Beruflich Dokumente
Kultur Dokumente
Fernando Zobel
the Saetas evolved into the vigorous and painterly Serie Negra works
that recall both American Abstract Expressionist Franz Kline (19101962) and Japanese sumi-e paintings, as seen in Vasata (1960)
and Icaro (1962).
In the mid-1960s, the gestural lines dissolve into atmospheric
tonalities, similar to the color field paintings of Mark Rothko (19031970) and the landscapes of British artist J.M.W. Turner (1775-1851). El
Balcon II(1964) and Pausa Clara (1966) are representative of Zobels
range in this particular phase. Towards the end of the decade, pictorial
space transformed into stark landscapes defined by geometric forms
with an implicit perspective, as revealed in the majestic Las Soledades
de Lope de Vega (1968).
Ayala Museum pays homage to Zobel not only for his artistic legacy but
also for envisioning the foundation of an art and iconography museum
as part of the overall development of the Ayala Center in Makati.The
museums Fernando Zobel collection is part of its permanent displays
and is exhibited in its Third Floor Galleries.
Gold of Ancestors
The exhibition of more than one thousand gold objects celebrates the sophisticated cultures that
existed in the Philippines before colonization in the 16th century. Many of the precious objects were
recovered in association with tenth to thirteenth century Chinese export ceramics. Similarities in form
and iconography with artifacts of other Southeast Asian cultures affirm regional affinities and interisland contacts that flourished in these archipelagic crossroads of civilizations. Adornments of elite
individuals and their deities include a spectacular array of golden sashes, necklaces, pectorals,
diadems, earrings and finger rings, bracelets, and anklets. Here, the role of archaeology in
reconstructing the past is illuminated, demonstrating how funerary offerings become valuable sources
of information for subsequent generations of the living.
A Millennium of Contact
Chinese and Southeast Asian ceramics found in the Philippines tell the
story of how the country forged social and commercial ties with China
and its neighbors. This display of more than 500 ceramics provides one
of the most comprehensive surveys of Chinese and Southeast Asian
trade wares found in the Philippines, spanning a thousand years.
These trade ceramics are not only a feast for the eyes, but their origins
and the periods in which they were produced also provide important
data about the past. As proof of the lively trade that occurred between
China and Southeast Asia, these pieces continue to play an important
role in the understanding of Philippine history.
Exhibition
curator:
Rita
Tan
Made possible through the support of the Roberto T. Villanueva
Foundation
Embroidered Multiples
Maritime Vessels
Arabian Baghla
The ornate baghla is a trading vessel carrying spices and ivory from
the Persian Gulf ports. Its lateen sail, long stern, and sharp bow are
well-suited to sailing Mediterranean waters.
Lorcha
Built in China, the lorcha has a hull similar to those found on European
ships, but is rigged like a Chinese junk with three masts and a batten
sail. The ships original purpose was to help stamp out piracy in the
China Sea, but it was later used for smuggling. It eventually came into
use as a trading vessel.
Galleon
From 1565 to 1815, galleons laden with treasure shuttled across the
Pacific between Manila and Acapulco. These galleons varied in size but
all carried the distinctive half-moon silhouette, with high forecastles
and poops. Framed for resisting monsoons and pirates attacks,
galleons were called the strong castles of the sea.
Caravel
In the 16th century, after the Treaty of Tordesillas finalized the division
of the world into two halves like an orange between Portugal and
Spain, the countries respective rulers sent their sailors out to
commandeer as much land as they could. Under royal decree, both
Portuguese and Spanish would-be conquerors set out upon the oceans
in caravels, which were built expressly for long voyages. Ferdinand
Magellan himself journeyed across the Pacific in a caravel. The caravel
was characterized by broad bow, a high narrow poop, and two or three
masts with a triangular lateen sail.
EXHIBITIONS
branches: The Fort (BGC), Alabang Town Center, Rockwell, GreenhillsPromenade and Cebu.
in
the
Exhibition
duration:
September
30
to
October
27,
2015
Second
Floor
Function
Room,
Ayala
Museum
For the very first time, the Instituto Cervantes of Manila, Embassy of
Spain, Ayala Museum, Fundacin Gerardo Diego, with support of
FormaLighting and Vivanco present the exhibition Gerardo Diego and
Julio Palacios in the Philippines: Chronicles of a Journey. Curated by
Ariana H. Valladares, this exhibition is presented in commemoration of
the 80th anniversary of the first Cultural Embassy between Spain and
the Philippines after the Paris Treaty was signed.
