Compilations of Old Blogs Part 1

Winner Takes All !
June 29, 2009, 9:15 am
***05 31 2009

Last night was damn inconvenient. Stranded by rain and cornered by friends… It was a scenario I never expected to happen last night. Ha ha ha ha. It was one of those evenings you want to go home, forget about the issues and avoid all confrontations. I am still in relapse as I write this article though. Short of getting pneumonia, I stayed put and tried to avoid answering the questions thrown at me. The food is always great at Dr. Cuanang’s functions and I was just happy to have my fill.
The exhibit at Pinto Gallery was a good show. It was enough for collectors to go crazy again for Antonio Leaño’s paintings after a few years of almost ignoring him. He returned to his figurative works for the collections and incorporated his textural drippings of late. A guest asked me frankly what the technique was and I thought about the word “appropriation.” He did combine his two inclinations as assemblages with this new series of drawings and paintings. Two facets of the artist at a standstill. I still admire that he reinvented himself with his non-representational works after his much sought out figurative pieces. Even if this has had its drawback. He is stronger for it. He is an established artist and one of the few I admired and followed in his mid career. I am happy that we are following their generation’s breakthroughs and that they remain strong in the art scene today. The show was sold out before the night even started. There were many guests but less than when I last visited the art compound on another major show. It was a cause for celebration and all the works were well arranged. Thanks to Ruel Caasi who curated it but not for asking me frankly why I picked up Kulay Diwa Art Galleries when one has left it behind? A pity that the rain started to get stronger as night came. There was no escape in sight. The rain stranded most of would be guests in their homes. So those that remained were lucky because everywhere in Rizal was mud, muck and traffic.

The day started quite well. I attended my nephew’s baptism at the Edsa Shrine with a French priest officiating. We were all happy about the occasion finally happening. It was quite unique though to listen to a foreigner priest. We were all ears as we listened to the enunciation of the sacraments lest my nephew not be baptized properly and prayers sent to a different place. It was all rolling Rs. Ha ha ha ha… The poor kid had to be dressed up for the occasion and some of his jokes were missed completely. (The priest was missing a lot of his punchlines and not my nephew who is only 8 months. Ha ha ha.) I do give credit to the priest for doing his best though. After less than an hour we welcomed a new Christian boy. We then celebrated the occasion by trooping to my sister Hazel’s house in Cainta. The food was good. The kaldereta cooked by my “bayaw” was spicy awesome. I am lucky with my brothers’ in law as they are quite accomplished cooks and come from talented families. A pity I had to attend the exhibit because we could have ended the day with karaoke and believe me some of the people there that day are really great singers.
Going back to the event with friends I was relating. They were asking a lot of questions about my works, my galleries and my being uncontrollable a few years back. I have left a lot of controversial and sticky situations before and not bothered to clear them up properly. I guess because of recent scandals mine would not be overlooked this time. The Pinto Gallery was a big place in a big compound. Hiding somewhere would be a good idea I thought. Nah! It was really raining hard and I probably end up stranded for the whole night if I did that. Ha ha ha ha. I am taking this time to admit my errors in keeping curator Tence Ruiz and writer Ritchie Lerma in suspense until the exhibit day. The only excuse is financial constraints. I am sorry about the whole situation. I am not good at juggling home and personal expenses let alone for exhibits. I seldom also share my problems. They asked me also why I had all my co ACC artists breathing down my neck. Well, that was professional too as that was connected with one of the artist being at ends with me working for Kulay Diwa Art Galleries. It was an established artist who wanted to close the space permanently for personal reasons. Sigh… We are always caught between issues we don’t know about. Having no stand is better than being on the other side…. Sigh.. Ha ha ha… But we also had that cleared up eventually after a few years. We are sort of talking again. It was bad enough that we were at odds but I guess we had to include others too and made it complicated. I would just keep mum on that… They had years to enjoy each other…

Another question asked was why I had been outed from Surrounded By Water Gallery after years of camaraderie and working together?

