OCT 23 - NOV 4
De La Salle-College of Saint Benilde, School of Design and Arts
INTERSTICES: Manifolds of the In-Between
Artists from Japan and the Philippines will come together to showcase critical perspectives on how emerging artforms and innovative applications of new technologies can respond to the cutting edge of cultural and social thought. The exhibition INTERSTICES: Manifolds of the In-between, explores the cracks and crevices of art whose nature falls between, rather than within the familiar boundaries of accepted genres or media, and both the literal and figurative gaps of the Philippine art scene/market. The exhibition, features interdisciplinary forms of media and art such as video, sound, sculpture, painting, computer-generated graphics, and performance. A variety of media that emphasizes various cultural and social issues -- (from animist meditations of electricity to performing internet selfies and memes on the street, to fusing traditional art medium, painting with technology by literally using LED monitors as canvases etc.) -- framed within the embracing concept of interstices, namely the spaces between disciplines, practices, and cultural phenomena; the fluid gaps where these intervene in each other and pause only to dynamically interact once more.
The works range from Ryoichi Kurokawa’s vision of a molecular cloud data gathered by astrophysicists at the Research Institute in the Fundamental Laws of the Universe (CEA, France) as close as possible to the scientific truth using striking 3D representations of space - data which may hold the secrets behind the birth of stars. Tad Ermitano’s vibrating cylinder of metal is a speaker the size of a small room that vibrates with the sound of the electricity coursing in the world is an animist meditation on electricity. Hisakado's installation, a collage of hundreds of small, circular mirrors shatter reflections of the gallery interior, offers odd structural soundscapes based on a grammar of the familiar (footsteps, the sound of washing dishes, stammerings of static), to name a few. The exhibition spread all over the hallways, foyers, and classrooms all over CSB-SDA - these 'interspaces', act as a sort of 'pop-up gallery where the traditional methods of exhibiting in galleries and museums are suspended.' The choice of exhibiting within the crevices of a university building that has a university gallery and a museum are deliberate.
5th Floor, Foyer Gallery
Derek Tumala (PH)
Derek Tumala deviates his art practice by creating works that transcends the intangible. Taking cues from futurism, science and technology, his visual approaches and conceptual derivatives convey an account of exploration, a tangible experience, a sensory reflection. He treats video as a form of light in which it transfigures an object’s state or form, fluidly altering it’s spatial nature. Light as an elusive medium challenges him to explore it’s possibilities, function and form as he negotiates tangibility.
Cartography of Violence (2017)
6th Floor, Hallway
Tad Ermitaño (PH)
Tad Ermitaño (Philippines) studied Zoology at the University of Hiroshima, and finished a Bachelor’s Degree in Philosophy from the University of the Philippines. He trained in film and video at the Mowelfund Institute and co-founded the pioneering experimental sound/media collective The Children of Cathode Ray. He is considered a leading figure in Philippine media art, His films and media installations have been exhibited various venues and festivals. Among these include the Yamagata International Documentary Film Festival, The Singapore International Film Festival, ISEA 2008, The Singapore Art Museum, the National Museum of Singapore, the Galeri Nasional in Indonesia, the National Visual Arts Gallery of Malaysia, and the 2016 Venice Biennale of Architecture.
A suspended cylinder of metal is vibrated by an electromagnet energized by household current. Depending on where in the world it is installed, this means that it is vibrated at 60Hz or 50Hz. Because the sheet is an imperfect object, many other frequencies arise in it, causing it to emit a complex hum. Touching or shaking the sheet adds wobbling and shimmering to the sound. It is essentially a speaker the size of a small room that vibrates with the sound of the electricity coursing in the country. A meditation on electricity. As this same electricity courses through our bodies, Bell is something like an industrial and immersive prayer-wheel, alluding to animist notions about electricity.
The title is a play on James Hargreave's "Spinning Jenny," an iconic invention in the history of automation. The work is a kind of ontological pun, in which beings of questionable reality struggle to execute a physical task in the real world. The paradoxical and Sisyphean image attracts and alludes to notions and emotions centering perhaps on labor, confinement, hope, futility and escape.
