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Faith And The Pinoy

(By Emmanuel Torres)

Nothing is more typically, touchingly, Filipino than a story I once heard from office secretaries in Makati City's financial district.

A company VP hung a painting of a Madonna and Child in a reception area. In the ensuing days, a secretary set a small table in front of it; another a vase of flowers on it; still another a votive candle. Before long, that part of the room became an altar. During lunch break one day someone knelt to say the rosary. She was joined by two, three others. More on other floors heard about this prayer practice, and joined in. Now that corner of the reception area is a venue for noon worship.

Interested In Having Your Works Exhibited

Interested In Having Your Works Exhibited in a Gallery? (By: Silvana Diaz )

All artists aspire for successful exhibitions. This desire is no less fervent for the gallery owner. Mounting an exhibition can be directed into three stages: the pre-exhibition, exhibition proper, and post exhibition.

However, before all these get started, there is the matter of getting accepted in a gallery. There are two ways to ensure this: either to be invited by a gallery, or by presenting a proposal to a gallery. A proposal includes a portfolio, and a concept of what you want to do for the exhibit. This may include actual works, which are representative of the works to be exhibited. Acceptance pre-supposes that the artist's artistic, aesthetic, and creative direction are in line with the vision of the gallery.

The Essential Story On Filipino Writing

The Essential Story On Filipino Writing Rising from the Debris of Colonialism (By: N.V.M Gonzales)

Incorrigibly optimistic, I keep gazing into crystal balls. In one, I see a bright future: if we stay with the English language just a bit longer a decade or so perhaps, we might make our mark in world publishing. The signs are there: we are developing a readership of our own in English. You may not be aware of it, but we are the object of a not inconsiderable admiration and guarded envy of writers in Malaysia and Singapore; they think we have it made, proud vanguards that we are of American culture in our part of Asia. Their Commonwealth literature is in English but very much bound to London; we, on the contrary, have begun not to mind New York.

Immortality In An "Ephemeral" Art

(By: Reinerio Alba)

He also emphasized the need for our young artists to focus instead on their Filipino roots rather than adapt a European mode to which the Filipinos have long been exposed to.

Some of his memorable installation pieces are: "Archetypes," "A Cordillera Labyrinth" (a spiral labyrinth 45 m in diameter and 600 m in length made of bamboo and reeds) set up at the Cultural Center of the Philippines grounds in 1989, "Panhumuko" (an installation made of bamboo around an abandoned open well depicting man's surrender to the power of nature, coupled with a ritual-like performance that he executed in the refugee camp for Pinatubo victims where the Aetas themselves danced with him), his "Atang Ti Kararua" -1992 (three bamboo floats made of twigs carrying offerings for the souls of people who died in the Baguio earthquake) that was made to float down the entire length of the Central Park Lake in Manhattan, and his "Ego's Grave -1993" (a pit, which he dug for 17 days causing him to collapse during the first Asia-Pacific Triennial of Contemporary Art in Brisbane, Australia), along with other art installations, which took him to New York, Japan, Australia and Vietnam.

The Ends Of Vision

(By Marc Escalona Gaba)

The world perceived as light and human noises: as image-if you can imagine this way of perceiving (do)-imagine the beginning of childhood when the knowledge of the distance of objects seen does not so automatically, as consistently as thereafter, interfere with what is seen yet: the world in two dimensions, flat, the whole picture a single unit free, even, of the logic of light and shadow (let their mutual opposition equal; let where they meet stand still), delete the information of time: there is no time to what you see-divest yourself of what you've learned, step back, then: step back. Ask what lies behind all of it, then ask again what all of it is.

 

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