tag:blogger.com,1999:blog-40204233677205093832024-03-13T07:45:26.781-07:00WEDNESDAYS i'm-n-love OPEN PLATFORMwhat is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.comBlogger67125tag:blogger.com,1999:blog-4020423367720509383.post-16170651064156071612009-09-07T20:20:00.000-07:002009-09-07T20:22:15.303-07:00Love is im/possible<span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 14px; "><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Brave are those who choose to fall in love at times like this. A world gripped by financial pandemic: salvaging the excesses of speculation and general mistrust. Paranoia has itself turned into that everyday art object, fashionably molded into a convenient excuse for self-reflexive meta- practice. As if it were a thing in itself, self-sufficient in form. Then by means of an obvious reaction to all that is evil and skeptic, comes the easy pendulum to new age mysticism or astrological cosmic superstition in the ever-noble search for the authentic and pure that will seduce us back into the primordial struggle of our forebears. Or drawn by the allure of arbitrary random events because it’s never easy making decisions. At some point, the hard task of choosing sides becomes inevitable hence the admission to ambiguity.<br /><br />Indeed it was of a logical admission to ambiguity we took when we launched </span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Wednesdays I’m-n-love Open Platform (W.O.P) Residency</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">. A playful response to the usual Friday night out in town, let-your-hair loose and everything else hang, why not on a mid-week hump day. Still, because grips of productivity are unavoidable, work almost always finds itself in play. Possibly true for the swarms of workaholics rushing around the city or full-time bum artists who’ve long abandoned the distinctions of work and non-work, or those part-timers wondering when they will ever have enough time and space to play. <br /><br />An offshoot sibling of its predecessor of mid-week anarchic gathering of artists and non-artist associates, WOP Residency was borne out of an instinctual intelligent guess premised on the creative community’s need for breathing space. Only this time, it takes place on mid-week Wednesdays. Almost there but not quite. The residency proposes a space to hold, if not temporally house creative experimentation, artistic tendencies, research agendas and critical play minus the high-pressure requirements of a proper exhibition, performance, or manuscript. This, and the sometimes, slippery function bequeath of art openings and events that also double as informal avenues to network and forge creative intellectual connections among like-minded kindred: artists, thinkers, talkers, students, and voyeurs. It is almost tempting to say that these gatherings have become mere ‘excuse’ for communal meetings (sans the bohemian overtone) where meaningful artistic relationships are formed.<br /><br />Yet, excuse or no excuse, informed observations have led us to suspect that despite the litter of creative action happening almost everyday in Manila, spaces and platforms for discursive critical practice, artistic interaction and exchange remain scant. Or, they have probably never existed formally at all. And those informal platforms that have transpired in the 90s towards early 2000 at artist-run spaces like Big Sky Mind, Surrounded By Water, Third Space and Future Prospects are nearly, if not completely, unheard of among current ‘art followers.’ Fast-forward to newly established/short-lived alternative spaces constantly struggling to present what is new or alternative. <br /><br />Truly the emergence of artist-run-spaces the last ten years has dramatically shifted the politics of art production and representation in Philippine contemporary art practice. Where artists, by way of self-organized endeavors have sought to define parallel initiatives that are not only responsive or relevant to their specific conditions but also a means to enable the local artistic/creative community in the absence of structural/institutional support for art and culture. What probably sets the Manila situation apart from the rest of independently initiated cultural actions is that the lack of institutional support (private or public) failed to derail artistic growth and cultural production but has in fact become a key motivational factor to mobilize. Hence, the DIY, guerilla personality attenuated to such ‘movement.’ Yet while this enriches vibrancy of art in the city this also puts most of us in a fragile uncertainty. Because of its private, spur-of-the-moment nature, these initiatives are perpetually threatened by discontinuity, what with the lack of proper documentation and historiography. These platforms would at best run 2-3 years only to be shelved in art historical amnesia. Such is the need to indentify artistic-cultural management programs and strategies that will have more sustainable and meaningful impact to general cultural production. Perhaps even aspiring for that utopic ideal to shape cultural politics. <br /><br />Ambitions are of course there to be pursued and held. So with the same adolescent raging free falling hormones that WOP attempts to fill in the gap between creating and presenting. And carve out a niche purely orientated towards a process and non-media based creative practice–an overdue peripheral call to amplify the ambient hiss of ‘useless’ banter and play, meanwhile daring to say that this is the point and it is actually enough. Dismantling the conventions of artistic production, cultural management and conditions of spectatorship. A proposal to counterpoint the existing modes of ‘work.’ Undeniably, it must be the informality of Green Papaya’s organizational structure that allows us more leeway to spew out aphorisms premised on hunches. Yet, W.O.P refuses to be reduced as an artsy bohemian night out in the town where artistic and exotic types click beer bottles and indulge in nonsensical banter. Instead it bravely attempts to establish a platform that tinkers upon the question of how art can be by emphasizing praxis over object, disorientation over perception, procedure over representation, and process over mimicry. Simultaneously putting in place a framework that addresses the necessity of discursive art practice in Manila. <br /><br />Originally conceived as an informal, loose, anarchic and spontaneous weekly gathering, WOP Residency arose from the need to put in place sustainable artistic programming borne out of the fragile and uncertain future that constantly face independent creative spaces. The rationale of WOP is to develop creative strategies that address the common challenge of sustaining an artistic platform while effectively managing the resources available to us. At the same time, taking cognizance of the changing body of art practitioners and scholars whose practices digress the once easy category of artist and curator. The platform envisions a meeting ground where the selected artists/researchers negotiate the exigencies of artistic production, curatorial intervention and cultural management by way of a creative residency that also supports their own personal artistic motivations and growth. <br /><br />Initiated in 2007 as one-night affair to lubricate social, critical and scholarly connections among a tight-knit community of artists living in Manila who share similar concerns and momentum as regards to contemporary art practice. It modestly started out with the usual screenings, jam sessions artist conversations among musicians, filmmakers, poets, performing and visual artists. Quickly evolving into much –anticipated weekly gathering for interventionist tactics, multidisciplinary interaction and collaborations in varying artistic stages: with script readings, improvisation jams, lecture-demonstration, live talk shows and even ping-pong nights. It has since played a central role in the cultural and artistic life of the local community. Opening up spaces to discuss and participate in strategies that bridge the gap of managing independent initiatives whilst promoting creative-artistic agendas.<br /><br />In April 2008, an open call for proposals, research and artistic tendencies was disseminated to the community of artists, students, cultural workers and emerging scholars of the field. It has been received with enthusiasm, considering that WOP remains to be the only multidisciplinary residency program in Manila, a megalopolis of eleven million people. With the support of Arts Network Asia, (ANA) six young artist/researchers from the fields of visual arts, literature, video, dance and the academe were then selected; each of them given two months to work at/in/with Green Papaya. While the program seeks to support the participants’ creative production they were highly advised to do so within the frame of co-curating a weekly public program. The artists shall also assist in documenting and archiving these events, meanwhile soliciting their reflexive insights on an online blog (</span></span><a href="http://wednesdaysmnlove.blogspot.com/" onmousedown="UntrustedLink.bootstrap($(this), "17d8fe17ba1babba57cf283e3d4cc3f5", event)" target="_blank" rel="nofollow" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; "><span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">http://wednesdaysmnlove.bl</span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"><wbr></span></span><span class="word_break" style="display: block; float: left; margin-left: -10px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">ogspot.com</span></span></a><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">). All the outputs of six resident artists will be presented in a book to be published later on, when additional funding for publication has been secured. The six artists chosen follows: Angelo V. Suarez, Diego Maranan, Mark Salvatus, Andrea Teran, Martha Atienza and Jed Escueta.<br /><br />The WOP Residency program stood as a partial survey of multidisciplinary modalities current in creative practice and artistic research. With each resident unwittingly mapping out the modes of ‘work’ in their respective fields, communities and peers, who were also invited to participate within the frame of each residency. Meanwhile threshing out particular thematic issues in aesthetic-artistic practice, community-based art projects, tactical interventionist propositions that presently motivate artistic practice and art actions. <br /><br />The deliberate stratagem to suspend ‘output’ over process has allowed them to destabilize the conventional frames of understanding how artistic practice can be made relevant and contextualizes itself in social and cultural production. Bridging public misperception that art always need be finished, object-oriented or expressive. <span class="Apple-style-span" style="font-weight: bold;">Diego Maranan</span>’s <span class="Apple-style-span" style="font-style: italic;">The Visible, Invisible</span> for instance, was orientated towards developing data visualization models to organize subjective experiences and qualitative data into concrete, coherent visual forms. During which he held intensive one-on-one workshops with people from across disciplines (art, social sciences, grassroots advocacy) to identify appropriate visual materials that would effectively communicate their ideas to their intended public. Maranan, who also teaches at the University of the Philippines Open University, utilized the residency as a means to further refine his methodology in developing visualization techniques that had practical application in the fields of social advocacy, communication research and building information database and portals. Towards the end of his residency he delivered a paper, concurrently presented at the Annual Southeast Asia Cinema Conference (ASEACC), proposing an online portal to Philippine Independent Cinema using visualization techniques. <br /><br />Similarly teasing tactical interventionist propositions are Mark Salvatus and Angelo V. Suarez’s, that both tackle the liquefying limits of varied aesthetic artistic practices.</span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Mark Salvatus</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">’ </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Neo-Urban Plan</span></span></i><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> initiated public online forum on how to intervene the city that elicited equally sensible, silly and utopic responses from people living in Manila. At which time he also invited varied urban guerilla movements (graffiti artists, flickr photo bugs, parkors, activist-architects) to present the work they do at Green Papaya, inadvertently subverting the institutional frame of a typical ‘art’ gallery situation meanwhile reasserting the scope of creative practice outside the established frames. Equally delimiting those that lie inside and outside of what we know as ‘art.’ Invited Flickr photo bug Gem Urdaneta, who has been collecting images of the metro and never considered her practice as art presented images of a neglected city prompted the members of the audience into a spontaneous guessing game evoking collective memories of a fast-changing yet still decrepit city. Perhaps a covert proposal to re-territorialize the easy position of ‘marginal’ and mainstream. Likewise, architect-activists from TAO-Pilipinas, an NGO of professionals in architecture and urban planning advocating efficient, sound design and sustainable housing projects for poor communities underpinned the inexhaustible links between art and sustainable development. <br /><br />Meanwhile, </span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Angelo V. Suarez</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">’s </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Street Smarts</span></span></i><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> that partly progressed into </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Words are Things</span></span></i><span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> hints at the tenuous perimeters of language and visual production through a rather oblique reframing of creative practices that traverse the easy frames of literary, poetry, visual, procedural and performative. In effect sketching ruptures that are obversely meant to bridge the material divide between text and object. Yet instead of opting for the simplistic almost cliché juxtapositions of poetry and painting, or poetry and moving image, or poetry and sound, or poetry and movement–that clutter the creative scene–he chooses to instead re-contextualize current artistic and creative modalities that already propose the intermediality of text and object. Unwittingly mapping out a marginal practice in poetry that foregrounds language as a material object and inversely a visual practice that undermines language production. Bea Camacho’s contribution to this series, a small rectangular piece of cardboard saying “Person Reading a Label / Bea Camacho / 2008” in a regular gallery-wall-type-demeanor</span></span></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"><wbr></span></span><span class="word_break" style="display: block; float: left; margin-left: -10px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; "></span><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">, for example calls attention to language’s relationship with the visual and spatial. Likewise, Adam David’s playful forays into the verbo-visual process of cut-ups and erasures towards textual production suggest the visual process of writing. Where writing is a process of absence and presence, new media artist Pow Martinez’s YouTube intervention reveal “that an act of writing didn’t need an actual act of writing–that is putting words together in a deliberately fresh and discursive manner (A. Suarez).” Martinez played John Cage’s famous piece 4’33 while superimposing comments found at the comment stream, reactions that extended from silly to serious, non-sense to profound and plain confusion to awe.