Yes, there was disagreement… I left SBW after meeting with the group about certain do’s and don’ts. They did not remove me because I resigned as a member as my option. Opening the airconditioning for guests was a a big “No”. We call it energy saving now but it also included not opening the lights when we have one visitor or two. Daylight would suffice. Since the Gallery was Artist-Run-Space it has to be collective and consensus. It also might be better to see them without lights on. Maybe it wasn’t really the issue more to my attitude of uncooperation. We were young with big sense of pride once right? With three pairings officiating it was really hard to be the odd one out on trial. Where was justice? Ha ha ha ha… It was time to break off too for me then. I was less of a group but I was more of an individual on my own now. I could not be unsympathetic about our causes. SBW needed less of me now. I saw it too. Eventually, we got over our differences and we became friends again.
Honestly, I had no answers back then that I wish to defend myself other than we stand by our choices. I just wanted to believe that there would always be venues that would always be open for young artists to show in. A good space that we could work with peers, where we could appreciate our works in and see other peer works. Hiraya Gallery was alienated at the time and so was Boston Gallery. Nineveh Gallery was also distanced and even farther than anything in Sta. Rosa Laguna. Even though they also had a contingent there of artists they also had bigger factions. Sigh… Sigh…. No one could show at Duemila Gallery, West Gallery or Finale Gallery if they were not saleable or established. Drawingroom was very competitive and still is. I try to keep it separated as I consign there. Exhibiting again in Hiraya Gallery would have opened more pressure on me and outright retribution for blood… Sigh… Hiraya Gallery was a bigger issue untouched for years when I stayed put there to continue to exhibit… Never mind that it too had history and was the best damned gallery in the country for years…You had to go with the flow… You get dizzy choosing sides. I still wonder what an ideal prudish gallery is today. There were few people I needed to explain myself about my choices. Bobi V. always knew my stand. Because I was like a right hand that could do what the other left hand would not do. Sigh… Ha ha ha ha. I always wondered why I turned up rebellious. I guess it runs in my veins. When I am down I rise to the challenge.
I saw that if we could keep Kulay Diwa Art Galleries open for a few more years maybe this generation would be better. There were already good shows that Kulay Diwa Art Galleries contributed while Bobi V was curator. But we didn’t have that ideal place when I came back from the States. There was no curator there and no artists anymore. I promised Bobi V. before I left that I would work to help. It was just that when I came back everything was a mess. No one was speaking about anything and there was less a gallery to show in. The young artists that I was working with alongside were all in factions. We didn’t have any place to call home now. I guess they grew up when I was gone. All because of factions and ethical differences. We were faced with starting again from scratch. Some accepted that they would rather start again from scratch rather than work differences and problems. I had always worked with scratch and been not afraid of it but I was tired now. It had happened before and I just wanted to help out. I took a stand and made my choice. I opened up the spaces for almost three years to help young artists have one more venue to exhibit in. It was a struggle and harder climb for me. All my optimism was steadily being eroded by criticism and gossip. Friends are not friends anymore. The basic is that we needed venues and bodies of works to show. The attention would be towards the international scene. Not to Singapore, Malaysia, Australia, New Zealand or Hongkong only but to major European countries and America. Filipino artists are good if only we realize it on time. We are are parr with the best if only we knew how to help one another too.

On a note. I wanted to do what was right. I knew there was a big problem about money and irresponsibility hanging in the air. I thought that it could be fixed. Within ourselves we fought and became factions. There was envy and misunderstanding and there were less young artists. It severed it permanently and divided it with abrupt finality. My own artmaking had no place in it. There was no place I wanted to show my works if this was happening around me. This was not a situation I would like to keep my artmaking in but it was a situation I could clear up as a friend.

