HADRIAN MENDOZA A DROP OF RED A U G 5 - 31, 2017
A RT D I R E C T O R
Silvana Ancellotti-Diaz
EXHIBITION TEAM
Johanna Labitoria Mayet Taluban Vicente Amancio, Jr. Gabriel Abalos Jose Jeoffrey Baba
Thess Ponce Bing Francisco Roy Abrenica Edgar Bautista
EXHIBITION NOTES
Lec Cruz
GRAPHIC DESIGN
Anna Rafanan
Copyright 2017 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.
A Drop of Red 1, 2017 Ceramic 28.50 × 53.50 × 20.50 CM / 11.23 × 21.08 × 8.08 IN
A Drop of Red WORDS BY LEC CRUZ
“
There is no document of civilization that is not at the same time a document of barbarism. — Walter Benjamin, ON THE CONCEPT OF HISTORY
I
n May 2016, the Filipino people chose a new leader to rule the country, of which majority empathized and identified with. The million faces of disenfranchised, marginalized and poverty stricken masses found their voice of hope and change. The ‘change’ fueled by fear and hate swept the entire nation with the rising body count of people killed by the country’s campaign against illegal drug-trade, each casualty becomes just a part of a statistic; a number added to a thousand more; and a list of people we consider as enemy of the state. The war on drugs succinctly strips their targets off of their humanity and they cease to be someone’s neighbor, relative, or fellowmen – just another faceless bag of bones. Hadrian Mendoza’s A Drop of Red serves as an allegory for the tribulations endured by the victims and families of extrajudicial killings. It opens up a dialogue to a society whose vision of progress is marred by propaganda of eliminating rather than rehabilitating its citizens. Mendoza’s series of works, in unflinching detail, provides a perspective overlooked by a society who condones such act of violence. His stoneware pieces are his call to action on human rights; aiming to appeal to our sense of justice; and confronting us with objects of fragility and reality.
In A Drop of Red, bulbous sculptures forming cloud like figures are hanged on the wall with dangling white and red yarns mimicking a downpour rain. The formation of figures, reminiscent of water vessels, into an image of rainfall mixed with gush of blood, hints of images from daily news of slain ‘alleged’ drug users and pushers their loved ones crying over their body. The imagery allows the viewers to imagine the bloodstained streets of the metro where dead bodies are usually found. As each street spectacle has become trivial, day-to-day occurrence, the blood red pigment becomes a part of the pavement, only to be washed away by the pouring rain. Mendoza’s poetic depiction of clouds and red and white rain jolts our social consciousness and gears us to examine the prevailing morals behind this state-sanctioned kind of ‘justice.’ It challenges our personal memories as passive spectators and forces us to re-examine it along with societies collective consciousness for human rights protection. Blood Moon bears semblance to a 28-day calendar, with each square wall piece highlighted by a moon-shaped image. In this installation, Mendoza directly references the 28-day model for battling substance addiction, implying a non-violent solution to a social pandemic. Its title may be a nod to an end of times prophesy of the same name, where four successive lunar eclipse occurs signifying a succeeding apocalyptic omen, but the over-all imagery negotiates between choices and consequences. Through its installation we see that the end of the series surpasses the four lunar eclipses, represented by yellow-ochre glazed squares.
LEFT
A Drop of Red 2, 2017 Ceramic with yarn 189 × 53.50 × 17 CM / 74.47 × 21.08 × 6.70 IN (WITH YARN)
RIGHT
A Drop of Red 3, 2017 Ceramic with yarn 200 × 54 × 17.50 CM / 78.80 × 21.28 × 6.90 IN (WITH YARN)
Blood Moon Series (1-28), 2016-2017 Ox blood, red glaze with porcelain slip ceramic 32 × 32 × 3.50 CM / 12.61 × 12.61 × 1.38 IN (AVERAGE SIZE OF ONE SQUARE)
Mendoza’s Pusher draws a summary to the stigma brought about by the war on drugs as the head-shaped sculptures mounted on the wall are intended to depict the numerous victims of the campaign. It mirrors the reality that every victim is branded as a ‘pusher’ and a criminal, instead of seeing them as possible victims of drug use or mere innocent bystanders. In it, the ghastly and tense facial expressions create an arresting sight as the heads are spread out across the wall. Their collective gaze towards the rest of the space entangles a narrative with the viewers, pleading a case for introspection; casting a doubt on the justification of their fate. A Drop of Red seamlessly appropriates the Philippine society’s current state on the war on drugs. In incorporating this theme to pottery, it recontextualizes the domesticity of materials/ medium and provides a concrete symbolism on the fragility of human life. It taunts us to look back at our long history and our Filipino traditions that forged our nation. Mendoza’s exhibition reminds us that there is much to consider regarding possible solutions on our fight against drugs, and with all its heft and complexity, the inhumane and hasty killing is not one of them. •
MICHAEL JOHN ‘LEC’ CRUZ LIVES AND WORKS IN Q. C.. CRUZ IS A GRADUATE OF BA PHILOSOPHY AND STUDIED FINE ARTS MAJOR IN STUDIO ARTS AT THE UNIVERSITY OF THE PHILIPPINES, DILIMAN. HE IS ALSO AN ACTIVE ART WRITER SINCE 2015 FOR ARTIST EXHIBITIONS IN VARIOUS METRO MANILA-BASED ART GALLERIES AND IN THE HONG KONG ART BIENNALE.