<br /><br />Suarez’s residency clearly outlines the advantage of maintaining an open/flexible structure for an artist-in-residency program. Having subsumed his initial proposal, Street Smarts, in favor of a project that seemingly grew organically on its own as a matter of identifying the existing creative modalities that support/frame, whether directly or peripherally, his own artistic research and motivations. Street Smarts was initially intended to be presented as part-performance and part-textual/aural document as conceptual poem of recorded/transcriptions of conversations between himself and taxi drivers in Manila. While meant as discursive and linguistic investigation of social production of conversation, dialog, and poem(?), the work simultaneously points out the idea of multiple authorship and micro-politics of cultural production between artists and (its) public, who are also unsuspecting conspirators. In the process of his investigation, Words are Things came about as a result of “examining the larger field of poetry that examines the material in local practice. Instead of phrase against phrase, practice against practice is juxtaposed, as are forms against forms–where Green Papaya, known primarily as a locus for visual art, is turned into a venue for linguistic and poetic discourse. (A.Suarez).” In this situation, the artist deliberately takes on the sometimes deceptive role-playing accorded to artist-curators, whose creative practice actually inform each distinctive realm of work.<br /><br />In the similar vein that </span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Andrea Teran</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">’s </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Monthly Period Readings</span></span></i><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> evolved from straightforward reading sessions into more concentrated and intimate conversations between two writers as an avenue to draw attention to poetics, styles and motivations that either set the selected writers apart or closer to each other. The conversations, which were open to the public, pried open what were only merely private intimations that writers have with them self/selves. These reading, and listening sessions ran every last Wednesday of the month for a period of one year, established not only a venue to publicly present the current takings of a select group of writers but ruptured a platform where ‘talk’ was given complete priority over ‘product’ which drew in a regular following composed of literature students, enthusiast and practitioners in Philippine contemporary literature. These sessions, sometimes extending till late, attest to the need of continually carving out discussion spaces in the city. For the past year, Teran has organized conversations between Adam David and Conchitina Cruz, Lawrence Ypil and Pocholo Goitia, Daryll Delgado and Israfel Fagela, Marguerite de Leon and Yol Jamendang, Nicolas Pichay and Khavn de la Cruz, Norman Wilwayco and Andrea Teran, Mabi David and Mark Cayanan. <br /><br /><br />Talk, sharing, time and space are surely aspects of any creative practice that are easily taken-for-granted. At least in Manila, where art spaces have become mere presentational spaces exclusively occupied with mimicry and representational nature of contemporary art if only to capture that ubiquitous wild animal called the art market. And hence the necessity of creating niche spaces that offer parallel approaches in how to do art. This is specifically the positive void that WOP Residency aims to fill to enable a dynamic and progressive community of contemporary art practitioners. Encompassing the staid liminal categories between media and non-media based art. </span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Martha Atienza</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">’s </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">When Routine Is All There Is</span></span></i><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> particularly underlines the need, and conversely the lack, of platforms for self-referential and reflexive artistic practice. Atienza who lives between Holland and Bantayan Island, used her residency to reflect upon the process of creation itself without the burden of defining a final ‘work.’ Her artistic process itself echoes the similar situation wherein there is a lot of waiting to capture everyday anomalies in video and allowing the narrative to emerge minus the daunting signature of an auteur. In this process the narrative becomes a conspired, silently agreed upon contract between the minutely mediated moving images and audience. During her residency, Atienza showed works-in-progress probing upon feedback and reaction of peers, creative community and the audience. Again emphasizing the communicative potential of art to break barriers and initiate connections. <br /><br />Lastly, </span></span><b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Jed Escueta</span></span></b><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">’s </span></span><i style=""><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;">Mama Don’t Take My Kodachrome Away</span></span></i><span class="Apple-style-span" style="font-family: arial;"><span class="Apple-style-span" style="font-size: small;"> brings us back to the almost forgotten practice of photography wrought by the easy-speak of digital quick fix phenomena of photo bugs that swarm cyberspace–almost a primordial call to bring back to photography to art as endangered by trendy self-expressionism. His stubborn insistence on darkroom techniques complimented by an insider documentary archiving of the underground punk scene pulls the community back in the role of the artist as an autonomous observer and purveyor of the everyday. Silent but equally potent storyteller of that which we don’t normally see. Breaking down appearances in a critical appeal to either see appearances as what they simply are or contextualize essence outside their presumed surface.<br /><br />Because love is always that tricky act of giving and misconstrued belief of receiving that Wednesday’s I’m-n-love Open Platform Residency effectively engaged the creative community and rejuvenate its silent vibrancy towards more sustainable means. Pushing it to see and use what has in fact always been there: that the artist’s own motivations and tendencies. In effect proposing to maximize resources that have always been readily available to us, without having to worry about producing something new or alternative but instead to deepen cracks and ruptures that are waiting to be activated. </span></span></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-978002991919686372009-06-21T21:44:00.000-07:002009-06-21T21:49:43.918-07:00w.o.p june 24 CLOSING PARTY! dizzitt lovers<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_lpS_GNrzG7E/Sj8NAkkSHNI/AAAAAAAAAm4/LLi31dBAZDk/s1600-h/wopjune24.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_lpS_GNrzG7E/Sj8NAkkSHNI/AAAAAAAAAm4/LLi31dBAZDk/s400/wopjune24.jpeg" alt="" id="BLOGGER_PHOTO_ID_5350009185806458066" border="0" /></a><br /><span style="font-family:arial;"><span style="font-weight: bold;font-size:180%;" >THE CLOSING PARTY! </span><span style="color: rgb(51, 51, 51);">WEDNESDAYS OPEN PLATFORM</span></span> <span style="color: rgb(51, 51, 51); font-weight: bold;font-family:arial;" ><br />June 24 / bar opens 6PM</span><br /><span style="font-family:arial;"><span style="color: rgb(51, 51, 51);">Featuring</span> <span style="font-weight: bold;">JED ESCUETA’S <span style="font-style: italic;">Unknown A.D.</span></span> <span style="color: rgb(51, 51, 51);">with live performances by</span></span> <span style="font-weight: bold;font-family:arial;" >The Beauty of Doubt / Granada / Todas / Republika de Lata / Pink Cow / Einstein Chakras</span> <span style="font-family:arial;"><br /><br />Sometimes, we never really realize that those feverish delirious bouts of spontaneity could ever reach their plateau. Perhaps the temptation to be divine and immortal are to blame. Or even the comfortable proximity of weekly debaucheries which keep us hopeful despite the throngs of the ordinary workforce, to whom we also belong, forcibly incorporated to compromise play in exchange of those seemingly safe Friday night outs. It is hard to imagine how we have managed to take over the reigns of Friday in exchange for our anarchic Wednesday-hump-day love affairs. And as far as love affairs (the same way little get away adventures) are concerned, we all know that they too eventually reach that unbearable lightness. Some get married and the others move on to other adventures.</span> <span style="font-family:arial;"><br /><br />What started out as spur of the moment let's do this out of boredom affair has grown into much loved and awaited weekly gathering. A million thanks to all of you: doers, talkers, voyeurs and hangers-on alike. Not to mention those newly initiated virgins who also made our sober nights interesting. It's almost hard to believe that it's over–but it is, we are approaching the end. Not with sorrow, regret, melancholia, sentimental cheesy songs nor relief but with a party! What else?!</span><br /><br /><span style="font-family:arial;">So join us as we close <span style="font-weight: bold;">Jed Escueta</span>'s Mama Don't Take My Kodachrome Away with his final project <span style="font-weight: bold; font-style: italic;">Unknown A.D.</span>, an arduous photo documentation of the all around Pinoy punk degenerate and underground scene accumulated over the years. And yes to bid Wednesdays-m-Love a final adieu. To all of you who have patiently followed it and to some of you who have never made it. Nevertheless, we will agree that the ride was indisputably a big one for the books. So we all better be there!!! Catch the live performances of <span style="font-weight: bold;">The Beauty of Doubt, Granada, Todas, Republika de Lata, Pink Cow and Einstein Chakras</span>. This is your last chance to make it. Never say die for tomorrow we drink!</span> <span style="font-family:arial;"><br /><br />The WOP Residency Program is supported by Arts Network Asia. www.artsnetworkasia.org http://wednesdaysmnlove.blogspot.com</span> <span style="font-weight: bold;font-family:arial;" ><br /><br />GREEN PAPAYA ART PROJECTS</span> <span style="font-family:arial;"><br />41 T. Gener Street (corner Kamuning Rd.), Quezon City<br />Phone/Fax 7941628 Mobile 0926 6635606</span> <span style="font-family:arial;"><br />greenpapayaartprojects@gmail.com<br />www.greenpapayaartprojects.org / http://papayapost.blogspot.com</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-48588266366915478332009-06-16T16:43:00.000-07:002009-06-16T16:48:36.763-07:00w.o.p JUNE 3 | Jed Escueta MEDIA BLITZ<a style="font-family: arial;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SjgupjrWGoI/AAAAAAAAAmo/ADlT50hX9qs/s1600-h/wopJUNE+17.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SjgupjrWGoI/AAAAAAAAAmo/ADlT50hX9qs/s400/wopJUNE+17.jpg" alt="" id="BLOGGER_PHOTO_ID_5348075848989022850" border="0" /></a><br /><span style="font-size:180%;"><span style="font-family: arial;"><span style="color: rgb(102, 102, 102);font-size:130%;" >MAMA DON’T TAKE MY KODACHROME AWAY</span> <span style="font-size:85%;">WEDNESDAYS OPEN PLATFORM</span></span></span><br /><span style="font-family: arial;">JED ESCUETA / <span style="font-style: italic;">Media Blitz</span></span><br /><span style="font-size:130%;"><span style="font-family: arial; color: rgb(102, 102, 102);">June 17 / bar opens 6pm</span></span><br /><br /><div style="text-align: justify;"><span style="font-family: arial;">In the midst of the normal and the ordinary, the inevitable deviation is what matters. And it is inevitable-- we have all done something that becomes one for the books, where we pay homage to the rock star and his neon lights, sex, booze and rock and roll, shredding (not walking!) the edge, throttling life to a blinding height. But living fast and dying young is not so much the issue. What is being revealed is the individual's conviction to stray and to meander yet arrive at a resolution which poses as a seductive alternative to the norm. It is also a question of identity-- distilling oneself in a vast world surely makes use of some degree of rebellion, finding out what drives us, what makes us tick, how we innovate our victories, how we fall to our failures.