, titled Viajes, the phenomenon of Filipino migration is rendered not in tales of tragedy but abstractly—in forms and colors that evoke mood, atmosphere, and emotion.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">The works feature diptychs and triptychs that combine human figures with abstracted forms. The gallery notes tell us that Zulueta’s works are about migration, the cycles of leave-taking and return, transits and transition—and while these notes and the titles are important in grasping what each work is “about,” I rather enjoy the wordlessness of the viewing experience.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">The triptychs with human figures in the middle convey motion and emotion, although the sense of movement is most palpable in Bird Spirit compared to the others. The reds and blacks create a feeling of freedom and strength. Night Walker is more contemplative and slower in pace, with its blue, black, and yellow hues evoking a night stroll, with occasional pauses.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Rather compelling are the paintings that refer to places, or rather to “views” of places. “Castle Hills Memories” and “Dreaming North Shore”. Again they have that emotional quality but with a less solid rendering—more of emotions felt less vividly, with distance and longing.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">It’s as though the “views” are seen through windows splashed with rain: colors, shapes, landscapes and feelings in dishabille. One wonders if they refer to memories that are themselves caught in a stream of transitions. Maybe the whole point of the exhibit is to map the dynamic of feelings and emotions that a wanderer would have, although I sense a reversal: maybe all the works map the emotions of someone who is always caught in a wave of transitions and displacements. It’s the journey not as a chosen undertaking, but rather as something greater than the journeyman: a force that sweeps the traveler away like a river or a sea.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><i>Pinggot Zulueta’s “Viajes”, curated by Renato Habulan, is ongoing at Galeria Francesca, 4th Level, SM Megamall until March 3, 2013.</i></span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"><i><a href="http://www.interaksyon.com/lifestyle/inkcanto-love-lent-and-bikini-wax-penance">http://www.interaksyon.com/lifestyle/inkcanto-love-lent-and-bikini-wax-penance</a></i></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-85221530175029573712013-01-31T21:35:00.004-08:002020-08-14T02:58:38.032-07:00VIAJES : Celebrating Memories and Solitude<div class="separator" style="clear: both; text-align: center;">
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<a href="http://lifestyle.inquirer.net/90453/pinggot-zulueta-records-his-viajes-in-diptychs-and-triptychs-at-galerie-francesca-exhibit">http://lifestyle.inquirer.net/90453/pinggot-zulueta-records-his-viajes-in-diptychs-and-triptychs-at-galerie-francesca-exhibit</a><br />
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<a href="http://www.philstar.com/arts-and-culture/2013/02/18/909972/pinggot-zuluetas-viajes-galerie-francesca">http://www.philstar.com/arts-and-culture/2013/02/18/909972/pinggot-zuluetas-viajes-galerie-francesca</a><br />
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<h2 style="text-align: left;"><span style="color: #ffa400; font-family: arial; font-size: x-large; font-weight: normal;">
Migration’s Painful Heart Bleeds in Zulueta’s Canvas</span></h2>
By Filipina Lippi<br />
Published: March 25, 2013<br />
Manila Bulletin<br />
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Artist, political cartoonist, and photographer Jose “Pinggot” Zulueta has experienced migration and has painted his experiences abroad like images of a bleeding heart. In his art works, he has also captured the essence of a migrant whose heart belongs to two places – both in his own native soil and the host country where he has stayed and taken root. Again, navigating between two worlds, whether real or imagined, makes the migrant perpetually hybrid and schizophrenic; or in an eternal state of being lost and found, qualities that are not lost in Zulueta’s self-referenced art works.<br />
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In his fourth one-man show entitled “Viajes” at Galerie Francesca in Mandaluyong’s Megamall, from February 21 to March 7, Zulueta’s works included diptychs and triptychs with abstract and figurative works. His abstract pieces depicted pure emotions and raw impulses with colors and gestures; his figurative works depicted the migrant’s persona, a steady body, but whiplashed with colors that could easily signify a tumultuous and unsettled existence of someone who keeps coming back and forth from his origin.<br />
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Combining his abstract and figurative images with straight and colorful lines, Zulueta succeeded in underlining the narrative of a migrant’s psychological tension. His titles: Blue Figure, Blue Night; Flight; Figure Rising; Introspection; Meditation; Moon Dancer; Night Walker; Oblivion; Quiet Mind; Dawn, and Wind Talker, were also tell tale signs of a migrant’s desire to overcome himself and his giddy, and global world.<br />
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In “Viajes”, Zulueta also showed stand alone abstract pieces entitled Albany on My Mind, Castle Hill Memories; Crying Heart; Dreaming of North Shore; and Imagining Parramatta River. They were all about memories of his adopted home that kept haunting him even after he has returned to the Philippines.<br />
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“I never thought much of these places that I saw abroad. But they keep coming back in my mind like intimate spaces, after I have returned home in 2008,” says Zulueta.<br />
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He and his wife Vanessa, a top social development worker for international agencies; and daughter Paula, (now a media graduate of Macquarie University), left for New Zealand in 2002. They transferred to Australia in 2006. His wife and daughter were left behind in Sydney when he returned to Manila in May 2008, to pursue his art while working as a lifestyle photographer of The Manila Bulletin.<br />
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“It is hard to be a migrant (especially if one has to give up one’s art while abroad). At the same time, it is harder to be away from my family while pursuing my art alone in the Philippines,” confesses Zulueta. It is a never ending tension for the artist who has also realized after returning to the Philippines, that going home ironically means being with one’s family whether it is based abroad or not; that one’s country is no longer a place, but one’s soul.<br />
