2018
ART FAIR PHILIPPINES
Galleria Duemila Level 5 Booth 18
The Link, Ayala Center, Makati March 1-4, 2018
Alfredo Aquilizan Joe Bautista Edwin Coscolluela Sacha Cotture Monica Delgado Isabel Diaz Rock Drilon
Hadrian Mendoza Goldie Poblador Viviana Riccelli Tony Twigg Trek Valdizno Nestor Vinluan Junyee
Ruminations (that lead to more questions) All knowledge has its origins in our perceptions. ~ Leonardo da Vinci
#1 Selected Exhibition Titles: Rain Sadden Days. Chair I. One. Summits I. Thought Process. Breeder’s Dream. Golden Cross. Blood Moon #1. Studies for the Demigods in the Altar of Lumawig 1. The Voices of Siquijor. A Contraction of Sticks 4. Addicted to Thoughts 3. From the Morning Mantra Series III. Father’s Concern. The artists represented in Galleria Duemila’s 2018 Art Fair booth—Alfredo Aquilizan, Joe Bautista, Edwin Coscolluela, Sacha Cotture, Monica Delgado, Isabel Diaz, Rock Drilon, Hadrian Mendoza, Goldie Poblador, Viviana Riccelli, Tony Twigg, Trek Valdizno, Nestor Vinluan, and Jun Yee—reflect an eclectic range of sensibilities, creative practices and processes. Each artist bears a unique signature of aesthetics. Some depart from their earlier works while others, create in a continuum. Their artistic visions complement and intersect with Silvana AncellottiDiaz, founder and artistic director of Galleria Duemila’s vision.
#2 Can a contemporary commercial art gallery be both mainstream and alternative? There are very real differences between curating exhibitions for mainstream and alternative museums, not-for-profit, artist-run and public art spaces, commercial galleries and other venues like art fairs. #3 Can these exhibited artworks inherently address the gallery’s attempt to merge the practice of art with the business of art while genuinely respecting both? It is difficult to visibly reveal the curatorial decision-making process. Yet, to dispel the misperception that the practice of art and the business of art are synonymous, the curator in collaboration with the art director must make deliberate choices in selecting the artists, their artworks and how to arrange them within a temporary traditional art fair space that is solely designed for commercial purposes. After all is said and done, the gallery must stand firmly behind their artists and continue to support them beyond such events. #4 Each artwork has a self-contained narrative within a larger exhibition narrative that is in tandem with Silvana’s passionate commitment to celebrate the confluences of multiple modernities and not a singular western perception of “contemporary art”. What remains tricky, however, is creating a balance between such perceptions,
assumptions, and viewers’ burgeoning or cultured tastes. There is an interconnectivity between the works and the artists who span generations reflective of Silvana’s astute vision to name her gallery, Galleria Duemila which means “20th Century” in 1975. She was the future even before it arrived. #5 The main objective of selecting this year’s repertoire is to call into question perceptions and misconceptions about “abstract” art, expanding its definitions beyond stereotypes of the artists’ practices, their intentions, and meanings of the works within and outside of their control.
read and digest each work was paramount, given the numbers of people and diversity of audiences’ knowledge and interest in contemporary art as the attendees of the Philippine Art Fair grow each year. #9 Perhaps it is all of these qualities that strike in/explicable cords within the viewer, the artist and the gallerist that draws all parties together to participate in the creation, interaction with and selling of art.
Angel Velasco Shaw, 2018
#6 What goes through viewers’ minds when they linger in front of a piece of artwork or move quickly on to another? Are they attracted to the work’s form? Composition? The medium? Aesthetics? Content? The artist’s name? Curiosity? Identification? Emotions? #7 Like faith itself, a long pause before an artwork is personal to the viewer. These questions cannot be answered concretely, nor will they solicit the same responses. Nonetheless, they are the questions that went through this independent multi-disciplinary curator’s mind when selecting works for this year’s art fair. #8 The challenge to attract viewers to pause, look closely,
Angel Velasco Shaw is a media artist, educator, curator, and cultural organizer living in Manila and New York City. Her documentaries have screened in American, European, and Asian film festivals, museums, galleries, and schools. They are in the film collections of the Metropolitan Museum of Manila, Cinematheque Suisse Schweizer Filmarchiv, Casa Asia, and the Museum of Modern Art. She is currently an Associate Professor in the School of Arts and Sciences/Communication Arts Department, and the Founding Director of the Institute for Heritage, Culture and the Arts at Philippine Women’s University. She has curated and produced several visual art and film exhibitions, and cross-cultural exchange projects such as, The Inverted Telescope, Markets of Resistance, Women as (Mythical) Hero and Provocations: Philippine Documentary Photography (co-curated with Neal Oshima). Shaw co-edited the anthology Vestiges of War: The Philippine-American War and the Aftermath of An Imperial Dream: 1899-1999 with Luis H. Francia (New York University Press, 2002) and self-published Silent Stories (1985).