</span><br /><br /><span style="font-family: arial;">In Media Blitz, Jed Escueta revisits the roots of his practice through punk music and culture through a screening of a video documentary of the legendary punk band, The Germs. Is there only one way to be, one way to go about things? Whether music, religion or in this case, Escueta's practice, the existence of the possibility to deflect what is expected proves otherwise. So come and join us as we beat the midweek blues this Wednesday at Green Papaya for a movie and the usual chill out session to follow. See you there! (ZD)</span><br /></div><br /><span style="font-family: arial;">The WOP Residency Progran is supPorted by Arts Network Asia. www.artsnetworkasia.org http://wednesdaysmnlove.blogspot.com www.artsnetworkasia.org</span><br /><br /><span style="font-family: arial; font-weight: bold;">GREEN PAPAYA ART PROJECTS</span><br /><span style="font-family: arial;">41 T. Gener Street (corner Kamuning Rd.), Quezon City Phone/Fax 7941628</span><br /><span style="font-family: arial;">greenpapayaartprojects@gmail.com info@greenpapayaartprojects.org</span><br /><span style="font-family: arial;">www.greenpapayaartprojects.org / http://papayapost.blogspot.com</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-12177532064590662682009-06-01T05:31:00.001-07:002009-06-01T05:35:14.238-07:00w.o.p JUNE 3 | Jed Escueta SMELL HUSTLE<span style="font-size:180%;"><span style="font-family:arial;">JED ESCUETA / <span style="color: rgb(102, 102, 102);">Smell Hustle</span> / June 3 / <span style="color: rgb(102, 102, 102);">bar opens 6pm</span></span></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SiPKRVacmrI/AAAAAAAAAlc/vJHJOQAHGoU/s1600-h/wopJUNE3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SiPKRVacmrI/AAAAAAAAAlc/vJHJOQAHGoU/s400/wopJUNE3.jpg" alt="" id="BLOGGER_PHOTO_ID_5342335982146198194" border="0" /></a><br /><br /><span style="font-family:arial;">"What interests us are the circumstances." Perhaps the innate curiosity of the familiar that sustain our motion towards the dreadful leap of faith in the known. A deliberate suspension of disbelief in order to give second, or even a third, life to the ordinary. For example, waking up in the same side of the bed whilst noticing the subtle shift in the incessant barking of the dogs next door. Or the newly painted jeep you take every morning to work. Perhaps even the new brew that sits on your breakfast counter. At times, what matter are these little seeming divinities plucked out of the unconscious brought to life by nothing else than circumstances. A collaborative work between god and the devil. And when walking a foreign street, our elders have repeatedly reminded us to trust your instincts and follow the scent that leads you. Its hard to ignore the compelling truth in age-old wisdom of the pagan who pays his respect to every tree, mound and living creature that crosses its path.</span> <span style="font-family:arial;"><br /><br />As we immerse in <span style="font-weight: bold;">Jed Escueta</span>'s varied concerns in the photographic practice, he further takes us in to the privacy of his intuit: a day he woke up to a storm, mother's plants, the pet dog taking a piss break. Seemingly banal events that probably contain some David Lynch-ian anomaly to it. In <span style="font-style: italic;">Smell Hustle,</span> the third installment of his WOP residency, Escueta pronounces the invisible boundaries of a photograph. Capturing the danger zones that we don't normally notice. As always and now with the rainy days back there is more reason to chill out and be cozy this Wednesday. Also to catch is the artist's weekly intoxicating brew. Join us as we jump start a heavy week of activities at Green Papaya.</span> <span style="font-family:arial;"><br /><br /><span style="font-weight: bold;">The WOP Residency Program is supported by Arts Network Asia www.artsnetworkasia.org</span></span><br /><br /><span style="font-family:arial;"><span style="font-weight: bold;">Heads up</span>: <span style="font-weight: bold;">June 5-6 (Friday and Saturday)</span>, watch out for the continuing series of Open Studio Sessions of Gangan Ensemble with visiting Malaysian experimental sound artists <span style="font-weight: bold;">Yong Yandsen </span>and <span style="font-weight: bold;">Kok Siew-Wai.</span></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-3888950421935564542009-05-25T22:10:00.000-07:002009-05-25T22:19:27.928-07:00w.o.p MAY 27 | JED ESCUETA + ANDREA TERAN'S Monthly Period Readings<div style="text-align: justify;"><span style="font-size:180%;"><span style="font-weight: bold;font-family:arial;" >WEDNESDAYS OPEN PLATFORM,</span><span style="color: rgb(102, 102, 102);font-family:arial;" > <span style="font-size:100%;">MAY 27 / BAR OPENS 6PM</span></span></span> <span style="font-family:arial;"><span style="font-weight: bold;"><br /><br /><br /><br />JED ESCUETA</span>’S <span style="color: rgb(102, 102, 102);">FORGOTTEN NUTS TURN INTO TREES</span> runs until May 30, </span><br /><span style="font-family:arial;"><span style="color: rgb(102, 102, 102);">PIRATE SATELLITE</span> of NU 107 spins for the evening</span> <span style="font-family:arial;"><span style="font-weight: bold;"><br /><br />ANDREA TERAN</span>’S <span style="color: rgb(102, 102, 102);">MONTHLY PERIOD READING</span> </span><br /><span style="font-family:arial;">features <span style="font-weight: bold;">NICOLAS PICHAY and KHAVN DE LA CRUZ IN CONVERSATION</span></span> <span style="font-weight: bold;font-family:arial;" ><br /><br />DAVID GRIGGS’ </span><span style="color: rgb(102, 102, 102);font-family:arial;" >NEW YORK LONDON PARIS ROME MANILA CITY JAIL runs until May 30</span> <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_lpS_GNrzG7E/Sht7XOxuroI/AAAAAAAAAlM/SkhgvfR_vWQ/s1600-h/WOPMAY27.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_lpS_GNrzG7E/Sht7XOxuroI/AAAAAAAAAlM/SkhgvfR_vWQ/s400/WOPMAY27.jpeg" alt="" id="BLOGGER_PHOTO_ID_5339997422211739266" border="0" /></a><br /><span style="font-family:arial;">Those ready to fill-in the blank notecards lying on top of the table have gathered enough dust to stand for years of memory accumulation. Along with the phone call missed, deadline that has passed, and unsent postcards. Perpetual motion covers up the little god-like details sitting in the feverish bed of habit and comfortable metaphors. Is there indeed no time to stop and smell the flowers? Or the freshly pressed morning coffee waiting in the kitchen? Like the mythical hunter occupied with capturing the horizon to take back home, time is a slippery animal to conquer yet also a nomad equally fascinated with predictable monotony. And its faithful followers determined to outrun it, only to be disappointed perhaps or mesmerized by the prey. Frozen, stuck in a moment but oblivious to its eventual end.</span> <span style="font-family:arial;"><br /><br />End is far from near but we hear it approaching as Jed Escueta approaches the second half of his residency his photo installation <span style="font-style: italic;">Forgotten Nuts Turn Into Trees</span> is still up for those who have failed to catch it the previous week. And because we like quiet evenings that mutate into crazy evening gatherings, <span style="font-weight: bold;">Pirate Satellite</span> of NU 107 joins us to spin the evening away. If you thought that was all, there’s more! <span style="font-weight: bold;">Andrea Teran</span>’s Monthly Period Reading returns all dressed up, prim and proper. Then maybe not. Tomorrow catch filmmaker-maverick-indie-man-of-the-world artist <span style="font-weight: bold;">Khavn de la Cruz</span> and award winning playwright <span style="font-weight: bold;">Nicolas Pichay</span> in conversation with each other as they wrestle the world of narrative, drama, cinema or even each other. See you, see you its another Wednesday to be in love!</span> <span style="font-family:arial;"><br /><br />The Wednesdays Open Platform residency is supported by Arts Network Asia<span style="font-size:78%;"> www.artsnetworkasia.org</span></span> <span style="font-family:arial;">David Griggs's residency and exhibition is supported by Asialink and The Australian Embassy in the Philippines</span> <span style="font-family:arial;"><br /><br /></span><div style="text-align: left;"><span style="font-family:arial;">GREEN PAPAYA ART PROJECTS</span><br /><span style="font-family:arial;">41 T. Gener Street (corner Kamuning Rd.), Quezon City </span><br /><span style="font-family:arial;">Phone 0926 6635606</span><br /><span style="font-family:arial;">greenpapayaartprojects@gmail.com info@greenpapayaartprojects.org </span> <span style="font-family:arial;">www.greenpapayaartprojects.org<br />http://papayapost.blogspot.com</span></div></div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-63539021474729858582009-05-19T05:12:00.000-07:002009-05-19T05:18:45.395-07:00w.o.p MAY 20| Jed Escueta FORGOTTEN NUTS TURN INTO TREES<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_lpS_GNrzG7E/ShKik-Edd3I/AAAAAAAAAlE/kRCjZQq5Iy0/s1600-h/WOP05-20-09.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_lpS_GNrzG7E/ShKik-Edd3I/AAAAAAAAAlE/kRCjZQq5Iy0/s400/WOP05-20-09.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5337507264408156018" /></a><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:12px;"><div><span class="Apple-style-span" style="font-family:Arial;"><b><span class="Apple-style-span" style="font-family:Georgia;font-size:130%;"><span class="Apple-style-span" style=" font-weight: normal;font-size:16px;"><span class="Apple-style-span" style=" ;font-family:Helvetica;font-size:12px;"><div><span class="Apple-style-span" style="font-family:Arial;font-size:130%;"><span class="Apple-style-span" style=" ;font-size:16px;"><b>JED ESCUETA / <span class="Apple-style-span" style="color:#626564;">Forgotten Nuts Turn into Trees</span></b></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;"><b><span class="Apple-style-span" style="color:#626564;">Wednesdays Open Platform / May 20 / Bar Opens 6PM</span></b></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;">It's just as well that any law for memory has been repealed. Perhaps they just change, as most things are inclined to do, funneled through every individual pair of eyes.</span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;">In this case, it is with </span><span class="Apple-style-span" style="font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><b><i>Forgotten Nuts Turn into Trees</i></b></span></span><span class="Apple-style-span" style=" ;font-size:11px;"> that photographs serve not only as the quintessential time capsules that they are, but also move into the peculiarities of a time bomb, wherein 3...2...1 what was once just a picture, explodes into something beyond a memento and lands in the light of shifting perspective. On the other end of it is the rediscovery of what was left behind during those few seconds when the flash bursts, resulting in an unapologetically simple picture... luminous in its rawness. In the looking back that occurs, each piece of suspended time and reality sprouts into new life, whether through introspection or conversation, throttling and permeating ones consciousness.</span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;">This Wednesday, Jed Escueta mounts his second exhibition as artist-in-residence. For another round of non-linear rumination, we invite all the usual suspects (and then some) to help kick off May's second WOP offering. So come! Buried somewhere in the night's speeding headlights and the slow burning cigarette is space to draw out the past and let it spark yet again. Let us maneuver through and around both retrospection and reconstruction, amidst the vibrating engines and tires that careen upon the little street most of us have all come to make our pit stop for the week. And if you haven't had a taste of Papaya, make this your first! We'll be waiting! (ZD) </span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><span class="Apple-style-span" style="color:#626564;">The WOP Residency Progran is suported by </span></span><span class="Apple-style-span" style="font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><b><span class="Apple-style-span" style="color:#626564;">Arts Network Asia</span></b></span></span><span class="Apple-style-span" style=" ;font-size:11px;"><span class="Apple-style-span" style="color:#626564;"> <a href="http://www.artsnetworkasia.org/">www.artsnetworkasia.org</a> http:// wednesdaysmnlove.blogspot.com </span></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;"><b>David Griggs’ New York London Paris Rome Manila City Jail </b><span class="Apple-style-span" style="font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;">runs until May 30, 2009 </span></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><b><span class="Apple-style-span" style="color:#626564;">GREEN PAPAYA ART PROJECTS</span></b></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><span class="Apple-style-span" style="color:#626564;">41 T. Gener Street (corner Kamuning Rd.), Quezon City Phone/Fax 632 7941628</span></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><span class="Apple-style-span" style="color:#626564;"><a href="mailto:greenpapayaartprojects@gmail.com">greenpapayaartprojects@gmail.com</a> <a href="mailto:info@greenpapayaartprojects.org">info@greenpapayaartprojects.org</a></span></span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style=" ;font-size:11px;"><span class="Apple-style-span" style="color:#626564;"><a href="http://www.greenpapayaartprojects.org/">www.greenpapayaartprojects.org</a> / <a href="http://papayapost.blogspot.com/">http://papayapost.blogspot.com</a> </span> </span></span></div><div><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11px;"><br /></span></span></div></span></span></span></b></span></div><span class="Apple-style-span" style=" ;font-size:12px;"><div><span class="Apple-style-span" style="font-family:Arial;"><b><br /></b></span></div></span></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-41706722187303913692009-05-12T08:00:00.000-07:002009-05-12T08:04:38.720-07:00w.o.p MAY 13| Jed Escuta MAMA DON'T TAKE MY KODACHROME AWAY<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_lpS_GNrzG7E/SgmPoB4wZvI/AAAAAAAAAkM/RWWsrmh85Pw/s1600-h/wopmay13.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_lpS_GNrzG7E/SgmPoB4wZvI/AAAAAAAAAkM/RWWsrmh85Pw/s400/wopmay13.jpeg" alt="" id="BLOGGER_PHOTO_ID_5334953151461091058" border="0" /></a><span style="font-size:130%;"><br /></span><div style="text-align: justify;"><span style="font-weight: bold;font-family:arial;font-size:130%;" >MAMA DON'T TAKE MY KODACHROME AWAY / <span style="color: rgb(51, 51, 51);">JED ESCUETA</span></span> <span style="color: rgb(51, 51, 51);font-family:arial;" ><br />WEDNESDAYS OPEN PLATFORM</span><br /><span style="font-family:arial;">BAR OPENS 2PM</span> <span style="font-family:arial;"><br /><br /><span style="font-size:100%;">If you missed last week's W.O.P comeback then wonder no longer. Yes, anticipation rocked and shook the house as avid followers, fans and hangers on braved the rains to join in some good 'ol dancing to jumpstart </span><span style="font-weight: bold;font-size:100%;" >Jed Escueta</span><span style="font-size:100%;">'s WOP residency </span><span style="font-style: italic;font-size:100%;" >Mama, Don't Take My Kodachrome Away</span><span style="font-size:100%;">. Time passes by quickly when you're having fun as Coffeebreak Island chased it away with two straight hours of non-stop moves and tunes. It was of course also an added pleasure to have on view years of collected photographs and snapshots. Meanwhile, David Griggs' opening last Friday was equally met by boisterous though slightly subdued crowd.</span></span> <span style="font-family:arial;font-size:100%;"><br /><br />Surely, the string of last week's events have left most of us nursing the occasional hella' of a hangover so it is with a little prudence that we continue on with Fool Fool Around ongoing until May 16. This Wednesday we opt for the rather quiet but potentially potent chill out and hanging around so do drop by to catch the current exhibitions on view.