JOSEPHINE TURALBA FELIX BACOLOR
ART FAIR PHILIPPINES 2016
JOSEPHINE TURALBA
Strips of leather spell out the words, “Mea Culpa” stitched into a cloud of shiny brass shotgun bullet shell bottoms hovering over a leather ivory colored Spanish bull. Just below, is a negative cutout of a woman’s shape reminiscent of a 19th century keyhole. A pair of brass bullet shell slippers strategically placed beneath her legs. White, black, green, red, burgundy, yellow cut-out bodies tumble and dance in a circular motion against blue, black, green, yellow, red, burgundy shotgun casings connected by rivets. Upon first glance,Josephine Turalba’s No Man’s Land appears to be lighthearted until the brain fully registers how the juxtapositions of materials used to create this cryptic sculptural wall piece reveal multiple stories of loss, longing and belonging in a space/s symbolic of an archipelagic nation that is forever in a state of becoming. Who is forgiving whom? Or asking forgiveness from whom when the nation has been colonized and recolonized again three times over—Spain, the United States, Japan, and by the Philippines itself? Albeit, the latter is without argument, debatable. She turns acts of historical feminization, with lasting effects on its head and resists complicity. The artwork, after all, has been created by a female artist dedicated to explorations into inversions, reversions, perversions, and subversions of colonial experiences from decolonized perspectives. Transforming objects invented for violence, pleasure and sport into critical and ironic investigations into the relationships between wealth, power, disenfranchisement, and marginalization, Turalba’s work teases its viewers to search deep beneath the surface of appearances. Her multidisciplinary oeuvre reflected in the artworks displayed in this year’s Art Fair showcase a continuum of representing the human condition that speaks to being a Filipino as well as a global citizen. Her ongoing use of discarded rifle and shotgun bullet shells and their casings recycled and repurposed into a variety of traditional Asian slippers changes meaning depending on whether the sculptural slippers are displayed in their original
form as seen in her Scandals installation series or in her appropriated photographs of indigenous peoples taken during the American colonial era, where the slippers are superimposed onto their feet. “What does it feel like to walk in another person’s shoes?” is too simplistic of an interpretation of the artist’s intentions for creating these works. One must look closely at the stitches, the weaving together of disparate materials, what kind of slipper was superimposed onto whose feet—Negrito, Igorot, Moro, monkey, female, male, child—then one can see the deliberation of evoking empathy, concern, anger, bondage, cultures of violence, domesticity, femininity, and resistance to being superficially understood. In Epona, titled after the Gallo-Roman horse goddess, Turalba invites us into a mythological world to dream and acknowledge the powerful role of mythology in our society to question and understand realities, past and present. Again, the materials themselves play a crucial part in the piece’s ephemeral ability to elicit feelings of comfort, safety,displacement, alienation, migration, and trauma. Similar evocations can be seen and felt in her piece, In Between which subtly pays tribute to the complexity of being a woman. Josephine Turalba is a Renaissance woman who adapts all of her selves—a psychology major, former jewelry designer, performance, installation and multimedia artist, sculptor, painter, wife and mother accordingly. Her sociopolitically fueled pieces appear to be non-confrontational. They are not,from an outer most perspective. Yet, on a psychic level, perhaps these works are. They temp us to examine the nature of the stitch, what it is made of; the negative and positive cutout spaces forming shapes and familiar objects; and the added details in archival images of once barefooted people, now scandalously fitted with wo/man-made bullet slippers. In each piece, Turalba asks us to feel what we think, what we deny, what we imagine. Think what we feel. - Angel Velasco-Shaw