Pusher, 2017 Ash glaze ceramic VARIABLE DIMENSIONS
Crescent Moon 1, 2017 Ceramic 55.84 × 60.92 × 12.68 CM / 22 × 24 × 5 IN
Crescent Moon 2, 2017 Ceramic 55.84 × 60.92 × 12.68 CM / 22 × 24 × 5 IN
LEFT
A Drop of Red 5, 2017 Ceramic with yarn 19.05 × 48.26 × 30.48 CM / 7.5 × 19 × 12 IN (WITHOUT YARN)
CENTER
A Drop of Red 4, 2017 Ceramic with yarn 20.32 × 60.69 × 30.48 CM / 8 × 24 × 12 IN (WITHOUT YARN)
RIGHT
A Drop of Red 6, 2017 Ceramic with yarn 22.86 × 50.8 × 20.32 CM / 9 × 20 × 8 IN (WITHOUT YARN)
HADRIAN MENDOZA November 30,1973
DATE OF BIRTH EMPLOYMENT
AUG 1995 - PRESENT MAR 2010 - NOV 2015
JAN 2008 - DEC 2009
OCT 2004 - DEC 2009
NOV 1999 - DEC 2008
AFFILIATION
2003 - PRESENT
EDUCATION 2016 - PRESENT
1996
1996 - 1997 SOLO EXHIBITIONS 2016 2015
Studio Potter Resident Artist, Lorton Arts Foundation, Workhouse Arts Center, Lorton, Virginia, USA Ceramics Department Head, Brent International School Manila (Mamplasan Campus), Philippines Visual Arts Instructor in Ceramics, Philippine High School for the Arts, Los Baños, Laguna, Philippines Owner and Instructor, Pettyjohn - Mendoza Pottery School, Makati, Philippines
Co-Founder, Board Member, PUTIK: Philippine Potters Association, Makati, Philippines Master of Fine Arts Candidate, The George Washington University, Washington DC Bachelor of Science: Business Administration, Mary Washington College, Fredericksburg,Virginia Bachelor of Fine Arts Candidate, Corcoran School of Art, Washington DC
“TAO” AYALA MUSEUM, ARTISTSPACE GALLERY, MAKATI CITY, PHILIPPINES “A Round of Daydreams” AYALA MUSEUM, ARTISTSPACE GALLERY, MAKATI CITY, PHILIPPINES “EARTH FIRE STONE” ZENITH GALLERY, WASHINGTON DC, USA
2014
“Deconstructed Rings” AYALA MUSEUM, ARTISTSPACE GALLERY, MAKATI CITY, PHILIPPINES “Home, Sweet Home” BENCAB MUSEUM, SEPIA GALLERY, TUBA, BENGUET, PHILIPPINES 2012 “Hadrian’s Wall” THE PHILIPPINE CENTER GALLERY, 556 FIFTH AVE, NEW YORK, NY, USA 2011 “Bulol II” THE PHILIPPINE CENTER GALLERY, 556 FIFTH AVE, NEW YORK, NY, USA “Circumnavigate” THE RESTON MUSEUM, RESTON, VIRGINIA, USA 2010 “Kalabaw” ROMULO HALL, EMBASSY OF THE REPUBLIC OF THE PHILIPPINES, WASHINGTON DC, USA 2008 “recent works” 856 GABRIELLE GALLERY, CEBU, PHILIPPINES “armed and dangerous” IZUKAN GALLERY 88 CORPORATE CENTER, MAKATI 2007 “a piece of this... II” PINTO GALLERY, ANTIPOLO, RIZAL, PHILIPPINES 2006 “Drips” PINTO GALLERY, ANTIPOLO, RIZAL, PHILIPPINES 2005 “Bulol” THE PHILIPPINE CENTER GALLERY, 556 FIFTH AVE, NEW YORK, NY, USA 2004 “Bamboo Forms: the Final Slice” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES 2003 “Bamboo Forms” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES “Shardman Ch. 3 Verse 73” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES 2002 “Hadrian Mendoza working as Shardman” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES “Spontaneously raw” IZUKAN GALLERY 88 CORPORATE CENTER, MAKATI 2001 “Underground Pots...” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES “Shades of Green” AYALA MUSEUM, MAKATI CITY, PHILIPPINES 2000 “Recent Works” GALLERY 139, GLORIETTA CENTER, MAKATI , PHILIPPINES 1998 “7 Months in the Philippines, A Diary Created Through Clay” BANGKO CENTRAL NG PILIPINAS