</span> <span style="font-weight: bold; color: rgb(51, 51, 51);font-family:arial;font-size:100%;" ><br /><br />New York London Paris Rome Manila City Jail by David Griggs ongoing until May 30, 2009</span> </div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-62602274174412647632009-05-04T01:37:00.000-07:002009-05-04T01:41:40.934-07:00w.o.p MAY 6 | Jed Escuta MAMA DON'T TAKE MY KODACHROME AWAY<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/Sf6qOInmCcI/AAAAAAAAAj0/5u3-bUvF1TA/s1600-h/wopMAY6.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/Sf6qOInmCcI/AAAAAAAAAj0/5u3-bUvF1TA/s400/wopMAY6.jpeg" alt="" id="BLOGGER_PHOTO_ID_5331886168661690818" border="0" /></a><br /><div style="text-align: justify;"><span style="font-weight: bold;font-size:180%;" ><span style="font-family:arial;">MAMA DON’T TAKE MY KODACHROME AWAY </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;"><span style="font-weight: bold;">Jed Escueta</span> / <span style="font-style: italic;">Fool Fool Around</span> / <span style="color: rgb(51, 51, 51);">May 6</span> / <span style="color: rgb(51, 51, 51);">Bar Opens 7PM</span> </span></span><br /><span style="color: rgb(51, 51, 51);font-size:100%;" ><span style="font-family:arial;">WEDNESDAYS OPEN PLATFORM</span></span><br /><br /><span style="font-weight: bold;font-size:100%;" ><span style="font-family:arial;">Coffeebreak Island </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">FREE ENTRANCE / 9PM</span></span><br /><br /><span style="font-size:100%;"><span style="font-family:arial;">It is probably the dead-pan and yet hard-hitting raw quality of an insider's gesture that lend a photograph its near testimonial authenticity that keeps the viewer drawn–a gaze arrested into that single moment in time. Similarly akin to the useless yet priceless souvenir objects kept in this little tin box to be opened occasionally as proof of life and reality. What distinctly sets a photograph apart from all the others is not simply its capacity to overcome memory, imagination, and the faithful reconstruction of the past nor of the world but its ability to constitute reality in a past state, being at once the past and the real (R.Barthes). An experience that is dare say, religious and mythical. Easy (and hard) it may to consecrate an inimitable aura to the flood of images that confront us every Kbps, thanks to the proliferation of overnight photographers phenomena that litter the cyberspace, there remains a handful whose fascination for the</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">mechanical, chemical and mythological process of photography. A fascination, infectious to disregard. And lurking among the few devotees is <span style="font-weight: bold;">Jed Escueta</span> who has instead meticulously taken to doing it the old-school way, sifting through films, negatives and silver-gelatin prints. In <span style="font-style: italic;">Mama Don't Take Away my Kodachrome</span>, the last of Green Papaya's series of WOP Residency, Escueta lays out his specific concerns in the almost forgotten practice of photography. Playing the role of both an insider and outsider. One thinks of a lost alchemy.</span></span><br /><br /><span style="font-size:100%;"><span style="font-family:arial;">Forgotten it is not, as he opens his two-month stint with what is a long overdue tribute to one of the best bands in the Philippines, <span style="font-weight: bold;">Coffeebreak Island.</span> Not only unearthing a collection of photographs gathered since 2003 but what best way to launch ceremonial things but with a night of nasty good 'ol dancing, beat and music. No summer has not yet passed, so island dwellers party with us. Don't be fooled just because the beach seems nowhere in sight of the unbearable metro doesn't mean we're no island fools. So come lets Fool fool around!</span></span><br /><br /><div style="text-align: left;"><span style="font-size:100%;"><span style="font-family:arial;">The WOP Residency Progran is suported by Arts Network Asia. http:// wednesdaysmnlove.blogspot.com www.artsnetworkasia.org</span></span><br /></div><br /><span style="font-size:100%;"><span style="font-family:arial;">GREEN PAPAYA ART PROJECTS</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">41 T. Gener Street (corner Kamuning Rd.), Quezon City Phone 0926 6635606</span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">greenpapayaartprojects@gmail.com info@greenpapayaartprojects.org </span></span><br /><span style="font-size:100%;"><span style="font-family:arial;">www.greenpapayaartprojects.org / http://papayapost.blogspot.com</span></span></div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-30051814674278892242009-04-21T03:38:00.000-07:002009-04-21T03:42:19.549-07:00w.o.p APRIL 22 | Martha Atienza MAN IN SUIT Artist Talk<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_lpS_GNrzG7E/Se2i1uVbfUI/AAAAAAAAAic/6F8PIRq2mM8/s1600-h/wopPRIL22.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_lpS_GNrzG7E/Se2i1uVbfUI/AAAAAAAAAic/6F8PIRq2mM8/s400/wopPRIL22.jpeg" alt="" id="BLOGGER_PHOTO_ID_5327092978103844162" border="0" /></a><br /><div style="text-align: justify;"><span style="font-weight: bold;font-family:arial;" ><br /><br />WHEN ROUTINE IS ALL THERE IS </span> <span style="font-family:arial;"><br />WEDNESDAYS OPEN PLATFORM</span> <span style="color: rgb(102, 102, 102); font-weight: bold;font-family:arial;" ><br />Martha Atienza </span> <span style="color: rgb(102, 102, 102); font-weight: bold;font-family:arial;" >ARTIST-TALK, 8PM, APRIL 22</span> <span style="color: rgb(102, 102, 102); font-weight: bold;font-family:arial;" >BAR OPENS 7PM</span><br /><br /><span style="font-family:arial;">Surely as the rains gently counter the yearly hellish summer heat there is no escape from the occasional nostalgia finding its way in the newly wet and slippery pavements. Little mud puddles that seem like pools of reflection of a thirsty city. Creeping like a vein meanwhile marking the passage of time, a season to another. Even routine eventually loops it's way out into a new cycle of repetition, that is probably what they make out of the inevitable. And despite the lack of any clear seasonal change here in the islands, we almost always somehow look the sublime in the eye and overtake its slippery grip.</span> <span style="font-family:arial;"><br /><br />If you think you missed it, think again because here is your chance to catch <span style="font-weight: bold;">Martha Atienza</span>'s exhibit/installation <span style="font-style: italic;">Man In Suit</span> before she heads off and caps her six-month long stay in the tropics. As all appropriate closing ceremonies, this one will not pass by without the ceremonial artist-talk. This Wednesday, Martha tackles the poetics and malleability of this touring work as it makes it's last Manila round. So, better catch this, lest you miss out on the opportunity of intimate creative interaction.</span></div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-36127821167290041722009-03-30T17:35:00.000-07:002009-03-30T17:40:41.424-07:00Man in Suit APRIL 1 | MARTHA ATIENZA<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SdFmMjLdZHI/AAAAAAAAAiE/4Z0I7jqKqMA/s1600-h/marthaatienza.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SdFmMjLdZHI/AAAAAAAAAiE/4Z0I7jqKqMA/s400/marthaatienza.jpeg" alt="" id="BLOGGER_PHOTO_ID_5319145000689034354" border="0" /></a><br /><span style="color: rgb(51, 51, 51);font-size:130%;" ><span style="font-family:arial;"><span style="font-weight: bold;">Man in Suit</span> MARTHA ATIENZA</span></span> <span style="color: rgb(51, 51, 51);font-family:arial;" ><br />Opening 6PM, <span style="font-weight: bold;">April 1 (Wednesday)</span> EXHIBITION RUNS UNTIL APRIL 22, 2009</span><br /><br /><br /><div style="text-align: justify;"><span style="color: rgb(51, 51, 51);font-family:arial;" >Hardly noticeable are the minute details disguised in the hysteria of the ordinary. Anomalies that easily pass off for their sheer congruity with the world, seemingly in complete agreement with the necessary order of 'how things should be.' In fact the routine second look-subtextual reading no longer holds true. For what are all those manuals on <span style="font-style: italic;">looking</span> for, if not to raise a generation of spectators generally preoccupied with that which is hidden in a picture. Is it not almost tempting to say that nobody trusts anybody these days? Because appearances are constantly interrogated if not meticulously pried upon if only to squeeze out every signification there is. Perhaps, <span style="font-weight: bold;">Martha Atienza's</span> <span style="font-style: italic;">Man In Suit</span> might as well be an exercise in weighing appearances and silent test of the malleability of 'things as they are.'</span> <span style="color: rgb(51, 51, 51);font-family:arial;" >What could be a more fitting analogy than a peasant dressed in such clothing reminiscent of excess and formality to perform the most utilitarian and laborious of tasks such as baking bread or feeding chickens? And what of the beauty-queen-in-disguise vying for a spot among thirteen revered statues of the apostles and Christ? As the outsider attempts to bridge the obvious gap of difference what transpires is an even more amplified gap of anomaly from itself. Then the mundane becomes even more unbearably ordinary, where we are asked to not look for more meaning but to accept meaning that stares right back at us because "things do not simply appear, they appear to appear."</span> <br /><br /><span style="color: rgb(51, 51, 51);font-family:arial;" >Marking the midway phase of her residency, Martha Atienza opens her video-installation Man In Suite this Wednesday coupled with the laborious pickings of last months spent in an island you know where. So before you even think of retreating into that well-known dead days of Lent, come over and be equally faced with the similar introspection not into the unknown but into that place that we have always known.</span> <br /></div><span style="color: rgb(51, 51, 51);font-size:85%;" ><span style="font-family:arial;"><br /><br />GREEN PAPAYA ART PROJECTS</span> <span style="font-family:arial;">41 T. Gener Street (corner Kamuning Rd.), Quezon City<br />Phone/Fax 7941628 Mobile 0926 6635606</span><br /><span style="font-family:arial;">greenpapayaartprojects@gmail.com www.greenpapayaartprojects.org</span> <span style="font-family:arial;"><br /><br />GALLERY HOURS: WED-SAT 2-6 PM / SHOW WINDOW HOURS: FRI-SAT 6PM-MIDNIGHT</span></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-75351435249737332602009-03-15T09:34:00.000-07:002009-03-15T09:38:11.351-07:00w.o.p MAR 4| Martha Atienza WHEN ROUTINE.... + JOHN TORRES + MAILES KANAPI<span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_lpS_GNrzG7E/Sb0uyhBo-0I/AAAAAAAAAfg/psEMxcTW9p8/s1600-h/wopMAR18.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://2.bp.blogspot.com/_lpS_GNrzG7E/Sb0uyhBo-0I/AAAAAAAAAfg/psEMxcTW9p8/s400/wopMAR18.jpg" alt="" id="BLOGGER_PHOTO_ID_5313454580760640322" border="0" /></a><span style="font-size:130%;"><br /></span></span><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Bell Gothic Light;font-size:130%;"><span class="Apple-style-span"><span class="Apple-style-span" style="color:#626464;"><br /><br />WHEN ROUTINE </span><span class="Apple-style-span" style="color:#141414;">IS ALL THERE IS</span><span class="Apple-style-span" style="color:#626464;"> </span></span></span><span class="Apple-style-span" style="font-family:Bell Gothic Light;font-size:130%;"><span class="Apple-style-span" style="color:#626464;">WEDNESDAYS OPEN PLATFORM</span></span><span class="Apple-style-span" style="font-family:Bell Gothic Light;font-size:130%;"><span class="Apple-style-span" style="color:#626464;"> </span><span class="Apple-style-span" style="color:#141414;">MARCH 18</span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Bell Gothic Light;font-size:130%;"><span class="Apple-style-span" style="color:#626464;">SCREENINGS, CONVERSATIONS, PERFORMANCE</span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Bell Gothic Light;font-size:130%;"><span class="Apple-style-span" style="color:#141414;">MARTHA ATIENZ</span><span class="Apple-style-span" style="color:#626464;">A WITH </span><span class="Apple-style-span" style="color:#141414;">JOHN TORRES</span><span class="Apple-style-span" style="color:#626464;"> AND </span><span class="Apple-style-span" style="color:#141414;">MAILES KANAPI</span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;"> </span></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;">A conversation is a communication by two, three, or more people; a social skill easily dismissed as ‘not difficult’ for most individuals; and in some respects held in the ideal container of wants, </span></span></span><span style="font-size:100%;"><i><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color:#626464;">should bes</span></span></span></i></span><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;"> and </span></span></span><span style="font-size:100%;"><i><span class="Apple-style-span" style="font-family:Arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color:#626464;">could have beens.</span></span></span></i></span><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;"> The rhythm pre-determined by the number of particular variables usually depending on the amount of sleep, intoxication, history and pollution carried by the body in between intermittent waking. Habit on the other hand refers to an acquired behavior which often occurs automatically. Of course, while mostly pronounced, it is also the least noticeable among the high tenor of visual informations that pass for normality. These actions, or <span class="yshortcuts" id="lw_1237134915_1">background noise</span>, find their way into conversations to effect a general feeling of understanding. </span></span></span></div><div style="margin: 0px; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; font-size-adjust: none; font-stretch: normal; min-height: 14px;font-family:Times;font-size:12px;"><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;"><br /></span></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-family:Arial;font-size:100%;"><span class="Apple-style-span" style="font-size:11;"><span class="Apple-style-span" style="color:#626464;">No. What exists between these two are nothing but parallel but only an irksome gap. Nevertheless, these are two words we are obviously fond of. Because we cannot have enough of it, we are resuscitating our live talk show-artist conversations with <span style="font-weight: bold;">Martha Atienza</span> and <span style="font-weight: bold;">John Torres</span>, as Martha continues to make sense of what her new temporal condition is all about. Because habit, routine and anomalies are things the two share. Only John brings out the camera more often than she does. But we all know that by now. Meanwhile, to add yet another strand to this already tempting treat is theater actress par excellance <span style="font-weight: bold;">Mailes Kanapi</span> whose never before heard nor seen text/ual production will finally come out to play. Summer has officially begun, haven’t you noticed those ants gnawing at your kitchen counter?