Kabit at Sabit :Simultaneous Installation | Multiple Locations | Online and Offline

1st Kabit at Sabit
Simultaneous Installation | Multiple Locations | Online and Offline
May 11, 2019

^{Kabit is a Filipino word for attached, connect or installation and Sabit is a Filipino word for hang or hanger. Inspired by the local and communal tradition of Pahiyas festival in Lucban, Quezon where houses are decked or adorned with food, produce, crafts and anything that reflects the resident’s life like vinyl records, teddy bear collection, books to bikes, this project aims to be a ceremony of vision, a ritual bricolage, an energy for imagination for just one day.

In a text, Installations: A Case for Hangings, Ray Albano discusses installation "as a case to get through our authentic selves" in connection to the Filipino local cultural and natural environments. "It may be that our innate sense of space is not a static perception of flatness but an experience of mobility, performance, body-participation, physical relation at its most cohesive form."

This is a project that aspires to problematize the choice of medium, methods of producing, forms and formats of presenting an artwork as well as the definition of art in a given time and space within the everyday context. This exhibition has no main venue but happens simultaneously in multiple locations with a thematic signal of a façade- an open space, which exists in-between public and private. It triggers intimate, deceptive, inspirational, provocative encounters, and generates stories and spirits in your families, neighbors, your community and the public.

Projects such as installations, performances, interventions will be on view on May 11th, 2019 on a specific time and place as indicated on each artist’s project, building intimate and casual engagements with intentional and accidental viewers. Some will be on view for 1 hour and some will be for a long period of time.}PROJECTS

“Bitin” (Accumulations)
Alfredo and Isabel Aquilizan

_{_{Images courtesy of the Artist}}

^{Our work explore the pertinent themes of home, community, and identity in an increasingly migrant world. Our medium expands to a broad range of materials from drawing, sculpture, mixed media, assemblage and large scale installation projects. The core of our work heavily draws on memory of home and country. In undertaking this kind of artistic process, we collaborate with the people around a community and forge connections among them. In gathering letters, domestic items, mementoes, baby sweaters, toothbrushes, blankets, and photographs of young people for identification cards, we restore the ecology of art as a system of interaction, mutual critique of differences, and the possibilities of the convergence of communities.

“Bitin” (Accumulations) takes up the ends of other similar specific installations in different places. Working with the impermanent essence of a named space, these installation featuring objects and personal mementos are explorations of the rich histories of the sites where the works has been created. In the run-up to the exhibition and partly continuing throughout, communities and families within the area will become active participants in building the work using personal and other material of memory, contributing their own to the installation. Presented together, the objects connote real or imagined community as well as a meditation on the possibility of defining our own identity and place of origin.

Location:
Fruitjuice Factory Studio
(Los Baños, Laguna Philippines)
2755 Natures hill, Carbern Village
Anos Los Baños, Laguna
Philippines}

^{Alfredo & Isabel Aquilizan (Brisbane/Los Baños, Laguna)

Alfredo Juan (born in Ballesteros, Cagayan Philippines in 1962) and Isabel Aquilizan y Gaudinez (born in Manila, Philippines in 1965) are currently based in Brisbane with their five children. The artist couple’s collaborative activities evolved within the spheres of family and community, including personal relationships and those they share with other artists. For years they have been exploring the meaning of ‘home’ and a sense of ‘belonging’ while travelling extensively for work, finding and defining the notion of ‘identity’, dealing with hardships of journey, displacement, sensing presences in absence and accumulating memory. They continue to process these issues through materials and objects that are both abstract and referential, objects that serve as metaphors of everyday human life. For the past ten years they have continuously collected fragments of their protracted Project Be-longing (1997-2007), an artistic collaboration spanning ten years. They are currently working on a new project entitled Another Country that talks about migration, dislocation, diaspora, adopting/adapting, settlement/resettlement, and identity.

The artists have participated in a number of international biennales and exhibitions including the Sharjah Biennale, UAE(2013), Asia Pacific Triennale, Australia (1999,2009), Singapore Biennale (2008), Adelaide Biennale, Australia (2008), Biennale of Sydney (2006), the Third Echigo-Tsumari Triennale, Japan (2006), Gwangju Biennale, Korea (2004), La Biennale de Venezia, Italy (2003) and many others. Currently they are working on the following projects
ART IN A BOX, QUT Art MuseumBrisbane, QLD, Australia, WANAS KONST
Center for Art and Learning, Hässleholmsvägen, Vanås, Sweden, Pillars: Project Another Country, North Atrium, Auckland Art Gallery, Auckland, New Zealand FaceBook AIR, MPK 21, Menlo Park, California, USA; Bruised: Art Action & Ecology in Asia, RMIT, Melbourne, Victoria, Australia; Brisbane Art and Design Festival, Museum of Brisbane, Brisbane, Queensland, Australia; Take Root : Project Another Country Artspace Mackay, Mackay, Queensland, Australia}

“Agora”
Angelo Magno

_{_{Images courtesy of the Artist}}

^{I have been fond of creating faces and masks in my art practice through drawings, prints and mixed media. Faces and masks have been a consistent motif in my process as a form of vehicle for the creation of narratives.

I have chosen to utilize face as a signifier for emotion and character.

Donald Pollock articulates how masks can become an indexical signifier of character, which may be present o merely suggested as an attribute of the wearer:

“Masks are not merely pictures of other beings, but are more fundamentally considered to be ways in which the identities of those beings are attributed or predicated by the mask-wearer as well. ... Masks “works” by operating on the particular ways in which identity or personhood is expressed in any culture. The masks works by concealing or modifying those signs of identity which conventionally display the actor, and by presenting new values that, again conventionally, represent the transformed person or an entirely new identity.” i

In reference to the Pahiyas Festival of Lucban, Quezon, I will be installing drawings of faces on the facade of our home residence in Cainta. This is inspired by the idea of an Agora. Oxford dictionary defines Agora as a place of congregation, a public space, a market place, or a place of assembly. In this case, the viewers are invited to observe the installation as a space of assembly of various identities represented in the drawings. Presence of audience in the space will also activate the space as an interaction of identities both simulated ( drawings) and real ( living audience).

