Trackback to May 29, 2008. To read about it, go to this link: http://xn3cts.com/one-sorry-horse/
One Sorry Horse, a.k.a. Balinguyngoy
Archive for the ‘Painting’ Category
Panimulang Tala Ukol sa “Eros at Agape” ni Emerson “Ogie” Salmorin
2011
10.15
10.15
Panimulang Tala Ukol sa “Eros at Agape” ni Emerson “Ogie” Salmorin
Noong una kong makilala si Ogie, nahinuha ko agad na isa itong taong ubod ng libog. “Bang-libog!” ika nga. Patunay ang malimit na temang tinatalakay ng kanyang mga akdang sining, mga hubad na katawan na kung minsan ay eksaherado pa ang maseselang bahagi. Bukod dito, giliw na giliw ako sa kanyang likhang awit na pinamagatang “Ang Aking Ting-a-ling.” Muli, indikasyon ng isang taong “bang-libog.”
Ngunit huwag sanang masamain ang aking pagturan at pagtingin kay Ogie bilang isang taong “malibog.” Sa katunayan, may kanta dati si DJ Alvaro na ang tipo raw niyang lalaki ay yung maginoo pero medyo bastos. Hindi ako gaanong sang-ayon sa kabalintunaang ipinahahayag dito. Higit na katanggap-tanggap sa akin yung “maginoo at ubod ng libog.” Ang kabastusan kasi ay nagpapahiwatig ng kawalan o kakulangan ng paggalang. Sa kabilang banda, ang pagkakaroon ng libog (kahit pa siksik, liglig, at umaapaw) ay hindi agad-agad na maitutumbas sa kakulangan o kawalan ng respeto.
Sa eksibit na pinamagatang “Eros at Agape,” muling binabalikan ni Ogie ang mga hubad na katawan bilang paglalarawan ng iba-ibang anyo at antas ng pag-ibig at pagmamahal. Nariyan ang “Eros,” masidhing pagnanasa, pagnanais, pag-ibig, libog… Nguni’t hindi rin naman pinagwalang-bahala ang “Philia” (pagkakaibigan) at “Agape,” pagpapahalaga, pagmamahal, pagkalinga, pagkakaloob ng sarili hanggang sukdulan…
Sa pagkukuro ng mga dalubhasa sa larangan ng pag-unawa ng pag-ibig at pagmamahal, mahirap tahasang iwalay ang eros at agape sa buhay ng tao. Dahil tayo ay tao, lagi nang may kakulangan at pangangailangan hindi lamang ang ating mga katawan kundi maging ang ating pagkatao. At dahil dito, laging mababahiran ng eros. Ang eros ay hindi lang kahinaan ng tao; kaganapan niya rin ito. At kahit eros ay may eros din (masidhing pagnanasa) na igpawan ang kanyang pagiging eros lamang… upang tumulay, manganak at magbigay-buhay… sa agape.
Sa madaling salita (kahit pa may kindat at paglalaro ng dila): “Hubu!”
- Michael Ian Lomongo, Setyembre 25, 2011
Notes on a Nude Sketching
2010
09.11
09.11
Here’s a poem drawn by poet/writer Richard Gappi:
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*Talababa sa Isang Nude Sketching
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Ipinapako ako ngayon
sa krus ng aking pagkatao.
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Mantel sa pisngi ng aking pwet
at sinag-araw-alas-tres ng hapon na nakabalabal
sa hubad kong anino.
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Nagsasa-Veronica ako
sa puting tela.
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Guhit ito na pinihit ng totoo
kung saan naroon
ang nakasilip na puwang ng naikandado—!
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Palayain siya!
Palayain siya!
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Sa apat na sulok
inuutusan niyang lumayas
ang inaalihan
ng kampon ni Satanas!
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Lalayas ako!
Lalayas ka!
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At magkakapit-kamay
tayong magsasa-Lazarus
habang dama natin ang hapdi
ng bigat ng batong ipinukol
ng sumang-ayon sa hatol.
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Puta!
Nakikiapid!
