image C h r i s t a n d A rt i n
Issue 125-126 | 2011
A s ia
Beauty and the Word
Emmanuel Garibay President Rev. Dr. Rod Pattenden Secretary & Editor-in-Chief Fr. Rene Javellana, SJ Managing Editor Ren Aguila Contributing Editor & Executive Director, ACAA Ramoncito O. Cruz, Media Wise Communications/ Muse Art Direction and Design Image is published four times a year and circulated free to members of the Asian Christian Arts Association. ACAA and/or the artist holds copyright to all the images in this publication. To inquire about permissions to use, please email us at infoacaa1@gmail.com. This issue 124-125 is published in cooperation with Loyola School of Theology and the Fine Arts Program, Ateneo de Manila University Campus, Loyola Heights, Quezon City, Philippines. All inquiries should be addressed to : Image Magazine PO Box 225 Epping 1710 AUSTRALIA Email infoacaa1@gmail.com Visit the website at www.asianchristianart.org Subscribe online at: www.asianchristianart.org/magazine
2 | Issue 125-126
“The Word was made flesh, and dwelt among us, and we have seen his glory...” John. 1:14
Christians celebrate Christ’s coming among us. We believe that in Jesus, the unknown God has become known to us. The mystery and the ineffable can now be glimpsed. As Christ shared in our humanity, so too we can come to share in God’s life. But there is another thing that the Incarnation allows: it opens our eyes anew to the beauty of God mirrored in the beauty of creation. If we are indeed made in the image and likeness of God, it may be possible to share in God’s work of creation. The work of art founded upon our convictions of faith is a witness to this possibility. Art can be a witness to beauty. It should draw us to an attitude of contemplation and gratitude. It should bring us to appreciate both the goodness and evil in humanity and how God’s grace could work through it all. It should make us mindful of creation as a way we come close to God and to one another. What is sad, then, is when art becomes something on which we rest our gaze upon, not something which points to the mystery it dimly reflects. In our time, art has become enslaved to the same markets that guarantee gross inequality between our fellow human beings. It has become the object of auction markets that shift their allegiances where the money may be. And when art becomes commerce, the danger is that we can no longer look with a critical eye, to be mindful of beauty. We become, sadly, more mindful of financial value. Equally sad is the silence of the Churches as institutions in providing a critique of this tendency and in promoting a sense of beauty. The Church as institution is a necessary result of the Incarnation, but the Incarnation puts institutions themselves into question. It puts them into question when they fail to realize their mission to reconcile us with God and each other. Art is a necessary part of mission. This has been true in the history of the Church anywhere. We have said that art offers a glimpse of God’s glory and creativity in the world. The present climate, where art becomes nothing more than ‘an investment’, poses a new challenge. What possibilities does art then offer? We argue that the discussion is not merely for the specialists. In a world turned upside down, all the people of God have a say in what will happen. As we enter a new era in IMAGE’s history, we hope that the life and example of the Word made flesh may offer us a way forward. We hope that you will continue to join us as we engage with that great challenge and show what is possible, for God’s glory and for the good of God’s people! Ren Aguila
“Kelahiran”, Gde Sukana Kariana
image C h r i s t a n d A rt i n
A s ia
Issue 125-126 | 2011
IN THIS ISSUE 2
4
EDITOR’S NOTE Beauty and The Word Ren Aguila Three in One Experience Fr. Jason Dy S.J.
12 Donna Ong: Contemporary installation Artist 14
Dust From The Earth Artworks by Japanese artist, Yoriko Yamada
16
Australia’s Blake Prize Rod Pattenden
8
LST, LOYOLA SchOOL OF Theology Fr. Rene Javellana
17
Rev. Dr. Geraldine Wheeler
10
Gde Sukana Kariana A collection of works from the Indonesian artist
18
The Lost Poetry by Adalyn Chan
Image | 3
Art and Faith
Three in One Experience by Jason Dy S.J.