Location: 14-A Kalachuchi St. Cainta Green Park Village, Cainta Rizal, 1900

Time of viewing: 8:00 am to 8:00 pm}

^{Angelo Magno (b. 1979) received his bachelor’s degree in Art Studies at the University of the Philippine in Diliman in 2000 and his Master of Fine Arts in 2016 in the same university. He is a member of the Pinoy Printmakers , formerly known as Printmakers Association of the Philippines (PAP), and a teacher at the Asia Pacific Collége (APC), School of Multimedia Arts. He has exhibited his works in the Philippines, Malaysia, USA, and Indonesia.}

“My Favorite Thing in This Small World”
Atsuko Yamagata

_{_{Images courtesy of the Artist}}

^{This work will present life of housewives of Japanese expatriate in Manila.

Artworks will be installed on two balconies and one window of condominium in the center of Makati City. Residents in each units are all Japanese expatriate families. Although to varying degrees, most of expats family`s life in Manila, especially the housewives, seems to be limited and closed. They live in a condominium in Makati or Bonifacio Global City, and mostly spend their time in these two cities. Some of them cannot go out even in walking distance without a car driven by a driver.

Some of wives like to collect goods of Jollibee such as toys, T-shirts or everything if Jollibee is printed on. Collecting Jollibee goods is common and popular hobby among wives of Japanese expats here. That might be read they collect evidence of their living in Philippines, or their consciousness to want to love the country living. Simple and cute icon looks to be the good entrance for Japanese women to know diﬀerent culture, and the way to collect is not hard even though they live in the limited and small world.

In line with this, I hang an amount of fragments of reconstructed Jollibee images in the balconies and window of expats families. I expect that this installation show a bridge between private and public of residents , their relationship with outside in their small world.

Location 1) Balcony
28F BSA TOWER, 108 Legazpi Street, Makati City Where to view: From the entrance of Greenbelt 5, on Legazpi Street}

^{Location 2) Balcony
41F Senta, Rodriguez, 140 Legazpi Street, Legazpi Village, Makati City

Where to view: From Parking areaof Legazpi Park (Rufino Street side)}

^{Location 3) Window
19F One Penn Place, Tordesillas street, Salcedo Village, Makati City Where to view: From Jaime C. Velasquez Park}

^{Born 1982 in Sapporo City, Hokkaido, Japan. Lives and works in Manila, Philippines.

Atsuko Yamagata has started her career as a visual artist since 2006 when she lived in Tokyo. She moved to Philippines in 2012 and her activities has expanded more and more in the artscene in Manila. She has been participating numerous exhibitions mainly in Philippines , also in Japan, Indonesia and Singapore.

Yamagata is basically self-taught artist. She received B.A. Faculty of Foreign Studies in Tokyo University of Foreign Studies, especially she majored in Indonesian language as a part of cultural study of Southeast Asia. After years, she entered Musashino Art University in Tokyo to study ﬁne arts , and took some courses for a year and dropped out.

Recent solo and remarkable group exhibitions ; in 2018 , lRemembrancez at Vinyl on Vinyl gallery, lUncontrolled Artiﬁcialityz at Finale Art File, lBorn Softlyz at MO_Space, lBelongingnessz at West Gallery. In 2017, lBreathing, breeding, blowout z at Art Informal , and lborrowed sceneryz at Underground gallery . She had an another solo exhibition in her hometown Sapporo City in 2017, lmade roots herez at Hotel Nikko Sapporo. Also she participated in Nakanojo Biennale 2017 in Gunma Prefecture(Japan) , and Participating in Nakanojo Biennale 2019 is already conﬁrmed.}

^{“MONSTERS”
Aze Ong}

^{Using fiber as medium for the arts is a challenge here in the Philippines. Our climate - heat and humidity builds a perception of its durability. And that fiber only makes fabric used for clothes, furniture, curtains, and household items.

It is ironic that these materials are being tested and developed, and are used for some of the most important technologies in and out of space (Parsons School of Fine Arts NYC, Textile Month 2017) yet we think that it will not endure the test of time.

#42 Aguilar St. Barangay Bungad SFDM QC ( Project 7)

May 11, 2019
Viewing hours: 8am - 5pm}

^{Aze Ong is a Filipino contemporary artist working with fiber. She was a 2016 Asian Cultural Council grantee and has an extensive exhibition portfolio in important museums, galleries, and artist-run spaces in Manila, Singapore, Abu Dhabi, Kingdom of Saudi Arabia, South Korea, the United States, and the list continues.}

^{THE DECEPTION OF A "YOU" AND A "ME"
Bucho, Meatfist and Mikki Luistro}

^{Bucho and Meatfist will be wearing crafted dodecahedron ‘helmets’ that have the image of the location that they will be standing in stuck to the various sides. The pictures will be taken before and during the performance by Mikki Luistro.

The visual concept of this idea is the hope that it creates the illusion of headless creatures with lines and various motifs floating above where their heads should be, or at the very least a surrealistic disruption of the surrounding environment.

Location:
Fidel A. Reyes St. cor Noli St., Malate, Manila

Viewing time: 1-2PM}

^{Mikki Luistro (1991) is a Filpino photogapher based in Manila. He graduated with a Bachelor's Degree in AB-Psychology at the De la Salle University- Manila. His works shows themes related to family, self-realizations, and documentations of advocacies he believes in . His works have also been exhibited in different spaces such as the Metropolitan Museum of Manila, Vetro, First United Building and Kuna ng Dahon.

