B EYOND BORDERS
PEACEFUL VOYAGE
ASEAN - KOREA GRAFFITI ART PROJECT
BEYOND BORDERS
P E A C E F U L V O YA G E
S
BRUNEI CAMBODIA INDONESIA KOREA LAOS MALAYSIA MYANMAR PHILIPPINES SINGAPORE THAILAND TIMOR LESTE VIETNAM
This mural named ‘Beyond Borders, Peaceful Voyage’, is a milestone project for the ‘50th Anniversary of the ASEAN’ and as well as the ‘2017 ASEAN-Korea Cultural Exchange Year’. It was initiated by Korean Cultural Center in the Philippines in order to celebrate the long lasting friendship and unity of Korea and ASEAN. LEE JIN CHEOL DIRECTOR KOREAN CULTURAL CENTER - PHILIPPINES
Our partnership with the National Commission for Culture and the Arts (NCCA) and the Bonifacio Art Foundation, Inc. (BAFI) has made this project more enriching and meaningful. I would like to extend my sincere gratitude to these organizations for helping us organize this project.
14 honorable visual pop artists from Korea and the ASEAN countries were invited to take part on this project. More than 80 passionate volunteers also participated in painting of the mural day and night. These artists and volunteers successfully proved how we can share our individual culture and values, and inspire each other, here in Bonifacio Global City, Taguig City, Philippines. We hope this mural will serve as a reminder of the good partnership, relationship and cooperation of the ASEAN-Korea countries. The greatest benefit, more than the mural brought itself, was the friendship gained through spending time together, enjoying the same passion, and creating something wonderful together of the ASEAN-Korea artists and volunteers. Lastly, I hope that this mural will catalyze more cultural-exchange activities amongst the ASEAN-Korea countries in the future. For this, I thank again the artists and also volunteers who dedicated their time, effort, energy, and talent to this project.
VIRGILIO ALMARIO CHAIRMAN NATIONAL COMMISSION FOR CULTURE AND THE ARTS
This year marks the 50th year Anniversary of the ASEAN as well as the 25th ASEAN-Republic of Korea Cultural Exchange year. A joyous year indeed as we, the National Commission for Culture and the Arts (NCCA) and the Korean Cultural Center in the Philippines revel in this double celebration through a meaningful and collaborative project Beyond Borders: ASEAN-ROK Arts Exchange in the fields of visual arts and dance. We give credit to the back bone of this project, the organizing team and the Ministries of the ASEAN Member States, who worked hard to gather all of these artists from the ASEAN + Korea. It was through their hard work and persistence that this project was birthed and put into fruition.
We extend our sincere thanks to the Visual Artists and Dancers of ASEAN + Korea. You are the life blood of this Arts Exchange program. It is through your willingness to share your passion and creativity that we are enthralled by the spectacular performance of the dance concert , and in awe of the amazing mural you have painted at the Bonifacio Global City. We extend as well our, gratitude to the beautiful minds behind the content of the Arts Exchange, the Creative Directors of the Graffiti Mural and Dance Project, Park Yong Gyun and Lisa Macuja-Elizalde. Thank you for undertaking this endeavor and for leading our artists in honing their craft more, and enabling them to express it freely in a nurturing environment. The 25th ASEAN- Republic of Korea Arts Exchange 2017 is a testament that more than the mandate of cultural diplomacy, the NCCA, together with its partners and stakeholders strive towards creating genuine relationships, meaningful experiences and outstanding creative results. It is truly going the distance, Beyond Borders.
MARIA ISABEL GARCIA HEAD OF CONTENT BONIFACIO ART FOUNDATION, INC.
Art is a very powerful communicator. The Bonifacio Art Foundation, Inc. believes in the power of art to cross all kinds of borders. This mural project that we undertook in partnership with the Korean Cultural Center (KCC) is proof of that. We would like to thank and applaud KCC for choosing to do a public art project to show the cooperation between Korea and ASEAN countries. Working with the Korean artists and the artists from various ASEAN countries as well as the local artists who volunteered, through the rains and the short time we had, was a challenge but because of the determination of the foreign and local artists who helped complete the mural, the project became the masterpiece that it is now. Behold, the Korean-ASEAN mural project as part of ArtBGC.
The concept of this work is to associate the symbolic images of peace and prosperity of the ASEAN member countries to one another through an appropriation of the notion of chaekgado (a traditional genre of Korean folk painting featuring books, bookshelves, and other items used by scholars). PARK YOUNG GYUN PROJECT DIRECTOR ASEAN-ROK GRAFFITI COLLABORATIVE PROJECT
I was able to interact with young ASEAN artists while directing this work. This was an experience that I will never forget. Finally, I hope that more people will have more interest in ASEAN and ASEAN-ROK projects through this mural.