Katsuki Nogami (JP)
Katsuki Nogami is a Japanese contemporary Media Artist who born in 1992. He was a participant at Olafur Eliassons’s Institut für Raumexperimente in Berlin art university and graduated at Musashino art university. He was awarded Rookie of the year at the Japan Media Arts Festival, Asia Digital Art Award, and a silver awardee of 21st ifva Festival.
"YAMADA TARO" project
This is a work of performance and installation art that covers themes of identity on the internet and the complex status of the public and the private. Mannequins with LCD monitors as faces reproduce the faces of passersby, morphing into an avatar that changes personalities from moment to moment. These mannequins, ordinarily placed in public locations such as shop windows, have a variety of faces and expressions, suggesting the unique quality of SNS to combine the public and private. Performers also appear for performances while the work is on display, and these performers also have LCD monitors as faces. The monitors reproduce the faces of people in the area, incorporating a large number of different personalities, and as a result the performers achieve a somehow comical effect while seeming accessible and familiar. Yet they are also an anonymous, unidentifiable presence. The creators of this work have called it a “communication project,” and in this way it expresses the fluctuations of identity on the internet as well as being an attempt to implement into the real world the anonymous communication of the internet.
Ian Carlo Jaucian (PH)
Ian Jaucian draws much of his inspiration from science, exploring its relationship with visual art through various media, which through the years have included paintings, sculptures, kinetic, and interactive installations. He graduated from the University of the Philippines Diliman College of Fine Arts cum laude with a Bachelor's Degree in Painting in 2008. Jaucian has received critical recognition in the Philippines in the form of being shortlisted in the annual Ateneo Art Awards in 2015 and 2016.
Drawing Space with Time (2015)
Information has an aesthetic independent of what represents or articulates it. It can be understood and deduced objectively, but has a complexity that cannot be conveyed by Science alone. My projects are a collection of narratives –ranging from science fiction, fantasy, speculative fact, to logical deductions – that represent different modes in which this aesthetic can be communicated as an art form. These narratives are comprised of imagery, objects, installations, and mechanical inventions that convey information. Time is a central theme in my artistic research, for even when it is not discussed explicitly, what still remains is the logic of causality, a primary ingredient of any narrative.
6th Floor, Black Box
Tsuyoshi Hisakado (JP)
Hisakado Tsuyoshi was born in 1981 in Kyoto, where he continues to reside. He completed his postgraduate studies at Kyoto City University of Arts in 2007. Collecting various phenomena and elements of history, he creates theatrical spaces in order to re-encounter personal memories and narratives through sound, light and sculpture. His recent major solo exhibitions include “MoCA Pavilion Special Project Tsuyoshi Hisakado” (Museum of Contemporary Art, Shanghai, 2016). He has worked as a sound artist for SHINCHIKA, an art group, since 2002. In 2016, he created the stage and sound design for the internationally acclaimed theatre group chelfitsch’s Time’s Journey Through a Room. He continues to work widely. His major awards include VOCA 2016, a 2016 Kyoto City Newcomer Prize, and the Nissan Art Award 2015 (finalist and audience award).
This sculpture interweaves watch faces made from mirror surfaces with infinite fragments of light that envelop the viewer. As the sculpture rotates, the moving watches reflect the light, filling the space with mystical flashes and the faint ticking sound of time. This installation, created by an artist whose work has centered on the two elements of sound and sculpture, expresses an infinite time axis through the reflection, repetition, and reverberation of light and sound. The watches illuminating the space and their sounds evoke the “time” that each of us possesses as well as the world that is the multi-tiered and layered accumulation of individuals’ time. The reflections of the occasional flickers of light are the coruscating moments of individual stories, which build up and overlap. In this way, the work forms a single world where many different stories, including other people’s “time” or the “time” that could have conceivably existed, influence and relate to each other. The viewers taking in the space also have their own stories. As they consider their respective ordinary lives while facing the exhibit, the viewers also perhaps exist as individual glints comprising the world that the artwork encompasses.
Houxo Que (JP)
Houxo Que was born in 1984. Starting as a graffiti writer in his teens, his work has a focus on street art and murals. He later began to employ light emitted from monitors, displays, and other digital devices, using it like a canvas to create installations utilizing black light or paintings with fluorescent paints. He has since expanded the scope of his activities to encompass live painting and contemporary art. He has created murals for such brands as Topshop (UK), Nike Idea Lab (USA), and Lane Crawford (Hong Kong, Beijing), and has participated in group exhibitions in Japan, the United States, Germany, and more. In 2017, his solo show “SHINE” was held at Art Space ARTZONE, Kyoto.
