‘Chromatext Rebooted’
The first “Chroma - text” exhibit by PLAC or Philippine Literary Arts Council was held at the Pinaglabanan Galleries in San Juan in 1983. It featured visual art works by poets: the five PLAC founders, namely Gémino H. Abad, Cirilo F. Bautista, Alfrredo Navarro Salanga, Ricardo M. de Ungria and yours truly, plus the earliest members, which included Felix Fojas, Eric Gamalinda, Marne Kilates, Juaniyo Arcellana and Cesare Syjuco, if memory serves with accuracy.
I remember that there was a large square room all in black that stood in one corner of the extensive gardens, and where most of our works were hung, although some were also placed in a section or two of the main galleries.
The following year saw a sequel, “Chro-matext II,” at the same Pinaglabanan Galleries run by dear friend Agnes Arellano, and for which we invited more poet-artist-friends to join in. Cirilo meticulously crafted geometric abstractions with colored pens and crayons. Jimmy, Freddie, Ricky and I relied mostly on holographs, poems scripted by hand, sometimes collaged with visual elements, such as Jimmy’s drawings and Freddie’s doodles. I recall also having done something “conceptual” with the use of tires. Heck, now I can’t remember exactly how those were paired off with poems and transformed into art works.
PLAC member Luisa Igloria, then still based in Baguio City, also sent in collaged holographs, while Cesare A.X. Syjuco displayed his distinctive hybrid art, fusing literature with painting — or what would eventually be described, in the far future, as “startling crimes of verbal-visual fusion.”
Sculptor Agnes Arellano also fleshed up “Chromatext II,” as did her partner, the Brit finance wiz and novelist Michael Adams.
Lastly, I recall that Gina Apostol, then still finishing her literature course at UP Diliman, did an in-depth review of that show for Midweek magazine. Flash forward 24 years! On Jan. 25, 2007, Chromatext Reloaded opened at the CCP Main Hall, with no less than 87 poets, writers and artists participating, as PLAC & Friends.
They included National Artists for Literature Edith L. Tiempo and Virgilio Almario, both of whom submitted a pair of holographs each, or poems in their own write, as well as National Artists for Sculpture and Painting Napoleon “Billy” Abueva and BenCab, respectively. BenCab loaned five large pastel portraits of Filipino writers (Nick Joaquin, NVM Gonzalez, F. Sionil Jose, Andres Cristobal Cruz, and his sometime biographer).
Co-curated by then CCP Visual Arts head Sid Hildawa, artist Jean Marie Syjuco and yours truly, the show enjoyed strong viewership, especially among littérateurs and students, all throughout its extended, six-week run.
Eric Gamalinda’s “Wretched Gold” came in the mail from New York on the eve of the exhibit opening. It consisted of 30 frames of vintage book pages minimally slotted in various parts to reveal strips of Chinese paper in glittering gold and red. Beside it hung a color xerograph of composite images and text sent in by David Cortes Medalla from London.
Also on display were Pete Lacaba’s early graphic print and three of his Salinawit series of Western music standards adapted into Tagalog; oil paintings by Rock Drilon and Manny Baldemor; early prints by Pandy Aviado incorporating poems by Eric Torres and Tony Manuud; the “Jeepney” prints series by Danny Dalena interacting with poems by Jimmy Abad; handcrafted books by Babeth Lolarga and Del Tolentino; Butch Macansantos’ poem-holograph with integrated art by Pyx Picart; and Fil Dela Cruz’s print in tandem with a poem by Ophie Dimalanta.
A large television monitor showed video sent in by Nick Carbo of NY, alternating with video from Heber Bartolome featuring Ding Roces who was visiting from Sydney. Heber also had several oil paintings, while Ding had photo prints footnoted by elegant text.
Even our dearly departed, like PLAC “orig” Freddie Salanga, Larry Francia and Lilia Amansec were represented, the last two courtesy of Gilda Cordero-Fernando who also pulled in Raul Ingles and Sylvia Mendez-Ventura, apart from lending her own lovely artworks.
Tita Lacambra-Ayala from Davao sent found art with poems. Also from Davao came Danny Sillada’s large oil painting with a poem, and yet another large oil by fiction writer Margot Marfori, which eventually, oh so happily, wound up in my sala. Merlie Alunan of Tacloban had her son Babu Wenceslao in Dumaguete mail off several poem-posters of hers. Frank Cimatu of Baguio collaborated with artist Ramon Rosete III on a large hybrid display.
From California, Eileen Tabios sent in a fivesheet VizPo wall installation in cruciform titled “List(ing) Poem: Towards The New Filipino Society” wherein each typewritten line was a title of a book by Ferdinand Marcos. From Seattle, Melissa Nolledo Fed-Ex’d a large tube with rolled-up canvases of digital art inspired by her departed father “Ding” Nolledo’s prose pieces, excerpts of which hung alongside her works. From Virginia, Luisa Igloria e-mailed a visually designed poem for wall projection. Zack Linmark of San Francisco collaborated with movie star Piolo Pascual, who scribbled Zack’s poems on magazine pages with the actor’s glamor shots.
