We sat down around a table in the balcony of the Gallery
Orange, Bacolod. Drinks and food were ordered from a bar in the front, called
the Café Joint co-owned by artist Manny Montelibano. Young artists came to
visit the space during the interview. This is the center of Bacolod’s art
scene, known as the Art district. (December 4, 2013 in Bacolod, Philippines,
interviewer: Mayumi Hirano)
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Are you originally
from Bacolod? How did you start playing a role in activities of artist
collectives in Bacolod?
I am actually from Iloilo. I studied at the University of
the Philippines Visayas, where I took up comparative literature. Then I came to
Bacolod to study fine arts at La Consolacion College (LCC) in Bacolod. I was
part of Familia Pintura, a school-based group at LCC. It was a loose group founded
by Nuni Nurcia Alvarado. Sometimes we would see each other just to say hello,
and sometimes we would have exhibitions together or have a jam, do mural. It
was about friendship. I also met Charlie Co back then.
After having my first solo show in 1985 or 1986, which
presented only two-dimensional works, I started to do what people called “sculptures”,
but it didn’t matter for me how it was called. I started to experiment with
different stuff, like I tore apart my car and turned it into a racing car,
because I had nothing else to do. Through the process, I taught myself welding,
designing and working in fiberglass.
We did a show in Hiraya Gallery in Manila in 80s and early
90s. We worked with our friend, Bobi Vanenzuela, who was the curator for Hiraya
Gallery. But we didn’t have many friends in Manila, so basically we would do
our own thing while staying in Manila. Our works were also different from those
by Manila artists, because our reality was different in the province. Basically
the truth for us was different from manila. Our works were different. I didn't
even know what social realism was, but I was doing what I felt at that time was
the sentiment of my community, which is Bacolod.
Around that time Black Artists of Asia was formed, in 1985 or
1986. The year 86 was the darkest time in the history of Bacolod, caused by the
sudden drop of sugar price. Norberto “Peewee” Roldan had conceptualized the
vision, and Charlie Co and I thought it was a good idea, so we supported. We
didn’t recruit any members. If you like the idea, you go to them and say simply
“man I want to work with you.” Black Artists of Asia was not totally a visual
art group. It had people from dance, writing, theatre and poetry. But the
visual artists like me, Nuni, Charlie were the crazy ones. We were different
from other members.
Your practice encompasses
curation, organization and direction. Do you consider collaboration as a part
of your practice?
We don't have anyone else to organize for us, so we do. I
simply do it. People here in Bacolod are well trained in theatre and film so
it's very easy to do collaboration work. You just need to tell friends what you
need. They will take care of it quickly. Just tell your ideas, they understand.
Are there film and
theatre programs in school?
Because there is the Negros summer workshops for film held
for 22 years. The workshop encourages multimedia work, and it teaches about
film production, including make-up, acting, directors apprentice,
cinematography, etc. So people get hands-on experiences. It trains people not
to be the type, who just think. I don’t like to think. I don't pretend that I
know things. Even if I know, I pretend that I don't know. I just smile.
We organize Visayas Island Visual Art Exhibition and
Conference (VIVA). Some of us already had the experience in joining
international exhibitions abroad, which was a good way to meet artists from
different countries. That's what we tried to do with VIVA. We invited some
foreign artists we knew. We wanted the young artists in Visayas to interact
with them as a person and learn from them. This was needed for the local
artists to become more mature as an artist and person.
In the first and second VIVA, I was a driver and so as Charlie
Co. We’ve been also GRO, Guest Relations Officers for VIVA. For example, we
were going to set up the event in 2 days for the VIVA in Dumaguette, and the
curator, Bobi was so serious and concerned. But we said “Bobi, let’s go to
party. Se we can work together tomorrow.” This is how we work.
We are actually preparing for the next year. This time,
Manny Montelibano is going to be the director. We are passing the button to the
younger generation. I am a driver again. GRO, the Guest Relations Officer. GRO
skills are needed. You should be able to use simpler words and be more
attractive. You have to be more animated, little bit more than usual.
Over the 26 years, do
you feel the network of artists in the Visayas getting stronger?
It's up and down. All groups have their own problems. Things
are never perfect. You know, we have our own problems too. Of course something
will be always wrong. To physically connect different islands in Visayas, we
have to travel by air and by banka, so it’s rather hard.
Through showing in Hiraya Gallery in Manila, we made friends
with artists in Baguio, such as Santiago Bose and Ben Cab. I even had an
outdoor exhibition in Saitama, Japan with Santi and Robert Viranueva.
Are there any
commercial galleries in the city?
This is one, but you can't expect much. If you want to sell,
you have to go to Manila. Bacolod is a small city. There are only 2 main
streets- Araneta and Luxuson.
Do you see many
changes in the last 20 years here in Bacolod?
Yes, just like everybody else. Starbucks has come. Ayala is
doing well here, so they keep expanding.
I heard Seven-Eleven
is opening up soon here.
20 Seven Elevens are planned to be open in total. There is
already 7 or 8. There is one even in Silay.
In the past, we used to know everyone when we go out, but not today. It's nice
to be small.
Do you think the
changes are influencing the artists?
I can only hope for the better. We have a nice art community
here, especially in multimedia community, theatre, film, music, and we collaborate
to organize festivals. Well, of course we know that the government is not going
to support arts. So we have to keep it in mind - don't even expect.
VIVA is supported by NCCA. Every time we apply, they prove
it. You know why? Because they have nothing to compare with. VIVA is the only
kind in the Philippines. In fact, Mindanao is trying to develop one, but it
will take time.
Are there active
curators in Bacolod?
Here in the Orange Gallery, Charles, Manny and I take turns
to curate. For bigger shows, we usually invite curators from outside. Like in
the past, we worked with Bobi. Patrick Flores. Lisa Chikiampo also came here to
give a lecture about curating and did a show about works in new media. We also
host Bacolywood. a film workshop started by Manny. I think he is doing it for 5
years or so. Last time, it was featured in Cinema Reghion, festival showing short
films and full length from the provinces, all over the Philippines, but not from
Manila.
Is Gallery Orange the
main hangout for artists in Bacolod?
No, they have their own places and groups to hang out. They
sometimes come together here. We will help them to form their own group. They
have their own style, and reality. They are also different ages. The young
generations are taking their own initiative to run international residency by
taking care of foreign guests. In exchange they get a chance to go abroad. I
think they are better than us. I can't draw like that. But we smile more. Show
biz lang.
x
Dennis Ascalon was
born in 1960 in Iloilo City. He constantly redefines himself through serious
play with unconventional materials as well as cross training with other
creative fields. He was born in Iloilo City, educated in the University of the
Philippines—Visayas and is presently based in Negros. He has had several national
and international one-man shows and group exhibitions. His works have become
part of notable individual and museum collections here and abroad.
© Dennis Ascalon and Mayumi
Hirano