Bar Sport Duemila Pdf Writer
About the Artist:Cesare A.X. Syjuco is undoubtedly the most acclaimed Filipino multi-media artist of our time, and is likewise a prizewinning painter, poet, composer and art critic of international stature. Perf de Castro is back. Yes, the former guitarist of a Rivermaya and Triaxis is back with not only a more sophisticated sound but a new instrument as well: the 10-string guitar.
Hailed as one of the best Filipino guitarists ever, he releases his latest album, Perfecto de Castro, A Journey Through Ten Strings. This compilation is the combination of Filipino classics such as “Dahil sa Isang Bulaklak” by Leopoldo Silos and “Hatinggabi” by Antonio Molina and foreign masterpieces including “Sylph Dance” by Rohan Leach, especially composed for him. Pacena II is a graduate of University of Santo Tomas and is currently enrolled at the UP Diliman College of Fine Arts taking up his masteral studies.
He is also a practicing music video director; one of his prominent works is Gloc-9 featuring Francis M's 'Lando' which features some of our country's prominent visual artists, poets, musicians and filmmakers.For details regarding the exhibit please contact J. Pacena at 09 or sognojay@yahoo.com.Or contact The Cultural Center of the Phillipines, CCP Complex, Roxas Blvd. Telephone number: 8323702. Gallery Hours: 10AM to 6PM Daily except mondays and holidays. Admission is free. Vic started his career as a professional photographer in 1979 after discovering that photography is an effective as medium as painting.
He has gone a long way from his artist /photographer days at various government offices and advertising firms to his present stature as a respected and multi-awarded photographer.Paintography is how Victor 'Vic' Sison calls as a unique art of using brushstrokes to achieve painting-like effect in his photographs. A Photographer and painter by profession and academic training, vic developed paintography as a new art form for self expression. By adding brushstrokes to his black and white photographs, vic is able to convey distinct moods in his works. Creative partners Rossano Capili and OWG Creative Centre’s EPSON ProLab proudly present the latest exhibition by celebrated photographer Raul Teehankee. The exhibition showcases Teehankee’s newest images printed using state-of-the art EPSON archival printing technology.
We can appreciate the splendor of Madame Sophia Loren and the urbane country of Switzerland through images taken by respected photographer Raul Teehankee in his exhibit Images of Switzerland and France: people, places and events. In this endeavor, Teehankee, who lived and worked in Geneva for several years, teamed-up with EPSON and OWG’s Rossano Capili as master digital fine art printmaker.Raul Teehankee’s exhibit opens on August 22, 2007, 6 p.m. On the third level of the Shangri-La Plaza Mall.
The exhibit will run until August 31. For inquiries or reservations, call Museum Foundation of the Philippines at telefax 404.2685 or mobile 0928.503.9392 and look for Elvie Magpayo or Tricia Limon or call 722-9073 and look for Flor.E-mail: office@museumfoundationph.orgWebsite: www.museumfoundation.ph.orgMembership renewals are ongoing. Current members are entitled to enter the National Museum for free upon presentation of their membership cards.For more Museum Foundation events and activities please visit their website at http://museumfoundationph.org/news. Founded in August 1928, the Camera Club of the Philippines is the oldest photographic society in Asia. It will launch its 80th year with an exhibition entitled Elements: Photoconstructed Realities.In this exhibit, the Camera Club will show visual interpretations of four major elements of nature: earth, wind, fire, and water.
Using LCD and multi-media technology and state-of-the-art printing, master photographers will showcase images that are exemplars of contemporary Philippine photography. The CCP recognizes the digital revolution that is happening in photography and this exhibit showcases the vast opportunities for art and creativity that are brought about by digital photography and imaging.Today the CCP lists over a hundred living members, more than half regularly attend the monthly club gatherings at the Hotel Intercontinental Manila, home to these meetings for more than two decades. The members—male and female, from their thirties to their eighties—come from diverse backgrounds and sectors: private corporations and government employees, executives, lawyers, engineers, architects, doctors, accountants, business persons, and professional photographers. What bonds them is their friendship that has grown out of their shared passion for photography. Many have exhibited their works in public like Jaime Zobel de Ayala, Pancho Escaler, Emil Davocol, Bien Bautista, Quincy Castillo, and many others, are well known photographers who have exhibited their work to the public here and abroad.Ayala Museum is located at the corner of Makati Avenue and De la Rosa Streets, Makati City.
It is open from Tuesday-Friday (9AM-6PM); Saturday-Sunday (10AM-7PM). Visit www.ayalamuseum.org. RULES AND REGULATIONS1. The Competition is open to all artists who are Filipino citizens, 21 years old and above.
AAP Officers are disqualified from entering the competition.2. The contest has an open theme. Only non-representational (abstract) paintings should be submitted.3. Participants may submit only one entry each. Choices for artwork size are 3' X 4', 4' X 3' OR 4' X 4' maximum, excluding frame. No irregularly-shaped paintings allowed.4. Submission Day shall be on September 1, 2007, from 10:00 am to 7:00 pm, at the Exhibition Center for Contemporary Art, Ground Floor, Chateau Verde Building, Valle Verde I Gate 2, C-5, Pasig City.5.
