Text by Jewel Chuaunsu
Masterpieces by two of Southeast Asia’s greatest painters – Juan Luna and Raden Saleh – were brought together by National Gallery Singapore in an unprecedented showcase.
Text by Jewel Chuaunsu
Ugnayan sa Poblacion by Taverne Gutenberg seeks to harness the power of art in community development.
Text by Toby Martin; Photos by Jovel Lorenzo; Artwork photos by Taverne Gutenburg
The works of Mario Parial were pioneering in their depictions of folk religious imagery, rural landscape themes, and infectious joie de vivre.
written By Duffie Hufana Osental
Roel Obemio uses painting as a platform for his worldview.
Many things come to mind when we consider the art of Roel Obemio. Fernando Botero as an obvious reference would perhaps be the first cue. Boterismo becomes “Obemize,” in his parlance, but this is less due to any allegiance and more to Obemio’s interests as a caricaturist. Evolution is another. At the beginning of his crossing from a working artist in animation to a serious artist in the art world, his themes and aesthetics were simpler and easier to understand. Characters in nostalgic proto-narratives inhabited his early canvases, which gave a sense of an artist on a journey. Obemio was searching for themes that would drive his technique—all in keeping with the determination to keep true to his own vision.
This journey has led Obemio to an increased study of the Masters of Western Art. From Boticelli to Van Dijk, he paid homage in his own way—by Obemizing classic works. We see Boticelli’s “La Primevera” as a celebration of large people—but what we do not see is that through each of these homage attempts, Obemio was honing his own worldview.
As National Artist Cesar Legaspi turns 100, the Cultural Center of the Philippines looks to celebrate
the life of one of the Thirteen Moderns in his centenary exhibit, Lying in State.
Written by Carlomar Arcangel Daoana
Riel Jaramillo Hilario shares stories from his artist residencies in Europe and Asia.
An artist residency program allows artists from different countries to live and work in studios in situ (or in proximal sites), so that the experience can hopefully enrich one’s professional horizons through observation and networking.
The operational idea behind the residency program is artist mobility, which acknowledges the impact of globalization in the practice of contemporary art. Through making contacts, sharing studios, and working with local artists, there is an opportunity for visiting artists to be exposed to different art scenes and to present their work to communities whose feedback can prove critical to their practice.
From August to December 2016, I took part in three consecutive artist residencies in Penang, Paris, and Seoul, with a number of side trips in between, adding up to a total of eight countries in five months. These residencies included Rimbun Dahan Southeast Asian Arts Residency at Hotel Penaga in Penang, Don Papa Rum Artistic Residency Sojourn in Paris, and the Seoul Museum of Art Nanji Residency Program. I am sharing a few narratives from my journey here, to give artists a glimpse of what these programs offer and what I have gained from them, directly and indirectly.
Jayson Cortez explores the nature of symbolism and the trajectory of his own career in his Flora series of paintings.