Category Archive for: arts and culture

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Lizaso at CCP: Death of culture (1)

The problems of the sectors of arts and culture in this country are multifarious, and there is no doubt that any of us cultural workers who are at the bottom of the totem pole can only believe in the possibilities of change, and look forward to it, too. Many of us try and work towards that change, but if cultural work is your bread and butter – and you’re not one of the lucky ones who comes from privilege to begin with – then you have no choice but to compromise along the way, work with institutions and hope to change these, be critical of the ways in which our creative freedoms (usually all we have) are disrespected or abused.

But as I’ve said before: President Duterte appointing the un-credentialed and inexperienced, incompetent and incredible, into positions of cultural power do nothing for our psyches, even less for our morale, and absolutely nothing for the conditions of our labor.

Installing someone like Nick Lizaso into the Cultural Center of the Philippines (CCP), for no reason other than that you know him personally, and denying completely the right of the sector to decide for itself who it might want as leader – that is not any kind of change, President Duterte. (more…)

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London Biennale Manila Pollination: The Revolution Loses Steam

The idea of an art biennial in Manila is reason enough to get excited about the London Biennale’s Manila Pollination. The dominant mainstream market-oriented gallery system and the annual celebratory art fairs in Manila have generally meant a lack in critical rigour and artistic vision – two elements that art goers hope a biennale can make up for.

Founder (in 1998) and co-curator of the London Biennale Filipino artist David Medalla says in the curatorial note that this biennale is about ‘challenging and transforming the notion of the art world “biennale” as a large state or corporate-sponsored event… by throwing open borders and encouraging a more intimate and community-based dialogue between the artists and audiences’. Originally only based in London, this alternative biennale has evolved to include various communities in other countries through what are called “pollinations” in places like Rio de Jainero, Berlin, Belgium, and Rome. This is the first Manila Pollination of this scale, as opposed to an obscure exhibit or two in the past. (more…)

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The Singapore Biennale 2016: An Excess of Rhetoric

The mapping of art and nations through a biennale is a foregone conclusion when it is both premise and project, specifically in the case of the Singapore Biennale, the past two editions of which (2011 and 2013) were heavily contextualized in or concerned with the championing of Southeast Asian (SEA) art and artists – no matter the requisite works chosen from across Asia and beyond. The task, conscious or unconscious, is that of representation.

One imagines this could be a burden for any curatorial team. After all, (re)presenting SEA at this point is more complex than just mouthing post-colonial clichés. It demands of us a nuanced, critical stance that engages with the more difficult questions about ourselves, beyond what we have been made to believe as (post-)colonial subjects. It is a complicated conversation that needs to be had if we are to move forward as a region, which might also be why it’s easier to avoid it altogether.

Sadly, this is what the Singapore Biennale’s 2016 edition did: fall back on the platitudes and banalities that present SEA as a region that is built upon discourses on identity and independence, history and geography. It went for the easy, evading the challenge of representing SEA in all its complexity and contradiction.  (more…)

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Good news, bad news for culture

Ever since President Duterte came into power, the only time(s) we’ve ever had a sense of what he thinks of arts and culture is when he appoints people to cultural institutions.

And then there are those instances when we just hear people speaking as supporters of the President.

Say, Freddie Aguilar saying he had been promised a Department of Culture and in place of that, the chairmanship of the National Commission for Culture and the Arts (NCCA). Or that time last year when we were told about an arts and culture agenda being built through the funds of someone who had campaigned for the President. This was an arts and culture agenda based solely on cultural organizations, none of which could stand for the collective needs of cultural workers. There was no transparency as far as building that arts and culture agenda was concerned, and even as we were told that the documents would be released, it’s been months and we’ve seen absolutely nothing. (more…)

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Selling relevance, using current events

The family drama is … ahem … a Metro Manila Film Festival (MMFF) tradition, one that’s produced some interesting enough versions from the Tanging Ina series to Mano Po. And so it was no surprise that the purported / sold / imagined “change” via MMFF 2016 would deem it necessary to have a “family drama.”

It was “Kabisera.” And while it did fulfill all the requirements for a family drama, i.e., there was a family, and there was a crisis, and the family pulled together — sitting through the convoluted loop-holed narrative made one think it was particularly chosen not because of artistic merit but because of elements that might have rendered it relevant … or at least “more relevant” than the family movies of MMFFs past.

Apparently all it takes these days is to throw in some corrupt politics, play around with images of impunity, and then engage in a discussion about these as superficially as possible. Have I mentioned the caricature of a human rights Chief that was obviously a jab at De Lima? Yup, one that didn’t work at all.

(more…)