An entry is considered to be an artistic product of an individual. No group entries will be allowed. All artworks should be the original artistic creation of the participating artist. Non-compliance will result to disqualification or revocation of the award.6. All entries must be SIGNED, with a piece of paper attached to the back of the entry bearing necessary details such as artist's name, address, contact number/s, entry title, dimension and price.7.
Each entry should be accompanied by a 5' x 7' (5R) colored photograph of the artwork, with the same information as above written at the back of the photo.8. The artist must submit a properly accomplished Official Entry Form with a 1' x 1' ID photo and Bio Data/Curriculum Vitae.
The artist's Affidavit shall be accomplished in the submission venue. Official Entry Forms are available at the ECCA, AAP Kanlungan ng Sining and Pinoy-AAP@yahoogroups.com. Rules and entry forms may also be photocopied.9. ALL ENTRIES SHOULD HAVE PROVISION FOR HANGING. WET PAINTINGS WILL NOT BE ACCEPTED.10.
Artworks may be any pigment on ground, e.g. Oil / acrylic on canvas, watercolor on paper, tempera on board, collage, found objects, and other mixed media. Tarpaulin or digital prints are not allowed.11. Entries with incomplete requirements will not be accepted.12. Winners will be awarded as follows:First Prize P 50,000 cash prize and trophySecond Prize P 30,000 cash prize and trophyThird Prize P 20,000 cash prize and trophy7 Honorable Mention Awardees P 10,000 cash prize and AAP medal13.
Entries will be screened by a panel of judges selected by the AAP and the ECCA. All decisions of the Panel of Judges shall be final.14. The announcement of winners and Awarding Ceremony will be on September 15, 2007 at the Exhibition Center for Contemporary Art. Retrieval of artworks will be from October 15 to November 15, 2007.15. All entries will be considered in the forthcoming publication A 'Contemporary Philippine Abstracts'.
Outstanding paintings from the 2007 competition will be chosen by the judges to add to the 2006 competition finalists. All paintings included in the book will automatically become properties of ECCA.16. SUBMISSION OF ENTRIES SIGNIFIES THE ACCEPTANCE OF THE RULES AND REGULATIONS OF THE COMPETITION AND THE CONSENT OF THE ARTIST FOR HIS/HER PAINTING TO BE PUBLISHED BY MR.
MANUEL DULDULAO IN HIS FORTHCOMING BOOK. ARTISTS WILL BE GIVEN A CERTIFICATE OF INCLUSION IN CASE THEIR ARTWORKS ARE CHOSEN FOR THE PUBLICATION.17. The AAP and ECCA shall NOT be held legally liable for any damages to the artwork as a result of the competition, or the failure of the participant to follow the rules and regulations.For more information and details of the competition, please call 6377875 / 6712069 (ECCA) or 3030907 (AAP).You may also visit the ECCA, the AAP Office and Gallery in Rizal Park, Manila, and Pinoy-AAP@yahoogroups.com on the web for inquiries. WAWI NAVARROZAWINNERATENEO ART AWARDS 2007RECIPIENT2007 ATENEO ART GALLERY – ARTESAN GALLERY SINGAPORE RESIDENCY GRANTSATURNINE A COLLECTION OF PORTRAITS, CREATURES, GLASS & SHADOWshown at SILVERLENS GALLERY (Manila)January 18 - February 17, 2007.Saturnine is about the aftermath of loss, of things that went away.It speaks about temporality and the inevitable passage of time (Saturn/Chronos).And also, of the Eternal that exists all the while.THE CITATIONAnsel Adams once wrote that, “You don’t take a photograph, you make it.” Wawi Navarroza takes this to heart. Her photographs, “starts in the head.
All the tableaus / plates are already done in the head and all I have to do is to shoot.” She not merely takes photographs; she creates photographs as recreation of the images in her mind.Her interrogations into the nature and duality of light and shadows, musings on myth and mysticism, and contemplations on Conscious and Unconscious are coupled with a mature manipulation of the photographic medium. Using monochrome film to capture the images, she goes through the process of altering the negatives using chemicals, creating chaos, disintegration, control and destruction. 'So I shot those and I shot the installations and in the darkroom, started the process of laying down memories to print in a way not unlike remembering - In layers, selectively, with images that come forward and some that recede, depending on the memories and their meanings. I laid them out in my storyboard book, and made notations as to which should touch, overlap, or be far apart in the same sheet of paper. I printed according to densities, according to contrasts, and mostly, according to feel.' MOONRISE FILM FESTIVAL 2007The 3rd Annual Moonrise Filmfest features more documentaries than ever. Riveting footage of national treasure and a cause to support the environment are two reasons to come this year.CEAE in cooperation with the Independent Filmmaker's Cooperative present a varied line-up of documentaries on the country's foremost cultural, environmental and social issues.When: August 15-21Where: Robinson’s GalleriaWhen: 12:00 - 10:00 p.m.