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SCANDALS
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Epona 22 and 45 calibre brass bullet and empty shotgun casings, copper, steel 145 x 161 cm. / 57.13 x 63.43 in. 2013
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No Man’s Land-Bull 9mm, 45 calibre brass bullets and shotgun casings, leather 260 x 240 cm. / 102.44 x 94.56 in. 2011
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No Man’s Land-Goddess 1488 pcs. Empty Shotgun Shells, Copper 142 x 61 x 3 cm. 2011
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Ballistigator 54piecesM16,118pcs 9mmbrass bullet casings, 1.270 piecesShotgunShells,17kilos 16 x 51 x 165 cm. 2013
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BaboyDamo 956 pcs. Empty 223-calibre Brass Bullets and Shotgun Shells, copper 2011
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Scandals Wooden floor with 4 x 5 glass negatives (backlit) of the Philippines in the 1930’s + 30 pairs of Sandals and Slippers made from more than 3000 spent bullets of calibers 45, 38, 9mm, 22, and Shotgun shells
7-8 (Video Stills) Single-Channel Video (v.3 3:00 mins) 9 9
The Better To See You With 38 pcs M16 and 40mm-calibre brass bullet shells, 18 x15 x 2 cm. 2013
EDUCATION 2009
Masters in Fine Arts, New Media Transart Institute, validated by University Krems, Linz, Republic of Austria
1988
Bachelor of Arts, Major in Psychology University of the Philippines, Diliman-Quezon City
EXHIBITIONS
JOSEPHINE TURALBA
2015 Personal Structures – Crossing Borders, European Cultural Center, Palazzo Mora,Venice, Italy (concurrent with the 56th Venice Biennale 2015) TAXI, Parallel Vienna, Vienna, Austria & Art Market Budapest, Budapest Speak Together, Hofburg Imperial Museum, Innsbruck, Austria Handmade, Cultural Center of the Philippines Fusionera, Thompson Giroux Gallery, Chatham, New York, USA Studio 300 Digital Art and Music Festival 2015, Kentucky, USA Alay Sining 8: Save Hearts with Art, Manila, Philippines En Masse, Thompson Giroux Gallery, Chatham, New York, USA 2014 The Roving Eye: Southeast Asian Contemporary Art, ARTER Space, Istanbul, Republic of Turkey Mother Load, MET Open, Metropolitan Museum Manila, Republic of the Philippines Solo Fractured Focus, Koussevitzky Art Gallery Massachusetts, United States of America Relative Realities, Yuchengco Museum Makati City, Republic of the Philippines ‘Terms & Conditions Simultan Festival #10, Arthouse, Timisoara, Romania Dornier, Royal Armed Forces Museum, London, UK Yesterday Once More, Erehwon Art Space Quezon City, Republic of the Philippines 2013 Pra Biennale – JOGJA International Mini Print Festival Jakarta, Republic of Indonesia VII Tashkent Biennale of Contemporary Art: Different Cultures-One World Republic of Uzbekistan Grounded, Lopez Museum Republic of the Philippines Nuit Blanche, Paris, French Republic Inside OUT, Atlantic Center for the Arts Florida, United States of America Hugot, Sining Makiling Gallery Calamba Laguna, Republic of the Philippines Masterpieces: Asian Digital Art, Ayala Museum Makati City, Republic of the Philippines
Solo 2012 Solo 2011 2010
Untuned, CCAMS Gallery, Philippine Womens University-Manila Manila City, Republic of the Philippines Six Pack Abs, Ricco Renzo Gallery Makati City, Republic of the Philippines Pagtitipon, De La Salle University-Manila Manila City, Republic of the Philippines Ricochet, Nova Gallery-Manila, Makati City, Republic of the Philippines 2nd Izmir International Biennal, Republic of Turkey The Story of the Creative, See Exhibition Space New York, United States of America DomestiCITY, J Gallery, Manila City, Republic of the Philippines Where is the here if the here is in there? Dublin, Republic Ireland Earth Body Mind, 2nd Kathmandu International Arts Festival Katmandu, Federal Democratic Republic of Nepal In Wonderland, Künstlerdorf Schöppingen,Germany M1 Singapore Fringe Festival 2012 Singapore City, Republic of Singapore Beautiful Life: Memory and Nostalgia, Pier-2 Art Center Kaohsiung, Taiwan, People’s Republic of China Connecting the Dots, Arnica Gallery Kamloops BC, Canada Human Frames La Cinémathèque Française, Paris, French Republic Wits School of Arts, Johannesburg, South Africa École des Beaux-Arts, Paris, French Republic Werkstatt der Kulturen, Berlin, Federal Republic of Germany Nowheresville, General Hardware Contemporary Toronto, Canada Nothing to Declare, Yuchengco Museum Makati City, Republic of the Philippines Beautiful Life: Memory and Nostalgia, South Hill Park Bracknel, United Kingdom Not Festival, New York, United States of America Human Frames, KIT Kunst-im-Tunnel Düsseldorf, Federal Republic of Germany Human Frames, The Sub station Theatre Singapore City, Republic of Singapore 12th International Cairo Biennale, Cairo, Egypt Re-Dress, Tam-Awan Arts Festival Baguio City, Republic of the Philippines Constructing Secrets, Thoughts & Memories: Aspects of Postmodern Practice National Commission for Culture & Arts Gallery, Manila City, Republic of the Philippines
2009 2008 Solo Solo 2007 Solo 2003 Solo 2002 1995 Solo 1992 Solo 1990
The World Next Door, Malta Contemporary Art Center, Republic of Malta Uncommon Sense (trauma, interrupted, too) Cultural Center of the Philippines, Manila City, Republic of the Philippines Tutok SONA Edukasyon, Manila Contemporary Manila City, Republic of the Philippines Tutok Krisis: Kalunasan Anong K Mo?, Blanc Art Space Manila City, Republic of the Philippines 08.08.08 Britania Art Projects Quezon City, Republic of the Philippines Open Season, Cultural Center of the Philippines Manila City, Republic of the Philippines Hidden Tales, Ricco Renzo Gallery Makati City, Republic of the Philippines Trajectories, Wooloo Productions, Chelsea Gallery Space New York, United States of America Corredor Gallery, CFA, University of the Philippines Quezon City, Republic of the Philippines Exploits on the Dining Table, Power Plant Mall Makati City, Republic of the Philippines Batanes Through the Lens, Intramuros Manila City, Republic of the Philippines Our Environment Today, Exportbank Plaza Makati City, Republic of the Philippines Living Tales, Berenguer-Topacio Gallery Manila City, Republic of the Philippines Josephine Turalba Paintings, Lopez Museum Pasig City, Republic of the Philippines Oil, Water and Clay, Galleries of Fine Arts Quezon City, Republic of the Philippines
GRANTS AND AWARDS 2015 2015 2014 2013 2013 2012 2011 2011 2011 2008 2005 2003
Cultural Center of the Philippines, Visual Arts Venue Grant National Commission for Culture and the Arts, Philippines Travel Grant to Venice, Italy Turkiye Artist Residency Grant, Sapanca, Turkey Vermont Studio Center, Artist Residency Grant, USA Atlantic Center for the Arts, Artist Residency Grant, Florida, USA 9th International Art Camp Grant, Cappadocia, Turkey Art Omi International Artist Residency Grant, New York, USA Stiftung Künstlerdorf Schöppingen Visual Artist Residency Grant, Germany National Commission for Culture and the Arts, Philippines Travel Grant Cultural Center of the Philippines, Visual Arts Venue Grant Tahitian Pearl Trophy Asia 2005, G.I.E. Perles de Tahiti Tahitian Pearl Trophy Asia 2003, G.I.E. Perles de Tahiti
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FELIX BACOLOR
An eye for swine Lisa Ito The political symbolism of pigs is ubiquitous in Philippine contemporary politics, often alluding to the impunity of avarice more than the act of literal consumption. This series of small sculptures and digital prints by Felix Bacolor stresses how the both the metaphorical and physical presence of swine is deeply embedded across structures within local politics, culture, language and even cuisine.
tolerating and abetting their symbolic counterparts even within institutions of governance. The act of public consumption, here, goes beyond the gustatory pleasure of feasting and extends to the idea of passively feeding on spectacles of excess and power: satiated and satisfied with the daily dose of shenanigans and scandals regurgitated by spin doctors and mass media.
