Northern Living: 2014 August by Hinge Inquirer Publications

NORTHERNliving August 2014 Volume 8 | Issue 12

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CONT ENTS 32 MAIN FEATURE How a museum’s impending move can affect a city and its community Photo by Edric Chen

NORTHERNliving GROUP PUBLISHER BEA J. LEDESMA BRAND AND COMMUNITY EDITOR DIANNE PINEDA EDITORIAL ASSISTANTS MARAH S.D. RUIZ, DENISE DANIELLE ALCANTARA CREATIVE DIRECTOR NIÑA MUALLAM GRAPHIC ARTIST DANICA CONDEZ

AUGUST 2014 02 HEALTH An insight on the creative brain

10 FEATURE The street as a canvas

04 BEAUTY Turning the aesthetic gaze on the artists

14 FEATURE The dying craft of movie poster making

06 FIXTURE Andy Warhol took the grocery to the gallery

44 EATS A taste of home served by the cup

Cover photo by Jilson Tiu & cover art by Louie Talents

EDITOR’S NOTE Are museums still relevant today? The Lopez Museum & Library has stood as the sole museum in Pasig since 1960, and in a few years, it will move to a bigger, greener space in Rockwell Center, Makati. This is certainly a historic occurrence, if not a matter of huge significance to the people of Pasig as the museum is held as one of the most important establishments in the city. Bringing with it its extensive acquisition of original Filipino art work and a library collection that is rich in Philippine history, this move makes us question—what will happen to the city once it is transferred? This is not, however, an aversion to this evolution. In fact, our emotional reaction to the change proves more as a realization about the role of museums in a city in general—that it serves far more broader purposes than just satisfying individuals. Art,

culture, and tradition, which are commonly perceived as private and exclusive, are made available to the masses through museums. Museums are designed to display and preserve our country’s cultural soul, existing with a paradoxical purpose to gather our collective consciousness yet diversify our knowledge of what was, and what will be. In this issue, we take art to the community and get the word out about local talents. We asked artists to go out of their comfort zones and use different media they are otherwise not known for. We went around the corners of the metro to find street art. And just like a museum, we hope to curate our common experience, serve as an easy access to art, and reflect on what it means to us as we move through changes over time.

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CONTRIBUTORS WRITERS BEVERLY DALTON, AJ ELICAÑO, WINCY AQUINO ONG, CEIA YLAGAN, SAMANTHA RAMOS-ZARAGOZA, NANA NADAL, GABBY CANTERO STYLISTS EDLENE CABRAL, GABBY CANTERO HAIR AND MAKEUP ANTHEA BUENO, BULLET REYES PHOTOGRAPHERS GELOY CONCEPCION, MELSON BOLONGAITA, GABBY CANTERO, JILSON SECKLER TIU, EDRIC CHEN, SIDNEY SNOECK COPY EDITOR SEPTEMBER GRACE MAHINO PROOFREADER NAZRI NOOR EDITORIAL CONSULTANT RIA FRANCISCO-PRIETO BOARD CHAIRPERSON ALEXANDRA PRIETO-ROMUALDEZ FINANCE ADVISOR AND TREASURER J. FERDINAND DE LUZURIAGA LEGAL ADVISOR ATTY. RUDYARD ARBOLADO HR STRATEGY HEAD RAYMUND SOBERANO VP AND CHIEF STRATEGY OFFICER IMELDA ALCANTARA SVP AND GROUP SALES HEAD, INQUIRER GROUP OF COMPANIES FELIPE R. OLARTE SALES DIRECTOR MA. KATRINA MAE GARCIA-DALUSONG KEY ACCOUNTS SPECIALIST ANGELITA TAN-IBAÑEZ SR. ACCOUNT EXECUTIVE RAM DANIEL TAN ACCOUNT EXECUTIVES ABEGAIL GINAGA, ANDIE ZUÑIGA, SARAH CABALATUNGAN SALES SUPPORT ASSISTANTS RECHELLE ENDOZO, MARA KAREN ALIASAS PRODUCTION MANAGER NOEL CABIE PRODUCTION ASSISTANT MARICEL GAVINO FINAL ART SUPERVISOR DENNIS CRUZ FA ARTIST JR LAROSA

This magazine was printed responsibly using recycled papers with biodegradable inks.

HEALT H

THE BEAUTIFUL MIND

Inside the mind of a creative person’s brain TEXT SAMANTHA RAMOS-ZARAGOSA ILLUSTRATION DANICA CONDEZ

“The best outline I ever made, or anyway the prettiest one, was on the back of a roll of wallpaper. I used my daughter’s crayons, a different color for each main character... the blue line met the red line and then the yellow line, and the yellow line stopped because the character represented by the yellow line was dead. And so on.” Kurt Vonnegut’s revelation of his artistic process in Slaughterhouse-Five, nonchalantly detailed with an inferring of self-deprecation, sheds light on the intricacies of the creative mind. It baffles even the artists in us: how a book untangles a plot or a film shapes a dystopian future. Logic aims to pin this non-concrete method down to an exact formula, but when visionaries are asked to reveal their secrets, their answers are as abstract as their works. Creativity is individualistic, and even science hasn’t produced a solid theory on it. A study led by John Kounios and Mark Jung-Beeman1 discloses how people who solve problems creatively have a distinct brain pattern from those who think in a methodical fashion; there is greater activity in several regions of the right brain hemisphere that remains dynamic even during a “resting” state. The result is a passionate, observant daydreamer who asks heavy questions, seeks new

experiences, has a different perspective on reality, takes risks, craves self-expression, and loses himself in his work. Although it remains a paradox to some, several experts claim creativity can be taught just like any other skill. When Canadian electro-pop musician Claire Boucher a.k.a. Grimes subjected herself to complete isolation for her album Visions, it was an act of educating the brain. “You have no stimulation, so your subconscious starts filling in the blanks,” she explains in her interview with The Guardian. Louis R. Mobley formulated six insights, the foundation of the IBM Executive School, to teach professionals to think creatively: ask questions radically in a non-linear way, unlearn methods through experiences to give birth to “Aha!” moments, practice being creative rigorously rather than just learning or reading up to become it, hang around with creative people, know yourself, and allow yourself to make mistakes. But why expose the mind to such drills when the “tortured artist” is typecast for a reason? Psychologist and author Mihaly Csikszentmihalyi2 commends creativity as an element to a better well-being. He says that one thing creative people have in common is the love they have for what they do. Career, fame, or money doesn’t determine their level of happiness, hence practicing creativity rejuvenates and maintains their overall health and enhances their societal welfare. The pursuit of creativity may not be as complex as it is presented. Distinctive in each person and made esotericsounding by science, only you can define it for yourself. As Steve Jobs puts it, “Creativity is just connecting things... [Creative people] were able to connect experiences they’ve had and synthesize new things.”

1: Kounios, J., Fleck, J.I., Green, D.L., Payne, L., Stevenson, J.L., Bowden, E.M., & Jung-Beeman, M. (2007). “The origins of insight in resting-state brain activity.” Journal Neuropsychologia. Elsevier. 2: Csikszentmihalyi, M. (1997). Creativity: Flow and the Psychology of Discovery and Invention. New York: Harper Perennial.

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BEAUT Y

ABOUT FACE

Beauty lies in the artwork and the creator TEXT BEVERLY DALTON ILLUSTRATION DANICA CONDEZ

Frida Kahlo Although Mexican culture and tradition prevail in Frida Kahlo’s paintings, she still often painted herself. She’s frequently described as a surrealist, but Kahlo believed that she never painted her dreams but her own reality instead. She was known for resisting the norm, involving herself in politics while most women sat on the sidelines. Her self-portraits are as intriguing as da Vinci’s “Mona Lisa,” but unlike Mona Lisa’s mysterious smirk, Kahlo’s thick unibrow is unapologetically obvious. Her image in her self-portraits looks almost exactly as she did in real life—though her unibrow got even more exaggerated. It was an artistic statement indeed, during the ’30s, an indication that women had both masculine and feminine traits and didn’t need to sit behind men. Get the look: We’re not going to tell you to grow a unibrow just to make a feminist point, but ever thought of growing it thick instead like model Cara Delevingne? Avoid over plucking. Draw lines and fill them in, or better yet, dye your brows darker. Andy Warhol Almost everybody is familiar with Andy Warhol’s mono prints of celebrities and silkscreens of mundane objects such as a soup can and the Coca-Cola bottle.