In 1935, Spains poet Gerardo Diego and scientist Julio Palacios visited
the Philippines. They were sent by the Government of Spain as a
cultural mission, with the main purpose of delivering a series of master
lectures at the University of the Philippines and the University of Sto.
its
cuisine,
ARTWORKS (50)
"A gorgeous and historically intriguing exhibition"
The New York Times
This exhibition presents spectacular works of gold primarily discovered
over the past forty years on the Philippine islands of Luzon, the
Visayas, and Mindanao. The regalia, jewelry, ceremonial weapons, and
ritualistic and funerary objects attest to the recently uncovered
evidence of prosperity and achievement of Philippine polities that
flourished between the tenth and thirteenth centuries, long before the
Spanish discovered and colonized the region. Although the forms and
styles of the majority of these works developed locally, some indicate
that Philippine craftsmen had been exposed to objects from beyond
their borders through the robust cultural connections and maritime
trade in Southeast Asia during what was an early Asian economic
boom.
The Philippine archipelago of over 7,000 islands lies between the
Pacific Ocean and the Indian Ocean in the region off the Asian
mainland known as Island Southeast Asia. During the time when
artists and craftsmen created the works in this exhibition, mariners,
merchants, missionaries, and emissaries plied the waters connecting
the tropical isles to distant lands including China and India. Monsoon
winds dictated the comings and goings of merchant shipsthe time of
year they docked, how long they stayed, and when they set sail. Port
settlements near protected coves such as ancient Butuan by the mouth
of the Agusan River where it empties into Butuan Bay in northeastern
Mindanao attracted ships and sailors seeking refuge from the strong
southwest winds that blew from May to November. Some of these
merchant ships traded for the natural resources of what early Indian
texts refer to as Survarnadvipa, or Islands of Gold, a geographic
place name that scholars believe refers to the islands of Southeast
Asia, including Sumatra in Indonesia and nearby Mindanao and Luzon
in the Philippines.
The Philippines has the second largest gold deposit in the world. The
works on view herefrom tiny gold tweezers to fabulous pieces of
jewelryreveal that these natural resources were readily exploited by
the local people between the tenth and thirteenth centuries. While the
diverse objects offer clues about those who produced and used them,
future finds will hopefully provide further information about the once
flourishing but now lost cultures that created these sophisticated
treasures.
Philippine Gold: Treasures of Forgotten Kingdoms is organized by Asia
Society, New York, and Ayala Museum, Philippines.
Florina H. Capistrano-Baker, Consulting Curator, Ayala Museum
Adriana Proser, John H. Foster Senior Curator for Traditional Asian Art,
Asia Society
Large ear ornaments with stylized fruit and bud motif. Butuan, Agusan del Norte
province. Gold. 3 3/16 x 3 9/16 in. (8.1 x 9.1 cm); 3 3/8 x 2 5/8 in. (8.5 x 6.6 cm).
Ayala Museum, 77.5022ab. Photography by Neal Oshima, image courtesy of Ayala
Museum
Biographies of Speakers
Mary Jane Louise A. Bolunia holds a Doctorate degree in
Anthropology from the University of the Philippines Diliman,
specializing in archaeology and prehistory. She is the officer-in-charge
of the Archaeology Division of the National Museum of the Philippines,
one of the research divisions of the National Museum. Part of Bolunia's
research is on the participation of ancient Butuanon in the Southeast
Asian maritime trade and exchange of goods and ideas which became
part of her dissertation. Currently, she is the team leader excavating
two balangays or ancient Butuan boats that crossed the South China
Sea as early as the 8th century CE. She is also part of a team
coordinating the acquisition of properties in Butuan to convert into a
maritime heritage park; in partnership with the Butuan City
government and Butuan Historical and Cultural Foundation. Bolunia is
also doing research on the Spanish period shipyards as part of the
Manila-Acapulco Galleon Trade Project which is a multi-agency
endeavor. She has been with the National Museum for more than two
decades and has travelled around the country doing fieldwork as well
as training young students in the rudiments of archaeological
fieldwork.
Florina H. Capistrano-Baker, co curator Philippine Gold: Treasures
of Forgotten Kingdoms, Consulting Curator, Ayala Museum. She
received her PhD, MPhil, and MA from the Department of Art History
and Archaeology, Columbia University. Director of the Ayala Museum
for seven years from 2000 to 2006, Capistrano-Baker shepherded the
museum to its new building in 2004, and played a key role in the
transfer of the gold collection to the museum in 2006. She curated the
permanent exhibition Gold of Ancestors at the Ayala Museum in
2008, and wrote the catalogue Philippine Ancestral Gold in 2011.
