In/Separable, a photography group show that will showcase works that center the theme "Separation | Togetherness. This manner of definition is experienced and seen by all of us on a regular basis whether we notice it or not. And through this exhibit—a collection that ventures into various genres of photography—we aim to showcase it. Opposites do not just attract here; they define each other.
It's apparent. The world is everyday nearing its end. We should admit we don't actually know much better. Nature is retaliating, recalibrating her balance. This is nothing new.
The impression the term 'apocalypse' inspires is perhaps one of the most staggering images we are freest to brood about. In this age we have an overabundance of revelations and reports all infinitely vigorous to direct our musings to our hurrying demise. And still, it remains a wonder how unworried we all carry on. Hollow Rescue illustrates a wanton Dionysian fate underlining humanity's culpable role in precipitating the madness and tragedy, not one blameless nor oblivious in anticipation.
The exhibition was organized with a clear cause and effect linearity: the causes manifest in portrayals of our shared present: our everyday actions and comforts, and the effect as the fruit of our morbid, collective indifference: a future devoid of sustainability. From the honey we can still afford to enjoy, our reasonably upholding health, to our very moral liberty; it is distinct what exactly we put at risk as we continue to influence the increasing rate of intercontinental upset. The tableau of problematic outcomes has here been almost downplayed—beautified—patronizing still our need to be reminded kindly, our disappointing composure unfazed. They mirror precisely the majority of humankind's childish apathy.
Our dissolute nature resting easy in the face of the alarming global deterioration has recurred often enough, tenaciously warning us of our grave and faulty stewardship over ourselves, our consumerism, the absurd development of technology, and our aging commune; the frequency of these reminders irritating only because of our decisive callousness. Hollow Rescue joins the reproach in coercing urgency from all, for everyone to rouse from languor and the cruel convenience of modern living. This is nothing new.
“Ang tatay ang haligi ng tahanan habang ang nanay naman ang ilaw ng tahanan”.
This cliché provides a stark contrast between what society expects from a father and a mother, from a man and a woman. The male holds the family together by being the strong one and the main provider, and the female as the nurturing one who provides warmth and guidance to the family. A reflection of the long-standing patriarchal status of Philippine society. But the Philippines has not always been patriarchal. During the pre-colonial era, women used to take on more important roles not just in the household but in society. There were a great number of women who became queens, healers, counselors, mediators, priestesses, and Babaylans. Even Philippine mythology is filled with strong goddesses such as Lakapati, the Tagalog goddess of fertility, and Maguayan, the Visayan goddess of the sea and death. It was only during the time of the Spanish Colonization when their status was degraded, reducing them to live their lives meekly and submissively. A great disparity now exists. Women during pre-colonial era were treated and depicted differently from women in present-day society.
Today, women are reclaiming their place, striving to be treated as a co-equal, not just a complement or subservient to the opposite gender. However, even though more of them are now the main providers in the family, there is still a stigma when they deviate from their stereotypical role as the nurturer. Despite their success across many endeavors, society continues to expect women to provide warmth and care for the family.
The artworks featured in Ba present several glimpses on what it means to be a woman, using different media to capture her essence in today's society. With a common theme, the artists applied their own interpretation in creating their individual artworks. Participating in this exhibit are Jade Alfonso, Zeelah Aquilizan, John Paul Diciembre, Babylyn Fajilagutan, Jaymie Anne Gabriel, Bryan John Gonzales, Grasha Non, Camille Quintos, Maia San Diego, Oddin Sena, Maricar Tolentino, Pau Villanueva, Aileen Viñas and Eunice Vergara.
- Zyra Aquilizan
The Bootleg Project explores the culture of counterfeiting across various industries in the Philippines. Featuring interdisciplinary forms of media and interactive art, the show presents critical works that highlight and blur the rules governing appropriation in art and design, ownership and responsibility in digital piracy, as well as pieces that probe into how capitalism and the country’s history of colonization have shaped and influenced the practice of commodification in the creative community—turning social and cultural objects into economic products for mass consumption.