I chose to stay. I did stay for almost three years. It was very hard for me financially. I also had my family but I was working for other artists to come up with body of works and exhibits that I knew would not be secure. I knew where we all came from. I was burning candles at both ends. To be a full time painter we had to make sacrifices. I was not able to have time nor the finances. Working for demanding minds did take its toll. I also made my mistakes. I lost self confidence. I wanted Kulay Diwa Art Galleries to be open for emerging artists rather than the established ones. There was less artists. I wanted to know how strong my commitment then to helping them realize some of their concepts. There were less collectors. There were only two people that worked for Kulay Diwa for two years. It became very demanding for me. Time became demanding for me. Bobi V. had prioritize time and effort to promote young artists and I wanted it to continue it. It had no name by this time but I was passionate about it.
Ian Victoriano, Don Salubayba, Leslie de Chavez et al. were starting another venue with Tambayan Makiling but I knew it would not be enough. I guess new ideas come from old one. We should be opening more not closing the existing ones. We were all factions within a bigger group. We pull each other down. We pull them even if we don’t realize it. The venues at that time were not enough for artists and other galleries were already fully booked. I had made my stand even though it meant I had to sacrifice not exhibiting at Kulay Diwa Galleries because I would be curating there. It was already my gallery of choice with Bobi V. when I left. It was a pity he was not there nor here right now. If the times had been better I would have continued on my own. At this time the pressure I was also in had resulted to letting it be a compromise. I entered a contract that I would be in fully in charge with the three galleries in Kulay Diwa Art Galleries for three years at the most to keep it open for emerging artists. I would have decision to choose the exhibits that would be shown and the artists to include. It opened possibilities and it closed mine. I would have to commute for an hour to open it every day but that would mean I could also visit Bobi V almost everyday. I would have support for invitations, tarpaulin, openings and press release. It would mean I could not work or teach anymore. The time I have in managing my dad’s office would also be limited. It was less income for the household. I could not stay home because at anytime a collector could see the young artists and their works. I brought in some artists to exhibit largely on the two years. We came up with concepts and invitations for the exhibits. In one of the exhibit “Bagong Panahon” I was able to come up with an invitational exhibit like what we previously did with very large group of young artists. It was my concept and am proud of accomplishing it with the support of Bobbit Nolasco. This marked the collaborations with different artists and invitations with artist around the Philippines. It also started with ideas to exhibit emerging artist alongside international artists that we were able to invite. It was a pity that we had less visitors for the openings. It was unfortunate that the biggest spaces available for young artists were an hour away from Megamall. It was unfortunate that young artists could not go there anymore as frequently. It was opened for the collectors and buyers during the shows. The artists could come with their guests provided that the owner was there or that I was available. It was not a problem because we could stay there the whole day. I had invited a lot of artists and am thankful even for the few that risked and came. I would forever be grateful to them on sharing in this instance their ideas, concepts and time to work with me and Kulay Diwa Art Galleries. This have been momentous for me. It has been an upheaval and yet it strengthened my determination to succeed despite odds. There would not have been another opportunity for me to show my earnestness to curate in Kulay Diwa Art Galleries or with any other gallery at that time. I am just sorry that it had to be harsh for all of us to work in that kind of stressful environment of factions and competition. What I believed is that there would be opportunities for the young artists to come up with their own concepts if there were venues to exhibit in. That Kulay Diwa Art Galleries would be supportive of their pursuits. I have never swayed from this belief. I never in any instance entertained that there would be less for them if they had remained and not exhibited at all.
Why did I stop curating for Kulay Diwa Art Galleries?
I stopped because like Bobi V my parents are getting older. It was hard for me to struggle as I grew older but I made the choice. But it could not be said for older people. Sickness and health insurance should be available to them always. I would expect that too when it is time for me to retire. I had to work for three years so that I could build up finances for my home and my parents to live in. I hope artists would realize to get health cards for their loveones and be responsible for their own health. We would always be the first casualties. I was hoping that I could come back to make amends but sometimes we are too late. Now that I had finished and made medical records available for my parents, everything is fine for now. Maybe I would have the chance to start again to organize, curate and paint.

We become stronger with adversity and become challenged with knowledge and choices we make on our own. We have others to be examples and to guide us but it is still our decisions and our call. With Bobi Valenzuela gone now, we are still faced with what we have done and have chosen to do. We are now adults. We have made our mistakes and we learn from them as we learn from all our successes. We are human. We are alive. We breathe art. We will continue to make art our whole lives lest we not complete ourselves.
P.S. For the record there was no issue about airconditioning again. I am able to open it to my heart’s content at KD. Ha ha ha ha.