Capistrano-Baker is the recipient of numerous awards, including
Caste cord. Ca. 10th13th century. Gold. 59 1/16 in. (150 cm). Ayala Museum,
81.5186. Photography by Neal Oshima, image courtesy of Ayala Museum.
OpenSpace: Bangaw by
Leeroy New
We are proud and honored to share with Ayala Museum one of our
core digital solutions, said Jhoanna Feliz Serrano, President &
Marketing Director of The Harish & Johnsen Group. We hope the new
Diorama Experience in Augmented Reality can strengthen the Filipinos
appetite in imbibing our history, culture and nationalism.
More than just claiming a pioneering stance in both platform
technology and art category, the Ayala Museum and The Harish &
Johnsen Group partnership purports to create a collaborative fusion of
the arts with the evolving digital technology era, added Serrano.
Production of The Diorama Experience augmented reality application
was further made possible by the support of brands aligned with the
objectives of the project. Globe saw this rich experience as a unique
and meaningful way of catering to the digital and increasingly mobile
lifestyle of its subscribers, one thats espoused by its Globe myLifestyle
Plan. Likewise, Avida Land believes that advocating these one of a kind
experiences with art, Philippine history and culture will ultimately add
to the vibrant lifestyle that comes with residing in any of its properties,
specifically within Makati for its partnerships with Ayala Museum.
The new dynamic 3D augmented reality feature was publicly launched
on June 12, 2015 during the 117 thanniversary of Philippine
Independence. During the day of the event, Globe postpaid subscribers
were treated with free Ayala Museum admission and were able to
download a free version of the AR application, while prepaid users were
afforded huge discounts in entrance fees. Avida Land also participated
in the public launch by providing free AR-ready devices for guests to
try out the museums latest mobile feature.
Visitors may now rent units for Php 95 at the Ayala Museum ticket
counter to try the augmented reality feature.
of
the
project
Beautiful Handicrafts of
Tohoku, Japan
The works featured in Big and Small include over a hundred male and
female nude paintings and anatomical studies dating as early as 1998
until the mid-2000s from the collection of physician and gallery owner
Joel Mendez, MD. Venturas dramatization of the human form is
Toym Imao was born in 1968, just four years before President
Ferdinand Marcos declared Martial Law in the country. There were few
viewing options in 1970s television, having only five broadcast
channels to choose from. During this time, Toym and his siblings were
avid fans of weekly Japanese cartoons, the super robot series Voltes
V and Mazinger Z. However, with only four episodes left before the
finale ofVoltes V, the cartoons were banned from broadcast due to its
alleged excessive violence, leaving its young fans devastated and
distraught.
Now, almost four decades later, Toym used that initial sting of anger
experienced during the Marcos years to create this installation work.
This art installation was born out of the childhood memory and
experience of the artist, shaped and formed with academic training in
architecture and fine arts, harnessed with the rigor of professional
practice, and inspired by the heroes and ideals of history, and the
character and gravitas of public art.
Toym Imao is multi-media visual artist. He is a sculptor (brass, bronze
and wood), painter, writer and filmmaker. He first trained in the arts
under Philippine National Artists for the Visual Arts Napoleon V. Abueva
and Abdulmari Asia Imao (his father.) His formal training came from the
University of the Philippines (Architecture) and Maryland Institute
College of Art (Sculpture). He studied film under premier Philippine
director Marilou Diaz-Abaya. He credits his mentor National Artist for
Literature Alejandro R. Roces for his passion for Philippine history and
culture.
Last, Lost, Lust for Four Forgotten Episodes, supported by Ayala
Corporation, Ayala Land, Inc., Ayala Foundation, Inc., Ayala Center
Estate Association, and LG Electronics Philippines, will be on display at
the Museum Plaza until June 15, 2015.
OpenSpace will follow up with another Toym Imao creation later this
year, and will continue to host compelling contemporary works by
Filipino artists.
Common Threads
Ayala Museum
Arts present
and
The
Princes
School
of
Traditional
Common
Threads
Indigenous Philippine Textiles and the Language of Traditional Art
Ateneo Arts Club and was a frequent visitor at the Ateneo Art Gallery.