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His life abroad was full of sacrifices and unnecessary alienation. Like any other overseas Filipino worker (OFW), he has experienced asserting his identity either through persuasive interactions or clashes of cultures.<br />
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It was not the first time that Zulueta tackled the issue of migration. In 2005, just three years after living in New Zealand, he depicted images of a man with clipped wings in an exhibit entitled “Aotearoa Series,” at the Philippine Center on Fifth Avenue in New York.<br />
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These early pieces on migration were more expressionistic in depicting the pain and loneliness of being uprooted and the difficulty of settling down abroad, says Zulueta, adding there was no other authentic voice he could amplify in his art at the time.<br />
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Although other artists have explored earlier Zulueta’s signature theme on migration, many of them have tackled the issue objectively, not subjectively, because majority of them have not experienced painful episodes of living abroad.<br />
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In 2012, social realist artist Edgar “Egai” Fernandez depicted the OFWs using a balikbayan box and candles shaped like human beings. Unlike Zulueta, he has not lived abroad for a long period of time.<br />
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In 2011, installation artists Alfredo and Isabel Aquilizan used rows of compressed boxes in telling stories of migration, in an art exhibit entitled “Address” at the Vargas Museum of the University of the Philippines in Diliman, Quezon City. Although Australian residents since 2006, the Filipino husband and wife team has been doing collaborative works on migration that tend to be more Platonic than expressionistic.<br />
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In 2007, Antipas Biboy Delotavo who belongs to the group of social realist artists, made a large oil painting entitled “Diaspora,” which portrayed a sea of lonely and passive people moving away with their luggage (at the airport). Using the same “objective” approach in depicting OFWs, Delotavo held a one man show on migration entitled “Street Guide: A Roadmap from Home” at the Artesan Art Gallery in Singapore in 2008. Like Fernandez who has not lived abroad, Delotavo’s interest on migration has a strong socio-historical flavor.<br />
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In 1978, National Artist Ben Cabrera (Bencab) also made a series on OFWs and mail-order brides in a show entitled “Larawan II: The Filipino Abroad” at the Luz Gallery. Although he has lived abroad with his now estranged wife Caroline Kennedy, and raised their three children in London, Cabrera’s works about migration did not refer to him, but to other OFWs who worked as professionals and domestic helpers abroad.<br />
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Filipino installation artists like Canada-based Lani Maestro and France-based Gaston Damag, have amplified the visual-voices on migration that are now resonating from almost all other ethnic artists based abroad.<br />
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In comparison with the more philosophical and objective works done by other artists on migration, Zulueta’s approach is more autobiographical, heartfelt and personal.<br />
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About nine million OFWs are based worldwide.<br />
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Zulueta is also involved with several art activities. This year, he will launch a coffee table book, a compilation of his photos of 75 artists in their studios that he shot for Manila Bulletin’s Artist At Work section.<br />
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In 2012, Zulueta’s 40 editorial cartoons, a collection of his daily output for Abante from 1986 to 1991, were included in a group show entitled “Papelismo,” at Crucible Gallery, SM Megamall in Mandaluyong.<br />
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In 2002, his images of political and socio-economic events for a show entitled “Asinta: Images and Imageries”. In 1985, he painted, in representational style, marine life for a show entitled “Tilamsik”.<br />
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For inquiries, call Galerie Francesca at +63(2) 570-9495 or email galeriefrancesca.mega@gmail.com.<br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"> Night Walker, Triptych, Mixed Media</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"> 2012</span><br />
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<span face="" style="font-family: arial, helvetica, sans-serif;"> Night Scape, Triptych, Mixed Media</span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"> 2012</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Imagining Parramatta River</span></div>
<span face="" style="font-family: arial, helvetica, sans-serif;"> Mixed Media, 16 in. x 22 in. 2012</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFGsMb5lDsoXQUQ5tEfS6u35iP92fJib_yx0N6jv0vNOgsv0YtbbMMG3HwTFbu0qWXGWy4vQOAmdvf9QUfSwJOaaeWAzlUdZNMdnmVYvqu7Jo2NrEuaoglPz8zmmDjvzWvbvGdWDP5dwU/s1600/viajes03pzxxx.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFGsMb5lDsoXQUQ5tEfS6u35iP92fJib_yx0N6jv0vNOgsv0YtbbMMG3HwTFbu0qWXGWy4vQOAmdvf9QUfSwJOaaeWAzlUdZNMdnmVYvqu7Jo2NrEuaoglPz8zmmDjvzWvbvGdWDP5dwU/s1600/viajes03pzxxx.jpg" width="320" /></a></div>
<span face="" style="font-family: arial, helvetica, sans-serif;">Dreaming North Shore, Mixed Media</span><br />
<span face="" style="font-family: arial, helvetica, sans-serif;"> 16 in. x 22 in. 2012</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_gDlZrfUcQIh4v12WKvHLxzO2aDIISRY92RRP_9LWjDzUBym3MNNymvjALIgJhZzifDB1iRJjV-K8K5U2PBGcWGZ8kKr1UtOavb5Vq6Gt3udmo52WmJD_qNRk7ec_EF8uwqFrqMOQB8/s1600/Flight%252C+Acrylic+on+Canvas%252C+2005xx.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl_gDlZrfUcQIh4v12WKvHLxzO2aDIISRY92RRP_9LWjDzUBym3MNNymvjALIgJhZzifDB1iRJjV-K8K5U2PBGcWGZ8kKr1UtOavb5Vq6Gt3udmo52WmJD_qNRk7ec_EF8uwqFrqMOQB8/s1600/Flight%252C+Acrylic+on+Canvas%252C+2005xx.jpg" width="238" /></a></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Moon Dancer</span><span face="" style="font-family: arial, helvetica, sans-serif;">, Acrylic on Canvas, 2005</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCzUWiUHPC17X8UVbYr9h9tIs2IqbW56m7wB_caxLNO7WA3QKDb5cfJUzz4k0Qv20_EXtGCs1rpOejsu-ZdTEwmISLYNuIp0iFqiUI0aZJfjbtrZ6hABy52txLC-oAYBoDq-HTPAoHoJE/s1600/Meditation%252CAcrylic+on+Canvas%252C+2005xx.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCzUWiUHPC17X8UVbYr9h9tIs2IqbW56m7wB_caxLNO7WA3QKDb5cfJUzz4k0Qv20_EXtGCs1rpOejsu-ZdTEwmISLYNuIp0iFqiUI0aZJfjbtrZ6hABy52txLC-oAYBoDq-HTPAoHoJE/s1600/Meditation%252CAcrylic+on+Canvas%252C+2005xx.jpg" width="250" /></a></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Quiet Mind, Acrylic on Canvas, 2005</span></div>
