Rewinding Time: The Thirteen Artists Award 2012

10182012



This story is intended for adults only. If you are under 18, DO NOT READ THIS STORY.



This is a work of fiction. Any similarity to anyone living or dead is coincidental. If you do not wish to read criticisms about you, your person, your artwork or your gallery then please close your browser now (and ask yourself how in the hell you got here). If it is illegal for you to read this in your country, for whatever reason then be aware: you are breaking the law if you read on. If you enjoy this story then please send me comments/feedback. I try to respond to all comments and constructive criticisms.



PS The artist characters in this story may not sometimes practice safe sex because diseases do not exist in my fictional world. They do however exist in the real world, so please practice safe sex whenever appropriate.





The Thirteen Artists Awards was always like a beacon at the end of a long struggle for almost every young Filipino artist. It was the most prestigious distinction outside the National Artist that a younger artist could attain. I found myself thinking and wishing on occasion to get this award. I gave it up when I turned 40 and I still haven't done any major work to my name.



TAA had for a time been ruling and lurking the corners of the careers of many Filipino artists. Young and old alike had been overcome by the prestige held like an illusion at the end of a hard struggle. It was a reward for a job well done! It was that one accolade that paid off! The TAA was an academic award that benevolent gods (also previous TAA winners) in the arts bestowed on critically acclaimed individuals who happen to be quite lucky to be competently holding a brush to paint, a pen to draw or purposely drive tools to sculpt. It even encompassed performance, printmaking, design and conceptual and video installations and brought new awareness to these mediums. There were young artists awarded every two to four years and they were nationally known. The magnitude and preparations usually awe the audiences, illicit envy, infuses new ideas and concepts, celebrated nominations and allays critics in the arts. Each TAA through the years was always widely anticipated. After the TAA, each artist became the toast of the town and the art scene for several years and never once did they have to look back.



They called these artists "legendary" in the fields at a young age. They were the pioneers of their medium and art professions. But sometimes, I regret the choice of words 'legendary'. Hahahaha. I saw it sparingly used on the Exhibition Notes tonight and wondered if it fits right now? It may be true for past recipients. Whenever I try to recall their works, they always bring forth goosebumps, amazement, and awe. Unquestionably, they never fail to bring inspiration, experiences to the show and to the distinction itself.



The TAA I remembered had cornerstones that became works of art, low ceilings that hinted subtle perspective, niches that became great spaces, low-lighting that brought dramatic highlights, the trash that became accepted aesthetics and the walls that became extensions of artworks. Unfortunately, I didn't see at the TAA. The potentials were there. The artists were all well chosen yet their works were not. I was disappointed somehow and I shared that most were, too, that night. To date, the exhibit was the fastest celebration to end. It was 8 pm when I left and everyone was thinking of other things. It was one of those better nights to look at works of art and savor the time yet it didn't just gel right. There was hardly any traffic that night, yet, everyone was in a hurry and left after the food was gone.



It was a sad day. What awaited me at CCP was a regular exhibit of amalgamations and empty seats. The whole CCP usually celebrated The Thirteen Artists Awards with all their spaces. How hard could it be though to ask for proper preparation materials? There were no ambitious streaks and if there was one then it would not be represented well- still, there were no risk takers tonight with any of the recipients that moved me. I could only say that they were cheeky at the most. And to add too, that the curator/ designer was quite uninspired and of very bad taste. The award was a thin sheet of cutouts and another novelty- apt perhaps? (PS I have never seen a brass knuckle as thin as cardboard so I hope they won't be used at all.



There was an exhibit collection of paintings ranging from the 1970s at the lobby. I found a corner that showed interestingly large painting works . That was something consistent and ambitious for his time. There was also something of a mix-mashed of past awardees at the small gallery. It was a bit sentimental but the bad conditions of some of the older works were evident. Other than those two impromptu exhibits, I would have been better off staying at home cleaning my room.



I am going to dissect each of the works to thoroughly give credit to the artists tonight. Hopefully, it would enlighten me to a better perspective. So hang on still and keep reading but I wouldn't bet on it though.



Here are the artists' lists and reviews. I found them all to be well represented.



Around June 2012, the Cultural Center of the Philippines announced the latest Thirteen Artists Award 2012 which included noteworthy ones. Some of the selections were internationally acclaimed and distinguished and all were outright active artists in exhibiting major works.



They were artists Joey Cobcobo, Marina Cruz, Kiri Dalena, Riel Hilario, Robert Langenegger, Michael Muñoz, Wawi Navarroza, Jan Leeroy New, Kaloy Olavides, Renan Ortiz, Mark Salvatus, Rodel Tapaya, and Costantino Zicarelli.



