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GED0106 Module 5

This document discusses Philippine installation art from 1970 to 2008 as a discourse of the Philippine postcolonial avant-garde. It defines postcolonial avant-garde as artists using Western modernist aesthetics of newness and innovation but within a postcolonial context. During the 1970s, the state sponsored cultural production to reconstruct Filipino identity after colonization. Artists exhibited works abroad as returning Filipinos. There was a split between desires to be modern/international versus finding a native identity. The document analyzes several artworks from this period and discusses how installation art extracted assumed Filipino essences to create a modern Philippine art form.

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20 views

GED0106 Module 5

This document discusses Philippine installation art from 1970 to 2008 as a discourse of the Philippine postcolonial avant-garde. It defines postcolonial avant-garde as artists using Western modernist aesthetics of newness and innovation but within a postcolonial context. During the 1970s, the state sponsored cultural production to reconstruct Filipino identity after colonization. Artists exhibited works abroad as returning Filipinos. There was a split between desires to be modern/international versus finding a native identity. The document analyzes several artworks from this period and discusses how installation art extracted assumed Filipino essences to create a modern Philippine art form.

Uploaded by

melba040510
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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PHILIPPINE INSTALLATION ART FROM 1970 TO

2008 AS THE DISCOURSE OF THE PHILIPPINE


POSTCOLONIAL AVANT-GARDE
Postcolonial avant-garde
defined as those artists whose aesthetic positions are articulated through
-aesthetic newness and
-innovation originating from Western High Modernism, but
-foregrounded within the condition of postcoloniality
New Society Project (1970’s)
-the State had intensely sponsored the cultural and artistic production of the Philippines
-the nostalgic re-construction of “Filipino identity” (through Cultural Center of the Philippines
inauguration) that came from the “cultural amnesia” (caused by centuries of colonization)
-the diaspora, foreign-based Filipino artists exhibited their works as balikbayans
Aesthetic splitting
Desire to be modern/international Search for native identity
-denying the particulars/nuances of the -trying to distinguish the Filipino-ness of this
Filipino in favor of a universalist co-equality art production from others
with Western Modern Art
Narratival deconstruction
-exhibiting in CCP is sponsored by CCP – whose art goal is to be positivistic, forward-looking,
alienated, formalistic, and universally “truthful” while existing in a topography distinctly outside
of both the West and Modernism itself
Allan Rivera’s
“Room/
Riddle”, 1975
Yolanda
Laudico’s
“Three
Works”,1975
Narratival deconstruction
-The artworks presented during their time -- the 1970’s -- were assumed to be artworks that are
always ready for adventure, surprising, controversial and artworks that were not yet validated by
the Philippine artworld.
Alice Guillermo
called this internationalist articulation of Philippine art as
“mindless copies of the latest art trends abroad no matter how out of context these maybe.”
The irony
Ironically, this aesthetic movement whose goal is to investigate and explore the “nature of art”
successfully flourished inside the institutional frame of the CCP and within the context of such
bureaucratic dysfunctionalities.
Furthermore, the state – sponsored artistic production have peripherized and “othered” the
language of social realist art production.
Junyee’s
“Wood
Things”,1981
Native – essential for identity
anchorage on indigenous materials as installation art is to extract the assumed “essences” which is
rooted to Filipino-ness and reconfigure it as a modern form of art making that sums up a kind
Philippine in Philippine modern art.
Philippine in Philippine Art
“the encouragement of original works by Filipino artists, and the development of new forms of
artistic expressions deriving primarily from indigenous traditions.”( Sta. Maria, 1998)
What now?
Installation art – murals – site-specific

If you remove the mural from the wall/location where it is painted, will it still have the same
meaning?

Finals Formative Assessment 1 – Mural Art in the City of Love, Iloilo

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