EXHIBITED WORKS
Upstairs Gallery, Warehouse 17, La Fuerza Compound
DOPPELGANGERS, The Unnamed and a Diamond Hidden in the Mouth of a Corpse
RIO ACALLAR, JIE ADAMAT, MICHAEL DE GUZMAN, SARAH GENEBLAZO,DERRICK MACUTAY,
NOEL SOLIS
8 April – 2 May 2010
In “Doppelgangers, The Unnamed, and A Diamond Hidden in the Mouth of a Corpse,” the artists explore the belief structure surrounding art practice. It surveys the strategies and viewpoints that are not necessarily reliant on manipulative prankster behaviour while trespassing malicious mental gymnastics.
The exhibition grew out of a response to the general, uninformed, and vituperative opinions they encountered in the internet. By counter-posing, the participating artists are more concerned with addressing the nature of a much over-looked practice of apprenticeship from a new perspective, the important threads that bind the artist’s practices, and the charting of the collisions between the nature of collaboration and the parallel working fields of knowledge.
The foundational curatorial concept of the exhibition is to present the key figures behind the production of large-scale artworks as a result of a developed and shared practice in the production processes of art making. Somehow, this creative truth and pursuit is not alien to the history of collaborative work or artist-apprenticeship – at least in Angono context or artistic milieu -- as this was done and held by Carlos “Botong” Francisco, which produced the likes of Salvador Juban, Vicente Reyes, Crispin Clarete and even Jose “Pitok” Blanco.
The show brings together selected artists with diverse backgrounds and working periods from past exhibition projects to show the core of engagement and to fill the voids left behind -- like the conscious layers of paints buried in the shadows of each artwork. By examining the history of this traditional practice, which spans a decade of spectrum and open enquiry, the show attempts to represent the individual presence of artist's apprentices and assistants and their active participation in the production of these works as crucial to their own art practice.
The exhibit also uses the spirit of collaboration through apprenticeship and attempts to introduce a framework of innovative participation methods somewhere in-between the solo exhibition and group exhibition format.
While combining the presentation of their works within the sphere of their own artistic visual language, they try to push the possibilities to raise the range of issues that they encounter and deal with.
Thus, the multiple aspects about visual art practice and its crucial shifts and change serve as a discussion platform for a better overview of the issues and strategies employed by the people working in the field of contemporary art practices. It also allows for a wider reflection, insights on learning and participation.
Driven by these generative ideas and that of exploring the potential strings of inspiration that can empower people to fulfil their own creative potential, the project hopes to transcend the current polarities of both creators in the process of building critical discourses and their working relationship.
This, therefore, serves as a fundamental tool to spark collaborations as significant sites of creation and education.
Exhibition Notes for April 8
Finale Art File
Wire Tuazon 2010
Edited by gappi
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