It’s been said that it is rare for a person to hit two
birds with one stone. But it’s rarer for him to hit three birds with one stone.
at Museo Nacional del Prado and the Museo ThyssenBornemisza as well as Picasso’s “Guernica” at Museo Nacional Centro de Arte Reina Sofía. Lastly, as an artist, I was selected as one of the 36 artists from
I was fortunate enough to experience the latter
all over the world that participated in the contemporary
during my trip to Spain August 10 to 23, 2011. First
Christian art exhibition Arte + Fe at Pons Fundación.
hit, as a youth minister of our local parish ministering both to the Chinese and Filipino communities, I was one
When the selection process was conducted for Arte + Fe,
of the chaplains of the Chinese-Filipino Catholic Youth
curator Maria Tarruella and her team had two criteria:
(FCCY) delegation to the World Youth Day 2011.
avant-garde artists engaging in dialogue between
Secondly, as a first-time traveler to Spain, I had
contemporary art and the Christian Faith as well as
opportunity to visit the classical European masters
Christian artists building the world and uplifting the
4 | Issue 125-126
souls through their art practice. It seemed challenging to find artists who fit into these criteria especially in a highly secularized world which tends to alienate art from religion (or religion from art). But after tedious and meticulous search through the various art organizations, gallery associations and artists’ networks, the curatorial team short-listed us. We were all grateful for the team in believing in our artistic vision of constantly striving
Art + Fe Poster/Invite
for the intersection of faith and beauty, Christian religion and contemporary art. I’m doubly
it involved exchanging ideas of art practice, testifying to
grateful to them for providing me an international
faith in one’s art, and weaving a communal narrative of our
platform to exhibit my bottled memory art project
faith encounter.
which explored the Christian devotional practice of remembering one’s departed loved ones and also probed into the process of recreating personal memories and making them communal.
Pentecost Experience The exhibition became a communal gathering of artists committed to contemporary Christian art. This was primarily felt during our forum. Eighteen of the participating artists from various Christian denominations, artistic inclinations, race and nationalities were gathered around the installation work, Agnus Dei, created by the Dutch artist, Willem Zijlstra. It was not really a forum but an art-faith encounter as
After reading the Markan gospel narrative of Jesus’ Baptism and the Call of His First Disciples from an illustrated Bible painted by Makoto Fujimura, I kissed it and we started our art-faith testimony. Italian artist Giovanni Canova admitted that his work was not only a channel of communicating to God but more so God’s reaching out to him. For Sarai Asai from Chile, art was a vehicle of service while Anneke Kaai from Netherlands, art was a medium of proclamation. Stephanie de Malherbe on the other hand described her art concept as a way of mirroring beauty as a desire for contemplating the one who is Beauty himself. Aside from our shared faith testimonies, we had to accept the diversity. We were limited by our Guest viewing Fr. Jason Dy’s “In Loving Memory” exbibit installation
cultural backgrounds, Christian practices, varied languages, and preferred art mediums. We employed the English language to facilitate our interactions but the universal language of art was the better medium for our understanding. Through art, the gathering was a Pentecost experience. Aside from our one faith, the Spirit has given us art for us to accept our limitations as well as to focus on our common aspirations in (re)telling the universal message of Jesus and the Good News of God’s Reign. We also had to admit that this experience of diversity and unity is a work in progress as our human expressions of them are far from perfect. In my chat with the Spanish artist David Lopéz, though he respected the Asian tendency of translating Christ and his message in Asian context, he still believed that the more fruitful effort is breaking boundaries of cultural differences towards making the truth of Christian faith more universal. In this way, the images, narratives and metaphors used by the artists will speak to all peoples, to all places, and in all times. David had a point but I also think it is also better to hold these two, namely contextualizing the Christian faith and universalizing it, in a healthy tension. For Christian faith itself and the message of the Risen Lord is always particular yet universal, personal yet societal, contextual yet universal. Voices in the Wilderness The encounter for us may be a Pentecost moment, but outside our circle, it was not. The show was new and challenging for many. True to the curatorial vision, the exhibition was avant-garde Christian art. Unlike the two major Christian art exhibitions namely The Word Made Flesh at the Museo Nacional del Prado, and Encounters at the Museo Thyssen-Bornemisza which showcased works of the European masters from the 12th to 19th century, Arte+ Fe presented contemporary Christian art. According to the curator, this contemporary Christian art exhibition was initially proposed to be shown at the Museo Reina Sofía, but was declined. Regardless of the reason for the decline, perhaps due to institutional mistrust, political struggle, or non-endorsement of open religious art forms, this affirmed the unpopularity of Christian art in contemporary times. These new expressions of Christian art may not suit people who are used to figurative devotional and liturgical art. I must admit, the glass bottle that I Modern Day Saints and Heroes. Detail of the “In Loving Memory” installation.