DailyTickets are pre-sold at P100 through CEAE office. Call 7217360SCHEDULE OF FILMS 2007Wednesday, August 1512:00 - 2:00 p.m.
Moving Mountains, No More Dead Seasons2:00 - 4:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, Caubian: An Island Under Siege4:00 - 6:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of Agutayan6:00 - 8:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate8:00 - 10:00 p.m. Memories of the Sea, Colours of the Philippines, Tamaraw QuestThursday, August 1612:00 - 2:00 p.m.
Children of the Mountains, Endangered Tales2:00 - 4:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate4:00 - 6:00 p.m.
Wailing of Paradise, Paang Walang Saplot, At the Edge of Paradise6:00 - 8:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy8:00 - 10:00 p.m.
A Wonderful World, Hinga, Hingal, Hingalo, Winning the War on GarbageFriday, August 1712:00 - 2:00 p.m. Legacy: World Heritage Sites, Gods of Rice2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy4:00 - 6:00 p.m. Moving Mountains, No More Dead Seasons6:00 - 8:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege8:00 -10:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of AgutayanSaturday, August 1812:00 - 2:00 p.m.
Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy4:00 - 6:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate6:00 - 8:00 p.m. Children of the Mountains, Endangered Tales-AWARDS NIGHT -8:00 - 10:00 p.m.Sunday, August 1912:00 - 2:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate2:00 - 4:00 p.m. Moving Mountains, No More Dead Seasons4:00 - 6:00 p.m.
Bodong, Aramiden: A glimpse of the City of Pines, Shokoy6:00 - 8:00 p.m. Children of the Mountains, Moving Mountains8:00 - 10:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under SiegeMonday, August 2012:00 - 2:00 p.m. Wailing of Paradise, Paang Walang Saplot, At the Edge of Paradise2:00 - 4:00 p.m. Bodong, Aramiden: A glimpse of the City of Pines, Shokoy4:00 - 6:00 p.m. Silent Natives of Fuga, Agno, EnvironmentalArt, HiddenTreasures of Agutayan6:00 - 8:00 p.m. Sa Ngalan ng Mina, Kalimed, Our World in a Changing Climate8:00 - 10:00 p.m.
Children of the Mountains, Endangered TalesTuesday, August 2112:00 - 2:00 p.m. Memories of the Sea, Tamaraw Quest, Colours of the Philippines2:00 - 4:00 p.m. Children of the Mountains, Endangered Tales4:00 - 6:00 p.m. Lawa ng Bae, Where have all the Monkeys gone?, An Island Under Siege6:00 - 8:00 p.m. Moving Mountains, No More Dead Seasons8:00 - 10:00 p.m. Legacy: World Heritage Sites, Gods of RiceBuilding a Venue for DocumentariesIn 2005, just after making Children of the Mountains, we decided to embark on yet another pioneer project: the creation of the country´s first ever Environmental documentary filmfest.
By creating a venue, we hoped to encourage filmmakers to turn their cameras toward conservation and cultural issues.The Moonrise Film Festival was and continues to be a very important project for us. The proliferation of film and media is a quick avenue for environmental education. The first festival attracted over 16 filmmakers and four major sponsors.
Last year´s participation doubled, and this year we are glad to say that more films on critical issues are being made thanks to Moonrise.Education Solutions to the Environmental CrisisFounded in 1999, Center for Environmental Awareness and Education (CEAE) is a leader in environmental education and environmental awareness initiatives in the Philippines. CEAE offers the internationally-acclaimed Project Learning Tree (PLT) and Project Water Education for Teacher (WET) workshops, which aim to facilitate environmental learning through engaging, innovative, and interdisciplinary activities.The organization´s fundamental principle rests on the power of awareness and education as an impetus for positive change and a more environmentally-responsible generation. By working towards self-sustainability and capitalizing on our strength as an all-inclusive people organization, CEAE serves as a nerve center, directing projects involving environmental awareness and education.At CEAE, we believe that education is the starting point for change.
Those of us who work here share a strong commitment to protecting the planet. We believe in using the power of education and film to inspire solutions to the environmental crisis. The organization has spearheaded a variety of projects such as Moonrise Film Festival, the first environmental film festival in the Philippines. CEAE constantly produces and distributes new content such as the award winning documentary Children of the Mountains, Endangered Tales, and other environmental festival winners. In commemoration of the ASEAN’s 40th year anniversary, the 9th Cinemanila International Film Festival (CIFF) will be showcasing several of the region’s best films in an ASEAN Cinema Focus. The official line-up will include Thailand’s The Dorm, Alone, and Syndromes and a Century; and Malaysia’s Village People Radio Show and Love Conquers All. The Festival will screen several films of Pen-ek Ratanaruang and Garin Nugroho, including the latter’s Leaf on a Pillow, winner of the Lino Brocka Award in the first CIFF in 1999.
As part of its Competition highlights, the CIFF will give an award to the Best ASEAN Film of the year. A cash prize of PhP250,000.00 will be presented to the winner of this award. The Best ASEAN Short Film will be similarly honored; the winner will receive a prize of PhP50,000.00.
