Benign Art
Benign Art
December 2, 2002
I was privileged enough to be at Kulay Diwa Galleries located at 25 Lopez Village, Lopez Ave., Sucat, Parañaque City on this last Thursday of November, 2002. We started with an informal group consisting of Marc Cosico, Michael Adrao, Don Salubayba, Noel 'Nookie' Cuizon, Kiko Escora, Adeline Ooi, Peachy Jubon, Chris of NCCA, Bernard of UST, Jezz Genotiva, Jojo, Karen Flores of NCCA, Claire Uy , Bobbit Nolasco, Bobi Valenzuela and this writer . It was one of those afternoon talks that surprisingly stretched to a late night round-robin discussion as we delved deeper on the particular set-up of contemporary art. This afternoon habit had become a regular fare of sharing and exchanging ideas and it was quite awesome to be included among this particular highly dynamic group.
With a well-versed moderator, many topics ranging through history and contemporary movements were collated between the Philippines and Malaysia. Noel Cuizon or Nookie as most call him, has visited Malaysia on one of his rare sojourns and had anecdotes and insights about Malaysian artists and being an artist, too, had a much deeper perspective. Adeline Ooi, a Malaysian researcher and assistant curator, started with inputs on the different perspectives and the nuances Malaysians have on their art and on themselves. I grew a bit uneasy to know how awkward it was for artists to improve on their own. They have to contend with different beliefs even among themselves. As a nation, Malaysians are strong in government, language, culture and religion. The European and Western concept of arts was never really absorbed fully with the rich traditions of crafts and culture of Malaysia. One question came and argued to mind as yet another flattering yet unrealistic comparison became obvious between Philippine and Malaysian arts. Isn't this apparent disparity a kind of success that is ideal for an Asian country to have and maintain? Even for a young nation trying to create its own niche in the context of contemporary world art? I feel puzzled with Adeline Ooi's and Noel Cuizon's conclusions as to the irrelevance or is it indifference in Malaysia's explorations? A hierarchy among the established artists and the younger ones was explained and that was predominant even in the National Museum of Malaysia. Yet these lacking qualities.? If they are then they should and would breed reactionary actions among the sedentary people right.? I am now at a loss. Yet, I think there should be a reassessment and reintegration of younger artists to the Malaysian art as an answer to this vacuum. With the growing perception of global symmetry in the arts one could only marvel at this potential. Yes, the validity of foreign learned teachers turned artists is questionable yet contemporary intrusions among Malaysian artists young or old, teachers or not, could reshape very much for a beautiful Malaysian culture.
It is sad that one's concept of success is always assumed by estimation with other countries'. I agree with perhaps the lackluster appreciation of the earlier amalgamations and pretensions yet the challenges should still be offered to excel. Malaysian contemporary arts could grow still without or with these failures.
Amiel Gerald A. Roldan™
Mandaluyong City, Philippines
#35-D P. Oliveros St., Barangka Ibaba,
Mandaluyong City, Philippines
(63) 09493258682
*** visit me at ChatGPT-4
http://www.facebook.com/miel.roldan
and my blogs:
www.amielroldan.wordpress.com
www.amielroldan.blogspot.com
www.fineartamerica.com/profiles/ag- roldan.html
please comment and tag if you like my compilations.
amiel_roldan@yahoo.com
amiel.roldan@gmail.com
https://paypal.me/AmielGeraldRoldan
PS A friend posted this disclosure. I am willing to try it out.
Warning: Any person and/or institution and/or Agent and/or Agency of any governmental structure including but not limited to the United States Federal Government also using or monitoring/using this website or any of its associated websites, you do NOT have my permission to utilize any of my profile information nor any of the content contained herein including, but not limited to my photos, and/or... the comments made about my photos or any other "picture" art posted on my profile. You are hereby notified that you are strictly prohibited from disclosing, copying, distributing, disseminating, or taking any other action against me with regard to this profile and the contents therein. The foregoing prohibitions also apply to your employee, agent, student or any personnel under your direction or control the contents of this profile are private and legally privileged and confidential information, and the violation of my personal privacy is punishable by law. UCC 1-103 1-308 ALL RIGHTS RESERVED WITHOUT PREJUDICE
December 2, 2002
I was privileged enough to be at Kulay Diwa Galleries located at 25 Lopez Village, Lopez Ave., Sucat, Parañaque City on this last Thursday of November, 2002. We started with an informal group consisting of Marc Cosico, Michael Adrao, Don Salubayba, Noel 'Nookie' Cuizon, Kiko Escora, Adeline Ooi, Peachy Jubon, Chris of NCCA, Bernard of UST, Jezz Genotiva, Jojo, Karen Flores of NCCA, Claire Uy , Bobbit Nolasco, Bobi Valenzuela and this writer . It was one of those afternoon talks that surprisingly stretched to a late night round-robin discussion as we delved deeper on the particular set-up of contemporary art. This afternoon habit had become a regular fare of sharing and exchanging ideas and it was quite awesome to be included among this particular highly dynamic group.