Amiel Gerald A. Roldan
#35-D P. Oliveros St., Barranca Ibaba,
Mandaluyong City, Philippines
(63) 9053027965 (63)9217452144
amiel_roldan@yahoo.com
*** visit me also at www.amiel-roldan.tk www.myspace.com/amiel_roldan www.amiel_roldan.multiply.com www.amielroldan.blogspot.com


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The Exhibit About Shoes and Feet
June 29, 2009, 9:14 am
***05 28 2009

It was warm last night when I went to an opening at Yuchengco Museum at RCBC Plaza in Makati City with some friends. It was the first opportunity for me to see the spaces there and some of the permanent exhibits. I had foremost in mind to see the exhibit “Portraits of Shoes and Stories of Feet” at the upper exhibit rooms. A friend recommended it. I noticed though that the museum could invest in interactive voice automated information while viewing the permanent collections or the exhibits. I observed to my disappointment that the space outside of the museum is just like a large ashtray with people going there to smoke rather than visit the collections or breathe fresh air in Makati. (That is if one could still find a place without smog).
I remembered years before so many instances that I accompanied my mom to Marikina City and carried her shoe stocks. Lugging them around was tough then. I also remembered we had at home boxes and plastics of so many different shoes. Seeing the exhibit surprised me that I had retained pleasant memories in my childhood despite sharing the house with hundreds of different shoes. Maybe being older and able to appreciate them more as experiences and learning had something to add. I also remember lately, leisurely going to Mantataring shops in Cebu and just looking at different shoes and leather products. I admire good boots and old fashioned shoes very much. I am happy that in this instance, skills and good workmanships are still appreciated by Filipinos today. The tradition still lives on in parts of the country. Going back to more important business.

I was engaged reading through the trivia’s and looking at photographs of the shoe exhibit. Marikina City as shoe district has been up since 1935. Looking at the different shoes on display amazed me that we have such contemporary concepts, designs and creativity in craft and arts. Inviting artists and personalities to highlight the plight of Philippine made shoes offered a great opportunity for all. I hope a lot of Filipino audiences would be aware of the exhibit and collections. Filipinos are very good with working with our hands and could appreciate these qualities. The times have brought in cheaper imports and machines to replace them yet we still appreciate the quality made ones. Usually they all would be lovingly accentuated or hand made. They would always be well worn on special occasions. The influx of surplus and secondhand shoes cheaply sold would affect the market though. They are affordable for everyday use. We could not not appreciate this too and it is a challenge that should go hand in hand. This will have a longer term effect. Handmade shoes might be lost in years of anonymity but I am sure better shoes would prevail. Documenting and creating awareness of Filipino shoe designers, makers and their works could help add to and preserve our heritage.

I had also the opportunity to talk with Pete Jimenez on his opening “If the Shoe Fits” at the Water Dragon Gallery in Yuchengco Museum. I liked his concepts and the opportunity he took advantage of when he incorporated wooden shoe molds to his metal sculptures. It complemented the shoe exhibit on the upper rooms. The gallery space was new to me and it was interesting to explore as a curator and space designer. It had pillars, corners, a balcony and stairs but it had ample lighting that gave the sculptural pieces their own spaces. The walls would be ideal for medium and smaller pieces. The series though has possibilities for the artist to follow through. I would suggest though that some could be worked more for forms and less for the novelty of appropriated or found objects. Lately, I have been seeing a lot of artists’ penchant for highlighting muck, crudity and excuses for works. It could only go so much.


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Lifted From Kontempo Magazine 2003
June 29, 2009, 9:08 am