METROPOLITAN MUSEUM OF MANILA, ROXAS BLVD, MANILA
“Upscale” GREENBELT 3, AYALA CENTER, MAKATI “5 Potters” THE GERMAN CLUB, VA RUFINO ST. MAKATI CITY, PHILIPPINES “ArTEAculation” the First Philippine Teapot Exhibit/Competition
2006
“Hadrian Mendoza and Carlo Magno”
“Reunion: Balance and Form” 2-man show with Rachy Cuna
2005
“Re:View” BENCAB MUSEUM, GALLERY INDIGO, TUBA, BENGUET, PHILIPPINES Turkey Macsabal Festival HACETTEPE UNIVERSITY, ANKARA, TURKEY Kohler. Bold. Art. Asia 2015 GAYSORN WHITE SPACE, BANGKOK, THAILAND 2015 “Culture Cluster” ZENITH GALLERY, WASHINGTON DC, USA 2014 “Give Me a Spoon” ATTA GALLERY, BANGKOK, THAILAND “Earth and Fire: 3rd Southeast Asian Ceramics Exhibition” VULCAN GALLERY, THE WORKHOUSE
ARTS CENTER, LORTON, VIRGINIA, USA
“BKK: Bond Klay Keramic II” LAKMUANG GALLERY, KHON KAEN, THAILAND “Heat Wave” ART INFORMAL GALLERY, MANDALUYONG, PHILIPPINES 2013 “Whimsy” WATERSHED GALLERY, RIDGEFIELD, CONNECTICUT, USA “Out of the Fire” THE WORKHOUSE ARTS CENTER, VULCAN GALLERY, VIRGINIA, USA “Creatures Under the Bricks” NEXUS MULTICULTURAL ARTS / LION ARTS CENTER, ADELAIDE, SOUTH
AUSTRALIA
“Incarceration: Visions of Confinement” WORKHOUSE ARTS CENTER W16, LORTON, VIRGINIA “BKK: Bond, Klay, Keramic” GENJI SPACE, BANGKOK, THAILAND 2012 “Clay Unity: Celebrating the Diversity of Southeast Asia” DAO ARTSPACE, XIAN, CHINA “Clay Unity: Celebrating the Diversity of Southeast Asia” FLICAM MUSEUM, FUPING, CHINA 2011 “Chawan: An International Exhibition” GORSE MILL GALLERY, MASSACHUSETTS, USA “Chawan- Noble Tea Cup” UMJETNICKI PAVILLION, OPATIJA, CROATIA 2009 Jakarta Contemporary Ceramics Biennale #1 NORTH ART SPACE, JAKARTA, INDONESIA “Southeast Asian Ceramics Exhibition: The Crossroads of Civilization” TAIPEI COUNTY YINGGE
CERAMICS MUSEUM, TAIWAN
“Sining Luad” ILOILO MUSEUM, ILOILO, PHILIPPINES “The Ring of Fire: 1st Southeast Asian Ceramics Exhibition” PHILIPPINES
“5th Annual Sculpture Review 2009” SM MEGAMALL ARTSPACE, MANDALUYONG CITY, PHILIPPINES “Rurok” SM MEGAMALL ARTSPACE, MANDALUYONG CITY, PHILIPPINES 2008 “Contemporary Ceramics” VICTORIA HOTEL, SIEM REAP, CAMBODIA 2007 “Pottery Lifestyle” SHANGRI-LA MALL, MANDALUYONG CITY, PHILIPPINES
“Function Conjunction” ARTSPACE, GLORIETTA CENTER, MAKATI CITY, PHILIPPINES Hadrian Mendoza and Isabel Diaz “a piece of this... “ BUDJI’S GALLERY 235 N. GARCIA ST. BEL AIR, MAKATI CITY, PHILIPPINES
2004
2003
2001
the Noble Tea Cup” INTERNATIONAL CHAWAN EXHIBITION 2005 ABBEY OF HEMIKSEM, BELGIUM “International Exhibition” ZIBO CERAMIC MUSEUM, ZIBO CITY, CHINA “Macsabal International Exhibition” JORUYONG FOLK ART VILLAGE, GOESANG, SOUTH KOREA “4th Annual Maytime Arts Festival” PINTO GALLERY, ANTIPOLO, RIZAL, PHILIPPINES “X-mas” MAG: NET GALLERY PASEO CENTER, MAKATI CITY, PHILIPPINES “Hadrian Mendoza Jon Pettyjohn 2 man show” ARTSPACE, GLORIETTA CENTER, MAKATI CITY, PHILIPPINES