Aviado remembers memorizing Ateneos print collection, which
became his first real education in the art of printmaking.
Aviado pursued and perfected his creative and technical skills in
printmaking during his college years. He arranged to have sessions at
the print workshop of Rodriguez called the Contemporary Graphic Arts
Workshop. Aviado first worked on stone lithography, then proceeded to
the etching press. He eventually had his own printing press fabricated
from spare parts found in a junk shop and set his own studio workshop
in his parents home. After joining and winning art competitions and
doing both solo and group exhibitions, Aviado obtained further training
and specialization in etching and lithography in Madrid and Paris.
Pandy Aviado is now one of the countrys staunch champions of the
graphic medium and the leading practitioner of the art of fine print.
resulting in the vibrant and robust art of a free society at the turn of
the 21st century.
Featured in the exhibition are works of Leo Abaya, Benedicto BenCab
Cabrera, Buen Calubayan, Ernest Concepcion, Mideo Cruz, Imelda
Cajipe-Endaya, Brenda Fajardo, Karen Ocampo Flores, Michael
Rodriguez Gomez, Gregory Raymond Halili, Mark Orozco Justiniani, Julie
Lluch, Athena Santos Magcase-Lopez, Racquel De Loyola, Renan Ortiz,
Christina Quisumbing Ramilo, Mark Salvatus and Pablo Baen Santos.
Triumph of Philippine Art then traveled to the West Coast and was
hosted by the Fisher Museum of Art, University of Southern California,
CA, from February 6 to April 13, 2014. The homecoming show at Ayala
Museum will run from July 22 to August 31, 2014 at its Third Floor
Glass Lane and Multi-purpose Hall.
New
Frontiers is an exhibition program of Ayala Museum that provides the
space and opportunity for the concept, production, and documentation
of fresh and innovative issues and developments in Philippine
contemporary work and provides a venue for its discourse and
dialogue. The work featured and manner of presentation offer
alternative perspectives to expand the museum exhibition experience.
In 2010, New Frontiers introduced Olivia dAboville, whose art
installation fused the tradition of craftsmanship with the contemporary
use of utilitarian objects.
For the New Frontiers exhibition offering in 2014, Ayala Museum will
display new work by Jana Benitez. Returning to the museum where
she had her first solo exhibition as a twelve-year old artist prodigy in
1998, Benitez will unveil thirty-five new large-scale paintings. The
exhibition display will incorporate the thinking and the creating that
goes into the production of art. Consisting of random thoughts,
sporadic notes, and visual references of the artist as she conjures
imagery, the museum installation and environment juxtapose
graphically both concept and process into backdrop and frame of the
finished paintings to provide a comprehensive and compelling art
encounter.
To span from the artists early output in the 1950s until his last years in
the early 1980s, paintings, drawings, prints and photographs from the
Ayala Museum collection and several private collectors will show the
pictorial metamorphosis from stylized figurative paintings to works of
total abstraction or non-objectivism.
The life and career of Fernando Zobel (1924-1984) had traversed a
large, geographical areafrom the Philippines to the United States and
Spain. Described as a transnational artist, he felt at home and thrived
in any country. Zobel was also pulled in several different directionsto
Manila where he was a pioneer in the modern art movement, especially
in non-objectivism; to Boston and Providence in the United States
where he enjoyed the intellectual stimulation within his circle of friends
who were artists and writers; and to Madrid, in the company of Spanish
artists at the ascendancy of Spanish abstract painting. Ultimately,
Zobel described himself as someone who lives in museums and is
happiest when surrounded by books and paintings. His world was the
history of art.
The exhibition will serve as a visual walkthrough of Zobels transition
from a more figurative style to his signature meditative, harmonious
abstract works, composed primarily of calligraphic lines, gradients and
even the positive use of space.
Journey into Space: The Visual Odyssey of Fernando Zobel, will
be on display on the 3F Galleries of Ayala Museum from July 1 to
October 5, 2014. This show is a long-awaited follow-up to Ayala
Museums 2009 exhibition Fernando Zobel in the 1950s: the
Formative Years.
Together with the rest of the world, Ayala Museum is one in the
CURRENT
LOCATION: Museo
Iloilo,
NEXT DESTINATION: To be announced
Iloilo
City,
Iloilo
In parallel with the exhibit, a series of talks and round table discussions
will be held at the Ayala Museum to complete the whole picture of the
companys history and impact not only on the Philippines but also on
the rest of the world.