ALFREDO AQUILIZAN
Purple Passage (diptych) (2004) Mixed media on canvas 143 × 224 CM / 56.34 × 88.26 IN
JOE BAUTISTA
1
Chair I (2017) Oil pastel, acrylic color, black ink on paper 48.26 × 33.02 CM / 19 × 13 IN
2
Highwall IV (2017) Magazine pages, black ink and acrylic on paper 66.04 × 48.26 CM / 26 × 19 IN 1
2
JOE BAUTISTA
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Chair II (2017) Oil pastel, acrylic color, black ink on paper 48.26 × 33.02 CM / 19 × 13 IN
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Photoframe IV (2015) Magazine pages, black ink, plastic and wooden frame on paper 66.04 × 48.26 CM / 26 × 19 IN 3
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SACHA COTTURE
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Summits 1 (2015) Chinese ink on paper 119 × 84 CM / 46.89 × 33.10 IN
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Summits 2 (2015) Chinese ink on paper 119 × 84 CM / 46.89 × 33.10 IN 5
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ROCK DRILON
7
Blue Loop (2017) Acrylic on canvas 121.84 × 139.06 CM / 48 × 54.75 IN
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Yellow Line 2 (2017) Acrylic on canvas 121.83 × 121.83 CM / 48 × 48 IN
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Golden Cross (2017) Acrylic on canvas 152.28 × 121.83 CM / 60 × 48 IN 7
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GOLDIE POBLADOR
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Studies for the Demigods in the Altar of Lumawig 1 (2013) Clear and green borosilicate glass 18.5 × 5 × 3.8 CM / 7.29 × 1.97 × 1.50 IN
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Studies for the Demigods in the Altar of Lumawig 4 (2013) Clear blue and “tag” borosilicate glass
13
16 × 4.70 × 4 CM / 6.30 × 1.85 × 1.58 IN
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Studies for the Demigods in the Altar of Lumawig 2 (2013) Clear borosilicate glass 18.7 × 7.5 × 9.5 CM / 7.37 × 2.96 × 3.74 IN
Studies for the Demigods in the Altar of Lumawig 3 (2013) Clear and green borosilicate glass 18.6 × 4 × 3 CM / 7.33 × 1.58 × 1.18 IN
14
Untitled (2013) Clear and green borosilicate glass 13.5 × 18 × 10.5 CM / 5.32 × 7.09 × 4.14 IN
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HADRIAN MENDOZA
Blood Moon Series (1-24) (2016-2017) Ox blood, red glaze with porcelain slip ceramic AVERAGE SIZE OF ONE SQUARE: 32 × 32 × 3.5 CM 12.61 × 12.61 × 1.38 IN
JUNYEE
Father’s Concern (2018) Soot and paint on board 121.83 × 121.83 CM / 48 × 48 IN
Junyee
Blood Line (2018)
soot and paint on board
182.88 × 60.96 CM / 72 × 24 IN
TREK VALDIZNO
16
Addicted to thoughts 2 (2016) Acrylic & enamel on canvas 122 × 92 CM / 48.07 × 36.25 IN
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Addicted to thoughts 3 (2016) Acrylic & enamel on canvas 122 × 92 CM / 48.07 × 36.25 IN 16
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NESTOR VINLUAN
From the Morning Mantra Series III (2016) Acrylic on canvas 182.88 × 182.88 CM / 72.05 × 72.05 IN
VIVIANA RICCELLI
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II Toro vel paesaggio (2016) Mixed media on paper 21 × 29.5 CM / 8.27 × 11.62 IN
19
La piccola collina (2016) Mixed media on paper
21
29 × 30 CM / 11.43 × 11.82 IN
Vortex 3 (2016) Mixed media & oil on paper board 30 × 40 CM / 11.82 × 15.76 IN
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Siquijudnon Whispers (2016) Mixed media on paper 23 × 33 CM / 9.06 × 13 IN
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The Voices of Siquijor (2016) Mixed media on paper 31 × 23.8 CM / 12.21 × 9.38 IN 19
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VIVIANA RICCELLI