But what also got us interested is how the “Pope of Pop” presented himself to the public. His platinum wig worn because of his thinning hair was particularly memorable. He stood out and got away with wearing this standout headpiece in a sea of blondes and brunettes streaming in and out of his Factory in the ’60s. Warhol, after all, did say that art is anything you can get away with—and his persona and his trademark wig are as iconic as his work. Get the look: More than for men, Warhol’s look suits women. Get a cut, but keep it wispy and the bangs brushed to the side. Amidst heads with long, black hair, short hair will make you stand out. If you want to go the extra mile, go light or choose a color not a lot of people would go for. Take a page from Katy Perry and Lady Gaga, modernday pop icons who never lacked for attention because of their hairstyles. Antoni Gaudí The Spanish Catalan architect is best known for his Gothic revival and modernism, and his magnum opus is the unfinished Sagrada Família. Gaudí took his personal appearance seriously when he was younger, wearing costly suits and keeping his hair and beard well groomed—a certified dandy. As he grew older, though, he spent less time grooming himself. He wore old, worn-out suits and

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neglected his appearance that sometimes, he was taken for a beggar. On June 7, 1926, a tram hit Gaudí and left him unconscious. Assumed to be a beggar because of his old clothing, he didn’t receive immediate help and died three days later. Get the look: For the guys, leave your facial hair alone. Ignore the belief that shaving regularly makes hair grow thicker and quicker. And since you’re not getting a clean shave, wear proper clothes to compensate. Coco Chanel Today, Coco Chanel’s beauty and style are considered classics, but during the 1920s, her look was revolutionary. In a time when women had long hair and wore corsets and other confining garments, she designed clothes that borrowed elements from menswear. Comfort and simplicity were key for her. As she began creating unrestrictive womenswear pieces, she chopped off her long locks, truly setting her apart from other designers at the time. Get the look: She always had that je ne sais quoi, and looked a little androgynous, with her neck showing but the rest of her conservatively covered. Her simple style was not a matter of laziness but of knowing how to keep off whatever was unnecessary, a skill any woman of today needs to master.

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IN THE CAN

How a grocery item was transformed into a work of art that started a cultural movement TEXT NANA CARAGAY ILLUSTRATION DANICA CONDEZ

Never has a common grocery item been immortalized to the status of pop culture icon, provoked such heated debate, as much as that distinctive red-and-white can of soup. When Andy Warhol’s “Campbell’s Soup Cans” debuted at Los Angeles’ Ferus Gallery in 1962, it was the artist’s first solo exhibit, regarded as the premiere of pop art on the West Coast. The 32 canvases were displayed side by side on wooden shelves that ran the length of the gallery, the way soup cans would be shown in a supermarket. Dennis Hopper purchased one of only five paintings sold that night for $100, but gallery owner Irving Blum bought all the pieces back for the bargain price of just $3,000, paid in installments, because he thought the images were more powerful as a set. Blum was right. Today, all 32 soup cans, modeled after the 32 varieties of Campbell’s Soup that were available at the time, are part of the permanent collection of New York’s Museum of Modern Art. Warhol never left instructions on how he would prefer them to be displayed so they are installed in the chronological order in which Campbell’s released the soup varieties, with Tomato being the first. The story goes that Warhol chose the subject because, for 20 years, he had soup for lunch daily, and he chose to

depict the cans simply because “I just paint things I always thought were beautiful, things you use every day and never think about.” Warhol would silkscreen the images in a uniform, repetitive fashion, with the only variation being the different soup flavors, which he would stencil and hand paint. The mechanical way by which the subjects were reproduced became one of the characteristics symbolic of the pop art movement, which was viewed as a reaction to the dramatic nuances and intense emotions behind abstract expressionism. Warhol’s work was deemed cold, expressionless and without soul, perceived as a commentary on the commercialism and capitalism of the times. Other artists identified with pop art include Roy Lichtenstein (Warhol supposedly chose to go with soup cans because his original collection of comic stripinspired works were deemed too similar to Lichtenstein’s), Jasper Johns, and Claes Oldenburg. To commemorate the paintings’ 50th anniversary, Campbell’s came out with limited edition soup cans with bright, colorful labels that pay tribute to Warhol’s work. From turning grocery items into works of art, the soup cans themselves became consumable little art pieces—surely, even Warhol would appreciate the irony.

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SPECIAL FEAT URE

Fit to scale

This is where it’s at. Here’s why it’s the living scenario of choice for yuppies, young families, and the upwardly mobile TEXT nana caragay

Now that minimalism, downsizing, and eschewing the unnecessary are all the rage, the ideals of luxury are getting turned on their heads. Gone is the time when living large meant owning a vast estate—these days, the environmentally conscious and in-the-know are favoring quality over quantity, economy over excess. Nowhere is this more apparent than in the shift towards condo living. Here are a few reasons why you might want to consider it, too. All eyes on you With doormen and guards constantly on patrol plus the vigilance of security cameras and closed-circuit TV, the worry that someone might break into your home is a huge burden off your back. So you can lock your door each time you leave and know that everything will be exactly as you left it. Minimal maintenance Taking out the trash and mowing the lawn are common house chores to be dealt with. But in a condo, waste disposal is as easy as opening the garbage chute. There are also personnel who can attend to plumbing and facilities, a huge draw for the typical single girl.

Maximum economy Living in a full-size home comes with outsize costs, not least of which are the skyrocketing prices of water and electricity. But move from a bungalow into a twobedroom and you’ll immediately notice the difference in your utility bills. Besides, there’s nothing like the natural light and fresh ventilation that comes with opening up your balcony. Neighborly love When was the last time you said hello to the people next door? At a condo, socializing in the elevators or hallways will be part of your everyday routine, so you’ll never feel isolated or lonely. Plus, you can always hope to run into the hottie who just moved in two floors below. All those amenities Most homeowners can only dream about one day having their own swimming pool or private gym. But for condo dwellers, amenities such as these are an everyday reality, and just an elevator ride away. Location, location Manila’s traffic situation has only gotten worse, so instead of hoping for a quick

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NORT HERNER The master of multitasking Zean Cabangis fills three walls with canvases and paints three different pieces at the same time in preparation for his exhibit at the end of August.

INVASION AND EXCHANGE

Zean Cabangis breathes new life onto the canvas with his fusion of multimedia styles TEXT CEIA YLAGAN PHOTOGRAPHY KAITY CHUA

With his cap turned backwards and with his casual, laidback demeanor, Zean Cabangis’ young age belies his extensive experience in art. His childhood introduction to art was greatly influenced by his father Benjamin, an abstract artist and art professor from University of the Philippines. Yet the younger Cabangis has found his own niche in the art world with his unique style that involves photography, paint, and a skillful technique playing with emulsion transfers. He describes his artistic style as “spontaneous and controlled, subjective and objective”—extremes that ultimately create compelling art pieces that hold several meanings for the viewer. “It’s a combination of opposites and everything in between,” he says. “Layers of different sensibilities.” His creative process begins outside the studio: on the road during travels and bike rides with his camera. Inspiration can come out of anything, from architecture, nature, and people, even television. Upon his return, he reviews his collections of photographs

and begins composing his latest projects in his mind. He then composes his visual plan through Photoshop. It is this flexibility and fluidity that makes Cabangis and his works continue to evolve. “It’s often hard to tell when a painting is done. It’s hard to stop, but at the same time, it’s also hard to go on because I’m never sure of the next step.” He is currently working on an upcoming show at Art Informal called “Reclaim.” “It is about the never-ending battle [between] man-made structure and nature,” he says. “The word ‘reclaim’ for me presents the idea of open-endedness—a cycle. Manmade structures invade nature, then nature reclaims man-made structures. It’s a neverending cycle. Also, the idea is parallel to my process wherein I invade the image or picture with paint.” Cabangis’ artistic style goes far beyond an invasion of photographs and images. For the viewer, his works can be an invasion of consciousness, a permeation into existence, and they leave an imprint in one’s memory.