Meatfist (1994) is multidisciplinary artist, currently studying in the De La Salle - College of St. Benilde under the AB Multimedia Arts course. His works vary both in shape and form, giving as much emphasis to the process as the end result. Currently the Editor-in-Chief of Komiks Sundays, (a komiks publishing collective) Meatfist could be considered a serial collaborator that enjoys working with a community. He has been publishing komiks and zines under the moniker for more than 5 years, dabbling in performance art and live art at various points in time.

Bucho Cabras (1989) is a performance and visual artist. She is one of the founding members of Art Sundays.

Art Sundays is a collective of independent artists that actively collaborate and work with each other on various projects ranging from workshops to performances to installations. Started in 2012 by Bucho Cabras and Maureen Ledesma, the group originally started as a way for visual artists to consistently produce work. Soon after it grew, the collective began working consistently with various other artist collectives in order to do their part in keeping the cultural landscape alive.}

^{Selections from Towards a New World Order
Cristian Tablazon with Jael Mendoza, Nomina Nuda}

^{Our installation is a partial iteration of a series titled Towards a New World Order consisting of entire pages of Hindi Ko Kailangan ang Aking Buhay 我不需要我的生命, a new text generated by repeatedly translating Pascual H. Poblete's 1906 Tagalog version of Rizal's Noli Me Tangere back and forth between Filipino and Chinese using Google Translate, and an assemblage of found illustrations cut out from children’s activity books exported by China, and texts excerpted from Adam David’s random poetry line generator and mock dictionary blog Sandaang Salita mula sa Kalikasan (2015), the Constitution of the Philippines, “Lupang Hinirang”, and “Panatang Makabayan”, also transmogrified using the same process. Towards a New World Order is part of a long-term project that explores notions of 'Chineseness' and the Sangley question in the archipelago, and locates these issues of identity and kinship in the larger contexts of China's current status as an insidious global superpower and its expansionism and encroachment into Southeast Asian waters.}

^{Location: 9654 Diamond Street, Umali Subdivision, Batong Malake (33.05 mi)
Los Baños, Laguna, Philippines 4031}

^{Christian Tablazon works with video and other photo-based media, installation, and text. He runs Nomina Nuda, a small nonprofit independent platform and exhibition space in Los Baños, Laguna, and works as a resident instructor and program coordinator at the Philippine High School for the Arts. He is also a member of the Film Desk of the Young Critics Circle. He will be curating Variations of the Field at the Vargas Museum this year through a grant from the Philippine Contemporary Art Network and the Japan Foundation. The exhibition will explore the network of imaginings, world-making, and fabrication of Philippine modernities under the US empire, and the entanglement of naturalist discourse with culture and state histories.}

^{“Homebound”
Denver Garza}

^{The work reflects on the artist's current living space and his connection to the city of Bacoor from the time his family decided to reside there. A map of the city of Bacoor will be drawn on a fabric while sewing symbols on areas that has significance to him.

Location: B4 L1 P1 St. Benedict Street, Mary Homes Subdividion, Molino, Bacoor, Cavite}

^{Denver Garza (born 1987) is currently an artist with an academic background in psychology. His
understanding of intrapsychic processes tends to translate in the physicality and structure of works. The works are interwoven around the process of finding meaning and comfort in uncertainty, allowing play as means to be cognizant of both positive and negative feelings and its transformative nature t create something beyond the restrictions bound by self, and of others.}

^{“Dulaanan” (Playground)
Errol Balcos}

^{For Kabit Sabit, I would like to take off from one of the projects I previously worked on, which is to make a public sculpture that may be used by children from the community which is made out of used tarpaulins from politicians' campaigns. Part upcycling, part commentary on fantasies projected by politicians to the ever-hopeful for change voting public, the piece is pieced together by paid advertisements that capitalize on desire. Materials used to promote consumption of their products and advertise their promises to voters will be consumed as materials by the artwork itself.

The community will also be called upon for possible volunteers to assist in the production process, being stakeholders themselves in the electoral exercise.

Location: Bock 14 Lot 8 P.N.Roa Subd. Calaanan, Canitoan, Cagayan de Oro City

Viewing time:
3:00 PM – 6:00 PM}

^{Errol P. Balcos (b.1976) is a self-taught artist with a formal education in Architectural Drafting at Mindanao University of Science and Technology in the Philippines. He has participated in group exhibitions in galleries and museums such as Manila Contemporary Gallery, West Gallery, Yuchengco Museum, Metropolitan Museum of Manila, National Museum of Singapore and the Philippine National Museum in Manila. Aside from being one of the Top Ten Mindanao Finalist of The Philippine Art Awards 2007, he also won the Juror's Choice Award of Merit in 2008 Philippine Art Awards. He was a selected participant in the 2009 Sungduan 5, a national exhibition by the National Commission for Culture and the Arts. Currently he’s the executive committee member at the National Commission for Culture and the Arts (NCCA) Committee on Visual Art Northern Mindanao. A painter and a sculptor, his works dwells on figurative subjects that tackle social realism and contemporary issues.}

^{"MIL OBJETOS IT AKEAN"
(One Thousand Objects in Aklan)
Greys Lockheart X NVC}

^{“Father Juan Alba baptized one thousand natives of Aklan in 1569… ‘Y por este se llama el Pueblo Calivo, significa mil’… and that is why the place is called Calivo, which means one thousand.”

The town of Kalibo got its name from the one thousand natives baptized in 1569 during the Spanish colonization. To commemorate the significant event, drums were sounded that coincided the Ati-Atihan feast. (A version of an Aklanon historian, Beato dela Cruz recounts on why Ati-Atihan was tinged to a religious fervor.)