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<b style="font-family: arial, helvetica, sans-serif;"> </b></div>
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<span face="" style="font-family: arial, helvetica, sans-serif; font-weight: bold;"><br /></span></div>
<b style="font-family: arial, helvetica, sans-serif;"><div style="text-align: left;"><b> </b></div></b></div>
<div class="MsoNormal"><div style="text-align: left;"><span style="color: orange; font-family: arial, helvetica, sans-serif;">Cathartic Evolutions</span></div><div style="text-align: left;"><span style="color: orange; font-family: arial, helvetica, sans-serif;">Text by Hannah Jo Uy</span></div><div style="text-align: left;"><span style="color: orange; font-family: arial, helvetica, sans-serif;"><br /></span></div><div style="text-align: left;"><span style="color: orange; font-family: arial, helvetica, sans-serif;"> “A work of
art which did not begin in emotion is not art. “ - Paul Cezanne</span></div></div>
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<span face="" style="color: orange; font-family: arial, helvetica, sans-serif;"> </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Catharsis had its Greek origin in <i>Kathairen</i>, meaning to ‘cleanse’. The
word was derived from Aristotle’s <i>Poetics</i>,
in which it set forth the notion of release through art and drama. For Pinggot Zulueta,
his process of catharsis gave birth not only to powerfully evocative paintings,
but also the opportunity for his audience enjoy the works as a secret window to
the intimate expressions of his soul.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">There are two dimensions of
loneliness that a man feels in his life. One is reserved for those away from
home living in a foreign land; A loneliness that consumes the mind and body
making it hunger for familiar sights, sounds and smells. The other is the
loneliness in finding yourself a stranger in your own land as a result of being
without the people you love; A loneliness that consumes the heart, aching for
those who matter most making the quiet emptiness of the home chilling. It is
the tension between these two dimensions of loneliness that has driven artist
Pinggot Zulueta to create a deeply personal collection of works. </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">More than a diary of his thoughts,
his latest exhibit is a tribute to the therapeutic qualities of art. The healing
characteristic of an empty canvas, the soothing excitement of the oil and
acrylic and finally, the hypnotizing beauty of a finished work that serves as a
welcome and temporary intermission from the sobering realities of life. </span></div>
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<br /></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">However, Pinggot Zulueta graces us not only
with his personal memories, he also takes us with him as he relives through the
work his evolution as a painter. The collection is a retrospective of his
recent evolutions as an artist. Exhibiting never before seen works, he includes
his figurative, as well as gestural abstract works.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Some works form a trio of
paintings, the middle work a token from his early figurative paintings, an
intimate revelation created in the time that the artist was abroad. The
figurative paintings present themselves to be self-portraits; a representation
of being that discloses the darkness of that period in his dim palette and
poignant strokes. This nostalgic piece,
is flanked on both sides by abstract pieces that display a changed yet
similarly emotional state in the gestural brush strokes that reveal the
powerfully reminiscent mind of the painter. His abstract works, the shifting
between one style from another the noticeably varied strokes, and change in
textures and colors is testament to the artist’s need to push the boundaries of
his craft, constantly exploring different possibilities. </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;"><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif; text-indent: 0.5in;">The three paintings, a combination
of new and old, is held together by three bright arresting lines, connecting
them and making them into one. In effect, each work is a holistic revelation of
his being. His existence, formed by past and present held together by his
unbreakable love for painting. </span></div>
<span face=""><div style="font-family: arial, helvetica, sans-serif; text-align: left;"><br /></div></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">Not all however are positioned this
way, some form diptych partnerships that similarly exhibit his movement from
one style to another, other works stand alone as a statement of the powerful
emotions he experienced in that particular period of time. </span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;">As a whole the collection divulges
the passionate emotional state of the painter during the specific periods of
his life. The shift from one style to another speaks of the restless that
connects the works all together. However, taken by piece, each work can stand
on its own by its very style.</span></div>
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<span face="" style="font-family: arial, helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;"><div style="text-align: left;"><span style="font-family: arial, helvetica, sans-serif; text-indent: 0.5in;">However, beyond his cathartic
process, is a message of hope. Hope that serves as a reminder that life, in its
periods of solitude, still holds within it the possibilities, of beauty, love
and friendship.</span></div><div style="text-align: left; text-indent: 0px;">
<span face="" style="font-family: arial, helvetica, sans-serif;"><span style="font-size: large; line-height: 14px;"><b><span style="color: #9fc5e8;"> </span></b></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-21215170286659191222013-01-31T18:20:00.001-08:002017-01-06T21:19:58.495-08:00AOTEAROA SERIES Philippine Center, 556 Fifth Avenue, New York, NY December 2005<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">“ At first glance,
this series of Jose Zulueta is
a terrible discourse on the annihilated
self. Man’s contorted and sometimes mutilated body perhaps best
expresses Zulueta’s own sentiments as a
migrant Filipino artist. Yet his
humanity as a Filipino also seems
to urge him into providing
spaces for dreams—some literal wings of
hope for a future redemption. Zulueta
still fervently wishes for man’s
ultimate salvation from a history of
violent and violated existence.”