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The late comedian Tado helped street artists get permission from the Marikina city government to do art on this spaceâ&#x20AC;&#x201D;now called Solidarity Wall.

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Kookoo Ramos, a graphic artist and advertising designer by day and street artist by night, invades concrete walls in Quezon City.

CONCRETE CREATIVITY

The lasting impressions and implications of ephemeral street art TEXT SAMANTHA RAMOS-ZARAGOZA PHOTOGRAPHY GELOY CONCEPCION

Banksy, a cogent yet elusive contemporary artist from the UK, is nearing 3.3 million likes on Facebook. An online presence for enigmatic street artists like him isn’t surprising in this era, despite his early counterparts’ reliance on chance encounters as their works’ platform. Banksy, like most of his fellow street artists, still strives for secrecy even with his world-renowned cult status, and for good reason. “Street art [for us] is one of the most important art forms because it’s incredibly effective at conveying ideas to a large audience and, because being a transient medium, it’s always changing, always responding to new forces and commenting on new issues. Throw social media into the mix and your audience is multiplied a thousandfold,” say Kim Dryden and Austin Smith, producers and directors of the transmedia documentary Filipino Street Art Project. With pseudonymity comes freedom, with the perk of stamping one’s moniker in the hopes of recognition. What we now widely view as art rather than vandalism is definitively warranting the credit it deserves as more and more people seek to curate the works by means of actual preservation or online collation. Although we have yet to see celebrities procuring notorious urban art in millions here in the Philippines, the country’s fairly young street art movement is quickly earning the same reputation as its foreign equivalents. The visual art form, expanded to mean graffiti, sticker art, stencil art, installation, sculpture, yarn bombing, and video projection, may be rooted in activism with slogans, protests, and political and

social commentaries as its forerunners. From World War II’s “Kilroy Was Here” to the wall writings in upper west side Manhattan in the late 1960s, the craft evolved into stylized graffiti. Not long after, SEEN, which is how the man who invented modern graffiti is referred to, sparked a rivalry on style recognition when he chose NYC trains as his canvases. In the ’80s, the illegal, ephemeral and covert traits of the craft drew a number of artists aspiring to be the next Futura, Keith Haring, Jean-Michel Basquiat, Richard Hambleton, or Rene Moncada, joining the movement and labeling graffiti as urban art. The Philippines has been accustomed to this art form even before we realized it. The lost art of Kut-Kut from the late 15th century is a form of sgraffito or scratch graffiti. Contemporarily, we’ve been exposed to spray-painted fences with gang names or taboo drawings and establishment walls decorated with depictions of values or valor from commissioned artists. Visually arresting and socially relevant guerilla illustrations and installations have also been growing by the number in recent years. Some artists have even crossed to the mainstream. Dee Jae Pa’este’s trademark feminine murals are strewn across Bonifacio Global City’s walls and Pilipinas Street Plan’s exhibits are earning the admiration of aesthetes and media honchos. Nonetheless, the spirit behind clandestine art is still thriving. This drove the Filipino Street Art Project into fruition. “The idea came about at a time when I was trying

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to get connected with my Filipino-ness. I am half-Filipino afford to go to galleries and museums or aren’t even aware and grew up in a Filipino family, but had not visited often of them the chance to encounter art.” PAW shares the same and was looking to explore the country and culture of sentiment, viewing the streets as a gallery for the masses. my family,” says Smith. “I was looking to go back to the To experience this open museum for all, just look at the Philippines, was reading a lot about the socio-economic tunnels and walls of Metro Manila’s ever growing concrete successes and challenges in the country, and was inspired jungle: Commonwealth Avenue, Quezon Avenue, Bonifacio by what I saw in the street art scene in Manila. I’ve always Avenue, Ortigas Avenue, and University of the Philippines tried to advocate for Filipino-American culture, and I think Katipunan. Cainta’s Felix Avenue, Cavity Collective’s works in that the Philippines, as a whole, is criminally overlooked in Cavite, and Wadab Locals’ murals in Davao are also must-sees. western media. That’s what motivates me: sharing Filipino Although we have come to embrace such illustrations stories at a time when the Philippines is such an exciting, and installations as art, their essence as vandalism still rings complex, frustrating place. I tell everyone to keep an eye true. Should street art, just because it offers aesthetic value, out because the Philippines is on the rise.” Aside from the be legally overlooked? Should blank walls be involuntarily documentary, Filipino Street Art Project is also a website translated into canvases and soapboxes for anyone with a and a newsletter, and is about partnerships, internships and paintbrush and an idea to communicate? fellowships. The feature-length documentary, which focuses For Dryden and Smith, art and vandalism are not mutually exclusive. “It’s a populist medium, and on street artists such as Whoop Wonka, that’s why we love it. And yeah, some of Kookoo Ramos, Gerilya, Blic Pinas, “We may not get paid it may not be legal, but that in no way Brian Barrios, Elli Killingwithcuteness, takes away from its power as a piece of Lee Salvador, Triskaideka Masuerte, for doing street art but art. Sometimes, in fact, the placement and Basic Lee, serves as the project’s we give people who can’t of street art in places it’s ‘not supposed central aspect. to be’ only adds to its message or adds Dryden and Smith formed the afford to go to galleries another layer of complexity to the whole venture after throwing around ideas and museums or aren’t thing.” Emesu, on the other hand, feels for a documentary project. “The that there’s distinction between the two, more we researched the scene [in the even aware of them the emphasizing the creative contribution as Philippines], the more we realized how beneficial rather than a nuisance. PAW young it was, but also how vibrant and chance to encounter art.” comments, “When people in Davao see multifaceted. The art we were seeing was us doing murals on the street, the first incredible but not getting the coverage it deserved; it was just coming into its own. We started talking thing in their mind is we are doing vandalism, which we are to the artists and got a sense that there were so many stories not. That is why we want people to see that we are giving life to embedded in this topic: about the artists’ lives, about Manila, an ordinary wall.” However, as society opens up to the craft and about globalization, and of course, about the role of street art provides legal spaces for it to thrive, some artists, like Emesu, feel that the artwork may lose its magic. Others like Over see its in society. We were hooked,” says Dryden. The implications behind the artworks are as distinctive as legalization as purely favorable. He says, “There’s nothing wrong its makers. PAW, Emesu and Over of Wadab Locals, a group with it. You’re just pasting everything that’s on your mind on the of street artists from Davao City with the aim of pushing art walls of the streets. [It gives] everyone the chance to appreciate and graffiti back to the streets, have different takes on their and explore the true meaning of [the] art.” craft despite belonging to the same community. “Different Purists feel that street art is meant to be free for the masses, and artists have their own interpretations and expectations on its translation to pieces for profit is ironic. But this trancendence their works. Some are political, social, or just plain personal is an indication of a culture’s evolving social awareness. Dryden happiness,” explains Emesu. A common message, however, and Smith opine, “The social implications for a city that’s rich in street art is huge. It means that people are communicating, still ensues. University of Sto. Tomas Fine Arts graduate and street artist albeit in a somewhat one directional manner, about ideas and Geloy, after seeing a piece by Mark Salvatus of Pilipinas Street issues that are important to them. The public space is being used Plan on his way to Quiapo, justifies the significance behind for a form of visual discourse. In cities like Manila that have a urban art perfectly: “At first, I didn’t understand why Sir lot of really impressive street art, it also means that there’s a free, Mark (Salvatus) made a mural on a big rock that will soon be publicly available source of really good art, and it’s all around demolished anyway. But the concept that you value your art you. What’s more inspiring than bringing down the financial to the point that you share it freely with a wider audience— and time restraints on viewing good art? Everyone, no matter the normal people on the street—triggered me to try street how much money or free time they have, deserves to be able to art, too. For me, that’s the most selfless form of art. We may see great art, to really see it and think about it and even analyze not get paid for doing street art but we give people who can’t the issues that it raises.”

