The Cultural Center of the Philippines in cooperation with the Association of Pinoyprintmakers
DATE/ TIME/ VENUE:
Opening reception: 3 December 2015, Thursday, 6pm
Exhibit duration: 3 December 2015 to 7 February 2016
Bulwagang Fernando Amorsolo (Small Gallery), Pasilyo Victorio Edades (4F Hallway Gallery), and 4th floor Atrium
Artists’ Talk: 20 January 2016, Wednesday, 2pm
Lecture and Demonstration: 27 January, Wednesday, 2pm
MKP Hall, 4th floor
Contemporary art stands on shifting grounds that are dictated by market forces, taste arbiters, media traction, various thematic approaches, and the re-calibration of materials. If it were a terrestrial planet, its continental shelves would be moving at a fast pace and constantly remapping below overlapping terrain.
The Association of Pinoyprintmakers (A/P) echoes this shifting, remixing, and re-casting of “territories” with the printmaker’s overlapping intentions and executions. Printmaking has been consistently present and persistent in the contemporary art world, and is enabled by the weakening of classifications and the unsteady hierarchies of this domain where changes are enforced and embodied at a rapid pace.
This exhibit presents dual takes on the theme of “territories.” One aspect talks about the current political connective tissues between society and the individual. 2015 was the year when China’s presence visibly escalated in contested areas of the West Philippine Sea. Although the international courts eventually decided to hear our case against China, the implications of the arbitrariness of territory has had a tremendous impact on Filipino society. 2015 was also the year when the Bangsamoro Basic Law came into public view, along with collective opinions regarding territory, identity, sovereignty, and what it means for the future of not just Mindanao but of the Philippines itself.
The second aspect of the Territories exhibition is to express the tension between tradition and experimentation within printmaking. The participating printmakers engage in artistic transformations, shifting their personal territories in the process. These shifts afford the printmakers an expansion of horizons of practice and expression. Their works simulate shed skin as remnants of this transformation, from one layer of skin to another, from one territory to another.
With the conceit of digitalization, one might think that printmaking is almost quaint like some piece of antique. However printmaking resoundingly responds to current shifting technologies by recalibrating and recasting itself into possibilities and avenues of contemporary expressions and assertions. This is the spirit behind Territories; despite the fact that people clamor for pegging an art form according to style, technique, and era, printmaking has constantly been in a flux. Contemporary printmaking is in between conception and fruition, as if regenerating itself and never truly growing old. Printmaking may be centuries old but it can still respond to the issues and experimentations of today.
Territories asks of its participating artists to render prints that insist on hybridity and that is unafraid of fusion into the contemporary realm. A print now is no longer merely a print but has the markings of different disciplines, skimming through various materials and becoming malleable in adaptable surfaces. The question of the plurality of territories touches on technique, materiality, or issues that one can never truly render the print as just a print but a matrix of interconnected styles and rendering.
Chong Ardivilla is an Assistant Professor at the University of the Philippines Diliman College of fine Arts’ Department of Visual Communication, and has been a member of the Association of Pinoyprintmakers since 2011.
Viewing hours are from Tuesday to Sunday, 10am to 6pm. For more information, contact the CCP Visual Arts and Museum Division, Production and Exhibition Department at 8321125 loc. 1504/1505, or email@example.com