These competitions and awards are made possible by the joint efforts of the Film Development Council of the Philippines (FDCP), and Cinemanila.Seeking to promote the identity of ASEAN cinema, CIFF will also be launching the SEAWAVE project this year. Some of the most prominent filmmakers of the region will each be contributing 3- to 5-minute films revolving around the theme of “A Journey.” The project will culminate in the production of a 90-minute feature from the contributions, to be previewed during the Festival. PILIPINAS CIRCA 1907The landmark sarswela by Dr. Tiongson is revived in a new production as Tanghalang Pilipinos 21st theater season opener. PILIPINAS CIRCA 1907 will run at the CCP Tanghalang Aurelio Tolentino from August 10 to September 2, 2007.
The production, set in the period prior to the national elections in 1907, tells about political conflict and family relations getting in the way of two pairs of star-crossed lovers when America was more in the heart.Leading the remarkable cast are two of Manilas finest sopranos alternating as Leonor, Ana Feleo and Lani Mabilangan Ligot. Theaters most beloved leading men, Arnold Reyes and Miguel Castro, alternate as Leonors lover, the poet-journalist Emilio. Classical singer Nazer Salcedo and Tanghalang Pilipino Actors Company member Bong Cabrera alternately play Andres, the supervisor of the familys tobacco factory. Alternating as Pura, Andres object of affection, are Aliw Best Supporting Actress nominee, Wenah Nagales and Sugar Hiccup lead vocalist Jeanette Reyna. The bane to the star-crossed lovers is Don Pardo, played by character actor Dido dela Paz, the Federalista whos at political odds with his family.
Doa Pilar, the family matriarch, is alternately played by Mia Bolaos and Clotilde Lucero. Veteran actor Lu Veloso and comedian Garry Lim lend their comic talents as the balikbayan trumpet player Porong. Also in the cast is Andrew Cruz and Bong Embile (Juan/Pedro), Eric dela Cruz and Roeder Camaag (Robert), Jean Judith Javier (Dorothy), and the Tanghalang Pilipino Actors Company.The libretto is by Nicanor Tiongson, with music by Lutgardo Labad, Louie Pascasio, Chino Toledo, Lucien Letaba, Nicanor Abelardo, Scott Joplin and Barry Fagan. Musical direction is by Chino Toledo, with production design by Leo Abaya. Notable fashion designer, Danilo Franco, creates fabulous ternos for the production.
Bar Sport Duemila Pdf Writer Free
Legendary Dance artist Edna Vida Froilan provides the choreography while Barbie Tan Tiongco handles technical direction. At the directors helm is Dennis Marasigan. The production is his first directorial assignment with Tanghalang Pilipino after assuming the companys Artistic Director seat. He also doubles as the productions lighting designer.PILIPINAS CIRCA 1907 has all the elements that made the sarswela very popular with audiences love between gallant heroes and beautiful heroines, poignant solos and lavish choruses, comic songs and characters, period manners and domestic situations. But more than these, PILIPINAS CIRCA 1907 also has contemporary themes politics and tradition, human tragedy and conflict, and the search for realistic solutions that make a point for today while retaining the sarswelas old charms.
This production caters to all ages and persuasions, but more specifically for music theater enthusiasts and students of Philippine history, literature, political science, and humanities. And plain old romantic lovers, too. PILIPINAS CIRCA 1907Libretto by Nicanor G.TiogsonMusic by Lutgardo Labad, Louie Pascasio,Chino Toledo,et al.Directed by Dennis MarasiganPolitical conflict and family relations get in the way of two pairs of star-crossed lovers when America was more than in the heart, in a new production of the landmark sarwela set in the period prior to the natioinal elections in 1907.This production caters to all ages and persuasions, but more specifically for music theater enthuasiasts and students of Philippine history, literature, political science, and humanities. CENTER of the CENTER:A CONCERT TO SAVE CALATAGAN REEFFilm Showing and Musical PerformancesFriday 10th August 20075:00PMMag:net Katipunan335 Katipunan Avenue, Quezon City, PhilippinesPROGRAM:Features two short films, one documentary by award-winning investigative journalist Howie Severino and one narrative by Rommel Eclarinal, a Filipino filmmaker based in Austin, Texas; and a musical program featuring group and solo artists; and an educational presentation by SAMMACA representative Jessie de los Reyes. Inner voiceMagbanua’s works is all about shifting of medium from sound, digital works to performance art to abstract paintings.
He belongs to a new generation of painters whose first medium is the computer. His compositional technique is based on musical sound akin to the theory of Kandinsky on the stressed and distressed of forms, with a twist of technology. The gray space corresponds to semi- low notes while his black forms are the lowest pitch the white is the highest pitch and so on.The output of his own painting formula becomes a seduction of the image and pleasure of the visual. The means always justified by the end–product, the works border between the conventional and non-conventional; it does not attempt to decorate but it attracts and penetrate.His works is the embodiment of struggle by middle-class Filipino to step out of mediocrity, neither derivativeness of artistic statements without any umbrella of acceptance from the greater westernized art theorist nor any assumption of validation from it.“The call from the wild is somehow heard because the most powerful noise is to listen to our inner voice”.