</span></span></span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-size:100%;color:#626464;"> </span></div><div style="margin: 0px;"><span class="Apple-style-span" style="font-size:100%;color:#626464;"> </span></div><div style="margin: 0px;"> </div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-4175474879410033752009-03-10T00:24:00.000-07:002009-03-10T00:36:39.866-07:00w.o.p MAR11 Martha Atienza | WHEN ROUTINE IS ALL THERE IS + video conversation with GERRY TAN<span style="font-family:arial;"><span style="font-weight: bold;">WHEN ROUTINE IS ALL THERE IS</span> | WEDNESDAYS OPEN PLATFORM</span> <span style="font-weight: bold;font-family:arial;" ><br />MARCH 11 BAR OPENS 7PM</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_lpS_GNrzG7E/SbYYAhLZZoI/AAAAAAAAAfI/FHDLZCd76l8/s1600-h/wopMAR11.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_lpS_GNrzG7E/SbYYAhLZZoI/AAAAAAAAAfI/FHDLZCd76l8/s400/wopMAR11.jpeg" alt="" id="BLOGGER_PHOTO_ID_5311459207715317378" border="0" /></a><br /><span style="font-family:arial;">Those tedious afternoon walks around the street corner and habitual dips in the pool seem like nothing but constructive distractions from the compelling need to work. Still somewhat comforting that ‘work’ nowadays could easily mimic ‘play’ while placed under watchful and suspicious eyes of the neighbors. But how much waiting does it take for a picture to reveal itself? And how much watching does it entail to notice the anomalies undisguised in its very appearance? </span> <span style="font-family:arial;"><br /><br />Last week’s intimate but hefty evening menu of screenings perhaps rekindled the neglected intuition of ‘watching’ with <span style="font-weight: bold;">Martha Atienza</span>’s presentation of her previous works and <span style="font-weight: bold;">Conrado Velasco</span>’s current electronic fixations. A evening of yin and yang, clichés aside. But definitely no cliche was interaction among students, enthusiasts and artists themselves that have sparked new connections. This Wednesday we move on with Martha’s w.o.p residency as she screens the things that she has been working on the past months in the island. To be complemented with video conversation of sorts with Gerry Tan’s own video pickings: <span style="font-weight: bold; font-style: italic;">Der Lauf der Dinge (The Way Things Go) </span>by Swiss Duo Peter Fischli and David Weiss; Sunrise and Sunset; and his own video work Aparition. Never mind the crippling heat and that its too early in the week to party for things such as these may only come far and between.</span> <span style="font-family:arial;"><br /><br />WOP IS SUPPORTED BY ARTS NETWORK ASIA (ANA)</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-89935663745754432152009-02-23T19:12:00.000-08:002009-02-23T19:19:26.658-08:00w.o.p FEB 25| Mark Salvatus CONNECTING URBAN SPACES<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SaNm_0PS-PI/AAAAAAAAAdg/88wkEL79cGg/s1600-h/wopfeb25.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SaNm_0PS-PI/AAAAAAAAAdg/88wkEL79cGg/s400/wopfeb25.jpg" alt="" id="BLOGGER_PHOTO_ID_5306198032513169650" border="0" /></a><br /><span style="font-weight: bold;font-family:arial;" ><span style="color: rgb(102, 102, 102);">CONNECTING URBAN SPACES</span> / WEDNESDAYS OPEN PLATFORM</span> <span style="font-weight: bold;font-family:arial;" ><span style="color: rgb(102, 102, 102);"><br />ARTS NETWORK ASIA (ANA)</span> INTERPHASE</span> <span style="font-weight: bold;font-family:arial;" ><span style="color: rgb(102, 102, 102);"><br />MEDIA ARTS MANILA (MAM)</span> FIELD TRIP</span> <span style="font-family:arial;"><br /><br />FEBRUARY 25, BAR OPENS 7PM, ANA RECEPTION AT 8PM, MAM FIELD TRIP AT 9PM</span> <span style="font-family:arial;"><br /><br />Surely it has been said many times over that nothing lasts forever. No matter how strongly we delay such encounter, it is also at the same time inevitable. But endings are nothing but mere temporal constraints, fluid at the same time malleable. The means to transgress the boundaries will persist but not to be approached without caution. <span style="font-weight: bold;">Mark Salvatus</span> caps off his two month W.O.P residency, delivering a state-of-the-metro sorts for his last presentation. And because we like things to be auspiciously arranged according to the arbitrary arrangement of planetary constellation, be prepared for a hearty evening of talks, presentations, food, booze and sound as <span style="font-weight: bold;">Arts Network Asia (ANA)</span> throws a little reception for the evening. Lastly, <span style="font-weight: bold;">Media Arts Manila (MAM)</span> pays us a little visit with an excursion of field recordings and soundscapes of corporeal and imagined environments. So do pay us a visit, there is much in store for everyone in the family.</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-81637936648034131072009-02-15T16:20:00.001-08:002009-02-15T16:21:21.643-08:00CONNECTING URBAN SPACES WEDNESDAYS OPEN PLATFORM February 18<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_lpS_GNrzG7E/SZixXUQU9UI/AAAAAAAAAcw/jf7VfT0m640/s1600-h/WOP02-018-09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_lpS_GNrzG7E/SZixXUQU9UI/AAAAAAAAAcw/jf7VfT0m640/s400/WOP02-018-09.jpg" alt="" id="BLOGGER_PHOTO_ID_5303183575361058114" border="0" /></a><br /><br /><br /><span style="font-size:100%;"><span style="font-family: arial;">It is easy to dismiss virtual environments as pale renditions of our alternate lives, utopian visions and replacements for interpersonal interaction but its inevitability remains. While junkies attest to its necessity, cynics remain doubtful. And yet no doubt there is comfort in knowing that no one lives in isolation any longer. Almost dreadful in fact, you can run but never hide. Could it be true that each one of us will always long for some kind of connection no matter how strange, circumstantial, perverse or 'unreal' it is. Our favorite wise man once said that appearances work in so far to sustain our belief. Then there is also that question of increasing homogeneity masked behind divergence, plurality and open societies.</span><br /><br /><span style="font-family: arial;">There remains the disputable dictum: the devil is in the details. Or is it god? Unknown to most, new nomadic communities have been cropping up thanks to that new dystopian universe called the web. This Wednesday as growing networks both oblique and congruent slide into each other's reality, Mark Salvatus continues with his residency presenting the online project Connecting Urban Spaces together with a nomadic artistic community built the last two years. If you are beginning to get used to our incessant calls to go out and get over the hump, here we are again calling out its never late nor too early the week to go out.</span><br /></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-79071954388060010682009-02-05T22:17:00.000-08:002009-02-15T16:23:55.357-08:00Words Are Things was something | Angelo Suarez<div style="text-align: justify; color: rgb(51, 51, 51);font-family:arial;"> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;">In part contrary to Green Papaya's expectations, what began on August 6 as my residency project was not STREET SMARTS as I had originally proposed but WORDS ARE THINGS, a brief survey of a marginal practice in poetry that foregrounds language as a material object (pliable, physically manipulable, can occupy space, has potential for literal weight, i.e., w/ visual, aural, textural aspects, produced by physical processes). It is under this survey w/c the less ambitious (& more personal) STREET SMARTS has been temporarily subsumed.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"> </span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;">Part-performance in its act of engaging taxi drivers in conversation as they drive, & part-textual/aural document as conceptual poem in the recording/transcription of these conversations, STREET SMARTS in itself was intended to be a play on parataxis—a technique employed by contemporary poets where words &/or phrases are violently wrenched from syntactical convention & juxtaposed against similarly dislodged words &/or phrases for an effect that is more or less accidental. </span></p> <p class="MsoNormal" style="text-indent: 0.5in; line-height: 150%;"><span style="font-size:9;">Incidentally, the bilingual imagination can take the word "parataxis" itself as composed of two units: <i>"para</i></span><span style="font-size:9;">," w/c in Filipino is an expression exclaimed when one hails a cab; & "taxi," w/c is the cab itself, a public vehicle one rides to reach any point of the Metro. When a passenger & a driver are conjoined in a single cab, parataxis occurs not just on the level of language itself but also on the level on which people as linguistic subjects exist: such that two discourses—each already heterogeneous in itself—wrestle w/ each other for prominence, & the micro-politics of conversation emerges. Whose utterance overtakes whose—the driver's, or the passenger's? Who drives the conversation forward, who allows himself to be verbally driven? </span></p> <p class="MsoNormal" style="text-indent: 0.5in; line-height: 150%;"><span style="font-size:9;">While STREET SMARTS already takes on parataxis as a kind of conceit (that is, as an <span class="yshortcuts" id="lw_1233900944_1">extended metaphor</span> or framework) that takes off from what is normatively perceived as language & toward linguistic subjects or bodies, its technique of juxtaposition is appropriated by WORDS ARE THINGS in examining the larger field of poetry that emphasizes the material in local practice. Instead of phrase against phrase, practice against practice is juxtaposed, as are forms against forms—where Green Papaya, known primarily as a locus of discourse for visual art, is turned into a venue for linguistic & poetic discourse.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"> </span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;">August 6, for example, saw accidental collaborations between myself & guest Belgian artist Angelo Vermeulen, as well as between young prose stylist Pocholo Goitia & renegade filmmaker John Torres. After screening a short film that relied heavily on language-use as dialogue, Vermeulen sampled from his vast collection of 8-bit music to accompany my reading of selected transcripts from STREET SMARTS, conjuring a barely intelligible soundscape in w/c text juts in & out. Torres on the other hand screened a short film adaptation of Goitia's text "The Maximalist," & using his idiosyncratic technique of collaging found footage w/ deadpan voice-overs made a subdued display of irony by using 'factual' docu-type imagery to convey a wholly fictitious story. Also featured that night were Adam David's playful forays into the verbo-visual processes of cut-ups & erasures toward textual production, & the performance of a balagtasan—that is, a traditional form of verse debate in rhyme, in w/c a topic or issue is volunteered by the audience on the spot—by renowned performance poet Vim Nadera as well as Michael Coroza & <span class="yshortcuts" id="lw_1233900944_2">Teo Antonio</span>.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span>The following week presented a fun fiesta of forms, w/ Raya Martin at the helm showing a couple of short films. The series' 1<sup>st</sup> text-installation was care of conceptual artist Bea Camacho, whose small label on the wall posited the label's reader to be her artwork, the small rectangular piece of cardboard saying "<i>Person Reading a Label </i></span><span style="font-size:9;">/ Bea Camacho / 2008" in regular gallery-wall-type demeanor, calling attention to language's relationship with the visual/spatial as exemplified by conceptualist practice. Then as Khavn dela Cruz explored the medium of pop song as poetry against the backdrop of a silent film, multimedia artist Mark Salvatus in an off-site—or, perhaps more appropriately, translocal—performance sent SMS messages to people present at the gallery that repeatedly exclaimed "Text pollution." The night was once again capped by a reading of more transcripts from STREET SMARTS w/ 8-bit music by Vermeulen.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span>While certainly not the series' 1<sup>st</sup> off-center performance (performances, after all, mostly use either a stage or at least a symbolic, provisional one to keep a distinct divide between performer & audience in the subtle micro-politics of theater), Buen Calubayan's patience-trying work of erasure was the series' 1<sup>st</sup> durational performance. It went on for hours on Green Papaya's 2<sup>nd</sup> floor on August 27, in a <span class="yshortcuts" id="lw_1233900944_3">quiet corner</span> where the occasional curious passerby would peer into what he's laboring over: Ironically spelling out the word "bibe" (Tagalog term for "duck") by erasing those letters w/ white paint from the entirety of his small Bible. For this night, however, Calubayan was content w/ finishing only the 1<sup>st</sup> chapter, Genesis, as if to wryly declare, "In the beginning, there was light, sure, but there was no duck," inadvertently bringing to mind local churchside images of ducklings caged in glass, warmed by a lightbulb, sold to moms w/ hopeful kids for a few pesos. As this was happening, looped in a single TV in another corner was a video collage by video artist Jay Pacena, whose commercially released music videos were collaged & played in reverse, turning the song lyrics into an unintelligible wall of regurgitated sounds. Also, between Calubayan's & Pacena's works was a performance by Costantino Zicarelli who, after a brief trip to Australia w/ his ex-girlfriend, rambled for an hour about his travel, each tale punctuated by a strange mixture of deliberate dullness & shyness. True to poetry's convention of asserting a kind of constraint to give textual production form (what are sound patterns such as rhyme if not constraints?), his rambling was never as haphazard as it seemed, guided by a careful, linear progression of travel photos—mostly personal, occasionally intimate or even silly—he would project on the wall, presenting poetry where one would suspect there wasn't any. Following Zicarelli was a performance by Kaye O'yek, whose visceral spraying of perfume into her mouth as she repetitively spoke—tho bordering on the kind of masochistic melodrama that has been plaguing much of local performance art over the years—provided an effective counterpoint to the current state of Philippine letters, composed mostly of <i>flowery </i></span><span style="font-size:9;">utterances that are paradoxically malodorous.