<br />
</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Virgilio Almario</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">
National Artist for Literature</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_yHgQPJgpZmzzvwm_RLwu18UVeGYjJUYYakem3ryQF5QYolVhHGqyBY06teX9yzT0-pmxS-5iyKa16YqRxyCV3Y0-tdpKgLjQZRDhdFHhb9khfBgMlyk2hSNW8znihPJSBEpyWzE0Zo/s1600/posterxx.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt_yHgQPJgpZmzzvwm_RLwu18UVeGYjJUYYakem3ryQF5QYolVhHGqyBY06teX9yzT0-pmxS-5iyKa16YqRxyCV3Y0-tdpKgLjQZRDhdFHhb9khfBgMlyk2hSNW8znihPJSBEpyWzE0Zo/s640/posterxx.jpg" width="400" /></a></div>
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Scream</div>
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Oil on Canvas, 2003</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQ-xHhsdLxFye5ySRgQ_mfAHGicqo2YWgVhzuTrMjP-_fVhRcCsLykjuWA2gmX-Upxc8MS2CSlcz1bSP4vA89oX9N_w7B2tiENtD5PrT4OJMi2ZDvBFsBDPPDA0oF_veQ5gSYz8fgfxY/s1600/eksibitUSAnewyork+013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSQ-xHhsdLxFye5ySRgQ_mfAHGicqo2YWgVhzuTrMjP-_fVhRcCsLykjuWA2gmX-Upxc8MS2CSlcz1bSP4vA89oX9N_w7B2tiENtD5PrT4OJMi2ZDvBFsBDPPDA0oF_veQ5gSYz8fgfxY/s1600/eksibitUSAnewyork+013.jpg" width="243" /></a></div>
Introspection<br />
Oil on Canvas, 2003<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTARP3upM3emiLtY4UfN2IZ4Vexhp5uAS1FSsZhth3E4XfAAaTsS2o_XO8g1FtEKtsZO1J4agRIc_uq3rEIDAWB4PZtpvSAnQ-LZ44qYBewGrD34EGvJlAHUNnZNDhYfjJIVlwwOk-yh8/s1600/Journeyviaje01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTARP3upM3emiLtY4UfN2IZ4Vexhp5uAS1FSsZhth3E4XfAAaTsS2o_XO8g1FtEKtsZO1J4agRIc_uq3rEIDAWB4PZtpvSAnQ-LZ44qYBewGrD34EGvJlAHUNnZNDhYfjJIVlwwOk-yh8/s320/Journeyviaje01.jpg" width="232" /></a></div>
Journey<br />
Oil on Canvas, 2003<br />
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<b><span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt;"> <span style="color: orange;"> </span></span><span style="color: orange; font-family: "arial" , sans-serif; font-size: 11pt;">PINGGOT ZULUETA’S AOTEAROA SERIES IN NEW YORK</span></b></div>
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<span style="font-family: "arial" , sans-serif;">Visual artist Pinggot Vinluan Zulueta presents his 3</span><sup style="font-family: Arial, sans-serif;">rd</sup><span style="font-family: "arial" , sans-serif;">-solo show, entitled </span><i style="font-family: Arial, sans-serif;">Aotearoa
Series</i><span style="font-family: "arial" , sans-serif;"> on 19 December 2005, 6 o’clock in the evening, monday at the Philippine
Center Gallery, 556 Fifth Avenue, Manhattan, New York, NY. Invitational
cocktail reception is scheduled during the opening of the exhibit.</span></div>
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<i><span style="font-family: "arial" , "sans-serif";">Aotearoa Series</span></i><span style="font-family: "arial" , "sans-serif";"> is a collection of 25 paintings on canvas rendered
in oil and acrylic. The paintings were inspired by the artist impressions and
reflections of his experiences abroad, <i>Aotearoa</i>, which translates to <i>“
Land of the Long White Cloud ”</i>, is New Zealand’s indigenous name. The
artist has made New Zealand his home since January 2003.<o:p></o:p></span></div>
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<i><span style="font-family: "arial" , "sans-serif";">Aotearoa Series</span></i><span style="font-family: "arial" , "sans-serif";"> is a documentation of the artist’s experiences
while living in a foreign country. The paintings chronicle the artist’s
emotional journey, culminating in hope and a resolve to overcome. These works
have served as the artist’s refuge…his sanctuary.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";">The visual images portray upheaval, adaptation and redemption. They are
presented in surreal and meditative forms, which may elicit profound
contemplation or reflection on existencial issues. A fundamental idea
underpinning these works is the potential for self-affirmation in a context of
cultural dysfunction.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> </span><span style="font-family: "arial" , sans-serif;">Consul General Cecilia Rebong of the Consulate General of the Philippines
in New York along with Department of Trade and Industry Representative Eugene
Reyes and Philippine Center Management Board General Manager Gavino Abaya, Jr. lead
as Guests of Honor during the exhibition.</span></div>
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<span style="font-family: "arial" , "sans-serif";">Prior to his migration to New Zealand, Zulueta was an exhibiting artist
and news photographer in one of the major daily newspapers in Manila,
Philippines. In September 2002, he launched a successful one-man art
exhibition and book launched dubbed “ Asinta: Images and Imageries” at the RCBC
Plaza in Makati City. The exhibition was in collaboration with UP Creative
Writing Director and TOYM Awardee Vim Nadera.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif";"> </span><span style="font-family: "arial" , sans-serif;">The exhibit runs from 19 to 30 December 2005. For further details and
information, contact the Philippine Center, New York, at</span><span style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">telephones (212 )575-4774, Fax (212) 575-3133.</span></div>
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<span style="font-family: "arial"; font-weight: bold;"> <span style="color: orange;">EXHIBITION NOTES</span></span></div>
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<span style="font-family: "arial"; text-align: justify;"><br /></span>
<span style="font-family: "arial"; text-align: justify;">From what we saw of
his last exhibit on home grounds, Jose </span><span style="font-family: "arial"; text-align: justify;">Vinluan</span><span style="font-family: "arial"; text-align: justify;"> </span><span style="font-family: "arial"; text-align: justify;">Zulueta</span><span style="font-family: "arial"; text-align: justify;"> (</span><span style="font-family: "arial"; text-align: justify;">Pinggot</span><span style="font-family: "arial"; text-align: justify;">, still, to his many
friends, though perhaps now simply </span><span style="font-family: "arial"; text-align: justify;">Zulueta</span><span style="font-family: "arial"; text-align: justify;">,
the artist, to his increasing admirers), sets aside his digital palette and
returns not only to "analog" paint but to the even more primal and
interior territory that has always been there before it could be touched by any
brush or "pick tool."</span><br />