The Return Of Neil ManaloTall, quiet and reserved, Antipolo-based artist Neil Manalo has distinguished himself in all the local major art awards, including a two-time juror’s choice finish at the prestigious Philip Morris Philippine Art Awards. In 2000, he was conferred the Thirteen Artists Award by the Cultural Center of the Philippines. After a trailblazing 10 years of a young artist’s career, Manalo took a long pause to reassess his work.“For years, I have been painting for competitions,” says Manalo.
“I realize an artist can get trapped in that habit. I started to think how I could develop works for exhibitions instead of contests.”Manalo’s award-winning works were all about ordinary people being affected by the conflict of political and societal forces.“These battles of good versus evil were influenced by the moro-moro and komedya,” explains the artist. “I wanted to show that life is like a moro-moro play where the two sides of good and evil vie for a man’s soul.
In my work, I see different forces in society that are after transforming children’s innocence.”His new paintings in the “Dumadaan” series, however, depict a different scenario. Manalo’s exhibit at Art Informal — which opens on Aug. — features the artist’s new series that shows no contestation, but a parade of characters from both camps of the komedya. The show is on view until Aug. 30.“My new paintings show that neither good nor bad people actually have center stage,” says Manalo.
“Both sets of people are just part of a grand march or pilgrimage. And as an artist, I am but an interested observer. I see how these forces, these people come and go. They are all part of a cast to a large play that is life.”The new works are done in acrylic on canvas in a horizontal format.
All of the works present Manalo’s deft handling of tone and color to accentuate dramatic lighting. The result is a series that has the power of Manalo’s earlier work, notably his TV series of the 1990s. The highlight piece of that series is a large canvas titled “Nang Muli’y Biglang Sumingit ang Tagapagparangal” (1992), now part of the Singapore Art Museum collection. Manalo recently visited the work at the Singapore Heritage Conservation Center where it currently rests after being shown in Beijing for the First Asian Art Museum Directors Forum last September 2006.
The said work is also featured on a set of buses plying routes in Singapore’s business district as part of the Museum’s campaign for bringing art to the public. Manalo’s work is the only Filipino featured in the campaign.“It is a popular work,” says Zhen Min, assistant curator for SAM. “When we get requests from our director to have it pulled out from the conservation center, the technicians would remark, ‘Oh it’s that large painting again with the angels and the TV!’ Everyone at the Center and the Museum is fond of it.”Boosted by this welcome accolade from Singapore, Manalo hopes to revisit the TV series and probably make a new set for his upcoming shows at the Lion City for the year’s end and for next year. The shows will be co-produced by Manalo’s art manager Ronnel Britania of Britania Art Projects.“It is a pity that Neil Manalo’s work is not given its due in the local art market,” says Britania on his assessment of Manalo’s work.What we have now is a more mature artist in Neil Manalo, Britania adds. “His style may have become more refined, but nonetheless his iconography is truly his. A Manalo work has the signature style recognizable among his peers.
People overlook the fact that Neil is a Salingpusa artist as was Elmer Borlongan, Mark Justiniani, Emmanuel Garibay and Ferdinand Montemayor.”.Neil Manalo’s ‘Dumadaan’ solo exhibit is organized by the Britania Art Projects (britania.artprojects@gmail.com) and will be on view Aug. 30 at Art Informal, 277 Connecticut St., Greenhills East, San Juan City. A public opening of his show will take place in Art Informal on Aug. For inquiries, call 725-8518. Low TideAugust 7 to 27, 2007In Juan Alcazaren's 'Low Tide' opening on August 7 at the Finale Art File, the artist discloses his interest on objects and creatures hidden from plain sight and yet existing independently from the commotion transpiring on the surface.
'Some of the strangest, most interesting, most disgusting, wondrous, beautiful and dangerous things reveal themselves to the atmosphere breathing world at low tide,' he says. 'This is a metaphor for my process and how I see how things can be engaging once out of their element or safety zone.'
The work 'Ladrones,' for example, is a community of screws in various sizes driven, though not totally, on a piece of metal. They betray their torques, those spirals that make screws bore effortlessly in any surface. Instead of purpose, the artist shows us the mechanism of what is generally perceived as a simple object.
Clustering and constellating, the screws create the syntax of their meaningfulness, asserting that the utilitarian could provoke, and that function does dictate the form.' NEW ARTIST SHINES IN SHOW OF SCULPTURES AND PAINTINGSHe has been an avid art collector turned-gallery owner but Seb Chua’s creative spirit and passion for art has spurred him to continue with his engagement in the art world. He has produced a body of work in both sculpture and painting media that he is unveiling in his first solo exhibit, “Fractal Vision,” at ArtAsia in the Art Walk of SM Megamall come Aug. 8.Chua had taken up sculpture some time ago to indulge in a hobby that he later discovered provided untold pleasures and endless possibilities.