“Centering” MAG: NET GALLERY PASEO CENTER, MAKATI CITY, PHILIPPINES “XMAS” MAG: NET GALLERY PASEO CENTER, MAKATI CITY, PHILIPPINES “Kim Yong Moon Gallery” INTERNATIONAL MASCABAL EXHIBITION, SEOUL, SOUTH KOREA “Group Show” IZUKAN GALLERY 88 CORPORATE CENTER, MAKATI CITY, PHILIPPINES “Household names” DRAWING ROOM, METRO STAR BLDG. MAKATI CITY, PHILIPPINES Aomori Woodfire Exhibition Japan GOSHOGOWARA MUSEUM, GOSHOGOWARA-SHI, AOMORI-KEN, JAPAN “Philippine Anagma Project II” VARGAS MUSEUM, UNIVERSITY OF THE PHILIPPINES-DILIMAN, QUEZON CITY, PHILIPPINES
1998
“Rebirth Modern Artists” MTV PHILIPPINES, FORT BONIFACIO, TAGUIG, PHILIPPINES “Patibong ng Puso” LIONGOREN ART GALLERY, CUBAO, QUEZON CITY, PHILIPPINES “Flora-Flora Exhibit” INTERCONTINENTAL HOTEL, MAKATI CITY, PHILIPPINES “Ang sining ng luad” NCCA, INTRAMUROS, MANILA, PHILIPPINES
1997
MADEIRA SCHOOL OF ART LANGLEY, VIRGINIA
2000
“Sculptural Vessels” CORCORAN WHITE WALLS GALLERY, CORCORAN GALLERY OF ART, WASHINGTON DC, USA “Group Show” CLARENDON ART BAR/GALLERY, CLARENDON, VIRGINIA, USA
INTERNATIONAL CONFERENCES 2016
2014
“Tree of Life: 4th Southeast Asian Ceramics Festival” AYALA MUSEUM, MAKATI CITY, PHILIPPINES The Ceramic View Symposium (organized by The International Academy of Ceramics, Switzerland) CHULALONGKORN UNIVERSITY, BANGKOK, THAILAND Turkey Macsabal Woodfire Festival HACETTEPE UNIVERSITY, ANKARA, TURKEY “Earth and Fire: 3rd Southeast Asian Ceramics Symposium” THE WORKHOUSE ARTS CENTER
LORTON, VIRGINIA, USA
2015
2012 2009 2008 2005
AYALA MUSEUM, MAKATI CITY,
ARTSPACE, GLORIETTA CENTER, MAKATI
“Joy to
2015
BUDJI’S GALLERY 235 N. GARCIA ST. BEL AIR, MAKATI CITY,
PHILIPPINES
CITY, PHILIPPINES
2002
GROUP EXHIBITIONS
INTERCONTINENTAL HOTEL, MAKATI
CITY, PHILIPPINES
2003 2002
“Clay Unity: Celebrating the Diversity of Southeast Asia” FLICAM MUSEUM, FUPING, CHINA Southeast Asian Ceramics Workshop TAIPEI COUNTY YINGGE CERAMICS MUSEUM, TAIPEI, TAIWAN 1st Southeast Asian Ceramics Workshop AYALA MUSEUM, MAKATI CITY, PHILIPPINES Khmer International Ceramics Conference SIEM REAP, CAMBODIA 8th Annual International Macsabal Woodfire Festival BUCHEON CITY, KOREA AND ZIBO, CHINA 7th Annual International Mascabal Woodfire Festival Korea JORUYING FOLK ART CENTER Aomori Woodfire Festival Japan GOSHOGOWARA, GOSHOGOWARA- SHI, AOMORI–KEN, JAPAN
KILN BUILDING EXPERIENCE 2009
Down and cross draft wood/salt fired gas kiln with sprung arch straight wall CALAMBA, LAGUNA PHILIPPINES
MAKILING,
2008 2002 2001
2 chamber woodfire and salt kiln MAKILING, CALAMBA, LAGUNA PHILIPPINES Down draft sprung arch straight wall reduction kiln MAKILING, CALAMBA LAGUNA PHILIPPINES Anagama Kiln “Musang-gama” PANSOL, CALAMBA LAGUNA PHILIPPINES
AWARDS AND PROJECTS 2017 2016 2015