In collaboration with Northwestern Visayan Colleges, the artist aims to accumulate one thousand objects from Kalibo and its neighboring towns to represent the one thousand natives. These objects are either memorabilias or collections of people native of Aklan. Other objects include local products, produce and found/recyclable materials of the rich history of the province. The NVC community becomes participants in the installation, contributing their own to the installation.

Inspired by the Payihas Festival in Lucban, Quezon, the artist uses her body as a façade for the installation. The project wants to problematize the format of presenting the installation, as a human body has complex and elaborate form, live and moving. As an immersing artist doing a project in Aklan, the artist combines random stories and experiences behind the collection of objects and translates it into a visual narrative. It is also one way for the community to gather and share their stories and look back its history. It is the artist’s own interpretation of retelling stories in a different perspective.

Location: Hotel Carmen at NVC lobby and parking lot corner Pastrana and 19 Martyrs Street, Kalibo, Aklan

Viewing time and performance: May 11, 2019 at 8:30 am – 11:30 am}

^{Greys Lockheart graduated Bachelor of Fine Arts major in Painting / Studio Arts at the University of the Philippines. She also took further studies in Traditional Puppetry at PPPPTK Yogyakarta and Asian Arts - Batik at the Indonesian Arts Institute.

As a multidisciplinary artist, she often applies research-based and site-specific approach on her works that tackles social problems, folklore, culture and archival materials. She blends fine art, puppetry, handiwork and modern aesthetics with influences from feminism, surrealism and pop culture to find harmony and strike balance between conflicting forces, interests, social issues and advocacies. Greys constantly turns to performance art as a means to rejuvenate her work. Her art performances are conveyed in surreal, dark and bizarre style using mask and interplay with videos, experimental audios, light and shadows.

Greys co-founded KLMTW, an open collective based in Cebu that conceived projects from cross-collaborations of different creative and non-creative individuals and community groups creating works through visual arts, performance, installations, video art and music.}

^{"an amount or section which, when combined with others, makes up the whole of something"
Klara Grancicova & Obsolescent Manufacturing}

^{“an amount or section which, when combined with others, makes up the whole of something” is a site specific work situated in an unmarked alley that connects Maginhawa street and Matimtiman street in Quezon City. Stones arbitrarily selected from the site and its surroundings are marked with the word ‘part’, written with correction fluid.

Location: Between 98 and 100 Maginhawa Street, Sikatuna Quezon City 1101, Metro Manila Philippines}

^{Klára Grančičová (b. 1991 in Prague, Czech Republic) She studied art in Barcelona. She draws. Mostly on paper. She usually uses text and simple lines and shapes, making drawings and sometimes installations. She is fascinated by language and our attachment to it. She likes words, she thinks they’re powerful, but not precious. She struggles with the overwhelming complexities of today’s world and strives to find simplicity. In the past few years, she’s lived mostly in Germany and participated in many group exhibitions– in Switzerland, in the Netherlands, Germany, the US, and other places. She’s had some solo shows as well. Last year she spent 3 months at a residency in Rotterdam.

Obsolescent Manufacturing [o Walang-Kwentang Gawa-Gawa] is a platform that attempts to mime the fluctuating boundary of what-is-art in the AGE OF THE INTERNEwhich is not to say anything of expertise or familiarity with the undefined frontier of the real-world-wide-web but as a self-aware declaration of our participation: this is art, how they used to do it in the good old days
this is art, vapor images, a cloud (THE CLOUD) this that is art, relates to that, that is art, relates to us: an intertext assemblage.
we refuse the word consumer, lacking the depth of making and having been made
we acknowledge that symbiosis would be a wildly inaccurate description, we do not know what is good for our own good

“Public Eye”
Ginoe

Public eye is an installation that tries to unpack concepts of privacy, surveillance, access and gossip. Inspired by the European art history trope "Lover's Eye," this installation aims to be its antithesis. Made of humble cardboard and string, the Public Eye is a stark contrast against the extravagant and opulent nature of the Lover's Eye. The way it is presented is also the complete opposite; in Public Eye, the public is invited to consume and interact with the piece whereas the Lover's Eyes are made with the intent of being a gift (and a display of affluence) to one special person. My last few years of doing work and practicing in ny community, I've realized that my public persona takes a form of its own-- it becomes a projection of everyone's expectations. Then tension of trying to keep my life in private while I am making work out of my own narrative and biography has been a strugle. With Public Eye, I decide to stare back. Public Eye is an installation work containing drawings, photocopies and markings from referenced from photos of people who are dear to me. My personal circle, the people cheering me on. This is both an homage and a shout.

Location
Mambulac, Silay, Negros Occidental

Viewing time: 10am - 6pm

Ginoe (b. 1995) is a young creative based in Silay City, Negros Occidental, Philippines. He is one of the Co-Founders of Glucose Zine and Syrup Artfest. He is a painter, illustrator and graphic designer, who also dedicates his time in organizing artistic efforts in his home city. Using ink, fabric, construction materials and found objects, Ginoe’s practices fuses the sensibilities of pop and sequential art that are oftentimes bold, comedic and playful yet tempered by underlying tensions of the personal.}“Tula ng Maynila”
Harvey Vasquez

^{The work centers around, me mapping my walks around Manila and creating collage from papers that was picked up along the way. The collage was then translated by signage makers to create a two prong response from the signs in and around the defined routes.