Bacolor’s Orwellian title foreshadows the sense of satirical yet restrained humor informing the works: an ode to the pig as pop icon, kitsch, celebrity, and political stereotype. Positioned atop pristine plinths and as main models of graphic prints, the pig is consciously displayed as spectacle: lying prostrate, decapitated, and seen from all angles. Superfluous elements, such as landscapes or backgrounds are obliterated and whitewashed. No aspect or angle is hidden from the gaze of the implied viewer: clearly, the pig is the target and the apple of the artist’s eye and is intended to be conveyed as such.
Like small toys, Bacolor’s miniature sculptures can be interpreted as lighthearted tokens, gestures of ribald humor. But they can also be weighed as gentle reminders of questionable value systems that remain deeply entrenched in Philippine society. The allusion to decay and morbidity is reinforced in the portrayal of rot, decapitation, and decomposition: flies settling on carcasses, parts cut through cleanly, states of rigor mortis, for instance. The clean sheen of plastic and the whitewashed plinth furthermore convey how these states of unsettling realities continue to be sanitized and made consumable—or palatable, so to speak—to the public.
Using the pig as motif is not an entirely new artistic undertaking for Bacolor. The series started in early 2015, when his solo exhibition titled ‘Studies for a Monument’ mainly featured a large-scale acrylic and plastic pig, parodying the idea of monumentalism and public spaces. This show, however, moves away from the mimicry of massive scale of honorary or funerary monuments and instead proceeds to miniaturize the image of pig and plinth: fashioned from cast plastic and acrylic, they are reduced to the size of portable icons or trinkets that are comparable to mass-manufactured window display items. Bacolor also continues to develop his series of graphic images using digital prints on archival paper, using both small and large scale prints to underscore its presence as a symbol and icon.
The other medium of digital prints, which comprises the other half of the show, conversely alludes to the act of reproduction and replication. Like posters and billboards, these squarely position the pig as a central icon for mass propaganda and media hype. This may beg the question: how it is that pigs, having been exposed and seen from almost every imaginable angle, continue to occupy such a privileged and central position? Bacolor’s reference to the flat aesthetic and acid colors widely associated with pop art further emphasises the cult of celebrity and banality that overrides how we see the metaphorical swine of today.
The small pig and plinth sculptures in the show are named after a variety of Philippine pork dishes, such as the nationally-renowned adobo and sinigang to local specialties such as bagnet, or book titles. Through these, the artist intentionally alludes to Filipinos’ fondness for pork or pigs, to the point of
In an interview, Bacolor says that pigs are the ones he is shooting at: a point emphasised further by the inclusion of target marks (yet another staple of Pop Art iconography and the study of signs) in several of the large-scale prints. The pigs may have been created in the spirit of jest, but the target marks trained on them also serve as an iconic reminder of what eventually needs to be done—if not sooner, then—certainly—later.
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Adobo plastic and acrylic 22 x 23 x 13.8 cm. / 8.67 x 9.1 x 5.44 in. 2015
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Pig Study (Side) Edition 1 of 5 digital print on archival paper 152.5 x 181 cm. / 60.1 x 71.31 in. 2015
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Sinigang plastic and acrylic 22 x 23 x 13.8 cm. / 8.67 x 9.06 x 5.44 in. 2015
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Piggy 1 to 12 digital print on archival paper 43 x 61 cm. / 16.94 x 24.03 in. 2015
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Asado plastic and acrylic 23.5 x 23 x 13.8 cm. / 9.26 x 9.1 x 5.44 in. 2015
