Yay!, 2012
Intervention at Art Stage Singapore
Glass, ice, cola
size variable
http://www.rebelart.net/diary/
New work for 2012: Yay!
Yay!, 2012
Intervention at Art Stage Singapore
Glass, ice, cola
size variable
http://www.rebelart.net/diary/
Accidental Contemporary Art
Accidental Contemporary Art (2008-ongoing)
21 Photographs (2011)
8 x 12 inches each
Accidental Contemporary Art is an ongoing photographic project that documents everyday objects and scenes that has resemblance to the practice of contemporary artists of today. From Damien Hirst's sculpture found in a medical shop in Manila, to Gerhard Richter's painting in a subway in Quezon City. A construction site in Amman that looks like the work of Christo and Jeanne-Claude to Yayoi Kusama's dress found in a market in Manila.
The project is like a game or play wherein the artist wants to blur the boundaries of art and life in everyday situation.
Accidental Jeff Koons
Accidental Yayoi Kusama
http://drawingroomgallery.com/
http://www.artstagesingapore.com/
http://accidentalcontemporaryart.blogspot.com/
Secret Garden at Jakarta Biennale XIV
"Secret Garden", 2009
Maximum City: Survive or Escape, Jakarta Biennale XIV 2011
Galeri Nasional, Jakarta, Indonesia
http://jakartabiennale.org/en/violence-and-resistance/mark-salvatus
http://jakartabiennale.org/en/maximum-city-home
The boat is sinking, group yourselves into...
Black and white photograph
12 x 24 inches
Untitled
Untitled, 2011
(5) 8"x12"
Digital C-print
Accumulated trash/objects inside my bag during my travels
part of the exhibition
http://nothing2declare2011.wordpress.com/
curated by Karen Flores
at Blanc Compound
Around 50 artists
around the world that responded to the Call for Proposals in 2010 were selected
by the NTD Board of organizers and whose works will be shown successively at
Blanc Compound starting from October 18 till November 12, 2011; UP Jorge Vargas
Museum (November 18 2011 to January 7, 2012) and Yuchengco Museum (November 16,
2011 to January 29, 2012).
These artists will
come to Manila to participate in a project with a participatory, collaborative
and makeshift framework, aiming to contribute to contemporary discourses on
migration. “Migration” broadly refers to movement of people not just across
waters, land, and air, but also across immediate, virtual and hyper
realities—and shifting societies. Focusing on those who have “nothing to
declare,” the project positions itself at the margins – a position that is a
source of intervention and strength, of subterfuge and resistance, of
constraint as well as change.
Kicking
off at a private gallery, NTD thrives in a blanc space, a white cube
which could also be white space, characterized by an absence of color that
connotes not just a seeming neutrality, but an open-endedness that could
effectively ground a query into destinies and destinations. Migrations
can be cyclical and serial; thus, individual lives become similarly marked by
centers and stations. And as the NTD curatorial brief states, migration
can also refer not only to movement of people across borders but to migrations
of form, realities and spaces.
NTD
was initiated and head curated by Flaudette May Datuin (Department of Art
Studies, College of Arts and Letters, University of the Philippines head),
associate curators Leo Abaya (Vargas Museum, UP College of Fine Arts faculty),
Claro Ramirez (Yuchengco Museum),and Karen Ocampo Flores (visual artist and
cultural worker). NTD was organized by Datuin, Josephine Turalba (Dean, School
of Fine Arts and Design, Philippine Women’s University) and Precious Leano
(Executive Director, Filipino Visual Arts and Design Rights Organization or
FILVADRO).
Documentation of the exhibition:
http://nothing2declare2011.wordpress.com/blanc/
Other View
Solo Exhibition by Mark Salvatus
The Drawing Room Contemporary Art
October 15, 2011 - November 8, 2011
http://drawingroomgallery.com/
Other View is about the possibilities of art in the prosaic, as it is about the impossibility of capture: of objects and of art. Mark Salvatus brings together here work reminiscent of many others he's done before, but which are necessarily new by virtue of his interest in the transient and silent and fleeting, taking an object and all that it means and putting it into question as it highlights its utility, or makes it bigger pitted against another, or demands it make a statement in its mere existence, always in the process pointing a finger at the contemporary process of artmaking. But Other View is also ultimately about Salvatus' insistence on the spectator's experience of these objects as art as objects that are familiar and everyday, where intertextuality is default in the process of making sense of what is the ordinary turned object of art, where the gaze is the tenuous space within which the spectator finds meaning and enters a particular process of creativity. That this could mean objects being retured to their proper places, of artlessness and meaninglessness, is not so much a risk that Salvatus takes, as it is exactly the point.
Text by Katrina Stuart Santiago
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