Alfred E. Steck Memorial Prize in Sculpture THE GEORGE WASHINGTON UNIVERSITY, WASHINGTON DC Ayala Foundation Grant, Curator of “The Tree of Life: 4th Southeast Asian Ceramics Festival” AYALA MUSEUM, MAKATI CITY, PHILIPPINES
Kohler. Bold. Art. Asia, Kohler, Beijing, China One of 5 selected ceramic artists commisioned from Asia to represent the 2015 Bold Art Asia travelling exhibition
2012-2014
Asian Cultural Council Humanities Fellowship Grant
Edru Abraham KONTRA-GAPI, Connie Gonzalez, Dr. & Dra. Suratos Brgy Captain Nene Lichauco 2006 Dr. Joven Cuanang 2005 Consul General Cecile Rebong, Josie Natori, Francisco “Django” Bustamante, Armida Singuion-Reyna, Ambeth Ocampo, David and Stanley Chua-Unsu, Anita Magsaysay – Ho 2004 Budji Layug, Daphne Osena-Paez, National Artist Napoleon Abueva, National Artist Ben Cabrera, Bea Zobel 1998 Jon Pettyjohn 1997 Rachy Cuna 2009
2008
ARTICLES 1
THE WORKHOUSE ARTS CENTER, LORTON,
VIRGINIA, USA
Curator of “Earth and Fire” 3rd Southeast Asian Ceramics Symposium in USA 2012 FuLe International Ceramic Arts Museum (FLICAM), Fuping, China; “Clay Unity: Celebrating Southeast Asia’s Diversity” Organizer of the 2nd Southeast Asian Ceramics Exhibition/Conference in China 2007-2009
2 3 4 5 6
Toyota Foundation, Tokyo, Japan; Asian Neighbors Network Program Grant 2007-2009; “Unlocking Southeast Asia’s Potential” Organizer of “Ring of Fire”, the 1st Southeast Asian Ceramics Exhibition/Conference AYALA
1997
Anne and Arnold Abramson Award for Excellence in Ceramics
8
1996-1997 Ceramic Artist of the Year
MUSEUM, MAKATI CITY, PHILIPPINES
CORCORAN GALLERY OF ART,
WASHINGTON DC, USA
PERMANENT COLLECTIONS 2016 2015 2014 2012 2010 2009 2008 2007 2005 2003 2002 1998 1997
Chulanlongkorn University Fine Arts Department BANKOK, THAILAND Hacettepe University ANKARA, TURKEY Kohler Co. BEIJING, CHINA AND WISCONSIN, USA Khon Kaen University KHON KAEN, THAILAND FLICAM Museum QIAOSHAN RD., FUPING, SHAANXI, P.R. CHINA BenCab Museum KM. 6 ASIN ROAD, BAGUIO CITY, PHILIPPINES The Philippine Embassy 1600 MASSACHUSETTS AVE NW, WASHINGTON, DC 20036 The Ayala Museum MAKATI CITY, PHILIPPINES Shangri-La Boracay Resort BORACAY, PHILIPPINES Khmer Ceramics Center Gallery SIEM REAP, CAMBODIA The Penninsula Hotel MAKATI CITY, PHILIPPINES Philippine Consulateolk in New York 556 FIFTH AVE. NEW YORK, NY, USA Zibo Ceramic Museum ZIBO, CHINA Joruyong Folk Art Center KOREA Goshogowara Museum Japan GOSHOGOWARA-SHI, AOMORI-KEN , JAPAN Metropolitan Museum of Manila ROXAS BLVD., MANILA, PHILIPPINES The Corcoran School of Art WASHINGTON DC, USA
PRIVATE COLLECTIONS 2012 2011
2010
9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25
Consul General Mario L. deLeon, Jr. Loida Lewis, Ambassador Jose Cuisia, Jr., Robert E.A. Borje PHILIPPINE PERMANENT MISSION
26
Khon Kaen University KHON KAEN, THAILAND Pinky Puno, Governor Fauzi Bowo JAKARTA, INDONESIA
28
TO THE UN
2014
7
27
