Sunday, December 4, 2011
Wednesday, November 30, 2011
CineMangarap is a film exhibition that aims to recognize Filipino Filmmakers and their talents that represent the artists of our generation by giving them a venue to showcase their films and to make them tell the stories they want to expose regardless of the connotations of mainstream or alternative cinema.
For its first event, CineMangarap presents, CineMangarap: Indie long, Short ito! It is a short film exhibition that will present 13 short films.
See you all this weekend! :)
Saturday, November 12, 2011
Sunday, November 6, 2011
Saturday, November 5, 2011
Vinyl + Splash: the Ultimate Collectible and Comic Convention
Saturday, November 26, 2011 at
TopShelf, 5F of Fully Booked Bonifacio High Street
Gates open at 10:00 a.m.
Admission is FREE!
Wednesday, November 2, 2011
Sunday, October 23, 2011
Monday, October 17, 2011
Sunday, October 16, 2011
Sa Tuktok Ng Tumpok
Katulad ng nasa taas, simulan natin sa Tuktok; Tuktok bilang isang sitwasyon o kalagayan na kung saan dito kaya nating gawin ang lahat ng naisin. Dito nakamit na ang kayamanan, kapangyarihan para pagalawin ang alin man, ituon ang atensyon sa nagnanais, kakayahang bumuo o sumira. Sa parang hindi nakakapagod. Kaya mong magpatakbo ng bisikleta ng hindi na humahawak sa manibela. Kung papasimplehin natin, magkakaroon lang ng isang tagapagbigay ng ideya at ng nakararaming tatangkilik nito.
Kaugnay nito ang Tumpok; Mga nagaakala at sumusugal. Pila-Pila, Tabi-Tabi, Paulit-ulit sa paghanap ng kasagutan kung panu umakyat. Nagtataasang kumakalam na bunganga, tinitingala ang mapangmatang nakahandusay sa ibabaw. Silang mga unti unting naglalaho. Kasabay ng oras hindi mo din sila mapapansin. Mga sunod-sunod na tanong ang kaugnay ng mga produktong sa oras na ito’y nagamit na ay kailangan mo na ring humanap ng mas higit pa. Patong-patong na katotohanan, na iisa katawan lang ang pede sa isang partikular na bagay.
Katulad ng lahat ng bagay sa mundo, kalakip ng isa ang isa. Hindi magkakaroon ng nasa tuktok kung walang malaking bilang ng nangangailangan. Kung walang Tumpok na nag-aabang sa basurang inihahain nitong nakaupo. Ang patuloy na pagkauhaw natin sa paulit ulit na bagay, unti-unti darami ang tambak na problema para magkaroon ng tambak na basura. Kasama ang akala nating problema. Walang katapusang pagnanasa para sa ating sarili.
“Gusto kong madagdagan ang kulay ng bahaghari… matagal ko nang ginawa.”
“Gusto kong madagdagan ang kulay ng sapatos… bukas nga makabili.”
Ang bawat isa sa mundo ang huhulma sa mga naririto. Ang pagkonsumo ng sobra pa sa pangangailangan ay parang tae, ilalabas din ng katawan pagkatapos magamit ang sustansya. Matapos ang buong proseso isang basura ang katapusan. Ang kawalan ng basura ay senyales ng pagtaas.
Tuktok ng Tumpok opening reception on October 21, 8pm at Vinyl on Vinyl Gallery.
Tuesday, October 4, 2011
Ramona Dela Cruz-Gaston’s painted mandalas are kaleidoscope-like tessellations that swirl with radiant colors. In her first solo exhibition, the artist meditates on the drama of womanhood and the journey from maiden to mother.
She navigates the technical difficulties of the mandala, a form of sacred art, and organizes her personal iconography into hypnotizing geometric designs. Her meticulous canvases swim with symbols, bounded always by the strict symmetry she imposes on herself. The mandala is her way of taking control and making sense out of chaos.