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Three Little Pigheads digital print on archival paper 60.96 x 182.88 cm. / 24 x 72 in. 2016
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Nilaga plastic and acrylic 18 x 23 x 13.8 cm. / 7.1 x 9.1 x 5.44 in. 2015
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The Flab Four digital print on archival paper 96.5 x 127 cm. / 38 x 50 in. 2016
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Pig Study (Back) Edition 1 of 5 digital print on archival paper 181 x 152.5 cm. / 71.31 x 60.1 in. 2015
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Piggy Backs digital print on archival paper 86.36 x 124.46 cm. / 34 x 49 in. 2016
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Pig Study (Front) Edition 1 of 5 digital print on archival paper 181 x 152.5 cm. / 71.31 x 60.1 in. 2015
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Fat Target digital print on archival paper 50.8 x 50.8 cm. / 20 x 20 in. 2016
EXHIBITIONS
FELIX BACOLOR
• Studies for a Monument (Solo-Installation) • Heart of the Matter (Solo-Installation) • The Fruits of Labor (Group-Installation) • Stick up don’t move smile (reinventing black, 1957 to today) (Group-Installation) • Setting (Solo-Installation) • New Natives (Group-Mixed Media) • Do You Believe in Angels (Group-Installation) • Some Thing (Solo-Installation) • Placebo Paintings (Group-Installation) • Toy Stories (Solo-Installation) • Duchamp in Asia (Group-Installation) • there can be no better world (Group-Installation) • Pretty on the Inside (Group-Installation) • Before the Rain (Group-Installation) • Everyone has Feelings (Solo-Installation) • Leavings (Solo-Installation)
Galleria Duemila Pasay City, Metro Manila, Philippines, 2015 Blanc Gallery 145 Katipunan Ave., Quezon City, Philippines, 2015 Galerie Anna SM Megamall, Pasig City, Philippines, 2014 Finale Artfile Gallery Don Chino Roces Avenue, Makati City, Philippines, 2013 Bulwagang Fernando Amorsolo Cultural Center of the Philippines, Pasay City, Philippines, 2014 LightBombs Contemporary Wong Chuk Hang, Hong Kong, 2014 MO-space Gallery Pasong Bonifacio Global City, Taguig, Philippines, 2014 Finale Art File Gallery, Video Room Don Chino Roces Avenue, Philippines, 2014 Galleria Duemila Pasay City, Metro Manila, Philippines, 2013 Nova Gallery Don Chino Roces Avenue, Makati City, Philippines, 2013 Equator Art Projects 47 Malan Road, Singapore, 2012 Museum of Contemporary Art and Design (MCAD) Lasalle School of Art and Design, Pasay City, Philippines, 2012 Silverlens Gallery Pasong Tamo Extension, Makati City, Philippines, 2012 Manila Contemporary Pasong Tamo Extension, Makati City, Philippines, 2012 Finale Art File, Upstairs Gallery Pasong Tamo, Makati City, Philippines, 2012 West Gallery West Ave., Quezon City, Philippines, 2012
• Gloat Magnet Gallery (Solo-Mixed Media) Quezon City, Philippines, 2011 • Collage Dropouts Finale Art File, Tall Gallery (Group-Installation) Pasong Tamo, Makati City, Philippines, 2011 • Confessions of a Sinner Manila Contemporary (Group-Installation) Pasong Tamo Extension, Makati City, Philippines, 2011 • I Miss the 21st Century Manila Contemporary (Group-Installation) Pasong Tamo Extension, Makati City, Philippines, 2011 • Slipping Transmission Osage Gallery (Group-Installation) Osage Soho, Hong Kong, 2011 • Iudicium` West Gallery (Solo-Sculptures/Installation) West Ave., Quezon City, Philippines, 2011 • Love Begins With A Metaphor Finale Art File, Video Room (Solo- Video) Pasong Tamo, Makati City, Philippines, 2011 • Complete and Unabridged, part 1 Institute of Contemporary Arts (Group-Installation) Lasalle Collage of the Arts Singapore, 2011 • Stormy Weather Art Cabinet Philippines & Ayala Land (Solo-Public Art Installation) Ayala Triangle Park, Makati City, Philippines, 2010 • The Unnamable Manila Contemporary (Group-Installation) Pasong Tamo Extension, Makati City, Philippines, 2010 • Meet Your Meat West Gallery (Solo-Paintings/Installation) West Ave., Quezon City, Philippines, 2010 • Never, Never Land Valentine Willie Fine Art, Project Room (Solo-Light Boxes/Installation) 17 Jalan Telawi 3, Bangsar Baru, KL, Malaysia 2009 • Here Be Dragons Manila Contemporary (Group-Installation) Pasong Tamo Extension, Makati City, Philippines, 2009 • Stormy Weather MO-space Gallery (Solo-Installation) Pasong Bonifacio Global City, Taguig, Philippines, 2009 • Once Upon a Time & Other Stories Finale Art File, Video Room (Solo- Light Boxes/Installation) Pasong Tamo, Makati City, Philippines, 2009 • Inaugural Show Part 3 Finale Art File, Tall Gallery (Group-Installation) Pasong Tamo, Makati City, Philippines, 2008