Biblioteca Filipina: the cultural legacy of Tabacalera
The Aparato Bibliogrfico de la Historia General de Filipinas, published
by Philippinologist Wenceslao E. Retana in 1906, is considered one of
the best historiographic work on the Philippine archipelago which
was first published in order to make the world aware of the great
library -the richest and most important bibliographical collection on the
Philippine Islands owned by the Compaa General de Tabacos de
Filipinas. (Gloria Cano, Researcher University Pompeu Fabra,
Barcelona).
In 1913 the collection was sold to the National Library of the
Philippines,
becoming
the
Librarys
core
Filipiniana
collection. Thereafter, donations and purchases of other collections
continued, including that of Jose Rizals, but there would be no other
Filipiniana collection of the number, the breadth, and the vintage as
that of the Tabacalera Collection. (John Silva, Executive Director
Ortigas Library Foundation). Sadly, World War II and the Japanese
occupation displaced the cultural legacy of Tabacalera, a collection that
shows the important role that the company played in the Philippines,
going far beyond tobacco.
abundance. The artist painted and sketched more than 10,000 pieces
in his lifetime. His works remain significant in the development of
Philippine art and the formation of Filipino notions of self and identity
idealized images of the true Filipino that persist today.
Prior to its Manila exhibition, Baby Formula first opened at the Sheung
Wan Civic Centre in Hong Kong last May 2013. It traveled soon after to
Galerie Michael Janssen in Singapore in August.
strength of the Filipino spirit. Among the selection include those from
the artists private collection, pieces that Borlongan personally chose
to keep tucked in his residence.
The schedule of its opening week was planned to coincide with the
much-anticipated 2014 Art Fair Philippines, the premier platform for
artists and the countrys foremost galleries to showcase the best in
modern and contemporary Philippine visual art.
After graduating from the University of the Philippines College of Fine
Arts with a degree in painting in 1987, Elmer Borlongan (or simply
Emong to his friends and family) quickly established himself in the
local art scene. In 1988 and 1992, he won second prize in the oil
painting category of the Metrobank Annual National Painting
Competition. He also received the Thirteen Artist Award from the
Cultural Center of the Philippines in 1994.
More recently, he received the Award for Continuing Excellence and
Service (ACES) from Metrobank Foundation in 2004. He was also
chosen, in 2006, to be a fellow for the Center for Art, New Ventures and
Sustainable Development (CANVAS), a non-profit organization that
works with young artists to promote Philippine art, culture and
environment.
Borlongan has held numerous solo exhibitions here and abroad. A
number of his works now belong to the public collections of foreign
museums such as Fukuoka Asian Art Museum, Japan; Tokyo Museum of
Contemporary Art, Japan; Queensland Art Gallery, Australia; and
Singapore Art Museum.
the developments of abstract art at Yale with such intensity that Josef
Albers, one of the most influential art teachers in the world and a
luminary of geometric abstraction, declared him not a student but a
peer. The centennial exhibition features Bernardos seminal abstract
work, Perpetual Motion, completed in 1952 for his Masters thesis
exhibition. An excellent illustration of achieving vibrant energy with an
economy of means, the spare lines and bold colors anchor the flat
painting in its most distilled form but simultaneously catapult it into an
optical play of depth and volume.
Contrary to Alberss auspicious projection that the Bernardo who had
demonstrated mastery of the visual language of abstraction within
such a short period of time would meet unprecedented success upon
his return to the Philippines, Bernardos radical shift was shunned
rather than embraced by Amorsolo and his colleagues at UP.
Bernardos manifest engagement with abstraction not only
disappointed Amorsolo who had high hopes for his protg in the field
of figurative art; it also led to the archetypal interrogation of meaning
in his paintings in which the human figure, still life objects, or
landscape scenes are absent. To this, Bernardo contended that
abstraction allowed him to free himself from the constraints of
representing only what is physically visible in the world and allowed
him to give visual form to what only the mind could perceive.
Nevertheless, the teaching environment at UP became difficult enough
that Bernardo reportedly returned to genre paintingpictorial
representations of everyday scenesand became a closet abstract
artist at one point. This meant that he never fully abandoned
figuration while tenaciously persevering on the path of abstraction. His
exhibitions of abstract art tended to be misunderstood or dismissed
despite being championed by some critics. In 1978, Leonidas Benesa
cited Bernardo as the most underrated of the exponents of modern art
in the Philippines and as second to none in this country in the field