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FEAT URE Street art adds color to the gritty streets of Manila. Egg Fiasco (left) and Analog (below) are part of a community that paints walls of abandoned structures.

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IN FADING GLORY

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In-house painters work with minimal cans of paint in basic colors and hand-mix them to get different shades.

What killed the hand-painted movie billboard? TEXT WINCY AQUINO ONG PHOTOGRAPHY SIDNEY SNOECK

Still remember what movie billboards looked like decades ago? You’d look up and see those giant faces of actors in the sky, at times with half-slights to human anatomy, more often in lurid smatterings of neon. The caliber varied: Nora Aunor rendered in studied photorealism, a Ninja Turtle depicted in salmon pink. Some may call it crude. Others pine for the folk craftsmanship of yesteryears. Say what you must of hand-painted movie billboards, those 10-foot artworks were once the fixtures of the Manila skyline or, if not, the collective memories of its denizens. But in the age of large-scale digital printing and LED billboards, the once lucrative industry of hand painters has dwindled. Technology, as they say, has a way of reducing artisanal industries into arcane vocations. But is technology the sole culprit here? On a gritty sidewalk in Quiapo, two men alight a tricycle as they reach the Times Theater, a crusty ghost of its former self, its Art Deco splendor lost in the soot. One of them unfurls a roll of tarpaulin while the other clambers up the railings to bring down last week’s movie. They dismantle the contraption—a rickety skeleton made of salvaged plywood—and drape a freshly painted advertisement on it. As they say, out with the old, in with the new. Bespoke movie advertisements went hand in hand with the mushrooming of the stand-alone Art Deco theater (or “standies”), an import from the Americans during the

construction boom of the ’50s. These architectural marvels dotted the avenues of Avenida, Recto, Escolta, and Cubao— Manila’s old commercial stomps. The space surrounding these buildings was used for advertising the movies they showed, as walls and rooftops had proven to be cost-efficient locations for canvas billboards to be installed in. As the years went by, trends in the movie exhibition business led to the deterioration of these theaters. In the late ’80s to the early ’90s, multiplexes housed inside malls meant less upkeep and fatter profits. The once working-class pastime of watching movies shifted towards the moneyed consumer. The death knell began to ring: so as to maintain an upmarket image, mall operators drafted policies to display only digitally printed billboards. From then on, such is the degradation of stand-alone theaters that the few that still do business lease their space to religious seminars to continue their operations. Besides this, other matters turned things bleaker for the industry. The LRT and MRT platforms have obscured the once magnificent panoramas of the theater districts, thereby rendering hand-painted billboards ineffectual. The billboard boom in Guadalupe and South Superhighway have given way to higher paying clients, who can afford P300,000-amonth contracts and a battalion of graphic designers from multinational ad agencies. There were also the movie stars who stood firm on digital printing, which could depict their faces

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Practical techniques like using a grid on both the reference photo and on the canvas itself create a clean and simple poster.

in a more flattering light and, not to mention, correct their imperfections by the pixel. Inside a spartan compound at the heart of Tondo stands BM Sagmit Enterprises, one of Manila’s last surviving houses of movie poster hand-painters. Buckets of Boysen Acrytex give the air an acrid smell. On the pristine-white back of a tarpaulin, William Mercenares, 35, sketches an under-drawing. To cut down on expenses, this very same canvas will be re-used at least three times by adding coat on top of coat of paint. “It used to be that we serviced around 50 theaters. Now, we only have three clients left: Times Theater in Quiapo, Roben Cinema in Recto and Remar Cinema in Cubao,” the self-taught painter says. This indeed can be a symptom of the bigger industry’s illness. Since the 2000s, major studios have cut down on the production of mainstream movies. From 200 films per year in the ’80s, the local film industry has whittled down production to approximately 30 films in 2013. This is due to a number of reasons such as piracy, YouTube, the takeover of Hollywood blockbusters, and the switch of viewership towards primetime teleseryes. Nowadays, in terms of potential clientele, Viva Films has tieups with advertising agencies for promotional materials; Star Cinema employs a team of in-house artists; Regal Films hires freelancers. Indeed, what’s left for the hand-painters?

As Mercenares is lost in focus, mixing paints, Benjie Sagmit, the 50-ish, mustached manager of BM Sagmit Enterprises, introduces himself. “I’m not really an artist myself, but I have a good eye for what works and what doesn’t.” His father Eduardo Sagmit was one of the industry’s stalwarts, having been in the business since the ’50s until the market peaked in the ’70s, the touted Golden Age of Philippine Cinema. “I am deeply saddened by all this. These billboard painters should be the pride of the Filipinos. They are truly talented artists,” Sagmit says. He then reminisces about better days when they had 20 in-house painters and they would service the marquees of 80 theaters around the city, aside from the rooftops on busy junctions. Now, most of their painters have retired back home to their provinces. However, Sagmit is still hopeful when asked if hand-painted billboards will have a comeback. “Hand-made things always have a way of returning. In this digital age, people will always look for things made by hand. Maybe in the next five years, our client base will grow again. I can feel it.” The rain begins to pour in Quiapo. Done in cheap acrylic, a portrait of Hugh Jackman from X-Men: Days of Future Past clings hard to its scaffolding as the winds do their worst. It is beautiful. It is resilient. It is color amidst the filth.

1 Homer Sabaot, “Ang Huling Pintor Ng Paskil,” YouTube video, 16:45, https://www.youtube.com/watch?v=FAUirdJIANU 2 Marga Deona. “The endangered art of the movie poster.” Rappler, October 20, 2013. http://www.rappler.com/entertainment/movies/41795-endangered-art-movie-poster 3 Riel Amadeus Diala. “Standalone Theatres of Manila.” Slide Share, June 20, 2013. http://www.slideshare.net/rielamadeusdiala/art-deco-theatres-in-manila-23239706 4 Paolo M. Bustamante, 13 Stand-Alone Theaters of Manila, The Filipinas, January 28, 2012, http://thefilipinas.blogspot.com/2012/01/13-stand-alone-theaters-of-manila.html

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B R EAT H I N G S PAC ES

Gray Gardens

Alveo Landâ&#x20AC;&#x2122;s Portico offers urban courtyard landscapes that are portals to another world Art Attack

Enrich your life by surrounding yourself with art, as seen in these galleries

Artisanal Eats

Take your taste buds out of their comfort zone by going on a culinary journey

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8/12/14 5:20 PM

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KITCHENWARE MALL OF KITCHENS. SET STYLING RENÃ&#x2030;E ESPENILLA, AUBREY PORCIUNCULA. LOCATION PORTICO TWIN FLAT, ALVEO CORPORATE CENTER, BGC.

Spruce up your space with framed photographs, contemporary wall art, and pieces that add life and style to your home.

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KITCHENWARE MALL OF KITCHENS. SET STYLING RENÉE ESPENILLA, AUBREY PORCIUNCULA. LOCATION PORTICO TWIN FLAT, ALVEO CORPORATE CENTER, BGC.