Location 1
MFI Technological Institute, 2240 Taft Ave, Pasay, 1304 Metro Manila}

^{Location 2
Co Tec Tai Medical Museum, 93 Taft Ave, Pasay, 1300 Metro Manila}

^{Location 3
Philippine Christian University
1648 Taft Ave, Malate, Manila, 1004 Metro Manila}

^{Location 4
Manila Science High School
Corner, Taft Avenue, 1000 Padre Faura St, Ermita, Manila, 1000 Metro Manila}

^{Location 5
104, Taft Ave, Ermita, Manila, 1000 Metro Manila}

^{Harvey A. Vasquez, licensed Architect in the Philippines with 13 years of experience ranging from renowned local firms to international offices servicing wide-range of projects. International exposure gained while employed in Dubai (U.A.E.) and Singapore has enormously improved his interaction and negotiation skills affirming better grasp in the architectural profession. After setting-up Kalamaam Design Studio, a private practice with Joanne Vasquez an Interior Designer herself, the pair took on a breadth of projects from interior interventions of micro to macro scale. Kalamaam Design Studio currently boasts a combined 26 years of unwavering capacity working on commercial and private commissions. This expansive understanding has afforded the studio ample knowledge in creating holistic environments, which responds to the client needs while also addressing the dynamic environmental conditions. From 2015-2017, he took on the exceptional challenge of working in Kalamaam Design Studio, at thesame time acquiring a Master’s Degree in Architecture Major in Architectural Heritage Conservation in University of the Philippines. Currently, the studio is in the middle of the pre-restoration process of the Architectural Heritage Conservation of The Abbey of Our Lady of Montserrat - San Beda Church in Mendiola. Last August 2018, he became a full-time probationary faculty in De La Salle-College of Saint Benilde after working part-time faculty from October 2015. Harvey heads STUDIO N0W as his banner studio. STUDIO N0W’s research interest lies in the intersection of Art and Architecture and its permutations in installation art. The studio also focuses on the seamless integration of the existing built environment with new Architectural Intervention using the strategic platform of Research by Design. Harvey is also an amateur researcher on the works of Marcel Duchamp, this interest in the question on what is art and what makes art is the central post on he’s work in Architecture, art and Design.}
^{"Toxic Future"
Havoc, Krem, HardChick, Mano and Herm Abrasive}

^{The underground subculture scene in Cebu is progressing, so does contemporary art scene. Some of the youth of today especially the radicals are greatly influenced by the punk, street art and graffiti subculture; the movement, the events and where it is held. As an artist we would like to merge the essence of both the subculture and the art scene by showcasing our artistic expression. The project is a series of different mediums such as graffiti, sculpture, painting, and installation depicting the chaotic tension of modern society and how the rise of advance capitalism destroys the environment. The artworks are gathered influenced by the aesthetic of punk, hip-hop, graffiti, which is D.I.Y, raw and non-traditional. The artists incorporate everyday objects in the process of art production, and some artists recycles and recreates a certain material such as fabrics to resemble a certain figure. The artist’s series of installation is an exploration of three-dimensional artworks aims to provide an aesthetic shock to taunt the viewer.

Location:
The Chill Camp ,18A Imus Rd. Brgy. Day-as Cebu City}

“Kasing-kasing”
Irma Lacorte

^{Ang Kasing-kasing sa salitang Waray ay PUSO. Ang Installation na ikakabit o isasabit ko ay mga puső na gawa sa langbay – murang dahon ng niyog na hinahabi at naghuhugis puso. Nilalagyan ito ng bigas at isinasaing. Ang hinabing dahon ang s’yang nagsisilbing ballot o supot kung kaya’t ito ay matatawag natin na pang-“take out” o “to go”, kung gagamitin natin ang makabagong paglalarawan dito.

Location:
Purok Makuguihon, Brgy. Camanjac, Dumaguete City, 6200 Philippines}

^{Irma Lacorte is a visual artist based in Dumaguete City. In addition to her solo shows, she participates as an exhibiting artist in curated group exhibitions such as the Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in Bacolod City (2014) and in Iloilo City (2016), Promdi back-to-back exhibitions in the Cultural Center of the Philippines and National Commission on Culture and the Arts in Manila (2016), and Istorya Isla of Dagit Arts Festival in Dumaguete (2016). Lacorte is a two-time recipient of the Asian Cultural Council Fellowship Grant (2003, 2016), a cultural exchange program for artists and researchers in Asia and the Unite States. In 2003, she also received support from the Freeman Fellowship Grant for her artist residency in Vermont Art Studio, USA. She earned her Master in Fine Arts (MFA) degree in the University of the Philippines Diliman in 2012 and taught in the University of the Philippines Los Banos from 2004 to 2014. She is currently a faculty member of the Fine Arts Department of Silliman University. Irma Lacorte has been cited in the Visual Arts volume of the Philippines Encyclopedia fo the Arts (2nd edition, 2018), published by the Cultural Center of the Philippines.}

^{“PA-KABIT at PA-SABIT ni ABET”
Nakakain ba ang art?
Joey Cobcobo, artist friends, students, neighbor and community groups}

^{Siguro kelangan ng artmake over nito gaya sa Koganecho, para makahikayat ng mga tao na pumasok o makiisyoso tungkol sa art na ginagawa ko kelangan ng Art Tsismisan, Kape-kape tayo, Halika na, Tambay muna or One Stop Shop for art and art lovers. Kung bigas nalang sana mabilis lang…Parang basketball kung saan may libre, tira! (Kilala ang aming lugar sa dikit-dikit at patung-patong na bahay.) Masarap gawin yung project kung alam mong maraming kang back up, sabi nga ng aming no.1 Councilor that she is working and willing to help on the creativity of the Mandaleno.

Libreng Kape-kape, pero pag mango shake my bayad na, pampahaba lang ng kwentuhan para sa mga matatandang issue-sero. Tapos sa mga bata LIBRE print workshop!}
^{Experience the fun and magic of woodcut using the PLATOPORMA images, so people can choose on the Top 10 promises of the politicians. Usung-uso at napapanahon sa darating na eleksyon na sanay magmistulang leksyon.