A successful businessman in his own right, with extensive background in product research and design, the idea of exploring forms, both hidden and manifest, was a constant source of stimulus. A Xavier school alumnus who pursued studies at the University of Sto. Tomas and Columbia College in Vancouver, Canada, he was attracted to the modern, abstract style with its emphasis on form and negative space.In the beginning, Chua was doing art intermittently, only when the occasion and the group presented themselves. Little did he know that his casual interest and momentary fascination would soon turn into a passion, more so when he realized that there is a dearth of professional sculptors in the art scene and space for them was rather lacking and insufficient. Thus, he and his partner decided to open ArtAsia when its space at SM Megamall became available just a couple of years back.Likewise, the budding sculptor had set his mind on experimenting with bronze, marble and brass as mediums, and later casting his figures. Lured by friends to join the Annual Competition of the Art Association of the Philippines, he submitted a piece of sculpture, “Solitude,” which won the judges’ nod for honorable mention. It was the best compliment a neophyte like him could possibly earn.For his first solo show, Chua has lined up a total of 18 medium-sized sculptures, majority of which explore the human figure, in his signature synthesized bronze medium and marble casting.
The wide variety of colors - pristine white, green, and polished brass plates - shows Chua’s endless exploration of medium. The imagery yields a wealth of the artist’s multi-faceted examination into the internal states of the human condition.Using a professedly modernist angle, particularly cubist in influence, and geometric in rendering, the artist shows his partiality to the angular form, emphasizing the inner strength of the figure while at the same time showing suppleness and grace in the posture delineated. While highlighting the quiet and restrained states of repose, as in “Soulmates” and “Contemplation,” he eschews the trite and trivial theatrics and instead opens up a multiplicity of meanings and the wealth of perspectives that can be deduced in these figures.The size of Chua’s sculptures radiates a feeling of intimacy between viewer and object, as these works are meant for closer scrutiny, a private conversation by a coffeetable, a commode, or a shelf of personal mementos. The distinctive casting applied by the artist in retaining the grainy textures of his work speaks highly of his lofty sense of artistry and his emphasis on exploring all possibilities with his mediums.Equally daring in showing his recent work in the painting medium, Chua has another body of work in oil on canvas, all rendered in the style of abstract expressionism.
These paintings are stunning in their application of color and palette, revealing the untamed, if unpredictable, side of the artist whose journey won’t be complete without taking personal risks with his choice of concept and imagery. Using colors that can indeed be chaotic - reds, greens and yellows - and brushwork that is brisk, bold and brazen in application, Chua is proving to all and sundry that he is himself a work in progress. For giving us a new lease on art, exploring the medium and pushing it beyond its limits, an exciting new artist has arrived.We can’t help, as we wish him well, but also watch this promising artist closely. Tondo boys win big at the CinemalayaBy Jose Angelo D. Cantera, THE MANILA TIMESSpecial to the TimesNON-ACTORS from Tondo made the biggest splash at the Cinemalaya Independent Film Festival awards night last weekend by winning the award for best actor.
Haw-ang (English title: Before Harvest) tells the plight of Sister Adel, a nun who goes on a mission to a tribal town in the mountains. There she teaches Christianity along with counting, reading and writing, builds a schoolhouse and a home, and ultimately, she forges a friendship with the villagers that prove to last beyond her lifetime.
This is told through the eyes of Dacmay who returns to her hometown after more than a decade of weaving a good future which Sister Adel has wished for her and the other children of their village. Dacmay looks back to when she was seven years old, to that season of “Haw-ang”.the local term for the period of preparing the terraced fields for rice planting. It was during this time when Sister Adel arrives in the village to help till their lives and cultivate their dreams. Just like the story’s setting, the movie itself is a wonderful piece that promises a bountiful harvest, both commercially and critically. The foremost selling point of Haw-ang is that it fits into both the commercial theatre and the art house. Simply put, it is both a “movie” and a “film.” The technical splendor and dramatic value conveniently put Haw-ang in the mainstream breed; whereas its narrative and its social themes touching on femininity, ethnicity, religion, education and politics render it a progeny of the re-emerging Filipino art cinema. The most obvious gem of this movie is, of course, its imagery.
Bar Sport Duemila Pdf Writer Login
Haw-ang‘s excellent photography challenges the visual superiority of celluloid over video. The lens has captured the awe-inspiring rice terraces, raging streams, stunning scopes of valleys and hills, vivid flora and fauna, and other breathtaking sites of the mountains so gracefully that this movie could as well provide good material for tourism purposes. The film’s visual tone is vibrantly warm or cool depending on the mood of the scene. And although some interior shots might be deemed too dim, the movie as a whole puts its characters in harmonious interplay with nature. It is a relief that a movie that could be an export showcases the natural beauty of our country. Remember that Lino Brocka’s classics, which were well-received at the Festival de Cannes in the 70s and 80s, were set in the slum areas of Manila. Then recently, our proud representatives in the international film festival circuit— The Blossoming of Maximo Oliveros (2005), The Bet Collector (2006), and even Foster Child (which premieres at the Cannes this year)—all follow Brocka’s legacy by featuring poignant tales of the impoverished Filipino amidst the noisy, filthy and Riotous labyrinths of makeshift houses and putrid sewers.