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<span style="font-family: "arial";">He returns, too, to
the individual figure, not the dazed (by hunger) or distraught families or
Madonna-and-</span><span style="font-family: "arial";">streetchildren</span><span style="font-family: "arial";"> picking through
garbage or lost in the middle of street marches cowering under the
transmogrified manifestations of state power—remnants of his digitally-altered
photojournalism. </span></div>
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<span style="font-family: "arial";">Instead, the lone
figure materializes in the by now recognizable </span><span style="font-family: "arial";">Zulueta</span><span style="font-family: "arial";">
colors, the form not just disembodied but disemboweled, torn perhaps in the
elemental struggle with loneliness and loss of a native foothold.</span></div>
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<span style="font-family: "arial";"> But the title itself seeks homage to his
adopted home, and though the Land's "lone white cloud" might be
"stained" with his pained memories, it is the colors that triumph,
less in the tortured manner of an </span><span style="font-family: "arial";">Edvard</span><span style="font-family: "arial";">
Munch, but in the flushed, apocalyptic intensity of an early </span><span style="font-family: "arial";">Legaspi</span><span style="font-family: "arial";">.</span></div>
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<span style="font-family: "arial";"> </span><span style="font-family: "arial"; font-weight: bold;">Marne
L. </span><span style="font-family: "arial"; font-weight: bold;">Kilates</span><span style="font-family: "arial"; font-weight: bold;"> </span></div>
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<span style="font-family: "arial"; font-weight: bold;"> Writer</span></div>
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<span style="font-family: "arial"; text-align: justify;">Pinggot</span><span style="font-family: "arial"; text-align: justify;"> </span><span style="font-family: "arial"; text-align: justify;">Zulueta</span><span style="font-family: "arial"; text-align: justify;"> is a truly gifted
soul who is, in parts, a photographer, a painter and a cartoonist -- a
combination of talents that he spotlighted in his one-man show in the
Philippines. As a photojournalist for many years in the Philippines, </span><span style="font-family: "arial"; text-align: justify;">Zulueta</span><span style="font-family: "arial"; text-align: justify;"> captured through his
lens countless powerful images of unfolding current events as well as
human-interest scenes that he was always on the look-out for as he roamed
Manila’s streets.</span></div>
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<span style="font-family: "arial";">Moving to New Zealand
with his family proved daunting for him at first. Transplanted to a new land
and suddenly immersed in a different culture, </span><span style="font-family: "arial";">Zulueta</span><span style="font-family: "arial";">
faced the most difficult times. But it was here that he actually managed to
return to his roots as an artist. In his paintings, he has sought to define the
migrant experience – the wrenching emotions of being away from one’s country
and all that is familiar, as well as the urgent need to uplift one’s self in
the midst of a strange environment. </span><br />
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<span style="font-family: "arial";">The New York exhibit
is </span><span style="font-family: "arial";">Zulueta’s</span><span style="font-family: "arial";"> way of showing
fellow Filipinos -- especially those who have been based in the United States
for a long time, a shared experience. In his themes of change and constancy,
upheaval and adaptation, </span><span style="font-family: "arial";">Zulueta</span><span style="font-family: "arial";"> particularly wants
to establish a connection with those who, like him, have struggled to find
meaning in a foreign land and have risen to meet the challenge</span><br />
<span style="font-family: "arial";"> </span><span style="font-family: "arial";"> </span><span style="font-family: "arial"; font-weight: bold;">Susan
A. de Guzman</span></div>
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<span style="font-family: "arial"; font-weight: bold;"> Curator</span><br />
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<span style="font-family: "arial";">“The burden of </span><span style="font-family: "arial";">Pinggot</span><span style="font-family: "arial";"> </span><span style="font-family: "arial";">Zulueta</span><span style="font-family: "arial";"> is a journeyer’s sorrow: cutting
soles, skinning soul, singing paean to facelessness and peril in another land
and clime. But a hand remembers the gift; the hand reaches the heart, and the
heart remembers it beats to life, and is grateful.” </span></div>
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<span style="font-family: "arial";"> </span><span style="font-family: "arial"; font-weight: bold;"> Rebecca T. </span><span style="font-family: "arial"; font-weight: bold;">Añonuevo, Ph. D.</span><span style="font-family: "arial"; font-weight: bold;"></span><br />
<span style="font-family: "arial"; font-weight: bold;"> Miriam College</span></div>
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</span><span style="font-family: "arial";">The road he has taken
can be lonely, but </span><span style="font-family: "arial";">Zulueta</span><span style="font-family: "arial";"> has used this experience wisely to
get </span><span style="font-family: "arial";">reaquainted</span><span style="font-family: "arial";"> with his art and raise it to a
higher level of consciousness. What we
see are the inner roads of a man's journey.”</span></div>
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<span style="font-family: "arial";"> </span><span style="font-family: "arial"; font-weight: bold;"> Nestor </span><span style="font-family: "arial"; font-weight: bold;">Cuartero</span><span style="font-family: "arial"; font-weight: bold;">
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<span style="font-family: "arial";">“ After a year or
two, </span><span style="font-family: "arial";">Pinggot</span><span style="font-family: "arial";"> is back in vengeance, so to speak,
with a fresher, ironically more mature, perspective and </span><span style="font-family: "arial";">persuation</span><span style="font-family: "arial";">,
or it is persuasiveness? </span><span style="font-family: "arial";">Aotearoa</span><span style="font-family: "arial";"> Series is his way of saying his