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span>New media artist Pow Martinez met our <span class="yshortcuts" id="lw_1233900944_4">September 3</span> installment w/ much laughter solicited from the audience. Appropriating content from <span style="border-bottom: 1px dashed rgb(0, 102, 204); cursor: pointer;" class="yshortcuts" id="lw_1233900944_5">YouTube</span>, Martinez revealed the way STREET SMARTS would too that an act of writing didn't need an actual <i>act of writing</i></span><span style="font-size:9;">—that is, of putting words together in a deliberately fresh & discursive manner. Instead, already extant words could be, again & again, wrenched from their original contexts & reframed in foreign contexts to reinvigorate them w/ new potentials for signification. While playing a YouTube video of John Cage's most notorious piece, Martinez highlighted w/o discrimination all the comments that could be found in YouTube's comments stream that related to the video—sundry reactions that ranged from plain confusion & utter anger to faux intellection & humble illumination. Following him was Mideo Cruz, whose semi-elaborate preparation for his performance was uncharacteristic: Known for large-scale performances that are often outright critiques of consumerist society, Cruz this time quietly meditated on the disparity between what is said & what is heard. From the sidelines, he would pump air into a small balloon attached to a chair; & as the balloon enlarged, the looped video projected onto its surface was made more visible: A close-up of Cruz's mouth saying something over & over, depicting lips that moved but no sound came out. This went on for minutes till the balloon was large enough to pop; & when it did, small sheets of paper scattered from inside it, containing a short phrase in Latin w/ religious undertones. Whether what was written was what Cruz was uttering onscreen would remain unknown, possibly an allusion to what Christians would call "the mystery of the Word." After that, poets Mikael Co & Waps <span class="yshortcuts" id="lw_1233900944_6">San Diego</span> came onstage to discuss a series of procedural writing collaborations they had been religiously doing w/ a group of other writers every week. Their constant insistence that these collaborations were mere writing exercises & not actual poems, however, could be symptomatic of the mainstream writing community's unfortunate suspicion of the merits of both process-based (rather than discursive, insight-driven) & collaborative (rather than individualistic, highly idiosyncratic) poetry—a suspicion WORDS ARE THINGS had wanted to help get rid of. Closing the night was a performance of more pop songs depicting heartache by <span class="yshortcuts" id="lw_1233900944_7">Khavn dela Cruz</span> in simultaneous counterpoint w/ my lautgedicht or textsound achieved thru procedural erasures of poems by Ophelia Dimalanta, an old poet whose poetry had been typecast for decades as primarily erotic, to whom the performance was an anti-erotic tribute. Interestingly, Donna Miranda spontaneously joined the fray, sitting on a chair w/ sheets of paper, furiously jotting down the few words her ears would catch w/ clarity from dela Cruz's lyrics.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span><span style="border-bottom: medium none; background: transparent none repeat scroll 0% 0%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;" class="yshortcuts" id="lw_1233900944_8">September 10</span> saw Norberto Roldan's work occupying Green Papaya's 2nd floor while presentations were happening downstairs. Who said painting was a static enterprise? At event's beginning, people were invited to view the painting upstairs—a bleak depiction of an historic tragedy—one that would eventually be replaced by another, equally bleak, painting in serial continuity while people began to trickle out of the gallery towards the end of the night. Some people noticed the change; some didn't. But the performance's off-centeredness was highlighted by the notion that some people didn't even know there were changes—an explicit critique of the apathetic mind where landmark occurrences could be but marginal concerns, & simultaneously also an implicit critique of every artist's tragically burgeoning ego in the context of highly commercialized, catastrophic art economies: a lesson on hubris both historic & personal. Downstairs, Pocholo Goitia discussed w/ collaborator Allan Pormento an ongoing project involving depersonalizing Goitia's online networking accounts, particularly his <span style="border-bottom: 1px dashed rgb(0, 102, 204); cursor: pointer;" class="yshortcuts" id="lw_1233900944_9">Friendster</span> one, where—by slowly replacing Goitia's self w/ a balloon-headed simulation of himself—issues of virtual vulnerability were tackled as well as fleeting moments of online trust, rhizomatic constructions of identity, & alternative modes of narrative production where rather than thru prose one could engage the act of emplotment by means of the User Profile. To cap the night off, Donna Miranda performed by making use of two chairs & masking tape: the latter to set an overt distinction between audience & stage, & the former to subtly invite the audience to penetrate the boundary, to come in & sit in one of the chairs. The other chair was reserved for Miranda, who had planned on interviewing &/or getting interviewed by whoever would sit in the vacant chair, but no one eventually did—possibly a symptom of how deep the divide between audience & performer was, & always is.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span>The following week, the entire night was devoted to a large-scale performance by Costantino Zicarelli, titled "God Made Pasta So I Could Waste It." Proficient in the various ways of cooking pasta, Zicarelli's Italian father & Filipino mother made a demonstration in faux cooking-show-fashion how to prepare different sauces for the fettuccine they had brought, each giving not just useful cooking tips but as well as little anecdotes about life at home, how it was living w/ their son Costantino, etc. Once in a while, Zicarelli would intervene to ask questions that were at once irrelevant & irreverent, such as "Papa, what do you think of contemporary Philippine Art?" to w/c his father would reply by addressing the audience composed mostly of writers & artists, "He asks me the same question every night." The performance ended with the Zicarelli family distributing food they made on the spot to the people present inside the gallery—as if in a generous display of charity that both conjured & ridiculed the age-old notion of the '<span class="yshortcuts" id="lw_1233900944_10">starving artist</span>.' But there's a kind of reversal at work here, one that entailed a kind condescension where feeding <span class="yshortcuts" id="lw_1233900944_11">starving artists</span> was equated w/ wasting pasta, implying not so much that we should let artists starve but perhaps that we should let the cliché of the fauxhemian 'starving artist' die.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span style="font-size:9;"><span style=""> </span>Jeff Carnay, Camille Banzon, Tengal Drilon, Joel Toledo, & Marie La Viña punctuate the whole series of POEMS ARE THINGS on <span class="yshortcuts" id="lw_1233900944_12">September 24</span>, preceded by a performance by Donna Miranda in collaboration w/ new media artist Ria Muñoz where, utilizing Miranda's body as locus for movement, language almost literally danced w/ sound: In one continuous gesture, it was the mouth & tongue enunciating words in her reading that continued the work began by her feet. And when her mouth stopped, it was my own mouth that carried on the action w/ a reading of another transcript from STREET SMARTS, providing a new textual backdrop to Miranda & Muñoz's performance. Carnay, in another masochistic fit not unlike O'yek's weeks prior, performed the traditional punishment for children where they're made to kneel on rough rock salt while surrounding him were photocopied photographs of the person to whom the work was addressed, the blurred black-&-white face made creepier by a parody of <span class="yshortcuts" id="lw_1233900944_13">The Lord's Prayer</span> being chanted in the background. To continue the carnivalesque strain began w/ dance & ritualistic pain, Banzon followed w/ a solemn ode to a friend who had been going thru tough times, her face covered w/ a mask in an attempt to ironize the confessional quality of her writing by masking her identity. Then past Toledo & La Viña's continuation of the discussion initiated by Co & San Diego regarding collaborative, procedural poetics (still however w/ the same disclaimer that these projects were exercises rather than actual poems in themselves), the night was wrapped up by a set of instructions penned by Drilon to be carried out by myself, w/c simply involved me passing around a glass of milk after labeling the glass "<span style="border-bottom: medium none; background: transparent none repeat scroll 0% 0%; cursor: pointer; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;" class="yshortcuts" id="lw_1233900944_14">Made in China</span>"—a sly allusion to the supposed 'milk scare' that had spread around the world from China, where the fatal compound melamine was feared to had have contaminated volumes upon volumes of exported milk products.</span></p> </div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-58053451207151551132009-02-02T19:11:00.000-08:002009-02-02T19:15:37.650-08:00w.o.p FEB 4 | Mark Salvatus URBAN PLAN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SYe2uF49XoI/AAAAAAAAAbo/knUCFrPa-Sk/s1600-h/wopFEB4.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SYe2uF49XoI/AAAAAAAAAbo/knUCFrPa-Sk/s400/wopFEB4.jpeg" alt="" id="BLOGGER_PHOTO_ID_5298404389595995778" border="0" /></a><br /><span style="font-family:arial;">URBAN PLAN WEDNESDAYS OPEN PLATFORM February 4</span> <span style="font-family:arial;">When the notorious writing on the wall "<span style="font-style: italic;">No to work</span>" appeared on the streets of Paris in the 60s little did we think that in the 21st century thousands of people would loose their jobs everyday. As of yesterday close to 11,000 overseas migrant workers were laid off in Macau. Meanwhile, the Department of Labor predicts that 800,000 workers in export-oriented industries such as electronic are at risk of losing their livelihood because of the global financial crises. The easy speak of crisis versus opportunities won't be so easy to grasp. The little obscure group of situationists in France must be boisterous and laughing secretly over wine, saying 'we told you so.'</span> <span style="font-family:arial;">Obviously the only solution is to succumb and drift. To drop out of work and leisure and be drawn by the attractions of a ravaged terrain and encounters we find in the psycho-geographic subversion of crass cosmopolitanism. And because it is almost obvious that we have exhausted 'the world' it is only but logical to drop out and turn our heads away. Instead, listening to secret hum-drum of promoting sustainable communities. No this is not about buying those 'green' fabrics, environment friendly designer tote/shopping bags or even buying franchise coffee beans grown by poor farmers in Africa. This Wednesday, <span style="font-weight: bold;">Mark Salvatus</span> invites <span style="font-weight: bold;">Philippine FreeRunners</span>, <span style="font-weight: bold;">TAO-Pilipinas</span>, <span style="font-weight: bold;">Diego Maranan</span> and <span style="font-weight: bold;">YP-Design Challenge Winners</span> to present their winning designs to make the world a better place. Undeniably love will heal the world. So, come and feel the love! No, don't wait till that barbaric Valentines day, it may all be too late.</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-90422263012434627572009-01-27T21:34:00.000-08:002009-01-27T21:37:13.390-08:00Spinoffs from my residencySo my WOP residency is really beginning to spin off some great opportunities. Green Papaya, ANA: you rock.<br /><br /><a href="http://www.ayalatbi.org/KT/2009-01-Maranan.html">http://www.ayalatbi.org/KT/2009-01-Maranan.html</a><br /><br />I'm hoping these ideas also get to grassroots organizations at some point. I suddenly remember the conversation I had with Lori Almirez and perhaps collaborating with IBON Foundation.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-84721158821058790002009-01-26T18:25:00.000-08:002009-01-26T18:28:56.325-08:00w.o.p JAN 28 | Mark Salvatus URBAN PLAN + Andrea Teran MONTHLY PERIOD READINGS<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_lpS_GNrzG7E/SX5w9YzauHI/AAAAAAAAAag/IeM7r_t9BX0/s1600-h/wopJan28.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://4.bp.blogspot.com/_lpS_GNrzG7E/SX5w9YzauHI/AAAAAAAAAag/IeM7r_t9BX0/s400/wopJan28.jpeg" alt="" id="BLOGGER_PHOTO_ID_5295794411766724722" border="0" /></a><br /><span style="font-size:100%;"><span style="font-family:arial;"><br /><br /><span style="color: rgb(102, 102, 102);">Feeble attempts to conjecture cosmic collisions and astrological fluctuations should be shamelessly dismissed as purely superstitious. In no way can the backward movement of Mercury towards the sun affect interpersonal communication, business, travel and the like. Delays and introspection are of course, caused by more sinister emergent events such as a freak road accident, broken alarm clocks, crowded commuter trains, engine trouble, a new US president, police raid or even the partial eclipse of the sun. </span></span> <span style="color: rgb(102, 102, 102);font-family:arial;" >Still the only thing that can derail utopian visions of urban life can come from lack of inspiration or sleep, perhaps. So come over this Wednesday as we continue to sketch the cities we love most as <span style="font-weight: bold;">Mark Salvatus</span> invites <span style="font-weight: bold;">Kristoffer Ardeña</span>, <span style="font-weight: bold;">Jay Pacena</span>, <span style="font-weight: bold;">Mannet Villariba</span> and <span style="font-weight: bold;">Wesley Valenzuela</span> for another weekly affair. And because nothing is ever enough, <span style="font-weight: bold;">Andrea Teran</span>'s <span style="font-style: italic;">Monthly Period Readings</span> come back after a two months hiatus (thanks to that overdrawn holiday back in 2008) hosting Writers in Conversation between <span style="font-weight: bold;">Mabi David</span> and <span style="font-weight: bold;">Mark Cayanan</span>. As usual we expect you to beat that midweek hump, see you on Wednesday.