DEC13_SUPERDUPERFINAL

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78HingaloSonic performance, Virtual interface/space,audience participation, physical installation (of equipment)Paolo Amascual2021
PANIC BOXSOIKA VOMITERby Nomar MianoThe valuation of art is commonly couched in a historicist mold.This tendency pushes features of artistic traditions to the marginsof discourse. That is, the value of art practices is usually peggedon its contribution to the development of certain narratives. Thesenarratives help sustain notions or ideas that animate institutions—notions like the “nation,” “culture,” a global community, ethnicity,an “artworld,” etc. In effect, this tendency mutes certain aspectsin our encounter with art, aspects that are otherwise valuable andinsightful when given duly deserved attention.79The inclusion of Soika Vomiter’s work in Kalibutan is partly acorrective to reductive historicism. Whereas commentators in theWest see street art as an offshoot of institutional critique or theconceptualist and do-it-yourself self-reflexivity that emanates frompunk subculture and counter-cultural interventions in the 60s and70s, local artists do not necessarily think of such heritage as allimportant. This is not necessarily a regrettable thing. Not that localartists should not care about the heritage that shapes urban-based artpractice, which is completely understandable anyway consideringthat street art started as anti-institutional and counter-expert. Adeeper reading of Soika’s work however suggests that there is moreto street art practice (and art in general) than its “sophisticated”heritage.
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COVER
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CONTENTS68Curators Notes Eastern Vi
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Messages
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Flashbacks of VIVA ExConby Charlie
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It may not be our fondest memory bu
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DUMAGUETE (2012)Garbo sa Bisaya Awa
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VIVA ExCon 2016 Iloilo - Photo by L
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ROXAS (2018)The 2018 VIVA ExCon was
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VIVA ExCon 2020 Bacolod Launching,
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Bayanihan ExhibitionsFundraising Ev
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25
Page 27 and 28: works of art, either individually o
Page 29 and 30: We were actually quite excited abou
Page 31 and 32: V-CON1 Day 2 November 12, 2020Virtu
Page 33 and 34: V-CON1 Day 4 November 14, 2020Virtu
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Page 39 and 40: Caught by the Lockdown:Artists’ S
Page 41 and 42: Art Initiatives in Changing TimesJa
Page 43 and 44: Kalibutan Seminar Node 2:Artists Ex
Page 45 and 46: Kalibutan Seminar Node 2:Artists Ex
Page 47 and 48: Music Video Launch of Uwak47
Page 49 and 50: The Art Market Post COVID-19April 1
Page 51 and 52: Kalibutan Seminar Node 3: WorksDisc
Page 53 and 54: Lockdown ArtJune 5, 2021This webina
Page 55: Museum Management Projectionsfrom t
Page 63 and 64: body is enworlded, on the other. It
Page 65 and 66: I proposed the modalities above as
Page 67 and 68: The term kalibutan, aside from bein
Page 69 and 70: Contingent Kalibutan:Notes on Curat
Page 71 and 72: of? These are just musings and ques
Page 73 and 74: RAF+CAA’s project, which calls ou
Page 75 and 76: Regional Art Forum75
Page 80 and 81: Interative Box Installation16 x 20
Page 82 and 83: Curators Notes Central Visayas
Page 84 and 85: 84The design-driven creative scene
Page 86 and 87: Mona Alcudia’s Peacock ChairMona
Page 88 and 89: Curator’s Notesby Maria Tanaguchi
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Page 92: 10.3157° N, 123.8854° EVariable d
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Page 97 and 98: On Seeing the Kalibutanby Liby Limo
Page 99 and 100: Artists as Synthesizing Agentsin a
Page 101 and 102: Sometimes, the best step forward is
Page 103 and 104: The multiple positions she occupies
Page 105 and 106: Dinun-an Sang Aton Ginikanan (The W
Page 107: 107BahandiMultimedia DocumentaryFar
Page 110 and 111: Visayas Elsewhereby Patrick FloresT
Page 112 and 113: Lani Maestro, who is currently livi
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Page 116: Finally, Joshua Serafin, conjures a
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Page 122 and 123: it is thisNeonLani Maestro2018
Page 125: Cosmological GangbangVideo Installa
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2003-2016HP Matte Print279 inches x
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132
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Brenda FajardoSiya, Ikaw, At Ako (1
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a. b.c. d.(clockwise) a. Nang Sumil
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Nunelucio AlvaradoUntitled 45.5”
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a.b.a. Tiempo Muertos 9.5” x 67
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Leandro LocsinLeandro Locsin (1928-
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144
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Lino SeverinoUntitled 24 x 30 inche
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#667 19.5 x 14 inches watercolor on
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Essay Divider
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My VIVA ExConby Raymund L. Fernande
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VIVA ExCon Cebu, which we called
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From Bacolod to Roxas:LOOKING BACKW
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Despite differences in styles and t
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the abundance of murals that dotted
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and some intense lobbying. I warned
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Ratia Mufida (Biennale Jogja) revea
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VIVA Excon 1990 at Mambukal Resort,
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Finding Inspirationin VIVA ExConby
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Patrick FloresGuinevere DecenaLiby
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Partner Viewing Spaces172
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Major SponsorsMercedes U. Zobel174
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DEC13_SUPERDUPERFINAL

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