reason for leaving, and at the same time, living. “</span></div>
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<span style="font-family: "arial"; font-weight: bold;"> Vim </span><span style="font-family: "arial"; font-weight: bold;">Nadera</span><span style="font-family: "arial"; font-weight: bold;">
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<span style="font-family: "arial"; font-weight: bold;"> UP Creative Writing </span></div>
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<b style="font-family: Arial, Helvetica, sans-serif;"><span style="color: orange; font-size: large;">Moon over Aotearoa</span></b></div>
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<span style="color: orange; font-family: "arial" , "helvetica" , sans-serif;">August 25, 2003</span></div>
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<span style="color: orange; font-family: "arial" , "helvetica" , sans-serif;">Philippine Daily Inquirer</span></div>
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<span style="color: orange; font-family: "arial" , "helvetica" , sans-serif;">By Divina C. Paredes</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">AUCKLAND, New Zealand-Jose "Pinggot" Vinluan Zulueta says his works as photojournalist and visual artist have always been social commentaries. The 42-year-old artist has always opted to depict "the good and bad in Philippine society, the challenges and shortcomings of Filipinos, as a nation and as individuals."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">These themes were evident in his critically- acclaimed exhibits in the Philippines, the most recent of which was "Asinta" (Bulls Eye, September 2002), which featured digitally processed drawings and photographs of political and socio-economic events in the past two decades.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">These days, however, those themes have been taking a back seat as Zulueta's art explores more personal feelings on a recent major change in his life.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In January this year, Zulueta and his wife Vanessa and daughter Paula, 16, migrated to Aotearoa, "Land of the Long White Cloud" New Zealand.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">While the move, Zulueta admits, jolted him, it had a hint of irony. For the first time in nearly two decades, he had all the time in the world to paint; time, which was a luxury when he was working six days a week, sometimes more, as a news photographer.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">His house in Auckland's North Shore is now replete with his works that he planned to exhibit in Manila. But while surfing the Internet for jobs, Zulueta stumbled upon the Big Idea (thebigidea.co.nz), the online community of New Zealand artists, and learned about a forthcoming exhibit of migrant artists.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Zulueta contacted the organizers, Arts Access Aotearoa and AB Arts Partnership, and is now one of the artists of the ongoing group exhibit "On Arrival."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The exhibit at the Bashford Gallery, in the trendy Auckland section of Ponsonby, brings Zulueta together with artists from Argentina, Brazil, Burundi, Cambodia, China, Colombia, England, Iran, Iraq, Ireland, Kenya, Kosovo, Malaysia, Poland, Romania, Russia, Somalia, Spain, Taiwan, Uganda, USA and Uruguay.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Zulueta opted to create three new works for the exhibit. The oil paintings, he declares, "represent mixed feelings of uncertainty and fear-emotions that a migrant experiences on arrival in his or her adopted land." The titles say it all-"Introspection," "Journey" and "Unknown."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">While the colors may appear attractive and vivid, a closer look reveals sadness and fear. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Those who are familiar with his earlier works would also note the colors are "darker," a fact Zulueta acknowledges.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The choice of surreal figures in his works is deliberate. "The figures do not have detailed faces and have protruding skeletal outlines indicative of the migrants' difficulties and challenges. The paintings depict their search for meaning and identity and what the uncertain future holds for them."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The figure in "Introspection" is actually faceless. In "Journey," the facial features are hazy. The principal figure is entering a door, but seemingly floating on the air, as if in limbo. This, he says, was how he felt the first few weeks and months in New Zealand.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The third painting, aptly titled "Unknown," shows his uncertainty on what his future holds in his adopted homeland.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">A common image-the moon, always in flaming red-links the three canvases. In "Introspection" and "Journey," the moon is peering from behind the human figure. In the last canvas, the moon is less discernible, merging with the head of the human figure.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Zulueta explains the moon reflects constancy and a link to his past life. It is the same moon, after all, that could be seen in the land he left and the country he now calls home.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">While Zulueta has devoted more time to photojournalism in the last decade or so (he won the first and third prizes in the 1997 Willie Vicoy Photojournalism Awards in the Nature and Environment Category, among other awards), his academic background is in painting.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">He graduated in 1982 with a Fine Arts degree, major in Painting, at the University of Sto. Tomas and took up post-graduate courses at the University of the Philippines College of Fine Arts.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In 1982, while working as a graphic artist and illustrator in a government agency, he enrolled in a workshop of the Cultural Center of the Philippines. The workshop lasted two months, but for Zulueta, it was "an eye-opener and paved the way for my sustained interest and studies in the visual arts."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">He knew, however, he had to take on a regular job to sustain his craft, and, since 1986, has been working in major Philippine newspapers, first as an editorial artist, then as news photographer.