</span> </span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com2tag:blogger.com,1999:blog-4020423367720509383.post-55042542941407046882009-01-20T02:08:00.000-08:002009-01-20T02:09:38.310-08:00URBAN PLAN WEDNESDAYS OPEN PLATFORM JANUARY 21, BAR OPENS 7PM<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_tXfVVQEuhko/SXWiv4m6EKI/AAAAAAAAEmM/67aHZg-Yw6U/s1600-h/download.jpeg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://1.bp.blogspot.com/_tXfVVQEuhko/SXWiv4m6EKI/AAAAAAAAEmM/67aHZg-Yw6U/s400/download.jpeg" alt="" id="BLOGGER_PHOTO_ID_5293315880577011874" border="0" /></a>URBAN PLAN<br />WEDNESDAYS OPEN PLATFORM JANUARY 21, BAR OPENS 7PM<br /><br />The reason for those jarring calls of apocalyptic renewal lies not in the obvious impossibility of tranquil afternoon strolls by the bay but in the delicate breakdown of city dwellers navigating the land-locked streets of Manila. Meanwhile, the cool pleasant breeze fails to soothe the mad morning rush. Drifting is probably not a bad idea after all. Perhaps an ultimate act manifest of the resolve to reject the all-encompassing aim towards productivity. Again, we take yet another undisclosed tour of the Metro this Wednesday as Mark Salvatus' Neo-Urban Plan brings us into the underbelly of our beloved city/ies with video screenings, stencils, skateboard deck art, and slide presentations by BCBruta (Barcelona), Vermon Yo, Okto+Ferdz and Veejay Villafranca. Come, be warm and coozy this Wednesday night at Green Papaya.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-69512342047654477082009-01-05T04:42:00.000-08:002009-01-05T06:05:52.774-08:00Looking good, emo pic and some annoying comments<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_tXfVVQEuhko/SWITVIqAN2I/AAAAAAAAEjE/oRmDbR19B1A/s1600-h/CIMG2299.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_tXfVVQEuhko/SWITVIqAN2I/AAAAAAAAEjE/oRmDbR19B1A/s320/CIMG2299.JPG" alt="" id="BLOGGER_PHOTO_ID_5287810166308222818" border="0" /></a><br />I'm really excited for the first presentation of Urban Plan on Wednesday! ;-)<br /><br />*Email and blogging brigade!- I was surprised when the Cordillera Artist e-group sent an e-invite about the Urban Plan- its cool that they are sending it to a lot of people, but when I opened the mail- waaah! my emo pic was on the banner! maybe they got it from my flickr account- well what the heck!<br /><br />thanks also to some Blogs<br /><br /><a href="http://plus63.net/main/?p=794">Plus63</a><br /><a href="http://illustrationpinoy.wordpress.com/2008/12/30/neo-urban-planner/">Illustration Pinoy</a><br /><br />*There are some good and annoying feedbacks about the Neo-Urban Call- what can you expect!<br /><br />The good ones came from the people i know, who are also in the local art circle- and they wanted to share some ideas too! like <a href="http://www.isalorenzo.com/">Isa Lorenzo</a>, <a href="http://www.geocities.com/roster15/">Don Salubayba</a>, etc... and we will be expecting their plans on the upcoming presentations...<br /><br />The annoying one was from a post on a forum/tag board message on <a href="http://pilipinastreetplan.blogspot.com/">Pilipinas Street Plan</a><br /><br /><div style="font-style: italic;" class="dtxt2">5 Jan 09, 09:04</div><a style="font-style: italic;" href="mailto:gonzalo_alonzo@yahoo.com" target="_blank"><b class="pn_std">SNORT</b></a><span style="font-style: italic;">: matanong ko lng kng ano ung silbi ng NEO-URBAN PLANNER? makka 2long ba un sa pag unlad ng ating bansa? reply nman po</span><br /><br /><a style="font-style: italic;" href="mailto:gonzalo_alonzo@yahoo.com" target="_blank"><b class="pn_std">SNORT</b></a><span style="font-style: italic;">: ang isang mali sa ginagawa ng "NEO-URBAN PLANNER ay hndi sinasabe kung ano ang solusyon sa URBAN POOR na ngyayare sa pinas.. ang ginagawa lng nila eh tumulong para mapa unlad ang bansa.. "panandalian</span><br /><br /><div style="font-style: italic;" class="dtxt2">5 Jan 09, 14:36</div><a style="font-style: italic;" href="mailto:gonzalo_alonzo@yahoo.com" target="_blank"><b class="pn_std">SNORT</b></a><span style="font-style: italic;">: kasi po na isip ko lng na kung art proj. un.. medyo hindi sha mkaka 2long sa pag unlad ng bansa</span><br /><br />I replied on his posts and invited him to present his plan...<br /><br />By the way, read this article from <a href="http://www.inquirer.net/">Inquirer.net</a><br /><br /><a href="http://www.blogger.com/MMDA%20chief%20tickled%20pink%20by%20fence%20critics"><span class="fontheadline">MMDA chief tickled pink by fence critics </span></a><br /><br />See you!<br /><br />1) Photo: Libertad LRT Station (went to AIM for a project)Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4020423367720509383.post-89349816749825122009-01-01T20:19:00.000-08:002009-01-01T20:22:27.807-08:00w.o.p JAN 7 | Mark Salvatus URBAN PLAN<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SV2WbO8bKXI/AAAAAAAAAYs/Bvwu6_Y54EE/s1600-h/WOP01-07-09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SV2WbO8bKXI/AAAAAAAAAYs/Bvwu6_Y54EE/s400/WOP01-07-09.jpg" alt="" id="BLOGGER_PHOTO_ID_5286546932214999410" border="0" /></a><br /><span style="font-size:85%;"><span style="font-size:130%;"><span style="font-family:arial;"></span> <span style="font-family:arial;">JANUARY 7, BAR OPENS 7PM</span> <span style="font-family:arial;"><br />WOP RESIDENT MARK SALVATUS WITH<br />GEM URDANETA, BUEN CALUBAYAN AND JONG PAIREZ<br /><br /></span></span> </span><div style="text-align: justify;"><span style="font-size:85%;"><span style="font-family:arial;">"Kidnap someone and make them happy." Wear your Sunday best and catch a ferry ride along Pasig River. Remember to close your eyes, lest you miss out on devilish details of history. Stroll along the least navigated paths; under the bridge; the dark, crowded, and rowdy eskinita and leave your markings. Never mind the looming disorientation, burning heat of the sun nor the sticky pungent city smells, our stories are woven in the streets. Our lives unfolding between the public and private. Should it all be too much to bear, there is nothing else left to do but throw kisses in the air. If you can't beat them don't even try.</span></span> <span style="font-size:85%;"><span style="font-family:arial;"><br /><br />How do we write the city? In varying degrees of love and hate? <span style="font-weight: bold;">Mark Salvatus</span>, WOP resident, embarks on a stroll of our beloved cities to investigate how artists, creatives, by-standers, and the public see the city in different perspectives. Taking a step further and begging committed actions. Yes, opinions will be strongly solicited. Kicking off his eight-week residency is an introduction to Neo-Urban Planner along with a presentation from <span style="font-weight: bold;">Gem Urdaneta</span>, sound installation from <span style="font-weight: bold;">Buen Calubayan</span> and <span style="font-weight: bold;">Jong Pairez</span>'s <span style="font-style: italic;">Postal Box Project</span>. The holidays are finally over, we can be normal once again! See you for the initial installment of Urban Plan.</span></span> </div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-55324532871458573912008-12-29T03:15:00.000-08:002008-12-29T04:59:40.979-08:00Neo-Urban Plan<span style="font-family:arial;">I'm really excited about my upcoming residency at Green Papaya- and here are some things that I am preparing while on a holiday break:<br /><br />1) I created a new blog for the Neo-Urban Plan</span> <a style="font-family: arial;" href="http://neourbanplanner.blogspot.com/">http://neourbanplanner.blogspot.com/</a><span style="font-family:arial;"> where all the submitted plans will be archived</span>.<br /><br /><span style="font-family:arial;">2) I already emailed Jem and <a href="http://bven.deviantart.com/">Buen Calubayan</a> for the first presentation on January 7.</span><br /><br /><span style="font-family:arial;">3) Donna and Lena suggested we invite <a href="http://fil.wikipilipinas.org/index.php?title=Paulo_G._Alcazaren">Paulo Alcazaren</a> as a reactor to the neo-urban plan presentations, got his email from <a href="http://www.philstar.com/">philstar.com</a> and hope to hear from him soon!<br /><br />4) <a href="http://quadrafonica.dsnc.art.br/">Samantha Orui</a>, an architect collaborator from Sao Paulo for the Connecting Urban Spaces project send a video message about her work for the exhibition. She showed me an object with water inside- hmmm interesting.<br /><br />Meanwhile, checkout Green Papaya on <a href="http://maps.google.com/">Google Maps </a><br />zoom! zoom! zoom! so you can locate your house too!<br /><br /><br /><iframe marginheight="0" marginwidth="0" src="http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&ll=14.644615,121.049351&spn=0.519663,1.235962&t=h&msid=103183823077750269949.00045f2e72850be7213db&output=embed&s=AARTsJpPIYnrE85vSxCax__CKAXczrt8qA" scrolling="no" width="425" frameborder="0" height="350"></iframe><br /><small><a href="http://maps.google.com/maps/ms?ie=UTF8&hl=en&msa=0&ll=14.644615,121.049351&spn=0.519663,1.235962&t=h&msid=103183823077750269949.00045f2e72850be7213db&source=embed" style="color: rgb(0, 0, 255); text-align: left;">View Larger Map</a></small><br /><br /><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-20535780785823802972008-12-28T16:55:00.000-08:002008-12-28T18:13:06.523-08:00MARK SALVATUS | Urban Plan January 7 - February 18, 2009<span style="font-style: italic;font-size:85%;" >What if you were tasked to take over MMDA and make a new urban plan? What would you do? What would you change? Be creative! It can be simple to grand/utopian plan...serious to fun-unrealisitic one...grab your camera, roam the city and see what you can do....</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_lpS_GNrzG7E/SVgw96OMVEI/AAAAAAAAAYc/Vgv1-U9TDgQ/s1600-h/neourban.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 294px; height: 400px;" src="http://2.bp.blogspot.com/_lpS_GNrzG7E/SVgw96OMVEI/AAAAAAAAAYc/Vgv1-U9TDgQ/s400/neourban.jpg" alt="" id="BLOGGER_PHOTO_ID_5285028002878215234" border="0" /></a><br /><span style="font-size:85%;"><span style="font-family:arial;"><span style="font-weight: bold;">Urbanization</span><br /></span></span><br /><span style="font-size:85%;"><span style="font-family:arial;">In a 1975 survey, one out of three people all over the world live in urban areas, with most of the 1.5 billion "urbanites" living in districts with less than a million residents. (Many of these urban dwellers, in fact, live in communities with a population of less than 5,000). Over the years, the urban residency has swelled significantly that half of the world's population is living in cities. Parallel to this growth in urban population (and the continuous rise of smaller cities) is the emergence of "mega-cities" – urban areas of no less than 10 million people.<br /><br />Between 1975 and 2005, the number of mega-cities has grwon from a meager three (two of which were in industrialised, first-world countries) to a record-breaking 20 (with 15 of them belonging to developing nations).<br /><span style="font-size:78%;">SOURCE: United Nations Population Division, World Urbanization Prospects: The 2005 Revision (2006).<span style="font-size:85%;"><br /><br /><span style="font-weight: bold;font-size:85%;" >Layers</span></span><span style="font-size:85%;"><br /><br /></span><span style="font-size:85%;">In East Asia alone, more than 2 million people have moved into urban areas. The rapid exodus to these specific areas indicates more opportunities in wealth and a chance for a better future for some. In the Philippines, where the Metero Manila region is the official hub of economy, education and contemporary culture, more and more people from the rural areas are moving into the city to try their luck. Away from home, these people would often bring their customs and traditions with them as they settle in the metro; thus making their rural culture an integral part of the urban setting.<br /><br />There are layers upopn layes of old and new structures; chaos on the streets; graffiti, political and apolitical alike; street vendors; MMDA gigantic billboards; and an overwhelming influence of Western cosmopolitanism–malls in every district, pocket shanties, layers of sound –among others. And in the last 3 decades, Metro Manila has become problematic region in terms of urban planning, drainage systems, pollution, over-population–problems that affect the city dwellers negatively.<br /></span></span></span></span><div style="text-align: left;" class="post-body entry-content"><span style=";font-family:arial;font-size:85%;" ><br /><span style="font-size:85%;"><span style="font-weight: bold;">Urbanist</span><br /><br />Having lived in Manila for more than a decade, the projects I propose for W.O.P revolve around urbanism and urban culture, how artists, creatives and populace see their city in varying perspectives. I will be doing personal and collaborative works that will be presented as exhibitions, screening, talks, etc.<br /><br />What is our role in changing the city?<br />We shall make a new urban plan for our city. We are the neo-urban planners</span><br /><br /><br /><span style="font-size:100%;">PROJECTS: THE CITY AS OUR CREATIVE JUICE</span><br /><br /><span style="font-weight: bold; font-style: italic;">Neo-Urban Planner</span><br /><br />This will be an online project. I shall create a multiply or blogger account wherein I will ask people living in the city (Manila, Cebu, Davao, etc) to take a photo of certain area that they want to 'improve.' They will become urban planners. Creativity in all forms, ways that are intrinsic and integral to the daily life of the city, is encouraged. Just put yourselves in the shoes of the current MMDA chairman. <span style="font-size:100%;">Be creative and innovative. No pink please<span style="font-size:85%;">.... <span style="font-size:85%;">The projects will be presented every Wednesday. The person who submitted a plan will be invited to present and discuss what he thinks should be improved. The collected photos and proposals form the people who participated on the online call will be used for a future exhibit or publication.<br /><br />email your proposals and plans to: </span><span style="font-size:85%;"><span style="font-size:100%;">markrams@yahoo.com</span> with the subject "Neo Urban Plan"</span><br /></span></span></span><span style="font-size:85%;"><span style="font-family:arial;"></span></span><br /><div class="post-body entry-content"><span style="font-size:85%;"><span style="font-size:100%;"><span style="font-weight: bold;"></span></span></span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:usefelayout/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Batang; panose-1:2 3 6 0 0 1 1 1 1 1; mso-font-alt:바탕; mso-font-charset:129; mso-generic-font-family:auto; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 151388160 16 0 524288 0;} @font-face {font-family:"\@Batang"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:129; mso-generic-font-family:auto; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 151388160 16 0 524288 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:Batang;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1027"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--> <div class="post-body entry-content"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:usefelayout/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Batang; panose-1:2 3 6 0 0 1 1 1 1 1; mso-font-alt:바탕; mso-font-charset:129; mso-generic-font-family:auto; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 151388160 16 0 524288 0;} @font-face {font-family:"\@Batang"; panose-1:0 0 0 0 0 0 0 0 0 0; mso-font-charset:129; mso-generic-font-family:auto; mso-font-format:other; mso-font-pitch:fixed; mso-font-signature:1 151388160 16 0 524288 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:Batang;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} </style> <![endif]--><span style="font-size:85%;"></span></div><span style="font-size:85%;"><b style=""><i style=""><span style="font-family:Arial;">Street Art Locator</span></i></b><span style="font-family:Arial;"><br /><br />I will make a map of street art in Metro Manila (by using printed maps or Google maps). This will seve as a guide to "streetsy" tours in the Metro. This will also be presented during the weekly WOP presentation.