THE
ABOUT PROJECT
BACKGROUND Korean Cultural Center in the Philippines (KCC), situated inside Bonifacio Global City (BGC) in Taguig City, noticed the sustained proliferation of mural production within the city. KCC then thought that organizing a mural project inside BGC will be a good opportunity to showcase the talents of the ASEAN-Korean artists. The center decided to partner with the National Commission for Culture and the Arts (NCCA) and the Bonifacio Art Foundation, Inc. (BAFI) to organize the "BEYOND BORDERS, PEACEFUL VOYAGE: The Graffiti Art Project." The project aims to celebrate the 50th Anniversary of the ASEAN and the ASEAN-Korea Cultural Exchange Year through a collaborative project of ASEAN-ROK artists. KCC, NCCA and BAFI commissioned artists from the ASEAN-Korea countries to paint a mural in Bonifacio Global City, Taguig City – one of the art-infused cities in the country. This mural project aims to represent a community effort by the ASEAN-Korea countries and to utilize cultural symbols as a way of creating an impact internally and externally to the public. Through this, artists from the different ASEAN-Korea countries could share their cultural traditions and art to a wider audience. It is also a good opportunity to showcase ASEAN and Korea’s stronger relationship. The 35 x 27.5 meter mural is located at the corner of 26th Street and 5th Ave. in Bonifacio Global City, Taguig City, Philippines.
CHAEKGADO Project Director PARK Young-Gyun decided to use a Korean traditional painting called Chaekgado to link ASEAN and Korea in one mural. Chaekgado, a style of painting that emerged during the Joseon Dynasty, depicts shelves stacked with books, ceramics and other objects cherished by the scholars. A chaekgado is believed to embody King Jeongjo's (the 22nd King of the Joseon Dynasty) ideology – to govern the nation with books and knowledge. In the mural, each ASEAN member country will have a place in chaekgado. Each object painted by the ASEAN artists captures the characteristics of the country that they represent. To link Korea’s dedication for stronger cultural partnership with the ASEAN, PARK included objects that symbolize Korea. This mural of a colossal bookshelf will work as a network as well as a bridge to link each country. This work is expected to create a synergy effect even though it has a touch of classical folk painting.
THE TEAM
KOREA
PARK YOUNG GYUN paynterp@hanmail.net
It is based on a story about a fisherman who lived in the south sea island of Korea during 1801. One day, Moon Sook-deug drifted to a strange island, where he lived for three years before returning home. One day, five foreigners came to Jeju Island but nobody knew their language. When he heard the news, he went to Jeju Island and took them safely to his home country. It was said that this was the first contact between Korea and the Philippines.
BRUNEI
Awang Budiman was the mascot for Southeast Asian (SEA) Games back in 1999 when Brunei was hosted the games. He represents energy, joy and faith. Fast forward to now, it also represents the youth which is key of our future. Brunei youths today have ventured out into entrepreneurs with their passion and dedication into achieving their dreams. CYRUS NAVASCA
FROM PHILIPPINES
CONCEPT BY: MOHAMMAD ARIFF BIN HAJI SUHAIMI OF BRUNEI ariff.suhaimi@gmail.com
Gold shows the cultural identity of sultanate and also to represent the Golden Jubilee of His Majesty the Sultan of Brunei's accession to the throne which was held recently last October 5, 2017.
CAMBODIA
In this art, the girl is a symbol of purity and honesty from our world while the pigeon symbolizes world peace. The flower symbolizes the Love of ASEAN and Korea. The lines and form of background is a symbol of good Relationship and good communication of all ASEAN-Korea nations. IM PESEY
nirothpesey@gmail.com
INDONESIA
BUNGA FATIA
bungafatia@rocketmail.com
This is the Ondel-Ondel Mask. Ondel-Ondel is one of Jakarta's icons. It is a form of folk performance using large puppets. The word Ondel-Ondel refers to both the performance and the puppet. I chose to paint the Ondel-Ondel mask because I was born in Jakarta and grew up there longer than the other cities in Indonesia. Also, Ondel-Ondel has many colorful banners on its head that I can play to implement my gradient color style on it.
LAOS
Interpretation of a Hmong Person in Laos celebrating a Hmong New Year while wearing a colorful headdress.
NEMO AGUILA
FROM PHILIPPINES FB: /ArtOfNemoAguila
MALAYSIA
MUHAMMAD PEROL IDHAM
The idea is about Malayan tiger, the national animal of Malaysia which is used a lot in representing Malaysia's image. Two tigers are depicted as supporters in the coat of arms of Malaysia, and the tiger appears in various Malaysian institutions such as Royal Malaysian Police, Proton, Football Association of Malaysia, and also in the recent 2017 SEA Games mascot. It symbolizes bravery and strength toMalaysians.
peroltozoa@gmail.com
The tiger and its cub are resting in front of hibiscus tree, Malaysia's national flower. It’s portrayed that way to symbolize peace, love and future generations.