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">But the fast pace of newspaper work meant Zulueta did not have ample time to paint. He consoled himself by the fact that he had a daily "exhibit" of his works-on the front pages of the newspapers.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">As he puts it, the nuances of injecting art into photojournalism and painting are different. As a photographer, he says, he sees the subjects outright, and can compose the picture. In painting, he starts on a blank canvas.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">He credits, however, his vast experiences in news coverage-he has covered coup attempts, presidential visits, crime scenes and the less gritty lifestyle shoots-for providing him endless subjects for his artworks.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">His current exhibit-a feat, considering he has only been in New Zealand for only seven months-is simply a first step in what he hopes to be a full-time career in visual arts in his adopted country.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Brett Hopkins, of AB Arts Partnership and curator of the exhibit says Zulueta's paintings are "unique" compared to the other artworks in "On Arrival."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">"They have real strength in terms of both color and composition. As expressionist works, they deftly convey an intensity of experience that is intriguing, although a little disturbing. I particularly admire his ability to translate his recent experiences with such immediacy."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Even then, Hopkins finds a common thread in Zulueta's works with those of the other artists.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"The artists are attempting to deliver their impressions of dealing with life in a new world order. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Not all the artworks in this exhibition attempt this feat, but among those which deal with migration or relocation, there is a sense of dislocation and the trials of dealing with the unknown. In contrast to placing experience within past culture or the culture from one's past, Zulueta's work is about dealing with the present and its possible future."</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">It is worth watching, then, how the choices of themes and colors of this exemplary artist will change as he adjusts in his new home.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The author is a staff writer of an IT management magazine in Auckland, and a columnist of Diario Filipino, the newspaper of the Philippine community in New Zealand.</i></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-17538669013198863102013-01-31T17:32:00.000-08:002017-01-06T10:30:14.498-08:00ASINTA: Images and Imageries, RCBC Plaza Galleria, Ayala Avenue, Makati City September 2002<div class="separator" style="clear: both; text-align: center;">
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<b><span style="color: orange; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The Artist As A Social Critic</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For those who grew up during the period of authoritarian rule, the choices for the artist were very few: To create art for its own sake, as a manner of personal expression; or to transform art, perhaps even to elevate it, to the realm of social protest and give it a concience.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pinggot Zulueta's art genuinely belongs to the second philosophy--and unabashedly so. It stirs the concience--and makes one realize, almost painfully, that one can never find true comfort and the pleasures of a tranquil concience if the broken, oppressed and exploited are left behind. Under autocratic or more benign rules, the artist as a social activist and critic has persisted through decades. Zulueta follows in the eminent footsteps of Filipino artists in this genre. He has amassed a volume of work on canvas paper worthy of a one-man exhibit.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The artworks cover two decades--the Eighties and nineties, the most critical and memorable in the nation's life since 1946. The evolution of his technique is evident; it is evident too, that his themes are timeless, on the social, economic and political dimensions of national life that his generation has experienced. One can go back a century in our national life and find these themes starkly relevant.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His career took of as an Editorial Cartoonist characterized by riveting images of poverty, upheavals, street protests and subtle anti-imperialism. In his later works as a Photographer, his lens focused on both the faceless and famous, portraying a society of great achievers but with little soul and heart for the forgotten ones.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In all of his works, his true heart shines through brilliantly. He grew up believing that freedom. independence, and social values do not grow on trees. They are won at the price of a social struggle--with the artist very much part of it. We may not always agree with his art and his underlying philosophy--but we absolutely admire that courage that coats his paper canvas. The artist has found his true calling.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Noel A. Albano, Journalist</span></div>
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Maestrang Kumain ng Sarling Bituka<br />
<span style="font-size: small;">P<span style="font-size: small;">rinted on </span></span><span style="font-size: small;">P<span style="font-size: small;">igment Archival Ink</span></span>, 1998<br />
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Orasang Walang Kamay</div>
<div style="text-align: left;">
<span style="font-size: small;">P<span style="font-size: small;">rinted on </span></span><span style="font-size: small;">P<span style="font-size: small;">igment Archival Ink</span></span>, 1998</div>
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<div style="text-align: left;">
The Media Activist</div>
<div style="text-align: left;">
<span style="font-size: small;">P<span style="font-size: small;">rinted on </span></span><span style="font-size: small;">P<span style="font-size: small;">igment Archival Ink</span></span>, 1998</div>
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The American Dream<br />
<span style="font-size: small;"></span> <span style="font-size: small;">P<span style="font-size: small;">rinted on </span></span><span style="font-size: small;">P<span style="font-size: small;">igment Archival Ink</span></span>, 1998<br />
