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trying on a metaphor

oozey mess

#extradirty
Claire Keane

@theartofmadeline
Peter Solarz
DEAR READER

Product Placement
Jules of Nature
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Love Begins

roma★
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Game of Thrones Daily
Monterey Bay Aquarium

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i don't do bad sauce passes

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@soundslikeascam
Work out Work it for a Cause
KARNABAL: A DEF. DEFYING FESTIVAL: Works Beyond Definitions
"Def.” stands for “definition”, best explaining the mix of programmed performances as transgressing norms and going beyond definitions of art and what it should be.
Karnabal aims to highlight works on the edge, in between the lines, dynamic, bold, liminal, death- and depth-defying; and to explore new modes of production and performance-making. It serves as a shared avenue for companies and solo artists to freely test new works and/or develop existing ones, as well as share and generate new audiences for the Philippine performance scene.
Karnabal is set to take flight on November 17 (Sun), 20-24 (Wed-Sun) within Intramuros. Multiple venues will be used to simultaneously house performances, and functions, indoors and outdoors, all throughout the duration of the festival. Events fall under three different types of platforms:
• The Main Performance Platform, which features the original works of invited independent companies and solo artists, programmed throughout the duration of the festival. As of now, participants include the Sipat Lawin Ensemble, Kolab Co., Transitopia – Contemporary Dance Commune, Shaharazade Theater Company, Eisa Jocson, Ea Torrado and Daniel Darwin.
• The “Tsubibo” Open Platform, which features programmed performances from individuals and companies from different fields who want to test their works. This platform is offered on the last two days of the festival, November 23 and 24.
• Gatherings involves all the festival’s community offerings – workshops, talks, forums, panel discussions, get-together functions curated by the festival team engaging artists from different media.
For more information, contact [email protected] or Mobile: 09175008753.
The only time anything ever gets funded in this country is when some foreign diplomatic institution gets to celebrate years of imperial presence in the country.
A workshop that teaches you to make experimental film or to experiment?
domestiCITY
Walk For A Better Manila by Carlos Celdran
A walking tour (a.ka. NO DMCI Petition) of Burgos through National Museum, Manila City Hall, and the Metropolitan Theater and Post Office lead and organized by Carlos Celdran. Meet up: Jose Rizal Monument 930am… FREE 9209092021 to confirm.
RINGO BUNOAN: HOW CAN I COME BACK WHEN I NEVER LEFT? 19 September- 12 October 2013
Ringo Bunoan’s solo exhibition “How can I come back when I never left?” presents philosophies of time and timelessness through installation and photography in both the Main and Upstairs galleries of Manila Contemporary. Employing strategies of silence, she creates a meditative experience through the relationships between objects and space, absence and presence, meaning and ambiguity. In the center of the Main Gallery, a reconstructed boat, whose broken parts were once used in an installation by the late Roberto Chabet, anchors the show. Lined on its walls are black and white photographs of road islands from the artist’s city of residence. In the Upstairs Gallery, on the otherhand, a floor-to-ceiling column of books is surrounded by a collection of mounted pages with the words “The End.” Purposefully avoiding the limits of explanation, whether personal or conceptual, Bunoan works with ideas that go beyond language. As such sensory experiences trigger the intellectual but ultimately aim to transcend definition or narrative. opening: THURSDAY, 19 SEPTEMBER 2013, 6.00 PM MANILA CONTEMPORARY Whitespace, 2314 Chino Roces Avenue Ext. (formerly Pasong Tamo Extension), Barangay Magallanes, Makati City cocktails will be served RSVP: Iris +02 576 50 24 / [email protected] EXHIBITION DATES: 19 SEPTEMBER- 12 OCTOBER 2013 To find out more, please visit our website www.manilacontemporary.com
AbSINthe and La fée verte @ SECRET FRESH GALLERY
BS1 TALKS: The artist as curator, the curator as artist @Kanto Artist-Run Space
What do artist-curators bring to the table? In an artworld, where contending interests interminably play out, how might the artist who curates weigh in on issues of: agency, public engagement, negotiations of space, dispersed capacities to validate and the ability to influence the parameters of art encounters? Also intended to provide a modest survey across three generations, these are some of the questions which would be raised in a panel discussion with Imelda Cajipe-Endaya (speaking on Who Owns Women's Bodies/Kasibulan), Claro Ramirez Jr. (speaking on Fotobaryo at Blankspace/BS1), and Tengal Drilon (speaking on Fete dela Wsk/SABAW). Kanto and Back to Square Juan/One invite you to be part of this on September 13, 2013, 2 pm at Kanto (The Collective, Malugay St., Makati). The invited artist-curators have been asked to keep their presentations project-specific to allow the discussion to become more focused on concrete and hands-on matters but it is also hoped this will occasion the exploring of questions that have to do with critical theory, aesthetics, and public art education. Kanto at The Collective, 7274 Malugay Street, Makati City To get there by car: From Buendia, turn right at Chino Roces, then left at Yakal Street and turn left at Mayapis (parallel to the railroad tracks) then left again into Malugay Street. The Collective is on the left. To get there by commuting from QC: Take Ayala-Buendia bound bus and get off at Mayapis St., turn right to Malugay St.( this is the first street parallel to Buendia). The Collective is on the left side, next building from the corner. Alternately, take the MRT and get off at Buendia Station, then ride the jeep bound for Buendia-Taft. Get off at Mayapis then do the same as above to get from Mayapis to Malugay.
Opens on September 11, 2013 Wednesday at 6PM Let’s say an artist, knowing that a painting cannot be non-abstract, sticks to the reference to reality, that is, to the painting as an analogue (for something that surpasses or suffuses it). By so doing, he paints in a twilight zone, the abode of the demonic, where,according to Klossowski, the painter tries to imitate “the demonic analogue of his own emotions” like an invisible model.1 This implies that a demonic power is his accomplice, intervening at the sore point of painting, where subjectivity is blatantly unable to “create a soul” that could animate the picture. Of course, in order to give the painting a soul, the painter has to deploy the demonic as a strategy, allowing something that happens to him to happen to him. Thus, the demonic becomes fruitful only to the extent that the painter reproduces it, i.e., exorcises the obsessions that it involves. The painting as the result of this calculatedly schizoid activity, that which used to be known as “reference to reality” or “resemblance” could come back through the demonic as the “reality-weight form”. Today, of course, we are at a different point of perception. Our perception is structured by simulacra of simulacra, imitations of imitations of stereotypes surviving in sensation, and other real unrealities of the imagination. When we open our eyes in the morning, we already find ourselves in a museum of senile modes of observing, in which typologies of understanding have replaced seeing. Thus, anyone who wishes to create a soul today must begin by grappling with the soul of soul-lessness, exposing himself to the risks of deterritorializing the process of thinking and seeing before him, following the demon of the fatally ingested revolt of deviation. In this series of works I am catching up with modernism’s wrong tracks, which as we know, abruptly perished in tracklessness - in the post-nondeconstructive. I have thus tried to create an existential ornamentality that drifts into harmonious disharmonies of the reality-weight in form; and, paradoxical as it may sound: because this existential ornamentality is pregnant with abstract figurations of possible paintings, it once again makes reality possible in paintings. And one of existential ornamentality’s preconditions is to be found in the demonic complicity that the painter must tap within himself if he wishes to “create a soul,” knowing that it is a soul only if it contains the knowledge of soul-lessness. Finale Art Gallery Warehouse 17, La Fuerza Compound,2241 Pasong Tamo, Makati City