Pasintabi lang po
Rebyu ni Leslie de Chavez

May dalawang taon ding isinantabi ni Amiel Roldan ang paggawa ng sining matapos ang kanyang huling eksibit sa Hiraya Gallery noong taong 2000. Ito ang eksibit kung saan inilunsad ang mga karakter na si ‘Pipay’ at ang ‘Huling Hari.’
Puno ng mga misteryosong karakter ang muling pagtatanghal ni Amiel na Kaliwa: Pipay, Rubbercut, 2000 Kanan: Cornerstone, Rubbercut, 2003 pinamagatang ‘Pasintabi’ sa Black Gallery ng Kulay Diwa. Binubuo ng 26 rubbercut prints ang eksibit na naituturing na muli niyang pagbabalik sa sining. Makikita dito na mas partikular siya sa pagbuo ng mga karakter na hindi direktang nagpapahiwatig ng kanilang katauhan.
Kasama ng mga tauhan sa bawat piyesa ang mga imahe tulad ng loop, mga bituin, hagdanan, ulap at pakpak. Mga imahe na karaniwang ginagamit ng mga Surrealists sa kanilang sining. Hindi na bago ang paggamit ni Amiel sa mga ito sa kanyang mga prints. At sa eksibit na ito, mapapansin na naging madalas ang pag-uulit ng mga nasabing suportang imahe. Dahil dito, maaring maging pare-pareho ang pakahulugan sa magkakaibang piyesa.
Kinakitaan din ang eksibit ng kakulangan sa panahon ng preparasyon dahil sa di masyadong maayos na mounting ng bawat piyesa. Nguni’t mababanaag din naman ang pagtatangka na magpakita ng kakaibang eskema ng presentasyon sa mga piyesang gaya ng ‘Forgotten’, ‘Flight’, ‘The Bounty’, ‘Final Pass’, ‘A Tribute’ at ‘Cornerstone’ . Magkakapatid na piyesa na marahil ay nabuo sa loob ng iisang panahon lamang. Mas buo ang mga karakter niya rito at may mangilan-ngilang bagong elemento gaya ng ulo ng baboy, aso at dahon. Ang natitira naman ay halos halfbody portraits lamang. Nguni’t sa kabila ng mga pagtatangka ay walang bagong pamamaran o teknik sa printmaking na ipinakita sa eksibit na ito.
Sa kabuuan, mararamdaman ang pagnanais ng eksibit na ito na makapaglarawan ng mga bagong karakter sa kumbensyunal na pamamaraan. Ang eksibit na marahil ay ‘Pasintabi’ niya sa mga taong kanyang nakadaupang palad sa loob ng mga panahong tumigil siya sa paggawa ng sining.


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TAMBAYANG MAKILING
by Amiel Gerald A. Roldan
Opening of Tambayang Makiling: a venue for various art disciplines Tambayang Makiling is a two-storey structure with a patio for outdoor sculpture. It has a ground floor viewing window which, during the opening, featured a display of handmade masks.

From the entrance, there are wide walls on both sides leading to a closed-off kitchen. Enough space for a major exhibit for visual artists or a suitable performance venue for dancers.
Stairs lead to a portioned off room ? a smaller exhibiting space intended for drawings. The initial offering included smaller works by other Makiling painters and visual artists led by Don Salubayba. Two rooms on the second floor is another major exhibit space. Here were mounted bigger works of Alwin Reamillo, Pablo Biglangawa Jr., Dindo Llana, Jon Red, Ian Victoriano, Marc Cosico, Juanito Torres, Kiko Feleo, Carlito Seneres, Phillip Alpajora and Jun Ureta. The space has an accommodating ceiling ? the largest work on the wall was a 53 in. x 77 in. work by Juanito Torres. A table and chairs on the far side are available for consultations and other formal discussions.

According to Biglang-awa, who, with Victoriano and Jon Red, leads, albeit informally, the visual arts committee of Tambayan Makiling, the space was created for functions of PHSA alumni and their immediate family. Being mostly former painters (before delving into film and video), they made more practical plans for the walls and over-all structure of the place– creating spaces which can be used for exhibitions and performances as well as work areas. The ambiance was created through months of refining and physical improvement. Future improvements planned include signage, lighting and a more definite patio.

Like Biglang-awa, Jon Red and Victoriano are planning solo shows in more prominent spaces and galleries. These plans, they say, would make for a stronger practice in their respective art careers. TM could also serve as a studio and residence for practicing artists.
Most of the leading members are in their late thirties and are quite settled in family and financial matters. The thrust of their arts programs is more for personal and creative satisfaction. The venue also keeps most of the PHSA alumni in touch.
For the younger alumni, the place offers more opportunities to exhibit their works.
One hopes that TM would be an equally viable place for all artist groups or individuals be they older or younger, PHSA alumni or not.