And so this time, it is just so propitious for Haw-ang to finally present to the world that the Philippines is not just a poor nation but a very beautiful country as well. Acting-wise, Haw-ang is a big hit.
The nun, Sister Adel, is not an easy role to portray as her character overlapping religiosity with vanity, and lightheartedness with dramatic depth inevitably brings the actress to the dangers of “overacting.” But Kalila Aguilos (in her very first starring role) provides a sincere performance that exudes the naturalness of a nun who sings and dances jovially at one point, and weeps and struggles fiercely at another. Kalila’s acting unarguably helps make the character of Sister Adel the most memorable nun in recent Philippine cinema—following “Sister Stella L.” portrayed by legendary actress Vilma Santos in 1984. Other than Kalila, the kids of the actual Ifugao village pull off their roles with incredible effortlessness. Dacmay Tangliban, who plays seven-year-old Dacmay, has unwittingly made herself an instant “girl-wonder.” If given due recognition, she would surely be following the feat of Rebecca Lusterio, the child actress discovered in Bohol for the movie Reef Hunters (1999). Together with the adorable young cast (all first-time actors) picked on location, Dacmay acts faithfully on camera what her role demanded, without hesitation or any hints of being an amateur. The village children’s raw emotions prove to aid in summoning tears from the viewers.
And unlike in many Filipino independent films where casting non-actors due to limited budget consequently makes a poor acting ensemble, the Haw-ang team was lucky to have literally discovered an amazing “village” of actors. Furthermore, critics and viewers could identify Haw-ang as narration-heavy, thus violating the “show, don’t tell” rule. But this is precisely the device used in the screenplay to tone down the epic proportions of the rich story, and to eventually give us a simple yet emotional piece of fiction. Albeit an age-old and conventional technique, the voice-overed narration of Dacmay (and at one part, Sister Adel’s) in this long flashback of a movie bestows Haw-ang an artistic, mainstream charm. And like in many good dramas, this impassioned narration doesn’t fail to touch every viewer’s heart.
Although produced by an Australian entrepreneur, Haw-ang is proudly Filipino in every facet. (The production team of Sizzling Gambas Productions Inc. And its head office are also Philippine based). It may not be a unique or an altogether “new” movie (as this is not the first Filipino film about a missionary, or a teacher of poor students, or set in a mountain village), but it has succeeded in elevating the usual drama into something that is not emotionally draining, in concocting a story that is profound yet simple, and in creating a beauteous film that is fictive yet very faithful to real life.
Most of our internationally acclaimed films have been either too deep or “artsy,” or focus on subjects that are too delicate or political, or are presented in narratives too radical or experimental that our own people couldn’t get to comprehend or even just consider them.What makes Haw-ang great is that it appeals to everyone’s sensibilities, it caters to both the laypeople and the elite. It is a movie bound to reach out to cinephiles the world over. The social commentaries in the movie are essential but kept at bay, and the movie manages to remind us that love transcends ages or cultures, that even in our own little ways, we can greatly transform others’ lives. Finally, the movie tells us that learning is not only to think but more importantly, to feel. In a third-world industry like ours, it is rare to have a film that flaunts technical seamlessness, and at the same time, prides on creative integrity.
Hopefully, Haw-ang would become another template for future Filipino productions to not only aim to gross at the box office, but also to uplift the cinematic culture of our nation. Whichever artistic perspectives one may take, Haw-ang simply evokes beauty. It is a moving painting. Or a literary piece realized. It is a movie, a film.
It is a fresh Filipino masterpiece.SynopsisThrough the eyes of a young woman Dacmay, who has returned to her native village after 14 years, we discover the remarkable and tender story of missionary Sister Adel and the special bond that formed between them years earlier and the events which re-shaped their lives forever. Set in a breathtakingly beautiful yet remote provincial region, the story not only captures the true essence of Philippines natural beauty, but also the unique complexities of life in a remote village. Sent to teach Christianity at the village, Sister Adel encounters battles that continually test her will and determination. She faces a village that resent her ways, the saddening poverty within the village, the lack of modern education for the children and a feisty young Dacmay who can test the will of the strongest. And in the background was a continuing conflict between local rebels and government soldiers that further hinder her progress. Determined to succeed and improve the life and future for the children, she must take on the roles of Sister, teacher, mentor, social advocate, guardian and even that of mother-like figure to Dacmay. Yet her biggest test was still to come when she falls in love.
Would she unveil and consent to a night of forbidden passion that would leave her torn between her faith, her love, her bond with Dacmay and her fondness of a village that would condemn her?Papel, Putik, at Pilapil:Ang Pulitika ng Edukasyon sa pelikulang Haw-AngRebyu ni John Francis C. Losaria (Philippine Collegian)Binabagtas ng mga kabataan ng Tuwali ang pakitid-palawak na mga pilapil. Tinatawid ang mga ilog at mga kanal. May kasanayan na kaya naman naiiwasang mahulog sa putikan. Iba-ibang landas ang maaaring patunguhan ng mga nagsasangang daanan. Pawang mahahaba at malalayong pagtahak sa mga inaabot nilang mga pangarap.PagpupunlaPanahon ng paghahanda sa pag-ani o haw-ang nang madestino noon ang misyonaryang si Sister Adel sa isang pamayanang Ifugao. Sa pagtungtong niya sa mayamang lupang ito, sinalubong si Sister Adel ng isang mayabong na kulturang katutubo.
