![]() Major programs will address key issues in the following areas: infrastructure, transportation, product development, travel & investment facilitation, connectivity, and institutional tourism concerns. At present, government agencies are united to provide the enabling environment for tourism growth and development. Our tourism campaign has become a unifying platform for cross-promotion, convergence initiatives, and public-private partnership. “FUN” means easy, convenient, and hassle-free which should be evident across the tourism value chain. Ramon Jimenez Jr.: The DOT continues to take “FUN” to a deeper level to mean good governance and competitive offerings that practice good business, proper management, and sustainable development. The idea is to have a setting where artists and creative individuals from other disciplines can interact and work together while presenting art in different ways be it a talk, a bazaar, a publication, a meal or a simple gathering. Deemed as a site for creative sharing, discussion and collaboration, 98B is a community + network + kitchen + shop. It was established in January 2012 as a response to the need for alternative venues in Manila. ![]() It seeks to establish a convergence with artists, designers, curators, writers, musicians, film makers, activists, educators, researchers, cultural workers, performers, architects and students together with the general public. I am also part of 98B Art COLLABORATORY, an artist-run alternative art space located at the Mezzanine Floor of the First United Building in Escolta. I’m a member of TutoK and Filipino Visual Arts and Design Rights Organization (FILVADRO) and currently involved with other curatorial projects. I am primarily a visual artist. However, I also write. MC: There are a number of things that take up my time. I make use of various textures and materials to represent contemplation, lamentation or jubilation. For me, these also serve as metaphors for occurrences and circumstances, actions and non-actions, dreams and challenges. In my most recent solo exhibit Drawn Entanglements at the Art Informal, group shows like Curved House at the Blanc Compound and reFLEXions, too at the Galerie Astra and Balancing Paradoxes and Paradigms with Roma Arts in Bandung, Indonesia… I have tried to further explore and examine these patterns. At any given moment, the conglomeration of the puzzle is the sum of who we are at that definitive moment. Each part, though unstructured and unidentifiable by itself, is a perfect fit to the other pieces of instances or coincidences that shape one’s life. Hence, my works commonly deal with our maze of experiences. Hopefully, these could prompt realizations that would lead to a source of empowerment. As such, by laying it out in the open, it tries to provoke dialogues. It is reflective of the feminist notion that “the personal is political.” It revolves around the consciousness or awareness with regard to roles and relationships. MC: In general, the central premise of my art is based on self-referential themes. Their inputs were very valuable and are part and parcel of the concept of ReCollection 1081, which is to trigger reminiscences. This also helped in humanizing the whole project and making the situation back then more understandable for the younger generation. We also included excerpts from our email interviews with some of the other participating artists. It was a chance for us to talk to the artists and get their views about the show, the times and their practice. In addition, Ruel Caasi, co-curator of the exhibit, and I conducted some studio visits. The content of that three hour discussion was very significant for me. They gave me a vivid picture of the political, social and economic milieu of the country during that time. They contextualized the events and how certain personalities did what they did. They gave me a personal account of how it was like then. Most useful was my interview with Randy and Karina David. ![]() MC: I read and re-read a number of books and articles to refresh my memory on certain things.
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