this piece went up yesterday on that horrid cover for March that FHM Philippines was set on putting out. which it has pulled out, announced via that official statement posted on their website. that might be a success, but seriously? why is that official statement not a public apology? it needed to be an admission of having made a mistake, full stop.
was it fun? yes. was it funny? absolutely. but also it banks on layer upon layer of intertextuality. you need to know some Shakespeare to have a sense of how absurd it is that these two actors Leo and Jack are in Amish country performing two-man-excerpts. you need to have a sense of the context that is York, as old and rich and conservative suburban community so you’d know how while Meg is a woman who knows of a bigger world,… Continue reading »
two sadnesses must be invoked: one that this talented sound | installation artist has been in a coma since the end of 2011, when he fell victim to a hit-and-run incident. the other is that this short review will not do justice to his work, soundless as this is, strange as it seemed to me to have to take videos of work that required i strum my fingers through string and touch balls. yes, it’s as fun and strange as… Continue reading »
in mid-2010, i wrote this as introductory piece for what was planned as a column on arts and culture in a publication under the editorship of exie abola. it is perfect that i remember it now in light of National Arts Month, with the National Commission on Culture and the Arts (NCCA) celebrating it via the Philippine Arts Festival 2012. that we are more than halfway through February, and we have yet to feel this celebration at all? that this… Continue reading »
It seems like an easy enough case of copyright infringement really. Filipino artist Leeroy New files a case against the producers of the movie “Enteng Ng Ina Mo” for copying his original muscle dress design and using it as the costume of its main villainess Satana. New wants to be paid P10 million pesos in damages; certainly a small amount given the P180 million plus that “Enteng” earned in its eight days of screening.
In a land where a president takes pride in conditional cash transfers and poverty alleviation disbursements, it is not surprising that there is no real long- term solution to solve poverty. Worse, poverty is seen only as by-product of corruption: such was Benigno Aquino III’s campaign slogan, such is the continued tagline for what it is that ails the nation. It is corruption not poverty, it is corruption not human rights, it is corruption not a systemic dysfunction that keeps… Continue reading »
it was the start of the year and after this boycott of Manila Contemporary i welcomed the chance to go back. but of course i did just in time for another non-exhibit, i.e., it’s that time of year when the works from the stockroom / backroom, the ones waiting to be sold, are hung on gallery walls. at least this time it was clear. and this time there were works worth talking about. well one work that i can’t pass up.
in conversations with my Pinay friend Sunshine who left for the US five years ago, and who came to visit in the middle of January, tears were necessarily in order. what was surprising was that while these would be shed in the first two hours or so for the distance we had kept and the things we had survived separately, the rest of our time together would be spent crying about nation, if not shaking our heads in dismay. by… Continue reading »
in September of last year, in a conversation about the PNoy government that was riddled with questions from a British filmmaker newly met, i found myself talking about the disappointment that is Malacanang. the palace with a three-headed communications office that takes pride in being connected to the people, and yet has proven time and again to be releasing either the wrong information, too much information, or just not speaking up when it should. that conversation led to many things, though… Continue reading »
from “on criticism” by eli guieb: Criticism shatters. It shatters the shibboleths of our silenced lives, the deep silences about the wrongs of society. To challenge those silences has often come to mean courting tragedy. Criticism challenges those silences. It breaks silence free from its silence. It proffers breakthroughs that break down debilitating silences, and, in the process, rejoices in the breakdown of unwanted silence.