<br /><br /><span style="font-weight: bold; font-style: italic;">Connecting Urban Spaces</span><br /><br />The project Connecting Urban Spaces was first exhibied in Brazil in 2007 as an online art production. This project culminated in a collaborative show between artists from different cities in different countries.<br /><br />The artists created a "virtual office" where they investigated, discussed and developed multimedia artworks about cityscapes and urban environments to produce a physical show. IN wline with the idea to connect and research these urban spaces in the nomadic perspective that the artists are working with, they documented their environments using digital technology such as photography, video, and sound for four months.<br /><br />In 2009, the project will be a collaborative effort among artist-run organizations: web-based group Wooloo.org from Germany, Emma THomas Gallery from Brazil and Green Papaya Art Projects in the Philippines.<br /><br />Participating artists are: Adriano Casanova (Brazil/UK), Rafael Surani (Brazil/France), Nick Buer (UK), Aline Vond der Assen (Germany), Constant Dullart (Holand), Raquel Kogan (Brazil), Mark Salvatus (Philippines), Samantha Orui (Brazil), Marcus Bastos (Brazil), Klega (Holland)<br /><br />____________________________________________________________________________________________<br /><br /><span style="font-weight: bold;">Mark Salvatus</span> is a cross-disciplinary artist based in Manila and Lucban, Philippines. He graduated cum laude at UST College of Fine Arts & Design in 2003 and currently taking up MFA at the same university. In 2007 he was granted a scholarship by the Spanish Program for Cultural Cooperation by the Ministry of Spain in Barcelona. His works have been presented in different galleries, museums and festival in the Philippines and abroad including the CCP, Ateneo Art Gallery, Domestico '08, Madrid; Urban Jealousie-Roaming Biennal of Tehran, Can Serrrat Centro de Actividades Artisticas, Barcelona; Goyang Art Studio Gallery in Seoul; LaVitrine Gallery in Maribor, Slovenia; (ATVP) Contemporary Art in Sydney, STISI in Bandung, Indonesia; No Space and Wunderspaze in Thailand and at the National Contemporary Center of Contemporary Art in Moscow.<br /><br />He is currently teaching at the Kalayaan College of Humanities and Communications in Marikina, Philippines.<br /></span></span></div><br /></div>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-90200717415038410392008-12-27T20:51:00.000-08:002009-02-05T22:22:41.047-08:00WEDNESDAYS OPEN PLATFORM RESIDENCY Progress Report<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_lpS_GNrzG7E/SVcK46YabYI/AAAAAAAAAX8/btL3uqlMwFE/s1600-h/IMG_8019.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="http://3.bp.blogspot.com/_lpS_GNrzG7E/SVcK46YabYI/AAAAAAAAAX8/btL3uqlMwFE/s400/IMG_8019.JPG" alt="" id="BLOGGER_PHOTO_ID_5284704660603170178" border="0" /></a><br /><div style="text-align: justify;"><span style=";font-family:arial;font-size:85%;" ><span style="font-style: italic;">Artists/managers of independent art spaces generally don’t receive formal arts management training though they are often leading cultural organisations that employ many people and exercise great influence and creative force in the local context . </span>(Managing Cultural Centers, ASEF 2008)</span><br /><br /><br /><span style=";font-family:arial;font-size:85%;" >Conceived as informal, loose, anarchic and spontaneous weekly gathering, the Wednesday Open Platform Residency (WOP) arose from the urgent need for a structured sustainable artistic program especially borne of the fragile and uncertain future that constantly face independent creative spaces like Green Papaya Art Projects. The rationale of the WOP is to develop creative strategies that address the common challenge of sustaining an artistic platform whilst effectively managing the limited resources available to us. At the same time, it aims to recognize the changing face of young-emerging Filipino art practitioners and scholars whose practice transgress the once easy category of artist and curator. The platform envisions a meeting ground where the selected artists/researchers negotiate the exigencies of artistic production, curatorial intervention and cultural management, through a creative residency that also supports their own personal artistic motivations and growth.</span><br /><br /><span style=";font-family:arial;font-size:85%;" ><span style="font-weight: bold;">Background</span></span><br /><br /><span style=";font-family:arial;font-size:85%;" >Initiated in 2007 as one-night affair to lubricate social, critical and scholarly connections among a tight-knit community of artists living in Manila who share similar concerns and momentum as regards to contemporary art practice. It modestly started out with the usual screenings, jam sessions artist conversations among musicians, filmmakers, performing and visual artists. Then evolving into much –anticipated weekly gathering for interventionist tactics, cross-disciplinary interaction and collaborations in varying artistic stages: with script readings, improvisation jams, lecture-demonstration, live talk shows and even ping-pong nights. It has since played a central role in the cultural and artistic life of the local community. Opening up spaces to discuss and participate in strategies that bridge the gap of managing independent initiatives whilst promoting creative-artistic agendas.</span><br /><br /><span style=";font-family:arial;font-size:85%;" >In April 2008, an open call for proposals, research and artistic tendencies was disseminated to the community of artists, students, cultural workers and emerging scholars of the field. It has been received with enthusiasm, considering that WOP remains to be the only multidisciplinary residency program in Manila, a megalopolis of eleven million people. With the support of Arts Network Asia, (ANA) six young artist/researchers from the fields of visual arts, literature, video, dance and the academe were then selected; each of them given two months to work at/in/with Green Papaya. While the program seeks to support the participants’ creative production they are advised to do so within the frame of co-curating a weekly public program as well. The artists shall also assist in documenting and archiving these events, meanwhile soliciting their reflexive insights on an online blog (http://wednesdaysmnlove.blogspot.com). All the outputs of six resident artists will be presented in a book to be published after one year.</span><br /><br /><span style=";font-family:arial;font-size:85%;" ><span style="font-weight: bold;">The residencies</span></span><br /><br /><span style=";font-family:arial;font-size:85%;" >The first residency took off in August 6 with <span style="font-weight: bold;">Angelo Suarez</span>’s <span style="font-style: italic;">Street Smarts</span>. <span style="font-style: italic;">Street Smarts</span> delves into the process that entails the production of text and ‘act of writing.’ The project revolves around the production of language, its practice, deceit and performativity. During the residency, Suarez took a psychogeographic tour of the city, documenting and/or provoking a series of textual tango with taxi drivers in the metro. The work probes into the idea of multiple authorship and the politics of cultural production that between the artist (himself) and the cab drivers he met during the duration of the project. Meanwhile supporting the frame of this research <span style="font-style: italic;">Poem are things</span>, bring together local artists whose works and practice traverse the literary, performative and visual boundaries through weekly readings, performances, screenings, installations and critical play . Unwittingly mapping out existing performance practice, discourse, methodology and production of text within the local art community.</span><span style=";font-family:arial;font-size:85%;" > The residency ran from August 6 to September 24. Report of the artist <a href="http://wednesdaysmnlove.blogspot.com/2009/02/words-are-things-was-something-angelo.html">here</a>.</span><br /><br /><span style=";font-family:arial;font-size:85%;" >The second residency followed, from October 1 to November 26 with <span style="font-weight: bold;">Diego Maranan</span>’s <span style="font-style: italic;">Visible Invisible</span>, a creative research project proposing data visualization models useful for social and cultural advocacy. Maranan who is is both an artist and educator teaching at the University of the Philippines, used the residency to propose parallel working methods for social scientists, educators, cultural workers and artists working in the field of knowledge and cultural production. Central to his two-month residency were the one-on-one interactions he had with practitioners from various fields, giving technical advice and support on web design, data visualization, maximizing open-source portals and data management for advocacy. His report appears <a href="http://wednesdaysmnlove.blogspot.com/2008/12/my-report-for-ana.html">below</a></span><br /><br /><span style=";font-family:arial;font-size:85%;" ><span style="font-weight: bold;">Andrea Teran</span>’s residency <span style="font-style: italic;">Monthly Period Readings</span> slightly veers from the proposed WOP residency rhythm. Instead she runs a once-month reading program in lieu of the straight two-month weekly programming, of which shall run for one year. The Monthly Period Readings started last December 2007, held every last Wednesday of each month established as a venue for a group of writers to read their current takings. However with the support received from ANA, Teran proposed to shift the focus of the readings to feature two young writers in conversation with each other as an avenue to discuss their poetics, styles, motivations, etc. The conversations are open to a public audience who are also invited to glimpse and engage into their artistic processes. For detailed report please go to <a href="http://wednesdaysmnlove.blogspot.com/2008/12/progress-notes-monthly-period-readings.html">here.</a></span><br /><br /><span style=";font-family:arial;font-size:85%;" >During the past four months, Teran has organized conversations between Adam David and Conchita Cruz, Lawrence Ypil and Pocholo Goita, Daryll Delgado and Israfel Fagela, and Marguerite de Leon and Yol Jamenda. These reading sessions continue to be followed by regular audience composed of students, enthusiasts and practitioners of Philippine contemporary literature. As of the present, the WOP Monthly Period Readings remains as the only intense discursive platform in Manila that is open to the public. Teran proposes to publish the conversation transcripts to be included in the WOP book at the end of the project.</span><br /><br /><br /></div><span style=";font-family:arial;font-size:85%;" ><br /></span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0tag:blogger.com,1999:blog-4020423367720509383.post-49749910505793844182008-12-08T18:40:00.000-08:002008-12-08T18:44:18.290-08:00PROGRESS NOTES | Monthly Period Readings by Andrea Teran<span style="font-size:85%;"><span style="font-family:arial;"></span><span style="font-family:arial;"></span><br /><span style="font-family: arial;font-family:arial;" >Held every last Wendnesday of each month, the <span style="font-weight: bold; color: rgb(102, 102, 102);">Monthly Period Readings</span> has evolved gradually ever since it started in December 2007. Initially a venue for a group of writers to read their works, it began in March 2008 to feature one writer a month, in an interview regarding his/her works, poetics, styles, etc. Ever since July however, the format has again changed to a conversation between two writers: now both share their works with the audience, comment on the other's style, ask each other questions, and ultimately, invite their audience into their processes. This level of participation, not to mention variety has led to some very captivating conversations, lasting anywhere from 50 minutes to over two hours.</span><br /><br /><span style="font-family: arial;font-family:arial;" >This latest format has been infinitely more illuminating, if not interesting to say the least. For example, the conversations between Delgado (a fictionist) and Fagela (a songwriter) became both conversations about influences and the everyday "epiphanies" that lead to a particular song or story, and an impromptu acoustic act by Fagela. Ypil and Goitia, a poet and a fictionist, respectively, started with the necessary differences in style required by poetry and fiction, but ultimately arrived at the question of language. What was more interesting was that the direction of this particular conversation was led by questions from a rapt audience.</span><br /><br /><span style="font-family: arial;font-family:arial;" >The last conversation held November, proves to be the most fascinating so far. De Leon, a short story writer, and Jamendang, a blogger/non-fictionist, was chosen primarily the humor in their works, although both write in very different ways. For one, de Leon writes in English, and is often (mis)labeled as one who explores only upper-middle class issues, while Jamending writes in Filipino, and admittedly, caters to issues of the pop culture and the masses. However, despite these disparate topics, both employ humor with unmistakable deft to get their individual points across. Tone and diction were explored and thoroughly debated in the beginning, while the considerable uses of humor as a way of distancing, as well as a statement of rebellion/discontent capped the night to everyone's satisfaction despite the late hour.<br /><br />The following were the conversation line-up the past four months:<br /><br /></span></span><span style="font-family: arial;font-size:85%;" >August - Adam David interviewed by Conchitina Cruz<br />September - Lawrence Ypil and Pocholo Goitia<br />October - Daryll Delgado and Israfel Fagela<br />November - Marguerite de Leon and Yol Jamendang</span>what is w.o.phttp://www.blogger.com/profile/11492104471246093257noreply@blogger.com0