The exhibiting spaces at CCP were all very challenging. There was always a need for better lighting which was always a problem with management. Yet still, we had on occasions, been surprised by the adept that past curators hid flaws overnight when awarding came and went.



Rodel Tapaya's painting was well executed and prepared. It was consistent, impressive and more apt for the TAA award than I can admit. It would have been ambitious if there were several pieces more to represent him. On a better presentation in design, it would have easily been stellar. The lobby with Tapaya's work is a major space that would have helped with similar pieces.



Pillars, corners, enclaves played havoc with the installations and presentation at the art space through the years- creating distractions and impediments to perception. Management prevented alterations and drilling on walls and that was that! Yet, they always worked before or have never been that glaringly obvious. Painting the walls would have covered and hidden them. With this less than cosmetic change, it would have gained a more professional space every time.





None of the works overcome the flaws tonight. At one point, Costantino Zicarelli's work would have been noteworthy if he worked with the figures of Ortiz's drawings. The only thing they share is the word "Empire". It was farfetched really. Zicarelli has on occasion been synonymous with controversy. Implying and suggesting otherwise would continue his earlier explorations. Having his earlier work and current ones interact and communicate with each other through recall would have been a blast and solid. It would have been more cohesive than just "Empire", charcoal drawings and broken glass.



Renan Ortiz' is unknown to me, I give credit for his presentation in simpler format drawings on walls. I would say I enjoyed looking at Ortiz' works the most along with the play of lights and images that were projected. I found it refreshing and upbeat. After the exhibit it will just be covered up then it would be a waste of effort.



I did find Jan Leeroy New's installation to be quite a reminiscence of bodily fluids rubbed between fingers but still, I might be mistaken with his intention though. Ahhh! A good day's relaxation to ponder it- but it was quite reminiscent of self-gratification and cerebral masturbation.



Mark Salvatus' work, on the other hand, leaves everything to the audience- including the problem of finding out how many hollow blocks were there in the installation. Who would be inclined to count how many for a studio unit? Alas! With Joey Cobcobo's small sand hill and a bit of cement, they could have made a permanent fixture at the CCP Main Gallery- a bigger septic tank, perhaps? Opportunity lost there or is it a tongue in cheek suggestion to remodel the facade?



Michael Muñoz' small tablet video proves to be a futile attempt to incorporate novelty. It had no impact on a darkened wall. There was no space to move around to view it properly and the other artwork clashes with it and dismisses it. Michael Muñoz' painting without the graffiti should be in a larger one. The Small Gallery on the Third Floor dimmed with Munoz' lighted painting installation in a larger space is way better.



Robert Langenegger's video fetish for pain is a bit eccentric. It is no way helped his artmaking albeit pointed to a documentary for a masochist's intents- reminded me of a trend of injecting silicone protrusions on one's forehead - w@tf.



Wawi Navarroza's half basketball court would have been better up with her photographs. She was already an expressive photographer and quite an accomplished one. Here she was just starting to play around on installations? Well, I'll leave it for now. To each her own then.



Kaloy Olavidez' work is juvenile and should have been better in a smaller room to hide them.



The 2nd-floor Hallway should have been an option for Riel Hilario's. Even though it reminds me of another glaring artist work that was suspended sculptures in flight and one international artist's work with airplane wings, still the presentation would have been apt. He has more opportunities to look at other artists' works since he is in France.





The Outdoor Space on the third floor would have complemented Joey Cobcobo's installation works if redefined, lighted and spaced out. It would have lent the ambiance of elements on his earthly works. I agree that broken pieces of pottery and minimal works would elevate to audiences rather than make it just sentimental for him.



If I could remember seeing Kiri Dalena's and Marina Cruz' works, I could write something about them. I seem to have been lost between the hollow blocks and the basket case.



Given that they all worked with confined spaces, it still does not lend credence overall. The responsibility does not fall solely with the curator, Lena Cobangbang, on her inept design, lack of foresight and ill-preparation but should be shared by all. Venue and management were given every time so there were never any improvements there to waste time wanting changes. I had hoped all the artists would work with their spaces, be more passionate and with a steady intent to communicate with fellow artists' works. I found that very few did and none succeeded.



Oh, what fun a Thirteen Artists Awards night would have been! For tonight we charge it to experience, neglect, lack of better works and no foresight to think of painting the walls in another color/s- perhaps next time though. On the other hand, you guys had all the budget and time to work with for several months so there was no excuse not to put forward your best works! Signing off for now.

Amiel Gerald A. Roldan™

Mandaluyong City, Philippines

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