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The Valley (2014) Mixed media on paper 21 × 59 CM / 8.27 × 23.25 IN
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The Valley 3 (2014) Mixed media on paper
24
20.10 × 59 CM / 7.92 × 23.25 IN
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The Valley 2 (2014) Mixed media on paper 21 × 59 CM / 8.27 × 23.25 IN 25
EDWIN COSCOLLUELA
One (2017) Mosaic glass 188 × 123 CM / 74.02 × 48.43 IN
TONY TWIGG
26
A contraction of sticks 4 (2016) Acrylic on timber construction 118 × 56.5 × 1 CM / 46.49 × 22.26 × 0.39 IN
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A contraction of sticks 6 (2016) Acrylic on timber construction 61 × 122 × 1 CM / 24.03 × 48.07 × 0.39 IN 26
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MONICA DELGADO
28
Ektachrome Paint Film (2017) Acrylic paint on magazine 30.5 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
28 29
Thought Process (2017) Bulb & acrylic paint on magazine
32
30.5 × 23 × 10 CM / 12.02 × 9.06 × 3.94 IN
30
Erased Painting No. 2 (2017) Acrylic paint on magazine
30.5 × 23 × 8.5 CM / 12.02 × 9.06 × 3.35 IN
33
30.5 × 23 × 3 CM / 12.02 × 9.06 × 1.18 IN
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The Missing Piece (2017) Acrylic paint on magazine 30.5 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
Paint Surrey (2017) Acrylic paint on magazine
Survival Tools (2017) Acrylic paint on magazine 35.5 × 23 × 6 CM / 13.99 × 9.06 × 2.36 IN
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The Whitney then, now Met Breuer (2017) Acrylic paint on magazine 30.5 × 23 × 2 CM / 12.02 × 9.06 × 0.79 IN
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ISABEL DIAZ
Breeder’s Dream (FL-4318) (2018) Oil on canvas 130.72 × 335.03 CM 51.5 × 132 IN
GALLERIA DUEMILA
ART FAIR PHILIPPINES
A RT D I R E C T O R
MAR 1-4, 2018
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Johanna Labitoria Jose Jeoffrey Baba Gabriel Abalos Vicente Amancio, Jr. Dianne Ong
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista
EXHIBITION NOTES
Angel Velasco Shaw
GRAPHIC DESIGN
Anna Rafanan
Copyright 2018 Galleria Duemila, Inc. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system transmitted in any form or by any means without the written consent of the abovementioned copyright holders, with the exception of reasonably brief excerpts and quotations used in articles, critical essays or research.
g alle r ia du e mila was established in 1975 by Italian born Silvana AncellottiDiaz. Duemila means “twentieth century”, and it was this vision that inspired Duemila’s advocacy in promoting and preserving Philippine contemporary art. To date, it is the longest running commercial art gallery in the Philippines maintaining a strong international profile. With the vision to expose its artists locally and within the ASEAN region, Duemila complements its exhibits with performances, readings and musical events in its custom-built gallery in Pasay City, Manila. Galleria Duemila takes pride in being the only local gallery to publish and mount retrospectives of artists as part of its advocacy in pursuing art historical research and scholarship. With the collaboration of institutions, Duemila has mounted the retrospectives of
Roberto M.A. Robles (Ateneo Art Gallery, 2011), Duddley Diaz (Vargas Museum, 2009), Julie Lluch Dalena (Cultural Center of the Philippines, 2008). It has also published a book on Diosdado Magno Lorenzo (National Library of the Philippines, 2009) and produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cuttingedge of Philippine art, making and archiving history as it happens.
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