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GRAY GARDENS

With its urban courtyards, lush greeneries, and creatively-designed living spaces, Alveo Land’s Portico offers a lifestyle experience unlike anything you have ever seen TEXT NANA CARAGAY PHOTOGRAPHY SAM LIM

hallmark of good design is not only practicality, but seamlessly elegant functionality—in it, you will also find qualities that simultaneously nourish the mind, inspire creativity, and feed the soul. Few other lifestyle communities can offer this holisitic experience on the same level as Portico, the most recent addition to Alveo Land's portfolio of groundbreaking living concepts in Pasig City. Located on a sizeable patch of prime land in the thriving CBD of Ortigas, Portico is already covetable for its convenient and strategic location, one that is in leisurely proximity to the central lifestyle districts of Makati City, Bonifacio Global City, and Quezon City’s Vertis North. Portico is the ideal neighborhood to be in, with malls, hospitals, and recreation venues within arms reach. But once you step inside and see the wonders that await, you may feel as though you’ve stumbled on an undiscovered haven where you would like to book an indefinite stay. Cobblestone pavements, walkways filled with greenery, artistic landscapes that call to mind Frances Mayes’ Under The Tuscan Sun or Frances Hodgson Burnett’s The Secret Garden… all of these give

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way to an urban development unlike any other, an escape from the stifling concrete jungle. Open spaces with clear views of the sky and inviting spreads of lush greens encourage interaction and creativity among residents and the community, so you’ll be tempted to spend your days rediscovering nature and enjoying the outdoors, reading a book on a sidewalk café, or catching up with your next-door neighbors. Portico sets itself apart with its innovative use of communal space, creating courtyards that evoke visions of an English countryside manor or long walks between classes at an American Ivy League university. The combination between high-rise buildings and low-rise townhouses, inspired by New York brownstone architecture, is unlike any other urban development in the country. Another way by which Portico is clearly different from the rest is in the creative layout of the units, another first in local real estate. Aside from one-bedroom, two-bedroom, and threebedroom spaces, the landmark residential building of the district, The Sandstone at Portico, also offers a three-bedroom “twin flat” unit, an innovative unit plan that combines a studio-type

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ART ATTACK

Personalize your Portico unit with art that reflects your unique styles and tastes. Here are a few suggestions to help you get started

Secret Fresh

Go beyond the storefront where you’ll find an impressive collection of limited edition vinyl toys and up to the second floor gallery, where established artists are showcased alongside those with genuine street cred. Ronac Art Center, Ortigas Ave., Greenhills, San Juan City

Art Informal

Formed by a collective that aims to champion Filipino art and artists both here and abroad, it also runs programs with the goal of bringing different art forms closer to the community. 227 Connecticut St., Greenhills East, Mandaluyong City

“twin room” layout with a fully featured two-bedroom set-up in one cohesive, continuous living space. Residents may choose to rent out the adjoining “twin room” to a tenant or convert it into an extended office or private studio, giving rise to a slew of investment possibilities. And because this is a product of Alveo Land, you can expect living standards to be of the utmost quality. Tall windows, high-glass ratio, abundant ventilation, and plenty of allowance for natural light are just a few of the marks each unit will possess—not to mention, of course, the breathtaking amenities, inspirational retail environments, creative landscaping, stylish designs, and comfortable breathing room that surrounds this gorgeous community that clearly signifies living at Portico as a cut above the rest. Such a beautiful, chic space deserves to be decorated in a manner that reflects your personal style and unique taste, so have fun adorning your home with art, home accessories, travel souvenirs, and other accoutrements and objects of curiosity—all the better to bring out your space’s character and individuality and make it your own. Take your cue from the ever-fashionable Sarah Jessica Parker, who showed off her collection of illuminated globes to a Vogue.com reporter when he paid a quick visit to her Manhattan

home. Whether you choose to mount your walls with an artsy collage of photos taken on your travels, highlight a single cherished masterpiece, or breathe new life into your space with quirky, offbeat wallpaper prints, the beauty of it all is that it is truly up to you. With such a gorgeous space to work with, you can treat your unit as an ideal blank canvas, a jump-off point for your imagination and creativity. And if you need a little bit of artistic spark to get the ball rolling, all you need to do is look outside your windows at the surrounding lively greens and various passersby. As any artist will tell you, real life always proves to be the ultimate source of inspiration. Alveo Land sets the benchmark for innovation in Philippine real estate today. Armed with sharper foresight, unparalleled excellence, and total commitment, Alveo Land finds the means to provide the most innovative homes to make you live well. Alveo Land is a wholly owned subsidiary of Ayala Land. For inquiries and appointments, visit their website at www. alveoland.com.ph, e-mail info@alveosales. com.ph, or call (632) 848.5100 [Metro Manila] and 1-800-10-8485100 [outside Metro Manila]. For more information on Portico, visit their showroom at the Alveo Corporate Center, 728 28th Street, Bonifacio Global City, Taguig City.

Metro Gallery

Exhibits have been a platform for brave new voices in the art scene, including a first solo exhibit by Dino Gabito and a tribute to the works of Salvador Dali and Gustav Klimt. 455 P. Guevarra St., Addition Hills, San Juan City

Lopez Museum

The oldest privately owned and managed museum in the country houses a priceless collection of the greats, including works by Juan Luna and Felix P. Resureccion Hidalgo. G/F Benpres Bldg., Exchange Road cor. Meralco Ave., Ortigas Center, Pasig City

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ARTISANAL EATS

Take a stroll through Portico’s artisanal retail row, where you will be treated to culinary treats and one-of-a-kind creations you won’t find anywhere else TEXT NANA CARAGAY PHOTOGRAPHY SAM LIM

n the spirit of encouraging inventiveness, out-of-thebox concepts, and blue-sky thinking, Portico will carry another one-of-a-kind lifestyle feature: a charming artisanal retail node with unique concept stores and distinctive culinary offerings, the kind that you won’t see at any other destination. This will be the antithesis to the generic fast food joints or run-of-the-mill coffee chains, a beacon of artistry and original thinking that just might encourage you to bring out your creative side. A great place to start would always be the kitchen. From experimenting with unexpected pairings (chocolate and bacon, anyone?) to adding your own little twist to recipes you’ve found online, there is always room for inventiveness on your frying pan or dinner plate. As Jon Favreau’s character in the movie Chef explained, a cook’s day should always start with a trip to the market. From there, you can pick out the freshest, newest ingredients and start thinking about different ways to incorporate them in one meal. Using what you’ve found among what’s available and rummaging through your cupboard, you can challenge yourself to approach your favorite dishes in a new way every time so that you never again find yourself stuck in a dreaded cooking rut. If you’re looking for new experiences to awaken your palate,

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a stroll around your neighborhood could be a rich source of inspiration—and if you happen to drop by Portico this year, you won’t need to look any further than Patio Mercato, a food and lifestyle night market that has found a home in Alveo Land’s urban courtyard development. From the same people who brought you the famed Mercato Centrale and Midnight Mercato night markets, where the public got their first taste of a bold new breed of food entrepreneurs (Mochiko, Manang’s Chicken, Hapadog, and Merry Moo are just some of the success stories that were introduced here) comes a new concept that promises to once again be a launch pad for the creative culinary minds of the future. This particular night market is already shaping up to be different from the rest, in that it will be open on weeknights (particularly from Wednesdays to Saturdays), from 4 p.m. to 3 a.m in the morning— perfect for merienda all the way until midnight snack runs and post-clubbing food cravings. It will also parade a lineup of the most mouthwatering food trucks in the metro alongside brand new as well as tried-and-tested vendors of food and drinks. It’s all a part of the iconic Portico environment that aims to nurture and cultivate creativity, whether in food, fashion, artistic expression, and beyond. For more information, log on to Facebook.com/PatioMercatoatPortico. Patio Mercato opens on 27 August 2014.

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A decade’s worth of Rod. ParasPerez’s work was recently exhibited in one of the gallery’s wings.