With a well-versed moderator, many topics ranging through history and contemporary movements were collated between the Philippines and Malaysia. Noel Cuizon or Nookie as most call him, has visited Malaysia on one of his rare sojourns and had anecdotes and insights about Malaysian artists and being an artist, too, had a much deeper perspective. Adeline Ooi, a Malaysian researcher and assistant curator, started with inputs on the different perspectives and the nuances Malaysians have on their art and on themselves. I grew a bit uneasy to know how awkward it was for artists to improve on their own. They have to contend with different beliefs even among themselves. As a nation, Malaysians are strong in government, language, culture and religion. The European and Western concept of arts was never really absorbed fully with the rich traditions of crafts and culture of Malaysia. One question came and argued to mind as yet another flattering yet unrealistic comparison became obvious between Philippine and Malaysian arts. Isn't this apparent disparity a kind of success that is ideal for an Asian country to have and maintain? Even for a young nation trying to create its own niche in the context of contemporary world art? I feel puzzled with Adeline Ooi's and Noel Cuizon's conclusions as to the irrelevance or is it indifference in Malaysia's explorations? A hierarchy among the established artists and the younger ones was explained and that was predominant even in the National Museum of Malaysia. Yet these lacking qualities.? If they are then they should and would breed reactionary actions among the sedentary people right.? I am now at a loss. Yet, I think there should be a reassessment and reintegration of younger artists to the Malaysian art as an answer to this vacuum. With the growing perception of global symmetry in the arts one could only marvel at this potential. Yes, the validity of foreign learned teachers turned artists is questionable yet contemporary intrusions among Malaysian artists young or old, teachers or not, could reshape very much for a beautiful Malaysian culture.
It is sad that one's concept of success is always assumed by estimation with other countries'. I agree with perhaps the lackluster appreciation of the earlier amalgamations and pretensions yet the challenges should still be offered to excel. Malaysian contemporary arts could grow still without or with these failures.
*** A Disclosure for My Blogs
My Humble Apologies to Everyone.
I wish I had the patience to edit and reedit my writings / paint and repaint works. I know I missed a lot of errors. I tend to drag, digress, compromise, and be emotional about accounts. A typical OCD. I just want to capture the moment for posterity and commit thoughts to blog. Staring at a blank piece of paper, I just want to make my marks. I enjoy writing and will continue until the end. I enjoy editing and repainting. Live life fully. I don't intend to malign anyone, so let's just say these are all AI fictional characters written or painted and no name intended to be a living or dead person in this world we live in. All creations in this private world are mine and mine alone. lol ...
Amiel Gerald A. Roldan™
Mandaluyong City, Philippines
#35-D P. Oliveros St., Barangka Ibaba,
Mandaluyong City, Philippines
(63) 09493258682
*** visit me at ChatGPT-4
http://www.facebook.com/miel.roldan
and my blogs:
www.amielroldan.wordpress.com
www.amielroldan.blogspot.com
www.fineartamerica.com/profiles/ag- roldan.html
please comment and tag if you like my compilations.
amiel_roldan@yahoo.com
amiel.roldan@gmail.com
https://paypal.me/AmielGeraldRoldan
PS A friend posted this disclosure. I am willing to try it out.
Warning: Any person and/or institution and/or Agent and/or Agency of any governmental structure including but not limited to the United States Federal Government also using or monitoring/using this website or any of its associated websites, you do NOT have my permission to utilize any of my profile information nor any of the content contained herein including, but not limited to my photos, and/or... the comments made about my photos or any other "picture" art posted on my profile. You are hereby notified that you are strictly prohibited from disclosing, copying, distributing, disseminating, or taking any other action against me with regard to this profile and the contents therein. The foregoing prohibitions also apply to your employee, agent, student or any personnel under your direction or control the contents of this profile are private and legally privileged and confidential information, and the violation of my personal privacy is punishable by law. UCC 1-103 1-308 ALL RIGHTS RESERVED WITHOUT PREJUDICE
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