Mahusay itong ipinakita sa lokasyong iniinugan ng kamera at sa sinematograpiyang nagpalitaw ng likas na kagandahan ng lugar.Mainit ang pagtanggap ng mga residente sa madre. Napalapit si Adel sa mga batang taga-roon, na mahusay na ginampanan ng mga batang aktwal na nakatira sa lugar. Kabilang dito ang batang si Dacmay na gumanap bilang isang ulila na sa ina at anak ng mga kasapi ng New People's Army (NPA).Tungkulin ni Sister Adel na magturo ng katesismo, lalo na sa mga bata roon na di nakakapag-aral. Ngunit hindi naging madali ang panimula nito dahil sa walang paaralan o komportableng lugar na mapagdadausan ng klase. Kaya naman, hinangad ni Adel na makapagpatayo ng eskwelahan sa naturang bayan.Pagtatanim'Pulitika pa rin ang nagdidikta kung magpapatayo ng eskwelahan sa baryong ito.' Ito ang mga naunang tugon ng kapitan ng baryo nang konsultahin siya ni Adel ukol sa pagpapatayo ng eskwelahan. Mukha ito ng marami pang liblib na mga bayan sa bansa.
May mga kabataang kinakailangan pang maglakad at maglakbay ng maraming oras upang marating ang mga paaralang nasa karatig na mga baryo.Matapang na isinawalat ng pelikula ang relasyon ng pulitikal na pamumuno sa ganitong krisis sa kanayunan. Samantalang sa panig ng mga magsasaka, lubos nilang ninanais na isakatuparan ang pagpapalawak ng edukasyon bilang batayang pangangailangan ng mamamayan. Sa pagtutulungan, sinisikap ng komunidad na mapaglaanan ng sapat na materyal ang pagbubuo ng isang pook-aralan.
Kung hindi man, nakikipagnegosasyon sila sa lokal na pamahalaan sa tulong ng mga rebolusyonaryong gerilya o mga NPA na batid din ang kahalagahan ng edukasyon sa kanayunan.Pag-aniMarami-rami na ring pelikula ang tumalakay sa krisis ng edukasyon sa Pilipinas. Ayon sa isang panayam sa direktor nitong si Bong Ramos, ang ipinagkaiba raw ng haw-Ang sa iba pang pelikula ay ang pagkilala nito sa uri ng edukasyong labas sa konsepto ng klasrum. Natututo rin ang kabataan mula sa kultura at kapaligirang ginagalawan nito—ang katutubong pamumuhay nila at ang ugnayan sa mga rabolusyonaryong kanilang nakakatuwang.Ipinakita ng Haw-Ang ang isang magandang pananaw sa edukasyon ng mga taga-kanayunan. Kinakitaan ang mga tauhan ng pelikula ng paggamit nila sa kanilang edukasyon, ano man ang antas nito, para magsilbi sa nakararami. Sa paglipas ng panahon, ang bagong henerasyon sa katauhan ni Dacmay at ng mga kaibigan nito ay muling tatalima sa ganitong papaunlad na relasyon ng pagkatuto at pagsisilbi.(Bahagyang iniklian ang bersyong ito ng artikulong inilathala noong ika-21 ng Hunyo sa seksyong pang-Kultura ng Philippine Collegian, opisyal na lingguhang pahayagan ng mga mag-aaral ng Unibersidad ng Pilipinas-Diliman.
Maaari nang i-download sa PDF ang pahayagan sa deviantart. Com.)Opens 08 August 2007SM CINEMAS.
.Offer starts on Mar 4, 2019 and expires on Nov 30, 2019. Offer available worldwide only to first-time purchasers of Adobe PDF Pack.
Get Adobe PDF Pack at the reduced annual subscription price of /yr (includes applicable taxes/VAT/GST) for the first year. 12-mo commitment required, prepaid in advance. At the end of your offer term, your subscription will be automatically renewed at the standard subscription rate, unless you elect to change or cancel your subscription. Offer only applicable in countries where product is sold.
The regular price for Adobe PDF Pack is /yr (includes applicable taxes/VAT/GST) through the Adobe Store. General Terms: Valid only for eligible persons who are 18+. Residents or persons in embargoed countries or countries subject to U.S. Or local export restrictions are not eligible. Offer and prices subject to change without notice due to unforeseen circumstances. Offer may not be assigned, exchanged, sold, transferred, combined, or redeemed for cash or other goods and services not expressly stated here as included. Subject to availability where the recipient resides.
Additional terms and conditions may apply. VOID WHERE PROHIBITED OR RESTRICTED BY LAW.