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TIMELESS CONTAINMENT

The history of Philippine modern art has a contemporary home TEXT NANA NADAL PHOTOGRAPHY TAMMY DAVID

Established in 1960 with an initial donation from Fernando all 700 plus pieces that they have acquired, all donated, Zobel, the Ateneo Art Gallery takes pride in being the first through the years, they rotate what’s on display. But the stars and only museum of Philippine modern art in the country. of the collection are mainstays on the walls: works by modern “Modernism in the Philippines really started as a reaction art frontliners such as Arturo Luz, Vicente Manansala, Jose to the Fernando Amorsolo school of painting, which was Joya, Hernando R. Ocampo and Fernando Zobel. “They’re very realistic and idealized. The style of modernists leaned the ones that students and alumni remember, it’s what towards abstraction. It began before the war and continued reminds them of the museum. I think there are pieces in in the late ’40s, but really took off in the ’50s,” explains Yael each museum that people go back to see again and again,” Buencamino, Managing Curator. Buencamino rationalizes. To keep things interesting, the This surge could be attributed to the influx of magazines museum periodically comes up with a theme, which allows and books from the United States and Europe. “The artists them to move the artworks around, place them in different here became more exposed to trends. They would see what sections and tell different stories. “We do retrospectives or the abstract expressionists in other countries were doing and focused exhibitions about artists in our collections.” With that opened their eyes and made them want to try different the current theme “Finding Reality,” the Ateneo Art Gallery things,” continues Buencamino. “If you look at Western art has pulled out from its permanent collection pieces from the history, there seems to be a progression of the different styles: 1930s to the 1980s, which reflect the shift in the definition impressionism, expressionism, cubism. Here, because all the of art, the role of the artist and their place in the social order information kind of came in at the same time, you see different during the period. people experimenting with different On the other hand, the area for things [at the same time]: Vicente changing exhibitions will be occupied by Manansala experimented with cubism, creations of Rod. Paras-Perez until the “Our aim, since we are Jose Joya did abstract expressionism, end of August. Entitled “Illuminating also a university museum, Arturo Luz was very much influenced by Rod. Paras-Perez,” it is a closer look on Paul Klee who was into this linear style. I what the artist has done from the ’60s is to help enhance people’s think it is one of the things that made the and the ’70s. “The works of Dr. Perez understanding of artists, art scene in that period very dynamic. I that we have in our collection are from think people nostalgically look back at it the ’60s so we wanted to see what else he their processes and the as a golden period in art because so much was doing around that time. He’s one of artistry of the country.” was going on. those people who had an interesting and “Though in the ’70s and ’80s, there diverse practice. If you see the exhibit, it was a return of some artists to more has boxes and sculpture. It’s interesting realistic looking artworks because they were doing social to show that while he was well-known for his print-making realism. A lot of the works were in reaction to the government and writing, he also had all these other experiments going at the time, so to get the message across, you needed to use on,” explains Buencamino. realistic-looking images. But in sensibility, it was still very Also featured for the month of August is an installation by modern because it was very powerful and very strong in Martha Atienza called “Endless Hours at Sea,” inspired by her trying to get a message across. For the abstract, meanwhile, it trans-Atlantic journeys on cargo ships. She plays with light doesn’t necessarily have a message; it’s more of a feeling that is and water and incorporates her passion for documentation expressed by the artist,” she continues. in an attempt to duplicate her experience. Atienza recently If you want to see how Philippine art developed from the returned from her residencies in Liverpool, New York, ’50s onwards, the Ateneo Art Gallery is the best place to go Melbourne, and Singapore, which were the prizes she earned with the core of its collection coming from the post-war from winning the Ateneo Art Awards in 2012. period. “Our aim, since we are also a university museum, is to The Ateneo Art Awards was started in 2004 to shine the help enhance people’s understanding of artists, their processes spotlight on contemporary artists below the age of 35. “It and the artistry of the country,” shares Buencamino, who was inspired by the example of Fernando Zobel seeking out plans the programs of the gallery. good, emerging artists, which he did for the artists of his One half of the museum is for showing their permanent generation,” says Buencamino. Eligible for nomination to collection and the other half is devoted to changing the Ateneo Art Awards are works that have been exhibited exhibitions. However, since the space is not big enough for during the previous year, and the people who are qualified to

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FEAT URE The gallery houses a permanent collection which includes works from Ang Kiukok, Fernando Zobel, and Hernando R. Ocampo.

nominate are art writers, artists, museum directors, curators and people who are also in the art industry. “There’s a certain level of vetting already by the time it’s nominated, someone has deemed it worthy already of being recognized,” justifies Buencamino of the nomination process. A jury then creates a shortlist of the top 12 nominees from which three winners would be chosen. “Usually, we get anywhere from 80 to 120 nominees. It’s always very interesting because the artworks are very diverse.” This year’s format has expanded to include a category on art criticism, in partnership with the Purita Kalaw-Ledesma Foundation. “We thought that while we are encouraging the artists, we should also be encouraging discourse and dialogue about art. We want to encourage writing that is understandable by many, not just by those in the industry, because you want it to be a bridge to the artwork rather than a hindrance to people appreciating.” Buencamino believes that this connection is especially necessary for contemporary art where there’s so much conceptual style. “It isn’t always what people necessarily think is art. It’s not just a pretty painting, it’s not just a sculpture. That’s what I find exciting about contemporary artists: they have all these ideas that they express in different ways, and if you take the time to look at them and try to find out what they’re trying to say and how they came up with the artwork, it’s really refreshing. You see how differently people think. And sometimes, it helps also in inspiring you to think out of the box. That’s the joy of art: it takes you out of your comfort zone, makes you experience or see things differently, so your perspective changes or you’re just jolted out of your

everyday life. It’s a good change,” she promises. “Art can be inspiring and calming.” Unfortunately, only a small fraction of the population takes the time to explore art. “That’s still one of our biggest challenges, to get people to step into the gallery,” admits Buencamino. But while malls are still a more popular choice of destination, the Ateneo Art Gallery perseveres in getting the attention it deserves. “We always have talks,” she says. At the opening of each exhibit, either the curator or the artist shares insights on the display. They also conduct seminars regularly on various art-related projects. And then there is the Zero In Consortium of Museums, where the Ateneo Art Gallery bands together with the Lopez Memorial Museum and Library, the Ayala Museum, Museo Pambata, and Bahay Tsinoy. “We would choose themes and do exhibits around them with the objective of encouraging our audiences to go around the different museums,” she details. Perhaps in a couple of years when Arete, Ateneo’s new building for the arts, is done, a bigger audience will gravitate towards the gallery. “The museum is going to transfer there so we will have more space. We will have a theater and a nice garden. We are hoping that this becomes a cultural center for this area.” Meanwhile, the artworks are waiting, and they’re no less breathtaking at the Ateneo Art Gallery’s current home. New building or not, “there’s always something that someone would find interesting when they come here,” guarantees Buencamino.

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ART LOUIE TALENTS

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SUBJECT AND OBJECT Exploring the coexistence between the artist and his medium

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LONE FLOWER

Inspired by his mother’s battle with cancer, Louie Talents confronts a personal challenge and finds comfort in creation TEXT DIANNE PINEDA PHOTOGRAPHY JILSON TIU

There’s something to say about an artist whose name precedes his work. Louie Talents, however, has a very apt name that speaks volumes about his art. This Cagayan de Oro native is known for his works that communicate not only his own feelings but also commentary on social phenomena. But perhaps his most talked about exhibit is (as he calls it) “Blast-Famous,” which consists of cauterized pages from the one of world’s holiest books: the Bible. Here, Talents explores using a much less controversial medium—watercolor—and delves into a subject that’s closer to his heart. How would you describe your work? About three months ago my mother was diagnosed with breast cancer. Two weeks ago, I sat next to her and asked her to draw me something beautiful. She laughed, saying, “I don’t know how to draw.” She

then picked up a red pen and drew a simple flower on yellow paper. This became my inspiration for this piece. The flower is inside the vase, which serves to protect it. This is a symbolic image of my mother, who was advised by the doctor not to go out because she is undergoing chemotherapy. She is like a flower inside a vase. I treat the flower as though it is real and water it each day with watercolor. The overall image resembles a cake because August 8 happens to be her birthday. This work serves as my tribute to my mother and to all cancer patients out there who are like flowers to every courageous family that goes through this difficult situation. What was the experience like using a different medium other than what you’re used to? It was a good experience to work again

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with watercolor. The last time I did it was during my student days in University of the Philippines and at Ecole des Beaux in Paris. I wanted to do something different so I decided not to do anything wallbound or out of paper. With this task at hand, I was mindful of the medium, trying to understand the medium again and allow it to speak my thoughts. How would you describe your creative process? I started out doing traditional works and treating the medium as a vehicle to express my idea, then elaborate more through the concept. In my art projects, the concept comes first, then I think of the best possible medium I could use to communicate my thoughts. But now, I find myself searching with an open mind, somehow embrace spontaneity or randomness, and let go of my creative intuition.