RayVi Sunico attached his poems as labels on wine bottles. Marjorie Evasco conducted delicate calligraphy of two poems on rice paper, one in tribute to artist Fernando Zobel’s “Luminosa.” Marne Kilates’ poem was rendered as a digital collage by Dan Pinto. Danton Remoto sent in several mixed-media poem offerings, while Fran Ng had a self-portrait with text as facial tattoo.
Collaborations featured Jessica Zafra’s slideshow in partnership with a group of digital artists; Lourd de Veyra’s audiotape interaction with Nona Garcia; Joel Toledo’s and Pancho Villanueva’s poem-paintings; Sarge Lacuesta’s and Mookie Katigbak’s video poems and floor installation; and Jovi Miroy with Daniel Tayona offering excerpts on the use of Latin.
Other highlights included Carlomar Daoana poem-embellished bridal gown; Ginny Mata’s Vigan photos; Gelo Suarez’s installed deconstruction of a Dimalanta poem; and Maxine Syjuco’s blackand-white photos as self-portraits highlighted with a Tristan Tzara quote.
Fellow Philippine STAR mainstays Barbara Gonzalez and Igan D’Bayan lent a painting each, with Tweetums’ work partnered with text. Writer-painters Erlinda Panlilio and Mav Rufino paired off luminous abstractions with several haiku and a poem, respectively, while graphic designer Beaulah Taguiwalo arranged book pages with illuminating text.
Riveting installation art was mounted by Vim Carmelo Nadera, Lorina Javier and Raul Funilas, while multi-genre artists Jun Cruz Reyes, Frank Rivera and Judy Freya Sibayan came up with an oil painting, text-integrative collages and wall installations, respectively. Alice Sun-Cua contributed a cross-stitched Dimalanta poem.
There was so much more. A splendid show it was, all of eight years ago.
Now it’s time for “Chromatext Rebooted,” for which we announced an initial call several weeks ago. Once again, this group show will feature artworks based on, coupled with, or related to words/poems/ prose, or any kind of visual art executed by poets/ writers, including abstract, sculptural, conceptual and digital works.
It will open on Nov. 11 at the CCP’s Main Gallery and hallways, and will last until Feb. 14, 2016. Poets, writers and artists are enjoined to express their intent to participate in this exhibit by contacting either of the co-curators, Jean Marie Syjuco and myself, and sending preliminary information on their intended submissions.
Well, those who’ve participated in previous “Chromatext” exhibits just have to express their intent. In fact, since we made the first announcement on Facebook, quite a number have already done so.
For the record, thus far, committed to join in are the following:
Anne Carly Abad, Reuel Aguila, John Altomonte (from Wollonggong, Australia), Marcel Antonio, Abdon “Jun” Balde, June & Butch Dalisay, Gerry Cornejo, Celina Cristobal, Elle Divine, Rock Drilon, Rose Flores, Ralph Semino Galan, Dwight Gaston, Noelle de Jesus (from Singapore), Dre Levinge, Jaime An Lim, R. Zamora Linmark, Vics Magsaysay (from California), Margot Marfori, Mitch Meñez, Alma & Mario Miclat, Dengcoy Miel (from Singapore), Jovi Miroy, Bert Monterona (from Vancouver), Fran Ng, Melissa Nolledo (from Seattle), Jenny Ortuoste, Karla Quimsing, Alwin Reamillo, Mav Rufino, Mamta Sagar (from India), Joel Pablo Salud and partner Che Sarigumba, Angel Velasco Shaw, Gromyko Semper, Trisha Shishikura (from Tokyo), Eileen Tabios (from California), Anthony Tan, Kitty Taniguchi, Roger Rishab Tibon, Migs Villanueva and Pancho C. Villanueva.
That’s aready over 40 prospective participants. Since space will be a premium, some screening will have to be exercised. First-timers are required to submit proposals containing information on their intended submissions: the kind of work or genre, size, and quantity.
We will get back to you regarding your proposed submissions, and say which ones and how many we can receive. Sample photographs will be appreciated. The deadline for such proposals is end of May.
These other following dates ought to be noted. For those who plan to drop off their works directly at CCP at the last minute, ingress can only be from Nov. 4 to 6. Others who can submit their pieces earlier may do so at either of the co-curators’ places, which will be made known through private communication. This can be done until end of October. For participants who wish to have their works included in the catalogue/ brochure, the deadline is Sept. 15.
Artworks should come with info cards stating the title and artist, date of work, medium and size. Artists should not expect any matting or framing to be done by the curators or the hosting venue. Video installations should come complete, especially with regards monitors, cables and power plugs.
The start of the exhibit may coincide with the finale of the Spoken Word Festival also to be conducted at the CCP under the baton of Hermie Beltran. There might then be a poetry reading or performance activity timed for the opening.
Since the exhibit will run for three months, several of such activities may be announced for particular dates. This may take the form of readings and performances, as well as open forum sessions with students for an audience. Participating poet-artists are thus enjoined to also declare early enough if they are willing to commit themselves to these public activities.