Location:
Blk.40 Welfareville Compound, Brgy. Addition Hills Mandaluyong City, (near the Lotto Station)}

^{Joey Cobcobo (b. 1983), developing assemblages of three-dimensional works and installations that combines painting, printmaking and different areas of woodcarving sculptures. He received bachelor in Fine Arts Degree (Cum Laude) major in Advertising from Technological University of the Philippines (TUP) Manila, 2004.

Include in exhibit commission, Propaganda, Tahanang Walang Hagdan at Lopez Museum at the year 2015-2016 and chosen as one of the Artist in Residence (AIR) of the Koganecho Bazaar 2013, Yokohama Japan. Cobcobo’s ethnicity, a half-Igorot and half-Ilocano who lived and studied in Addition Hills, Mandaluyong City since 1986, bringing his LOLA Project, as the roots of his society.

Joey’s distinctive accomplishments include the CCP Thirteen Artists Awards (2012). He was shortlisted for Ateneo Art Awards 2013, 2010, 2009 and was given the Juror’s Choice of Excellency Honor during the same year’s Philippine Art Awards and 2008 Juror's Choice Award in Figuras Painting Competition.

He has 14 solo exhibitions and 23 selected group exhibits from 2004 up to the present. His works has been viewed in venues, such as the Cultural Center of the Philippines, Bencab Museum, Yuchengco Museum, Ayala Museum, National Museum, Pinto Art Museum, Vargas Museum, Lopez Museum, Megamall Art Center, Avellana Art Gallery, Art Informal, Manila Contemporary, Nineveh Art Space, German Club Manila, West Gallery and other new alternative art space around Metro Manila and Mandaluyong City. As well as abroad, such as in Yokohama Japan, Seoul Korea, Australia, Singapore, Vietnam and New York.}

^{”Pagbabantay - Pag- antabay”
Kat Grow}

^{Crayons will be situated on ledges or the outside of the house's gate. The vulnerability of the wax materials exposed to the sun and external forces is the highlight of the work. There is no guarantee thatthe crayons will remain intact nor melt. The image of Mary, Our Lady of Lourdes icon, presents the Catholic upbringing of our household. Representative of our matriarch who has built and continues to care for our family. One of the bigger icons on our house altar. Another portion to this is a set of 50 frottages on paper-frottages of the most common item in the house, the owl, our mother's symbol. Starting from her personal collection of figurines, she has an affinity with it.

Location: Blk16 L9 Ph1-C, Genesis St., (main rd) in San Lorenzo Sundivision.}

^{Kat Grow is a a multi-disciplinary artist from Sta. Rosa, Laguna. She graduated cum laude from the University of the Philippines, Diliman with a Baccalaureate degree in Fine Arts majoring in Painting. She won grand prize for the Shell National Students' Art Competition in 2014 and was a participant in the Artery Mentorship Program in Artery Art Space, Cubao. She has joined several group exhibitions in galleries like Sining Kamalig, Erehwon Art Center, Kaida Contemporary, ArtInformal, and the NCCA gallery. Since 2016, she has self-organized many workshops mainly teaching the techniques of watercolor painting. Her first solo-exhibition, Terraforming Rituals, was mounted in April of 2019 at Galerie Stephanie in EDSA Shangrila.}

^{Grow’s work focuses on the traditional processes of creating materials used in art-making; from personally sourcing raw materials to creating artist tools such as paint and pastels. Grow’s practice is filled with repetitive actions that parallel to both loud and quiet, unseen formations of the Earth and the spiritual being of the self. As she grinds and sifts through raw materials and she extracts pigments for creating artworks that speak about different subjects- from social issues, to the economics of creation, and to more personal topics like identity and internal conflicts. The tool as the artwork, craft and repetitive, laborious tasks as methods of creation; these are what ground her and her artworks in the present."}

“Sourgrapes”
Lena Cobangbang

^{Our house has a lone kamias tree that has been standing for almost 50 years, outliving all the other fruit trees we had before like duhat and langka. Our kamias tree is a big come on for our neighbors, passers by and street kids who always pick from it, with permission or not. Lately, it had not been bearing as much fruits as before. In place of these missing fruits, I plan to hang recipe cards that utilize kamias fruit/flower/leaves in the dish/concoction

Location:
31 Pitimini St. San Francisco Del Monte, Bgy. Paltok 1105 QC

Viewing time: Whole day of May 11 (or maybe even further that day)}

^{Lena Cobangbang (b. Philippines, 1976) studied Fine Arts at the University of the Philippines in Diliman QC. Her work is broad-ranging, moving across video, installation, and found objects to embroidery, cookery, performance and photography. Integral to her art practice is doing collaborations with other artists, such as with Yasmin Sison under the created fictional identity as Alice and Lucinda; and with Mike Crisostomo as The Weather Bureau. Apart from making art, she writes and works as an independent curator. A part of the seminal artist collective Surrounded By Water, her art practice extends to doing art administration and exhibit organizing, having been a fellow at the 2008 HAO Summit for emerging artists, curator and art managers in Asia in Singapore in 2008, and having undergone an artist/curator research residency exchange between Green Papaya Art Projects and Pekarna Magdalenske Mreze in Maribor, Slovenia in 2010. She was also part of the touring exhibit Bastards of Misrepresentation, curated by Manuel Ocampo which has been held in Berlin, Hamburg, Bangkok and New York and the Manila Vice show in Sete, France. In 2005, she was nominated for the 3rd Ateneo Art Awards. She received the Cultural Center of the Philippines Thirteen Artists Award in 2006 and was one of the participating artists in the 2008 Singapore Biennale. She did curatorial projects for galleries Pablo, Post Gallery, Galerie Anna, Galerie Roberto, Art Anton, and Secret Fresh in Manila, Philippines. She was part of a residency program hosted by Langgeng Art Foundation in Jogjakarta in 2016, and is a participant in the first Manila Biennale in 2018.}

"Monsoon Winds in Venice"
Leo Abaya

^{For my contribution to Kabit at Sabit, I use three windsocks from my original site-specific work Kahanginan (2017), which was inspired from the Bagobo myth of the mortal Lumabat, who embarks on a journey to the end of the sky, whose torso is cut off by the jaws of death, eventually becoming a diwata in the end. The three windsocks in this current work indicate two layers of signification particular to Philippine human geography: the three major island groups of the country - Luzon, Visayas and Mindanao and the brave OFW’S who have displaced themselves from homeland in order to provide for their own homes.