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“I find myself searching with an open mind, somehow embrace spontaneity or randomness, and let go of my creative intuition.”

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CONSTANT CONVERSATIONS A dialectic between the artist and his work TEXT DIANNE PINEDA PHOTOGRAPHY EDRIC CHEN

Ryan Villamael is a master of paper. His intricately cut shapes, patterns, and textures seem to spring forth from this other world, one which he tries to give form. It is as if every curve and every corner, cut in a free yet controlled manner, reveals a hint of himself, his ideas, or the different dimensions of objective reality. This brings to mind what Martin Heidegger questions: What is the origin or the source of art? Is it from the artist, nature, or from the thing itself? Art is not simply mimicry of nature or merely an interpretation of it; there must be an unfamiliar world beyond what exists that is shaped by the creator. As Villamael insists, “Ideas do not exist solely in the realm of thought. They are actualized in form or even embodied by the artist.” This guiding principle incorporated within his creative process shows the dynamic where artwork and the artist co-create, where, as the German philosopher states,

“The artist is the origin of the work. The work is the origin of the artist.” Using a different medium from paper, Villamael invites us to view his work, “Crypsis,” in its entirety, a piece where one must still look at individual parts—the idea, artist, and the medium—so that the whole can be fully understood. How would you describe your work? I always try to create works that have a sense of scientific restraint as well as a sense of childlike spontaneity. For this work, I felt that acrylic, being water-based and fast-drying, is a medium that can best capture the planned and accidental qualities of a Rorschach. What is your creative process for this project like? I opted to exhaust the process of creating bilaterally symmetrical images using achromatic acrylic pigments by repeating

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the process over and over again until the creative process reaches a level of visual and mental saturation. Having created multiple variations on a theme, I somehow allowed myself to have a more complex relationship with the Rorschach image-making process. It allowed me to explore the material as well as reach a point where I had no other choice but to stop. There was, in a sense, immediacy and distance in my creative process. There is no fixed procedure in art-making. As creatures of “being” rather than mere “doing,” our minds work in countless and unpredictable ways. Some works, in fact, are products of an artist’s intuitive dialogue with the material. For me, artmaking is perfectly illustrated by the symbol of yin and yang. Achieving a balance between what is conceptually conceived and physically executed is of utmost importance.

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Toym Imao’s “Diyos, Choose, Dues,” which is made of fiberglass, sawdust and silica sand, was one of the works displayed for last year’s exhibition called “Grounded.”

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A look at the societal role and impact of museums in the city TEXT AJ ELICAÑO PHOTOGRAPHY EDRIC CHEN

The Lopez Memorial Museum & Library, founded in Pasig just come to appreciate art: students, writers, poetry-reading in 1960, is “the oldest privately owned and publicly accessible groups, artists. We’re constantly asking, ‘Is there an audience out museum and library in the Philippines,” as its brochure proclaims. there that’s being under-served? Last year, we discovered that At first glance, though, it doesn’t look its age, housed on the there’s this whole indie press community, like BLTX.” BLTX ground floor of the Benpres Building, an imposing gray block is the annual Better Living Through Xeroxography expo for on Exchange Road. small independent publishing. “[They’re] young poetry writers, The Lopez’s reputation precedes it. Both the quality and fiction writers, [illustrators]. We opened our doors to them just the quantity of the pieces in its collection, in addition to its before Christmas—and almost no one visits museums around education and conservation efforts, make it a force in the Christmas—and got 300 visitors in a day.” Philippine arts and culture scene. “Having a good museum Initiatives like these characterize much of what the Lopez like the Lopez gives residents and visitors a venue to appreciate seeks to do; the word “engagement” comes up frequently when important artworks from a permanent collection at an Vargas discusses the museum’s activities. “It’s a natural evolution accessible location,” says art consultant Miguel Rosales. “Its of museums. You have to find ways to engage your audience; library offers a venue for serious research while its conservation you cannot stay static.” laboratory is known for being one of the premiere types of its Where before museums were seen purely as “repositories of kind in the region.” old art,” Vargas believes that this role has grown. “When I came During “Complicated,” an exhibit that in 12 years ago, the moment you told ran from February 21 to August 2 and someone you worked for a museum— focused on the relationship of Philippine pak!” She waves a hand down her face, “Where before museums society with its colonial influences, the like a closing shutter. “No one wanted museum tour began in an introductory to talk to you, or knew what to talk were seen purely as room with two recent works by artist about. But over the past 10 years, there ‘repositories of old art,’ Leslie de Chavez. As the tour proceeded, has been a steady shifting of awareness however, the six centuries of history in the towards Filipino art and artists, art Vargas believes that this Lopez’s collection shone through: pieces spaces, institutions, and collaborative role has grown. ... by current artists like de Chavez, Mike projects. Museums have been evolving Adrao, and even dancer-choreographer into community spaces for when people Museums have been Ea Torrado were displayed alongside look for more substantial experiences.” evolving into community older works, such as the museum’s This is echoed by Dr. Patrick Flores, famous Hidalgos and Lunas, and even PhD, curator of the Vargas Museum in spaces for when material from the library archives. A University of the Philippines Diliman. people look for more book containing Dr. Jose Rizal’s “Sa “Museums are important because they Aking Mga Kabata,” his famous tribute are alternative learning spaces. They substantial experiences.” to the Filipino language, lay open next produce knowledge and represent to a translation written by De Chavez in it. They also offer refuge from the Jejemon script. commodification of social life and “It was a decision we made to have the master’s collection— provide a respite for critical reflection.” the classics—interact with contemporary voices,” says Lopez “The role of museums,” Vargas adds, “is to contribute to Memorial Museum executive director Mercedes Vargas. “We’re cultural enrichment, especially within their communities and constantly trying to address different segments of artists: spheres of influence.” dancers, singers, those who do performance art. Take, for example, Pasig City, an immediate part of the “We’re trying to understand our audience, find new ones, Lopez’s own sphere of influence. “The vibe [of Pasig] is a little go deep into the demographics,” she continues. “There are more informal, very welcoming for artists,” Vargas says. “It’s the researchers and scholars, then there are the people who vibrant, alive. When people walk into the museum, it’s not

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M AIN FEAT URE Aside from works of art, the museum also has a library with a collection of old and rare books, manuscripts, and other printed materials.

a formal sense of wanting to interact with specific paintings; they’re more open, looking for an experience. And everything you do contributes to this vibe. It’s the residential areas, the offices, the kinds of people that comprise your audience—a younger crowd—and the community institutions.” “Pasig is helping develop future artists,” explains Noel Rivera, Director of the Pasig City Museum, which also allows community participation and exhibits by local groups. “There is the Youth Development Center to train the youth in art, music, dance, even cooking. This is supported by the city government, and they get facilitators from Pasig’s artist communities.” “The city has recognized the need for collaborations between institutions,” Vargas says. “We work with the Ortigas Foundation, the Pasig City Library, and so on. They even have a Pasig City Day where a lot of things are for free, so they can send public school teachers and government employees to the museums.” This relationship underscores the importance of having local museums and galleries in an area. “It’s important to be accessible, [and] this can be done through public programs,” Flores explains. “Local museums have a great role to play because they nurture the local ecology of art and culture. Without them, art and culture tend to be centralized.” Museums are no longer just destinations; they are nodes that can radiate outwards and give back. “It provides that kind of community space,” Vargas says, using another term that recurs frequently when she describes the Lopez and other museums, “where people can interact with the artwork and with each other. It grounds the community, anchors its sense of identity.” Rosales agrees. “They act also as sort of community centers where people can gather to appreciate and experience art and participate in the discussion. Museums can also be great for a