It is still quite early to predict TM’s success. TM’s concept is loose but seems workable. It offers a novel, albeit unpredictable, approach.

Amiel Gerald A. Roldan
Mandaluyong City, Philippines


amiel_roldan@yahoo.com
amiel.roldan@gmail.com

*** visit me also at
www.amielroldan.tk
www.amiel-roldan.tk
www.amielroldan.wordpress.com
www.amielroldan.blogspot.com
www.fineartamerica.com/profiles/a-g-roldan.html
www.myspace.com/amiel_roldan
www.amiel_roldan.multiply.com




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The Long Watch - Baboy Damo by Roberto Feleo
by Amiel Gerald A. Roldan
I felt a bit sad on the evening of March 29 because another good month was ending. What have we accomplished so far? The war in Iraq and the plague known as SARS seem to occupy everybody’s minds. But above all other issues during these times of crisis, survival seems to be the most important.
An exhibit by one of the better artists of the Philippines in a month of uncertainties is what our national art scene needs — a show characterized by vision and the pursuit of newer challenges.
This was offered by Roberto ‘Bob’ Feleo, UP Fine Arts professor and a renowned artist, as he marked another milestone in Philippine sculpture with ‘Unanan’ at the Drawing Room, located at Metrostar Bldg., 1007 Metropolitan Ave., Makati City.

In this collection of urns, Bob Feleo displayed his characteristic virtuosity in the use of materials ? this time, it was powdered eggshells. Bakunawa ng Gabi by Roberto Feleo The numerous pieces were boat-like. They were designed with the ‘pinalakpak’ technique favored by Bob Feleo in his previous works. The pieces ‘Baboy Damo’ and ‘Kabibe’ were inspired simply because they weren’t overly decorated. Pieces that parody familiar shapes and textures illustrate the act of hiding and is closer to the premise of burying. The urns are pieces to regale and remember and not to forget kindred ones. Time and time again these containers for bones or ashes hold prominent places in homes, temples and altars. Realizing also that these few works could be museum pieces, I’m not sure they should be massproduced. (Please don’t cross the boundary of commercialism.) Undebatable is that this artist marks the chapter in our lives with an ‘irresistible piece’ to ponder about — death as a journey.
After his retrospective in 1999, the artist has been reclusive about his works. We could say that this series marks a new beginning. Or is it the culmination of the remarkable 1994 Tau-tao series?

The audience at The Drawing Room was a mixture of academe and Feleo supporters. I felt at times irreverent in thinking that most of the senior guests were probably eyeing their own special urns and planning their journeys. (As for me, the thought is farthest from my mind. Yet, what could I do? Blame it on this good collection of urns turned art. I suddenly felt the urge to shop ? for a coffin?

The word ‘Unanan’, though, was a puzzle to me. I found it appropriate at first since the rootword is ‘unan’. But as an invented word (which it could have been), I found it misleading.
It might have been coined from ‘Inunan’ which I associate with giving birth, not death. But this is still deceptive. It is the placenta that feeds the fetus during much of its term. In certain tribes, it is buried to mark an auspicious life and to mislead any predators of the newborn. In animal life, it is a source of nutrition and is usually eaten again to conceal it.
Roberto Feleo used the term ‘Unanan’ but should have used either the Bisaya or Kapampangan words ‘Inunwan’ or ‘Ulonan’ if he meant pillow or a head resting-place.
Nevertheless, the well-crafted pieces make an impressive show, with a good exhibit design, though I found it a bit maudlin with the candles and bottles of gin.
During periods of upheaval come greater thrusts for artists to strive for. In this wartorn month of March 2003, Unanan provides interest and hope.


Amiel Gerald A. Roldan
Mandaluyong City, Philippines


amiel_roldan@yahoo.com
amiel.roldan@gmail.com

*** visit me also at
www.amielroldan.tk
www.amiel-roldan.tk
www.amielroldan.wordpress.com
www.amielroldan.blogspot.com
www.fineartamerica.com/profiles/a-g-roldan.html
www.myspace.com/amiel_roldan
www.amiel_roldan.multiply.com




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