Location: Venice}

^{Leo Abaya lives and works in Quezon City, Philippines. His explorations in painting, small sculptures, installations, and video inquire about histories, remembering, and the body, drawing inspiration from art history, film and photography, and his occasional design work in film and the broadcast media. Initially an Economics major who worked as an award-winning film production designer (Rizal, Muro-ami, Bagong Buwan, Kubrador, etc.), he formally studied art in UP College of Fine Arts as a Painting and Art History major and graduated magna cum laude in 1995. As a student, he won Jury Prize in AAP for a painting, which is now in the permanent collection of Singapore Art Museum. He then earned his MA Fine Art degree at the Winchester School of Art, University of Southampton in the United Kingdom in 2005, as a postgraduate fellow of the University of the Philippines. His works are in notable private collections as well as in institutions like the Singapore Art Museum, ILOMOCA, and the extensive UP Art Collection. He had also exhibited and curated shows for museums and galleries in the U.S.A. Manila, Taipei, and Singapore. As a practicing artist who has been teaching in UP Diliman for twenty years, he is also mentor to many of the young artists exhibiting today}

^{"National Scale"
Leslie de Chavez}

^{A body bag (cadaver pouch) is attached on three pieces of weighting scales hanging on a reclined bamboo or wooden structure. The body bag will be filled with found slippers collected from the nearest dumpsite. A video documentation of life (and/or death) in the dumpsite will be played in a small monitor and to be hanged or installed near the cadaver bag.

Composed of objects identified by their affinities to its function, source, and history, this proposed installation shall stand to recite a poetic antidote to the seeming normalcy of killing, loss, and devaluation of life in the country today.

Location:
Project Space Pilipinas, No.6 Eleazar St., Lucban, Quezon

Viewing time: 3 pm to 10 pm}

^{Manila-born Filipino artist Leslie de Chavez has been widely recognized for his incisive and sensible forays into history, cultural imperialism, religion, and contemporary life. Responding to urgent material conditions through his deconstructions of master texts, icons, and the symbols of his times, de Chavez strikes a balance between iconoclasm and an affirmative outlook to the relevance and accountability of art to one's milieu. Leslie de Chavez has held several solo exhibitions in the Philippines, China, Korea, Singapore, UK, and Switzerland. He has also participated in several notable exhibitions and art festivals, which include the Singapore Biennale 2013, 3rd Asian Art Biennale in Taiwan 2011, 3rd Nanjing Triennial in China 2008, First Pocheon Asia Biennale in South Korea 2007. A two-time awardee (2010/2014) of the Ateneo Art Awards for Visual Art, Leslie de Chavez is also the director/founder of the artist-run initiative Project Space Pilipinas, in Lucban, Quezon. He is exclusively represented by Arario Gallery (Korea) since 2006.}

^{“Nagmamasid”
Jose Luis Singson}

^{I recently moved to BGC this April from my recent apartment in Bgy. San Antonio, Makati City. So at this point, I am, to a certain extent, still adjusting to my new environment. This complex makes me curious,

So for Kabit at Sabit, I thought of simply amplifying what I was feeling. I saw a connection between windows and eyes ( as the saying goes, “the eyes are the windows to the soul”), and so the idea of showing a two-channel video of my eyes through our window came to mind. It communicates the curiosity I have for the place, as well as exposing a part of myself for people to see. I also felt its resonance with a place littered with windows and screens of advertisements that people look at. Here, it's an “advertisement” looking at them as well.

Location:
Fort Victoria, 5 th Avenue corner 23 rd St., Bonifacio Global City, Taguig

Viewing time: 8:00am - 10:00am.}

^{Jose Luis Singson (b. 1985) graduated with a Bachelor of Fine Arts degree in Studio Arts from the College of Fine Arts in the University of the Philippines Diliman (2013). He appropriates the visual language of the urban environment in his works, and uses different media to create pieces that serve as a reflection on society immediate to his physical vicinity and in proximity to personal, local, and national history. He has held solo exhibitions and participated in group exhibitions in notable galleries and institutions such as 1335MABINI, Underground, Kaida Contemporary, the Ateneo Art Gallery; National Commission on Culture and the Arts (PH) and Galerie Nasional Indonesia. In 2016, Singson was shortlisted for the Ateneo Art Awards, and was also one of two Filipino artists who participated in the Jakarta Contemporay Ceramic Biennale. He was also in the roster of contemporary visual artists who exhibited works in the first Manila Biennale 2018 in Intramuros, Manila.}

^{"Naging mga buntonghininga na itong aking tinatahak"
Marlon Hacla and Obsolescent Manufacturing}

^{Ang "Naging mga buntonghininga na itong aking tinatahak.'' ay isang tula na binubuo ng mga tagping lubid-bagay na bumubuhat sa litrato ng tulay na nasa malayong lugar.