Influenced by Art Nouveau, an architectural movement inspired by organic forms and curved lines, Dela Cruz-Gaston’s signature is unapologetically feminine and emotional. Also leaving indelible marks on her practice are Frida Kahlo, a bold and fiery personality known for her self-portraits, and Patrick Woodroffe, beloved by science-fiction readers for his dreamlike book cover paintings. Combined, these forces have contributed to the vivid rendering of Dela Cruz-Gaston’s surreal canvases.
Ramona in the Details, as her first solo exhibition is titled, is autobiographical but never obvious. Her narrative art covers the past four years and the roles she has had to play: lover, wife, mother, artist. Her achievements as a painter build on her draftsmanship, as demonstrated by graphite-on-paper works also on exhibit.
An accompanying book, also titled Ramona in the Details, is a diary of sorts that ruminates on her beginnings as an artist and the stories behind her work. Her obsessions with miniature toys and animals, deaths and miscarriages, experimentations with various media (among them her own blood) are documented in a frank account of her life.
While Dela Cruz-Gaston’s paintings are not self-portraits, they remain personal, intimate, and, if read properly, revealing. Dela Cruz-Gaston could be channeling Kahlo, who once said: I’ll paint myself because I am the subject I know best. ll
Ramona in the Details opening reception is on October 8, 2011 730pm at Vinyl on Vinyl Gallery at The Collective 7274 Malugay St Makati.
To see her artworks on display click HERE .
To see event pictures click HERE.
Monday, September 12, 2011
Tuesday, August 16, 2011
Gabby S. Tiongson a.k.a. “DIKO” wields a Sharpie with the surgical precision of a scalpel. Black lines, sure and strong, cut through paper giving life to creations pulled from Tiongson’s cerebrum. Like a hyper-energetic Frankenstein, the 26-year-old concocts “design ideas” that graft together body parts—human, animal, and imaginary. His background in medicine has given him the confidence to toy with nature and the gall to replace a pig’s ears with human hands.
Tiongson’s cartoonish style is a culmination of all his influences and obsessions, among which he counts the animated television shows from the 1980s and 1990s; fantasy genre computer games such as World of Warcraft; Todd McFarlane’s Spawn; and legendary creatures such as the chupacabra.
A wild talent used to producing at least one freehand work a day, Tiongson honed his drafting skills by participating in notebook “doodle battles,” creating vector graphics for T-shirts, and drawing structurally sound fingers based on Richard Snell’s Clinical Anatomy.
Tiongson’s introduction to the Manila art scene comes in the form of Neurana, short for “neuroanatomy,” a solo show composed of pen-on-paper illustrations and experimental acrylic paintings. In his inaugural exhibition, Tiongson takes the brain, the seat of consciousness and intellect, and transmogrifies it into a giraffe, a whale, a snail, and many other visual puns.
His hand is deliberate, his lines clean. Many of his drawings, which feature limbs in the most unusual places, are adorned with belly buttons, a reference perhaps to omphalokepsis, navel-gazing, and self-contemplation. To fill in white space, he uses indigenous patterns, the stylized Tinalak diagonals adding a subtle Filipino-ness to what is, at first glance, a very Western sensibility.
Tiongson, a self-taught artist, is still feeling his way to his own style. Nevertheless, after filling many a sketchpad with his imaginings, he has developed a cohesive body of work marked by a recognizable aesthetic. The smooth, expressive contours of reality-flouting subjects radiate a confidence built over years of drawing. Even without being formally trained, Tiongson is in possession of his own visual vocabulary.
The choice of the human brain for his inaugural exhibition is symbolic of the limitlessness of the human imagination. “Invention,” Mary Shelley writes in the introduction of Frankenstein, “does not consist in creating out of void, but out of chaos.” It is into this creative chaos, this plethora of limbs, that Tiongson invites us. Like Shelley’s protagonist, he is set to “pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”
Gabby Tiongson’s 1st One Man Show dubbed as “Neurana” opens August 26 2011, 6pm at the Vinyl On Vinyl Gallery at The Collective, 7274 Malugay street, Makati.
PHOTO BY: KEITH DADOR