Four displays painted in fluorescent paint achieve a blinking effect that strikes a bright and brilliant impression for viewers. This is the representative work of a series of paintings produced continuously since 2012 in which the creator paints directly on liquid crystal displays (LCDs), in an experiment with painting and viewing “light”. Although we cannot see the world without light, we also cannot see light itself. Beginning with such well-known facts, the creator takes light itself as an object with a transcendental quality as they explore light as a motivation and method of expression. While this work takes light-emitting displays as its canvases, it also controls the displays themselves by achieving a blinking effect and manipulating their colors. In other words, “light” in this work is a universal condition for painting and viewing, while also being the supporting media and depiction of expression. The title refers to the number of different colors that a computer can achieve on the displays, indicating the possibilities for painting and viewing “light” as achieved by the progress of our tools, as well as the limits of technology and our perception with respect to the transcendent quality of “light”.
Pauline and Ivan Despi (PH)
Ivan Despi is an illustrator, designer & animator who, along with his wife Pauline, runs the Acid House, an artist collective involved in design & animation. He started making comic books at 10 years old. His obsession with comic books helped him fund his own prints all-throughout his student life, if not published in school papers. His maximalist drawing style and love for Filipino pop culture manifest greatly in his video works. His studio has done video & branding work for Adobe, Netflix, MTV, Bassnectar, Zee TV, BBC, Coca-Cola, McDonald's, Rappler, ABS-CBN and numerous clients both here and abroad. He has also done music videos for Up Dharma Down, Radioactive Sago Project, Queso and most recently for California-based DJ Bassnectar.
Pauline grew up in the gritty suburbs of Malabon, north of Metro Manila where she learned to embrace the noise and the textures of the environment that was both her home and playground. Her grandfather’s machine shop and the running river behind it, is both a blaring and tranquil space - two contrasting attributes that parallel evidently in the composition of her works. Pauline synthesizes percussive and industrial sound into video and animation, to create her brand of uniquely narrative fiction; and has since collaborated with fellow visual artists, musicians, dancers and sound artist in various improvised live performances, and exhibits. Her work explores the ability of a single image to communicate its bare representation through motion. She isolates the layers of the final video and scatter the elements in a space, expanding the dimension on which the image can be viewed and experienced.
Music for the Impaired
It is a site-specific video installation projected on the façade of the Ayala Museum as part of the first-ever Art Fair Philippines - Urban Art Installations in 2013. Given the limitations of using sound in video outdoors, ‘beat’ is laid in the composition and edit of the video. But in the actual installation, music is taken out. Using choreography and digital animation that is timed to 4/4 time signature, the video simulates a visual metronome in the absence of sound. The tiles on the facade were used to map out portions of the video. Every tile in the 9 x 12 space were assigned a specific cell that resembles a key in a midi-controller; evenly spaced and moving along to the 4/4 beat.
Ryoichi Kurokawa (JP)
Ryoichi Kurokawa was born in 1978, lives and works in Berlin, Germany. His works take on multiple forms such as installation works, recordings, and concert pieces. He composes the time sculpture with the field recordings and the digital generated structures, and reconstructs architecturally the audiovisual phenomenon. In recent years, his works are shown at international festivals and museums including Tate Modern (UK), Venice Biennale (Italy), Palais de Tokyo (France), Transmediale (Germany), EMPAC (USA), YCAM (Japan) and Sonar (Spain). In 2010, he was awarded the Golden Nica at Prix Ars Electronica in the Digital Musics & Sound Art category.
[ unfold.alt ] is a screening version of “unfold” which originally developed as an installation. It contains 10 phases presented in reverse chronological order of stellar formation. In the original installation, they were arranged in chronological order: Interstellar medium, Molecular cloud, Massive star impact, Filament formation, Pre-stellar core, Protostar formation, Nuclear fusion and magnetic field, Supernova, Gravitational collapse, Neutronstar. Data from simulations and observations on stellar formation were translated into audio-visual phenomena and produce varying designs in time.