kultura

when ‘i love you’ is enough

Not quite impressed with the valentine exhibit at Manila Contemporary in February – save for Angelo Suarez’s “Not the Object, But the Energy It Consumes Over Time” and Rachel Rillo’s “Keep It Taut” – I was ready to be disappointed in the I Love You exhibit at Hiraya Gallery (530 UN Avenue, Ermita, Manila). But I was impressed, at the works that were there, bound together by the idea and act of saying “I loveyou”. The sculptures should’ve been an indication: Agnes Arellano’s “Kissing Yabyum” was clean white and sexy; and Ramon Orlina’s “Father’s Delight” seemed to be in action, dancing joyfully to its notion of i-love-you. I was in for a good show.

A funny kind of lovin’

Ronald Caringal’s “Love is in the air, or the source of it” is a funny take on love doggie-style, that is, an image of a real dog smelling the behind of a stuffed dog. Against a dark backdrop with cartoon-like dogs, and “I love you” in tiny red letters, this takes a jab at our own humanly acts of saying I love you when it is based on the way something looks versus what something is. (more…)

komentaryo

#33 and #37 on your ballots

choosing senators that are pro-RH.

but here are the two I trust with my life.

The Feminist: Liza Maza

Liza Maza is the only feminist candidate for the Senate in 2010. As congresswoman of Gabriela Women’s Party for nine years, Liza authored crucial pro-woman laws like the Anti-Violence Against Women Act, Anti-Trafficking of Persons Act, and Magna Carta for Women, and is co-author of the RH Bill. Liza’s has been the one voice we can count on when it comes to women and human rights violations, be it as activist or politician. She is unafraid to battle it out in the halls of government to the streets with the women she represents. In the face of Liza’s personal convictions and her political track record it’s difficult to imagine any other female candidate as pro-woman. Liza’s number 33 on your ballots and is online at lizamaza.com.

The Revolutionary: Satur Ocampo

Satur Ocampo is the one senatoriable who can claim to be nationalist and prove it. He was journalist before he became activist, representing the poor and marginalized from the streets to congress halls. As congressman of Bayan Muna Partylist for nine years, he has been integral to the creation of pro-people laws, including laws for woman (Anti-Violence Against Women and Children Act) and workers (Tax Relief for Minimum Wage Earners). He is the crucial force in the struggle for real change in society, where every man, woman and child will have their rights protected, and their lives valued. More on Satur, number 33 on your ballots, at Satur4Senator.

kultura

Art thinks highly of itself in “The Death of Death”

A version of this was published in the Philippine Daily Inquirer, April 19 2010, in the Arts and Books section.

There was nothing exciting about the façade of the space where “The Death of Death (is alive and kicking”) (SM Art Center, 4th FL, SM Megamall) was being exhibited. On one side was a black tarp with the list of participating artists, on the other was a cartoon-like rendition of a skull. Between the dark colors and skull, this told me not to expect much, which directly contradicts curator Igan D’ Bayan’s “non-curatorial statement.” I began reading the note after I had slept on this exhibit longer than I would any other, still not finding some crux from which to begin analysis. The curatorial note, while no god, might give me a sense of the project’s notions of itself, a good starting point for understanding the exhibit. Of course sometimes, as with “The Death of Death”, the curatorial note fails as well.

No limitations equal clichés

There were too many skulls for one thing, and this wouldn’t have been a problem if these renderings didn’t look like things we’ve seen in popular culture before. Kiko Escora’s “Bungi” was funny with its hot pink background and its rendering of a skull with missing teeth, but it’s something we’ve seen in the local comedy films before.  D’ Bayan’s “Armageddon Boogie”, the steel installation that greets you when you enter the space, also looks like something you’ve seen and killed in video games before. (more…)

komentaryo

20 days to go!

“Ninoy’s Testament From A Prison Cell and other writings might enlighten Noynoy a little about the Left. if there were no poverty and oppression, there would be no Left; snubbing and demonizing the Left (instead of finding a way for Left and Right to work together for the good of the whole) would not have been Ninoy’s way, is no way to honor Ninoy’s legacy, in fact it dishonors Ninoy’s legacy.”

And while Stuart Santiago seems to have decided, I have yet to decide on a president. in fact, i’m almost voting for that one who will categorically say yes to the Reproductive Health Bill in this final stretch, but in this godforsaken country,really, everyone’s more afraid of the Church than the wrath of all womanhood.

so heck, maybe Jamby. I would ratherthat Frenchman in Malacanang than Kris Aquino or Willie Revillame.

kultura

the sadness of here in Ypil’s highest hiding place

a version of this was published in the Philippine Daily Inquirer, April 14 2010.

Lawrence Lacambra Ypil’s first books of poems has many things going against it, including the fact that it is poetry and that it is in English, both of which limit it to a particular audience. More importantly, it comes at a time when the kind of Philippine poetry in English that’s celebrated – if publication and recent award-winning collections are any indication – has been about going beyond the person and the personal in the poem, almost a poem-for-and-of-the-world, where the nation is missed/missing/ disappeared, the text existing beyond the page and into a realm of learnedness and influences that it requires the reader to inhabit. This, at a time when people continue to think poetry too difficult, and Filipino poetry too removed from the conditions that are real to us. In this sense, the debate has become too simple: the easy/ confessional/personal poem, or the difficult/conceptual/landless poem?

The Highest Hiding Place (Ateneo de Manila Press, 2009) by Ypil lands right smack in the middle of this debate, not falling clearly on either side of it. There is a refusal to be easily about personal confessions here, even as these poems seem to refuse difficulty. It experiments with forms, yes, and necessarily does with content too, but it does both without refusing the reader entry into the poem. (more…)