A key part of this installation are empty bottles that can be filled by the visitors of the Arte+Faith exhibition at Catholic World Youth Days in Madrid (15-21 August, 2011) with memories of their beloved dead using any mementos they have brought with them. Paper and pen are provided to fill in: In loving memory of _____________.
employed as an alternative vessel to the earthen vessel
In these experiences of witnessing to a Pentecost and being
was not easily accepted. But for me both are vessels.
part of the voice in the wilderness, it was not an
One is generally molded by hands and the other air
experience of hitting three birds with one stone that ends
blown, yet both pass through fire.
up killing all three. It was more like a branch stretching up to welcome three birds to rest and to roost in it. After
Being part of the show was an experience of being like
the reinvigorating exhibition, I felt we were sent out
voices in the wilderness. The project was engaging the
to continue the dialogue with art and religion as well as
art community and showing that the Christian faith is an
with beauty and faith in our respective continents.
inexhaustible mine to explore through one’s art practice
Though our voices are still voices in the wilderness,
and patronage as demonstrated by the sincerity and
we keep on proclaiming the relevance of Christian
quality of works by artists who are true to the Christian
faith to the artist and the importance of art to
message without being too ‘preachy’. On the other side,
one’s faith. In the end, my trip to Spain has been
the project also hoped to reinvigorate art, not just a tool
an experiencing of both strengthening and branching
for evangelization, but as a channel through which one
out my own work as an artist.
can encounter the divine.
Image | 7
Jose Joya, “Ecclesiastical Silver”
LST, the Loyola School of Theology
René B. Javellana S.J.
In September 1965, the late Rufino J. Santos, Cardinal
school of theology and the residence in the ambit of a
of Manila, blessed Loyola House of Studies and Loyola
university, with its resources in the humanities, natural
House of the Studies and the theologate attached to it,
and social sciences, business and the arts. In the long
LST was intended to be the Asian school of theology of
run, it opened the seminary and theologate to a fruitful
the Jesuits in Southeast Asia and the theologate for the
dialogue with these disciplines and with professionals
diocesan seminary, San Jose. Over the years, LST has
in these disciplines.
become increasingly Partner in the Arts: René B. Javellana S.J. LST, the Loyola School of Theology Jose Joya, Ecclesiastical
In 1972, the Ateneo opened a modest art gallery that
SilverArturoLuz,KristoAsianwithstudentscoming from Korea,
had as its permanent collection a good sampling of
Myanmar, Indonesia, Malaysia, Thailand and East Timor.
modern Philippine art and about 100 fine prints of
The blessing was three months before the end of the Second
European and American masters. This was a bequest
Vatican Council and the blessing marked a turning point in
of Fernando Zobel, himself a painter and collector
the Society of Jesus program for seminary and theological
of Philippine Art. Zobel belonged to the industrialist
education. The choice of locating Loyola House, a residence,
family, Zobel Ayala, and with his personal fortune was
and LST, was debated long and hard among the Jesuits.
also a patron of the arts. Zobel lectured at the Ateneo’s
A more conservative tack wanted to build away from the
graduate school, where an avid following gravitated
city and out in the country, which had been the tradition
around him. Some of his students would become the
but the more forward looking, who were keeping track of
Philippines’ pioneer art critics, like Leonidas Benesa
the debates during the Second Vatican Council, wanted
and Emmanuel Torres.
to locate the complex within the sprawling 130 hectare campus of the Ateneo de Manila University.