MYANMAR
The story of the Chinthe (leogryph or the guard lions) is a popular folklore in Myanmar that symbolizes power and courage. Also in Myanmar, the peacock is a national symbol of wisdom, grace and peace. Painting them together gives the perfect balance and composition to represent Myanmar. MIGUEL ROBLEZA
FROM PHILIPPINES
migsdraws@gmail.com
PHILIPPINES
AUGUSTO AUGGIE FONATINILLA
auggie.fontanilla@gmail.com
The subject is perched inside the cabinet with an additional element of a pearl inside a clam which represents the position of the Philippines on the world map as narrated on the lyrics of our national anthem, Lupang Hinirang. Second, I chose a hybrid animal as a representation of the different cultures that has colonized our country and thus has shaped our country to what it is now. The head will be genderless, to represent all kinds of Filipinos, no matter the gender or sexuality. The mural also has details of traditional Filipino tattoo called Kalinga – representing the culture of the Filipinos. Thirdly, the mural execution will be clean with bold lines, and bright colors.
SINGAPORE
The hand holds the Singapore City contained in a sphere representing the aspirations and dreams of its people, living, breathing and toiling in a globalized nation, youthful in its exuberance and still in search of the true nature of its identity. ZUL “ZERO� OTHMAN IG: @zero_rscls
A green, bustling global city with highly pictures que skyline, history have been kind to Singapore. Way back of its identity as a maritime, port city, Singapore highly prospered. The strata upon what the people of Singapore have built also come from different struggles and stories of a migrant society. The hand supporting and grasping the globe in which we sit in shows no comfort but strength as we strive continuously through thick and thin to maintain and achieve more for our people. Majulah. Onward.
THAILAND
Elephant is Thailand’s identity. The Thai elephant is the official national animal of Thailand. I work with art that I respect. Also, I really like the Lord of Art Ganesh and number 9 in Thai alphabet represents KING Rama 9.
NATTAPONG BOWS KAEWPRADIT bowsclose@gmail.com
VIETNAM
There are two images of Vietnam that always make me feel at peace. Every morning of the winter season, the old people pour hot tea and enjoy it slowly like there are no other things more important to them. Time is meaningless as to life is nothingness. XUAN HA
IG: @grandmadeadxh
Rice is a staple of Vietnamese diet and is often seen as a “Gift from God.” For Vietnamese, we were born and raised with rice beside us. Even when we’re gone, we put a bowl of rice on our altar to get to the next life.
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1. The Candlelight Girl This is a character that symbolizes teenagers who first brought candles to the ‘Candlelight Festival’ in 2008. This character means hope of Korea’s future. The director painted the character in the hope that the candle of hope would be conveyed to ASEAN countries. 2. Azaleas This flower symbolizes Korean ethnicity; it describes the Korean’s unique, subtle and complex feelings. Its vibrant color is similar to the brilliant achievements in Korean history. 3. Sampaguita It is the national flower of the Philippines. This is a flower that blooms all year round in the Philippines. The name of the Sampaguita comes from a Spanish word with the meaning of promise, and afterwards people are said to have sworn love with the Sampaguita flower.
4. Merlion Merlion is the national personification of Singapore. The body symbolizes Singapore's humble beginnings as a fishing village when it was still called Temasek, meaning 'sea town' in Old Javanese. Its head represents Singapore’s original name, Singapura, or ‘lion city’ in Malay. 5. Brunei Flower Simpur is the national flower of Brunei. The color of the flower is bright yellow and when the flower is completely bloomed, it spreads like an umbrella. Simpurs are also used as medicines to treat wounds.
6. ASEAN emblem The ASEAN Emblem represents a stable, peaceful, united and dynamic ASEAN. The colors of the Emblem — blue, red, white and yellow — represent the main colors of the state crests of all the ASEAN Member States. The stalks of padi in the center of the Emblem represent the dream of ASEAN’s Founding Fathers for an ASEAN comprising all the countries in Southeast Asia, bound together in friendship and solidarity. The circle represents the unity of ASEAN The design was based on rice, the staple food and probably the most important crop for the Southeast Asian people. This corresponds to the vision of the founding fathers of ASEAN to create a peaceful and prosperous region in Southeast Asia. The name "ASEAN" was placed under the rice stalks in the center of a yellow circle with cyan circumference. Both the circle border and "ASEAN" letters were in cyan, while the rice stalks was in golden brown.
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