• Futura Manila Osage Gallery (Group-Installation) Osage Kwun Tong, Hong Kong, 2008 • Inkling, Gutfeel & Hunch Contemporary Art Projects, Room 307 (Group-Installations) National Art Gallery, Manila, Philippines, 2008 • The Sound of Aeroplanes West Gallery (Solo-Installation) West Ave., Quezon City, Philippines, 2008 • 60x40 West Gallery (Group-Mixed Media) Mandaluyong City, Philippines, 2008 • Them West Gallery (Group-Installation) West Ave., Quezon City, Philippines, 2008 • No Title (Other Drawings) MO space Gallery (Group-Installation) Bonifacio Global City, Taguig, Philippines, 2008 • Shoot Me: Photographs Now MO Space (Group-Installation) Bonifacio Global City, Taguig, Philippines, 2007 • I Have Nothing to Paint MO space Gallery and I’m Painting It Bonifacio Global City, Taguig, (Group-Installation) Philippines, 2007 • The Blank Show West Gallery (Group-Installation) West Ave., Quezon City, Philippines, 2006 • West End Story West Gallery (Group-Installation) West Ave., Quezon City, Philippines, 2006 • Paintings West Gallery (Solo-Performance/Installation) Mandaluyong City, Philippines, 2005 • Objects Tossed from Theo Gallery One Country to Another Makati City, Philippines, 2005 (Group-Installation) • Closed for Inventory Cubicle Gallery (Group-performance/Installation) Pasig City, Philippines, 2004 • The Sedimentation of the Mind Edge Gallery (Vargas Museum) is a Jumbled Museum UP Diliman, Q.C., Philippines, 2004 (Group-Installation) • Near Life Experience Magnet Gallery (Group-Installation) Makati City, Philippines, 2004 • Anthelions West Gallery (Solo Paintings) Makati City, Philippines, 2002 • 01-10-01 West Gallery (Solo-Paintings) Mandaluyong City, Philippines, 2001
Galleria Duemila was established in 1975 by Italian born Silvana Ancellotti-Diaz. 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), produced a major Pacita Abad exhibition at the Cultural Center of the Philippines, 2004, Impy Pilapil, New Life, A Public Sculpture Exhibition (Greenbelt Park, 2015-2016) and Roberto M.A. Robles, Here Is How The Transition Into The Mambo Beat Looks Like (Yuchengco Museum) 2016. The gallery maintains close ties with museums throughout Asia, Australia, Europe, and the United States. Its futurist vision keeps it at the cutting-edge of Philippine art, making and archiving history as it happens. Services: Conservation and Restoration of Paintings Consultancy Services Commissions and Installation Galleria Duemila Gate by Tony Twigg (cover)
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Texts: Angel Velasco-Shaw and Lisa Ito Book Design / Photography: Saldy Calamiong
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Acknowledgements: Art Director: Silvana Ancellotti-Diaz Exhibition Team: Thess Ponce, Maria Teresa Taluban, Bing Francisco, Mark Arvin Patiag, Jose Jeoffrey Baba, Ulysis Francisco, Edgar Bautista, Roy Abrenica and Saldy Calamiong
San Juan De Dios Hospital
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EDSA
ART FAIR PHILIPPINES 2015 February 18 - 21, 2016 The Link, Ayala Center, Parkway Drive, Makati City, Philippines
ROXAS BOULEVARD
BACLARAN
IGNACIO
JOSEPHINE TURALBA FELIX BACOLOR
From Roxas Blvd. take right turn towards Mall of Asia, u-turn on the first opening to the left or from Roxas Blvd., take a u-turn under the flyover.
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EDSA - LRT Station PASAY TAFT AVE. From Makati turn right at Park Ave. after PTT Gas Station.
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