“In The Galleries: This art will speak to you”, The Washington Post, Arts and Style Section, June 24, 2017, by Mark Jenkins “Mysticism and post-colonial moorings in Hadrian Mendoza’s stoneware, GMA Network, Lifestyle Arts and Culture, December 18, 2015, by Filippina Lippi “His Medium is Magic” Manila Bulletin, Lifestyle E1, Mar 17, 2014, by Filipina Lippi “Building a home out of clay” Philippine Daily Inquirer, Lifestyle C3, Feb 17, 2014, by Alya Honasan “The 3 Year Cooling Cycle” Ceramics Technical Magazine Issue #37, Dec-May 2014, by Hadrian Mendoza “Unity in Clay: Celebrating the Diversity of Southeast Asian Ceramics in China,” Ceramics Technical Magazine Issue #36, June-Nov 2013, by Hadrian Mendoza ”Two Workhouse Artists Travel Abroad” Connection Newspaper April 5, 2012 ”Philippine Bulol Sculptures” The New York Times, Arts Section, June 2, 2011,by Anne Mancuso & Sunita Reddy ”The Ring of Fire” 1st Southeast Asian Ceramics Festival, Dao Clayform Magazine 2010 Inaugural Issue, by Hadrian Mendoza “The Ring of Fire: Contesting the Myth of Homogeneity”, asianart.com, November 2009, by Helen Yu-Rivera “Homage to the Bamboo”, Ceramics Art and Perception Magazine, September-December 2009 #77, by Helen Yu-Rivera “A Sense of Self and Place”, Business Mirror, November 2008, by Helen Yu-Rivera “Shards and Shades”, Metro Magazine, March 2008, by Alya Honasan “Form and Balance”, Philippine Inquirer, November 27, 2006, by Erlinda Bolido “Dancing Hands of a Stoneware Potter”, Philippine Panorama Magazine, Novermber 26, 2006, by Filippina Lippi “Natural Selection”, High Life Magazine, November 2006, by Hans Audric Estialbo “Hot Water”, British Ceramic Review Magazine, March/April 2006 “For Your Table with Love”, Metro Home Magazine, June 2006 Volume 3 #2, by Alya Honasan “Art Pottery”, Mirror Magazine, May-June 2006, by Lita C. Lee “High on Pots”, Filipinas Magazine, April 2006, by Barbara Mae Dacanay “Hadrian Mendoza at the Philippine Center”, Newstar Philippines, December 2005 Volume 40, by Robert P. DeTagle “Master’s Apprentice”, Philippine Inquirer, November 7, 2004, by Joy Rojas “Calling the Pot Art”, The Philippine Star Magazine, November 7, 2004, by Raymz Maribojoc “Hit the Pot”, Real Living Magazine, June 2004, Apol Lejano “The Picasso of Philippine Pottery”, Gulf News, June 4, 2004, by Barbara Mae Dacanay “Dinnerware for Those with a Taste for the Unusual”, Philippine Inquirer, July 28, 2002, by Joy Rojas “Hadrian the Potter”, Manila Standard, March 19, 2002, by Tere B. Lopez “Prolific Self-Expression through Clay”, Malaya Living Magazine, July 9, 1998, by Rowena C. Burgos
g alleria duem ila 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 S tates. Its futurist vision keeps it at the cutting-edge of Philippine art, making and archiving history as it happens.
s e rv i ce s : conservation an d r e s t oration of p a i n t i n g s, consu ltancy s e rv i ce s , com m issions and i n s t a llation