city when they draw visitors in. They can be landmarks for cities.” Rivera adds, “They show the history, culture and heritage of where people are. Residents become aware of local history and are being educated to know more.” As much as art can make a city, the city can also make—and remake—the art. Museums and galleries are spaces of encounter: the city encounters art, art encounters the city, and both are transformed. Where you exhibit a painting determines not just who sees it but what these audiences understand. Having art locally available to a community not only means accessibility but also creates encounters that could not happen anywhere else, to anyone else. The Lopez is scheduled to move to Rockwell, Makati, in three or four years’ time. The new building will provide more space, including an integrated concert hall on the upper floors, but also new challenges. As pointed out by Marga Villanueva of the Lopez’s conservation lab, “Makati is a whole different community from Pasig so we’re already doing research, seeing what is needed, seeing if our activities will be relevant.” Always, it returns to engagement. The move will undoubtedly disrupt old relationships as it creates new ones; the art and culture scene will continue to grow and evolve and change, as will its relationship to the community around it. Museums have become forces in that growth, not just through future relocations and changes but through day-to-day activities and core philosophies. This is the role into which they are now growing, to collect and represent art and heritage, yes, but also to provide communal spaces for reflection, engagement and even creation. “We’re a catalyst,” Vargas explains. “We’re strengthening this environment. We provide intellectual nourishment, space—a space of the mind and the soul—and it can be whatever you want that space to be.”

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M AIN FEAT URE

“We provide intellectual nourishment, space—a space of the mind and the soul— and it can be whatever you want that space to be.”

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FEAT URE

OnP1,095, Henrique: Button-down shirt,Mall. P4,250, Original Penguin,TriNoma Mall. Trousers, P1,255, Forever 21, Button-down shirt, Forever 21, TriNoma SM Megamall. Suspenders, Shorts, P2,950, Debenhams, TriNoma P695, Mall. Stradivarius, Shangri-La Plaza Mall. Hat, P1,150, Perry Ellis, Robinsons Magnolia. On Olga: Loafers, P3,795, Pedro, Shangri-La Plaza Mall.Turtle-neck top, P2,590, River Island, SM Aura Premier. Trousers, P6,950, Armani Exchange, Shangri-La Plaza Mall.

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FEAT ST YLE URE

DISTORTED VIEW Garments are an extension of oneself in the push and pull between reality and perception PHOTOGRAPHY MELSON BOLONGAITA STYLING EDLENE CABRAL

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MAKEUP ANTHEA BUENO. HAIR BULLET REYES. MODELS HENRIQUE AND OLGA OF ELITE MODELS MANILA.

ST YLE

On Olga: Button-down shirt, P1,245, Forever 21, SM Megamall. Trousers, P3,195,Topshop, Shangri-La Plaza Mall. On Henrique: Blazer, P4,595, Topman, Robinsons Magnolia. Button-down shirt, P4,250, Original Penguin, TriNoma Mall. Trousers, P2,650, Perry Ellis, Robinsons Magnolia.

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ST YLE

Button-down shirt, P1,590, Bershka, Glorietta 2. Vest, P895, Forever 21, SM Megamall. Trousers, P2,790, Zara, Shangri-La Plaza Mall.

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ST YLE

On Olga: Shirt, P595, Bershka, Glorietta 2. Trousers, P2,590, Zara, Shangri-La Plaza Mall. Suspenders, P695, Stradivarius, Shangri-La Plaza Mall. Hat, P1,250, Perry Ellis, SM Megamall. On Henrique: Cardigan, P1,590, Bershka, Glorietta 2. Shirt, P890, and trousers, P2,590, both American Eagle Outfitters, SM Megamall.

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ST YLE

Top, P795 and shoes, P2,990, both Zara, Shangri-La Plaza Mall. Trousers, P3,950, Massimo Dutti, Shangri-La Plaza Mall. Hat, P1,150, Perry Ellis, SM Megamall.

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EATS Third Cup Café hopes to transition into a third wave coffee shop in the near future.

THIRD TIME’S A CHARM

This litte café in Katipunan hopes to build a community over cups of coffee TEXT MARAH S.D. RUIZ PHOTOGRAPHY SAM LIM

Third place doesn’t always mean some sort of consolation prize. In community building, sociologist Ray Oldenburg’s idea of a third place is a communal space where people gather and socialize outside of their homes and work—the first and second place, respectively. Easily accessible and, more importantly, welcoming, Third Cup Café hopes to be your third place. After you’ve had your morning coffee at home and another during your break at the office, Third Cup Café hopes to serve you your third cup in a place where you can relax with friends and even make new ones. Meant to look as homey as possible, the café’s owners shared little bits of themselves in the interior design. Six glass doors, one for each of the partners and stenciled with each of their favorite drinks from the café, make up the façade. Books from their personal collections line the shelves, and personal finds like prints and a vintage clock

hang on the walls. These six enterprising friends who ended up as business partners personally taste-tested and voted on what goes into the menu. One of their first successful experiments was the Espresso Julep, iced coffee with refreshing undertones of mint. Joining it is the Banoffee Frappe, the popular dessert in liquid form and, logically, one of the café’s bestsellers. Their take on the Monte Cristo—a fried sandwich with layers of ham and Swiss cheese—is served with apricot jam and a side of potato chips. For a slightly healthier option, a good choice would be the Apple Brie Chicken sandwich, with grilled chicken, apple slices, and melted brie cheese. Mayonnaise is kept to a minimum and a balsamic vinegar reduction is used in its place to give it a hint of tang without being too greasy. Third Cup Café is a place built by friends to share good coffee and create friends.

Third Cup Café. Unit 107, J&R Concon Center, 91 Rosa Alvero Street, Katipunan, Quezon City. 0917-5687898. thirdcupcafeph@gmail.com. www.facebook.com/thirdcupcafeph.

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EATS The cafĂŠ keeps their menu manageable with a short list of drinks and sandwiches, like (clockwise from right) the Espresso Julep, Monte Cristo and Apple Brie Chicken.

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RECIPE ST YLE

COLD TREATMENT

A hot bowl of noodles is not the only dish that can give comfort TEXT, PHOTOGRAPHY AND STYLING GABBY CANTERO

KIMCHI & CHICKEN SOBA NOODLES INGREDIENTS 120 g roughly chopped kimchi ½ cup cooked chicken meat, preferrably the thigh part for more flavor Buckwheat noodles (use 2 bundles from the pack) 1 tablespoon sesame oil ¼ cup blanched bean sprouts Salt and pepper to taste

PREPARATION 1. Boil noodles, follow instructions on the pack. 2. Place noodles and kimchi in a bowl and mix well. Season with salt and pepper. 3. In a separate bowl, place chicken and beansprouts and toss in olive oil. Season with salt and pepper. 4. Serve noodles in individual bowls and top with chicken and beansprouts. 5. You may sprinkle with togarashi and top with seaweed strips.

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In an exhibition entitled “Portraits 1969-1975,” fashion and portrait photographer Richard Avedon showcased three of what would become his most well-known photographic murals. Large-scale group photos of antiwar protesters, the Chicago Seven; the people behind the Vietnam War, the Mission Council; and artist Andy Warhol and his Factory were first exhibited at the Marlborough Gallery in New York. Struck by the murals’ beauty and boldness, American art dealer Larry Gagosian asked permission from Avedon’s estate and worked closely with The Richard Avedon Foundation to create Avedon: Murals and Portraits. The book centers on four of Avedon’s photographic murals—the three that Gagosian originally saw, plus another set featuring poet Allen Ginsberg and his extended family. It also features over 60 related photographs which Avedon took between 1969 and 1971. The book contains essays, illustrations, poems, scripts, magazine covers, and newspaper clippings to contextualize the images. Featuring a preface where Gagosian details the book’s genesis, Avedon: Murals and Portraits also includes a brief introduction from the photographer’s son John F. Avedon, who shares some personal memories of his father. Avedon: Murals and Portraits. Available at Powerbooks. SM Megamall.

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