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<span style="text-align: left;">Gising Bayan, Bukas Tayo'y Lalaban</span></div>
<span style="font-size: small;">P<span style="font-size: small;">rinted on </span></span><span style="font-size: small;">P<span style="font-size: small;">igment Archival Ink</span></span>, 1986<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3149743972200585773.post-18667876335930319012013-01-31T16:50:00.003-08:002020-08-14T03:01:55.691-07:00<br />
<h3><span style="color: #ffa400;">
Pinggot Zulueta hits the bull's eye</span></h3>
<div class="docbyline">
By Lito B. Zulueta<br />
<span class="docpubdate">September 30, 2002</span> </div>
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<div id="be-doc-text">
Philippine Daily Inquirer<br />
<br />
REVOLUTIONARY is a cliche in these days when "world-class," "genius,"
"radical" and "sublime" are a dime a dozen, and one is hard-pressed to
resist the temptation of applying it to exhibits and works that
emerge out of the blue to surprise and impress. Definitely one should
fight off the pull of doing just that to Pinggot Vinluan Zulueta's
"Asinta: Images and Imageries," showing until today at the RCBC Plaza
Lobby, Ayala Avenue, Makati City. At the least, it can be said that an
exhibit such as this has been long in coming. <br />
"Asinta" is a
digital art exhibition. Both in medium and content, it extends the
frontiers of art. It features some 50 works on canvas paper in pen and
ink and watercolor, recast through inkjet print technology with
UV-resistant coating. The themes are trenchant: poverty, human rights
violations, street protests, slum demolition, repression, agrarian
iniquity, neocolonialism and fascism. <br />
<br />
Zulueta (no relation to
this writer) has said that the exhibit marks his "coming of age." Make
that artistic coming of age. His social and moral rite of passage took
place in the late 1970s and early 1980s when he was a fine arts
student at the University of Santo Tomas and an artist of the school
paper, The Varsitarian. Although not a campus activist, he was not
inured to the heavily charged political climate obtaining at that time
and drew illustrations that were remarkable for their scorching lines
and graphic depiction, what Jose Tence Ruiz would later on call as the
"gigil na gigil" style of drawing. Ruiz, who was later to draw
illustrations and cartoons for newspapers, himself mirrored that style,
which perhaps owed to leftist protest art and agitprop that singed the
political landscape as the Marcos dictatorship became more repressive
and the people were rising from their political lethargy. <br />
<br />
Zulueta's evolution as an artist is notable. He started as a campus
paper illustrator and layout artist, dabbled in oil and acrylic
painting (his first one-man show consisted of paintings on marine life),
shifted to newspaper cartooning (Abante and the defunct Globe),
explored prints, and then, quite suddenly, reinvented himself as a
photojournalist (Manila Bulletin). His latest reincarnation as a
computer artist draws from the resources and wisdom of his past. <br />
<br />
Well-grounded <br />
Indeed, he cannot be accused of taking the line of least resistance.
He did not come to computer art by mere caprice. His exploration of the
new media is well grounded on the old. He is not your usual computer
graphic artist: someone who hides his aesthetic ignorance behind
computer flair. <br />
<br />
Along the way, Zulueta has fine-tuned not only
his aesthetics, but also his social consciousness. In a way, it
couldn't be helped that he should turn to photojournalism. The graphic
bravura and the burning social consciousness of his early works could
only prefigure greater involvement with social concerns. But it is
perhaps owing to the true artist in him that he could only embrace his
subject with the objectivity and the discernment afforded by
journalism. <br />
<br />
Along the way, too, he has experimented with
mediums that should betray the craftsman in him. It was only a matter
of time for him to turn to computer print, considering the fast
extinction of the darkroom and the rapid advancements in computer
printing technology. <br />
<br />
The result of all of this aesthetic and
socio-moral evolution is a work that best represents the evolution of
the Philippine artist in the last 20 years. It is an evolution in
social realism (some would say a resurrection, considering the retreat
of that school in the last decade) and technology. Social realism has
been remade into the new media, the new art. <br />
<br />
It has been an
evolution that is inexorable. "Asinta" is bull's eye in English, that
is, right on target. Zulueta's is an art that has been determined by
the mordant social conditions of the Philippines and the essentialism
and critical thrust of newspaper illustration and editorial cartooning.
In fact, editorial cartoons are supposed to make socio-political
comments by abstraction and caricature. They send the message right on
target. <br />
<br />
It is also an evolution that is technologically
conditioned. Zulueta's art fulfills Marshall Macluhan's technological
determinism. More and more, artistic statements have been molded
according to the nature of the medium and material. Photographic
technology and the new media will determine the aesthetics of the new
century. <br />
<br />
One can only welcome with both excitement and
trepidation the contours of the emerging artistic landscape. Will the
new media result in art that is more immediate, more open? Or will the
new media further reify art, undermine and ultimately banalize social
consciousness? <br />
<br />
We don't know. What we know at this point is
that technology has widened the frontiers of art and even collapsed
some of its more cherished foundations. In Zulueta's case, the frontier
spirit is also evident in the release of a book that complements the
exhibit. In "Asinta: Tula and Tudla" (published by the UST Publishing
House), Zulueta collaborates with poet and performance artist Vim
Nadera, himself a visual arts practitioner, to craft a book in which
text and image intersect. The book is an exercise in intertextuality and
interactivity. The boldness of the project should be the subject of
another essay. <br />
<br />
"Asinta" the exhibit runs until today at the
RCBC Plaza. Call Marge Ocampo at 887-4942. For orders of the book
"Asinta," call 731-3522 or 731-3101 local 8252/8278. </div>
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Unknownnoreply@blogger.com0