Malibog!
Pera-pera!
Magdalena!
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Hindi Magdalena
ang isang putik
kundi nagiging
eskultura sa pilantik
ng canvas
ng
isang
artist.
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- Richard Gappi, Oct. 1, 2005
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My English translation:
Notes on a Nude Sketching
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To the cross of my humanity
I am being nailed.
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Mantle on the cheek of my butt
and the rays of the sun at three in the afternoon
cloaking my naked shadow.
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I become Veronica
in the white cloth.
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This is drawn
by the truth
where the imprisoned space
that peeps lies—!
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Liberate her!
Liberate him!
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In the four corners of the world
he commands the ones possessed
by the minions of Satan
to leave!
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I shall leave!
You shall leave!
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And holding hands
we shall become Lazarus
Living the pain
of the crushing weight
of the stone
thrown by the ones
who consented to
the verdict–
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Fucking whore!
Adulterer!
Wanton!
Prostitute!
Magdalen!
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Magdalen is not the mud.
Sculpture in the graceful waves
of the canvas
of an artist
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She Becomes.
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- Richard Gappi (Eng. trans. Ian Lomongo, Oct. 3, 2005)
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best regards,
artes-ian, well!
One Sorry Horse
2008
05.29
05.29
One Sorry Horse, a.k.a. Balinguyngoy
Artist’s Statement for ONE SORRY HORSE
How does one incorporate the mistakes of one’s life into the very essence of who and what one is? How does one transform the accidentals of one’s life into what is essential?
I first wanted to present the idea of a holy horse, not in a satirical manner, nor through the presentation of purity (as in a white horse). Besides, the idea of a “virginal horse” seems to be a contradiction in terms. Instead, I wanted to convey the idea of a holy compassion that one gains by plodding through the dirty dust and murky waters of life. (Think of Milarepa and St. Augustine of Hippo.)
But in the process of discovering how to present this visually through the taka, I made a lot of serious mistakes. I didn’t know what to make of these accidents until I thought of making this bewilderment the very point of the exercise. The remorse I felt for not reining in my instincts was brought into the work, and deliberate “accidents” (dismembered ears and tail) were added to the accidental mistakes (splotches of paint originally intended to dirty the holy horse) to signify the loving acceptance of one’s fate.
Balinguynguy, as friends fondly call it, was born out of a mistake.
And I wouldn’t want it to be otherwise.
best regards,
ian
Neo-Angono Artists’ Statement on “Urban Wonderland: The Turo-Turo Project”
2008
02.01
02.01
We’ll be in Intramuros tomorrow to participate in the opening activities of the NCCA for the Philippine Arts Festival. Am posting our statement on the project and its Tagalog translation.
best regards,
ian
ARTISTS’ STATEMENT on
“URBAN WONDERLAND: THE TURO-TURO PROJECT”
The Neo-Angono Artists Collective presents new spheres of visual engagement through “Urban Wonderland: The Turo-Turo Project” – a site-specific zone intervention work wherein the group collaborates with the local community and residents of Intramuros. Graduating from the original concept of a “mural,” the work aims to transform several parts of the façade/structure of a chain of stores and eateries situated across the National Commission for Culture and the Arts building on Gen. Luna St. Appropriating the theme of “Public Art” as a modern allegory, the installation work reflects the geographic mosaic of location and identities. The work would touch on some episodes of Philippine history side by side with present social realities. The jarring juxtaposition of disparate elements in the work represents issues of displacement and the blurring of boundaries while hinting at questions regarding the nature of power and the use of art as a mechanism for social change.
As a descriptive reference to the “public,” the collective’s work hopes to serve as a contemporary rhetoric, integrating art into the public realm. This would be experienced on the day of production (February 1, 2008), when the group places life-sized and free-standing images of personages and characters scattered along the front parking lot of the work’s site. As a way of examining contact zones presented as dioramas of site-responsiveness, the public is invited to interact with the free-standing images by inserting their heads through some of the figures, to be photographed and integrated into the “scene” as a vital part of the project.