Unintentionally, the Ateneo collection had some of the earliest examples of religiously themed modern art, like
The Ateneo was chosen as the site of the new building complex
Napoleon Abueva’s Kiss of Judas; José de Joya’s abstract
and it was an inspired decision because it placed the
Ecclesiastical Silver; Vicente Manansala’s Dambana or altar;
8 | Issue 125-126
Galo Ocampo’s River of Life and Zobel’s
new millennium a more conscious
Manny Garibay and Rafael Casal,
own Carossa.
dialogue between theology and the
it is through lectures, workshops and
specifically
arts and culture of Asia have been the
conferences that it promotes dialogue
Christian and Catholic, were not
focus of LST. The school is aware how
with art. The monthly theological
Religious
themes,
far from the subjects artists chose
hour has been an occasion to invite
to paint or sculpt because religion
speakers on the arts.
has for 400 years been a major player in Philippine society and culture.
In 2008, LST held “Christianity
What was new was how these works
and Culture” an international
were modern in idiom. But they did
conference jointly organized
not find a home in church buildings
with Association of
but rather in a gallery.
Artists of Asia. It was held in
Christian
October, Sin Center, a meeting hall The arts have always attracted the Loyola School of Theology. Pioneering work on the religious
named in honor of Cardinal Jaime Arturo Luz, “Kristo”
Sin. LST also invited a group of artists whose series of exhibits was
dimension of Philippine literature
a generation nourished by media,
collectively known as Tutok Karapatan
have emerged from Loyola House.
computers and the Internet is turning
or Watchdog of Human Rights.
This was in part due to a theme
more visual and imaginative. The
The show mounted contemporary
from the Second Vatican Council
net has made the visual cultures of
works expressing the social dimension
about the dialogue of life, expressed
Asia more accessible; even popular
of the Christian message or the
in the terms “inculturation” or
forms, like the Japanese manga or
Christian implications of the
“contextualization” of the Faith. In
comic book, have an avid following
social dimensions of society
the 1970s and the 1980s, politics and the
in the region.
and culture.
themes that occupied not just thought
While LST has its modest collection of
but the action of the community of the
modern Christian art with works
school of theology. But with the
from artists like, José Blanco,
René B. Javellana S.J. is Associate Professor of Fine Arts at the Loyola Schools of the Ateneo de Manila University and lecturer at the Loyola School of Theology.
social involvement of the Church were
Vicente Manansala, “Landscape”
Featured Artist
Gde Sukana Kariana Gde Sukana Kariana, born in Middle Sulawesi October 13, 1974, is ethnic Balinese. He now lives in Bali with his wife and two daughters. He graduated from the Art Institute of Indonesia with a degree in fine arts in 1999. He exhibited his art in many places such as Denpasar, Jakarta, Jogja, Bandung, Australia, Singapore, USA, and Sweden. He also co-founded The Bali Christian Art Association (BCAA) in 2003 and he was also a member of Asian Christian Art Association (ACAA) since 2003. He found Community of Indonesia Christian Artists (called SERUNI) at the end of 2010. His art has been published in many books and magazines. At a young age he was sent by his mother to live in an orphanage and with much difficulty he completed his formal education in fine arts. He built his own studio in his grandmother’s home in the village and poured his imagination into his paintings. Gde Sukana Kariana now supports his family through the selling of artworks and by teaching art to children.
faith expressed both in his art and his life. He is also active in encouraging other Christian artists to do the same. TOP: “Calm the Storm”, acrylic on canvas
His work is quite unique with a pull of line that is sometimes
60x100cm, 2011 BELOW: “Jesus Laughs
subtle, sometimes clear and transparent, with strong moving
with Children”, Oil on Canvas OPPOSITE
rhythm. His works of Biblical stories have been collected and
PAGE: “Yesus Bersama Anak Anak”
published widely. His has a strong commitment to Christian
Image | 11
“Dissolution”, 2009 Found Chinese paintings on paper, acrylic sheets, CCTV cameras, 22 inch television screens “President’s Young Talent” , Singapore Art Museum, Singapore
Donna Ong Contemporary Installation Artist Donna Ong is best known for her ambitious narrative environments made from furniture, found objects and original artwork. Her works have been exhibited both locally in Singapore and internationally in shows such as the 2nd Moscow Biennale and the inaugural Singapore Biennale 2007. She has won several awards and prizes. Her recent activities include an exhibition in Beijing, a residency and exhibition in Tokyo, and she was chosen as one of the artists in the recent Venice Architectural Exhibition under the Singapore Pavilion.
Every artwork represents unfulfilled hopes and promises that in reality seem impossible to achieve (e.g. the hope of being healed, the dream of travel, etc) that the artist presents as an offering to God because the dreamer knows that Donna Ong: Contemporary God is the only one who can bridge that gap. Each work represents a visual prayer to God and is an exercise of faith – a way of looking unafraid at the current circumstances and confidently towards the future and the hope of the fulfilled dream.
In her artist statement she wrote: “I promised myself as a child, never to forget what it felt like to be a child— to dream and invest in the imaginary, the fantastic, the impossible. My work is about trying to keep that promise. Grand projects are dreamt up and an attempt to realise these visions is undertaken; using whatever comes to hand, be it nails, brooms or a book. Each project is chosen from a game, story, desire or daydream from childhood and the resulting sculptures and installations represent an act of faith, one conscious step made towards closing that seemingly impossible gap between the dream in the distance and the grim reality of the everyday.”
The resulting sculpture installations are often extremely labour intensive and meticulous; the immense amount of work lavished is itself a sign of belief of the dreamer that the project will come to pass - the plane will fly, the garden will come to life, the coral landscape will be seen in actuality. For no one will lavish lots of time and effort on a project he or she knows will not succeed
12 | Issue 125-126
For more information on the artist see her website: http://donnaong.com
“In Xanadu did Kubla Khan”, 2011 1.5 x 0.9 x 0.9m Medium Ceramic and Cloissonne vessels, ceramic animals, glass and wooden table Art Stage, Marina Bay Sands, Singapore
Landscape Portraits (In a Beautiful Place Nearby), 2009 “Some Rooms”, Osage Gallery, Hong Kong Video Projection with hardware embedded objects Credit: Sound by Y.C. Teo
Image | 13
2 | Issue 125-126
Dust from the Earth Yoriko Yamada
Born in 1933 in Tokyo, Yoriko Yamada graduated from Fukuoka Gakugei (Fukuoka University of Education). She is a member of Dokuritsu Art Association, and Fukuoka Chubu Church, United Church of Christ in Japan. Japanese artist Yoriko Yamada writes about the inspiration for her work: “For about forty years, I have been painting the withered outer rim of Mt. Aso in Japan, part of a large crater of an extinct volcano. The sight overlapped in my imagination with the wilderness in Israel from the Biblical stories. I was convinced, in my prayers, that it was my theme of art given by God. This realization brought me the greatest joy. All living things are born from earth and return into earth. The earth raises everything. The things made by hands of humans
fade away simply with passing time. Only the ones, made by the hand of God will continue. God gave the earth, as a place of plentiful grace, to humans and God also indicated the way of living to them. I (Adam), a weakling who was made as a container of earth (Adama), lost sight of light and walked looking below without any knowledge. When I looked up casually at heaven, there was a pouring of the light of stars on the ground that had been there since time began. I received the hope that God’s love was always pouring into me through forgiveness given by the crucifixion and resurrection of Jesus Christ. I am fulfilled with joy to walk slowly, step by step, with my mind.” Image | 15
Australia’s Blake Prize
The Spiritual in Contemporary Rod Pattenden
This year in September, Australia’s Blake Prize,
submissions.
celebrated its 60th anniversary with a widely
Subjects ranged from issues of justice to works of
diverse exhibition of contemporary art exploring
quiet contemplation from Christian, Muslim, Buddhist or
themes of religion and spirituality. It was also the
Aboriginal traditions. The winning work was a video
occasion for the launch of the monograph, The Blake
based work by Lebanese/ Australian artist Khaled
Book: Art, Religion and Spirituality in Australia,
Sabsabi, who explored the lives and rituals of a small
written by Rosemary Crumlin.
Sufi community in Sydney. There was a strong group of works by artists from a Christian background in-
This book will provide a wonderful resource in
Australia’s Blake Prize: The Spiritual in Contemporary
exploring this theme within Australian art and provide
Rod Pattenden including the winner of the Emerging
important comparison to other art traditions in the
Artist Award, Carla Hananiah. Other works include
region. It also provided a backdrop to consider the
the digital photograph by Simon McGrath entitled
finalists’ exhibition that were drawn from over 1100
The Body and the Blood that simply presented the
16 | Issue 125-126
everyday items of white bread and grape juice in
regional boundaries. Faith has to found within the
cheap packaging. The artist wanted to draw attention
culture one lives, including all these sorts of media
to the way spirituality and the richness of life is being
influences. The challenge is to keep one’s eyes open!
shaped by a consumer society. For more information about the Blake Prize or the A work that explored the cross-cultural nature of
Blake Book, visit the website www.balkeprize.com.
the Christian faith was the large format linocut by
au where there are a number of video interviews
Brian Robinson, who comes from the Torres Straits
with the various winners and a tour of some of the
of northern Australia. This is a Pacific Islander culture,
works
and Robinson uses traditional wood carving techniques to cut into the lino surface. In this work
Rod Pattenden is Chair of the Blake Society.
he explores the traditional story of Noah’s Ark. Included amongst those the Islander elders are
Credits for images: Opposite page: Simon McGrath,
gathering up are key icons of globalised culture such
“The Body and the Blood”, 2011, digital print, cour-
as Batman and Astroboy. Robinson through this
tesy of the artist and the Blake Society.
image reminds of the challenge of finding faith in a global world of media images. Rather than traditional
Below: Brian Robinson, “As the rains fell and the
stories, many find meaning in their lives through
seas rose”, 2011, linocut print, courtesy of the artist
film and television that crosses over national and
and the Blake Society.
Image | 17
The birds which visit and feed in my tree are varied and rarely peaceful. The rainbow lorikeets are the most numerous and chase away the noisy miners, the blue faced honey eaters and the friar birds. If the lorikeets are not there, the miners fight with others.
18 | Issue 125-126
“A Tree of Life”, 2011, gouache stencil print, courtesy of Geraldine Wheeler
Featured Artist
Rev. Dr. Geraldine Wheeler Being aware of how the tree of life theme occurs in many different cultures and is depicted is many styles and forms, I began to think about it as I regularly looked at and listened to the birds in the honey gem grevillea tree in my back garden. Several Biblical passages were in my mind as I worked on the theme; references to the tree of life in the centre of the garden in Genesis, the idea of the tree of life for the healing of nations in Revelation, Ch. 22, and Jesus’ parable of the kingdom of heaven likened to a small seed which grows into a bush in which the birds can make their nests. However, this is not a literal visualization of any one biblical passage. Perhaps the image is a conflation of several ideas. The birds which visit and feed in my tree are varied and rarely peaceful. The rainbow lorikeets are the most numerous and chase away the noisy miners, the blue
faced honey eaters and the friar birds. If the lorikeets are not there, the miners fight with others. I chose to make an image of the tree of life with the birds in harmony, all sharing in the plenty of the flowers. Perhaps this is an image of the kingdom of God where all are accepting of each other at the heavenly banquet. Artists most often use the imagesand styles which belong to their ownculture, whether European, Asian, African etc. The particularity and the diversity of these images set within local cultures, point to the universality of the Christian story and in turn enrich the visual expression of the Christian faith. That diversity is one of the great strengths of the Asian Christian Art Association. Rev. Dr. Geraldine Wheeler is an artist and theologian who lives in Ipswich, Australia.
Image | 19
The Lost Adalyn Chan
Leave me alone. Your world is flat. I must go. The outside world needs to be saved. Leave me alone. Your arms are weak. I must step out, defensive and full armed. Leave me alone, your gentle loving eyes. They cannot lead me. I must put on spectacles. The outlooks in front are thrillingly bright. I go alone, soon finishing the fight. You wait. Don’t stare back at me. I can’t tell the day when The Lost will be found.
The Breaking of UNION (1996) GO, Kin Ming Joseph Hong Kong, Chinese Acrylic on canvas, 71cm x 107 cm
Adalyn Chan, Manager of Art Division . Tao Fong Shan Christian Centre I came across ‘The Breaking of UNION’ of Joseph GO recently through a work setting. It instantly drew my attention. The painting is one out of six in a series. The primary concern of this series is to display the destructiveness that warfare brings towards humanity. But to me it also expressed a message of what is the real cause of the never-ending fights. It caught in me an innate impulse towards a shout of hopeful resistance.