Location: Along Roces St Diliman, Quezon City

Viewing time: 8AM onwards}

^{Si Marlon Hacla ay isang programmer, writer,, at photographer. Ang una niyang aklat, May Mga Dumadaang Anghel sa Parang (NCCA, 2010), ay inilathala bilang bahagi ng UBOD New Authors Series II. Ang ikalawa niyang aklat, Glossolalia, ay inilathala naman ng High Chair noong 2013. Ito ay nasundan ng dalawang self-published chapbooks, LABING-ANIM NA LIHAM NG KATAKSILAN at Melismas. Noong 2017, inilabas niya ang unang robot na tumutula sa Filipino, si Estela Vadal, bilang isang Twitter bot. Siya ngayon ay nakabase sa Quezon City kasama ang mga alaga niyang pusa.}

^{“30.3KM Away”
Mars Bugaoan}

^{Mars and his collaborators from the mosaic workshop of Las Casas Filipinas de Acuzar created an assemblage from fiber glass trimmings. The work relied on the irregular shape and colors of the trimmings, and the only intervention is chaining the pieces together. It was conceived to be a site responsive work, which traveled around - installed, uninstalled, reinstalled - within Las Casas. The work was originally entitled "153KM Away," referencing to the distance between Bagac, Bataan and Vito Cruz, Manila where the artist currently resides. The first series of iterations was presented during Bellas Artes Projects' NAMAMAHAY Flash Residency curated by Dayang Yraola in 2018.

Location: L12 B3 The Glens at Parkspring, Brgy. San Antonio, San Pedro, Laguna.

Viewing Hours: 6AM - 11PM}

^{Mars Bugaoan is an interdisciplinary artist born in 1988. He graduated cum laude with a degree in Advertising Arts at the University of Santo Tomas - College of Fine Arts and Design in 2009. His works range from drawings, prints, mixed media, sculptures to installations. He has been featured in numerous exhibits here and abroad, including three solo exhibitions and a two-man exhibition at the Cultural Center of the Philippines. He is also a member of the Association of Pinoyprintmakers.}

^{“Hay.há.yan House 115”
Melissa Abuga-a}

^{Hayhayan is a Bisayan word which means clothesline. A staple in every house, a line that connects.

House 115 is a recently conceived personal project by Meling. Meling, though she always considers her art as deeply personal, has been actively participating and assisting in the art scene, particularly in the areas of Region 10.

The idea of repurposing to reach out and reconnect to the community through art s as paved just about a year ago. While renovating/fixing the house and sorting some of the artworks that’s been left by various artists,Meling reflected on the fact that the house has been home to more energy-energy beyond the four family members living there combined. Beyond the works and the energy are the stories, the experiences, the life. Meling has heard a lot of stories about the house,from even before the house has been built to the wanderings of everyday.

This accommodating house belongs to Meling’s deceased parents.They loved to party.}
Location:
115 Igaran Street, Lower Jasaan, Jasaan Misamis Oriental

^{Melissa Abuga-a (b 1982, Cagayan de Oro) is a creative practioner focusing on painting, installation and community arts and crafts. Known to most as Meling, her involvement with art and community has been developed since her college years. Currently organizing art events such as Small press expo/ Zine festivals, Exhibitions, inter-genre and artist networking events and Behance Portfolio Review in Cagayan de Oro. She founded Arkadia collective (Formerly known as "inday art"), an all women art group for kagay anons. Also co-started a movement called art10, a gathering of new media artists in Region 10.}

^{"Lost and Found"
Miguel Aquilizan}

^{In the house that was occupied by squatters before us, an attempt was made to make what was left ours, using discarded objects around the house.

Location:
2577 Natures Hill, Carbern, Anos, Los Banos, Laguna}

J^{uan Miguel Aquilizan (b. 1986. Manila, Philippines) currently lives and works in Brisbane, Australia. His main track in the University of the Philippines Diliman was Sculpture. He works heavily with object assemblages exploring ideas of cultural identity, consumerist culture and the post migration generation. His practice has received recognitions in the University of the Philippines Art Awards and the Metrobank Foundation through the course of his studies in Manila.}

^{"Apotropaic"
Norberto Roldan x Skylab}

^{Apotropaic is a Greek word which means “to ward off.” It is some kind of magic employed to turn away evil, deflect danger, or avert a misfortune. Apotropaic practices originate from superstitious beliefs. In Bisayan language, it is called “panaming,” objects that are basically used to ward off evil spirits, or drive away aswangs.

The doorways and windows of houses are particularly vulnerable to the entry or passage of an aswang. In Capiz, a province known to be aswang infested, Items and symbols such as garlic, crucifixes, silver bullets, wild roses, palms fashioned into crosses, oils, dried roots and organic objects sourced from the forest are left hanging outside the door and windows to drive away or even destroy aswangs.

The collaborative installation Apotropaic is an amalgamation of “panaming” collected from artists/participants. While it is simply an exercise in identifying and collecting these objects, it also reflects the desire to close rank and strengthen the community against imagined enemies.

Location:
The Water District
Premier de Mayo Street, Punta Tabuk
Roxas City, Capiz

Water District is across the Iglesia Ni Cristo church and on the right side of Calipayan street

Viewing Time (May 11): 6PM to 12 MN}

^{Norberto Roldan x Skylab
Roldan formed Skylab as participant in VIVA ExCon Capiz 2018 exhibition Don’t Even Bring Water. It is an ad hoc collective that seeks to study every day expressions of ordinary people in rural areas. It aims to be a research-based creative laboratory that fosters discussions on visual culture and its intersections with agriculture, aquaculture, and contemporary art in the countryside. It aspires to generate knowledge and understanding about art and how it can be relevant at the grassroots level. Skylab’s members are inter-generational and come from Roxas and some municipalities in the province of Capiz.

"Boudoir"
Pam Quinto

Boudoir: “A woman’s dressing room, bedroom, or private sitting room”

The proposed work will be an installation which will include a short performance. It intends to take a private setting into a public space. The work also intends to repurpose discards, old objects and furniture that are no longer in use.

The installation will be set up outside the artist’s house, and will consist of an old dressing table (which will be adorned with objects from her own dressing table and discarded belongings of other women in the household—objects such as facial care products, napkins, jewelry box, stuffed toys, clothes, etc.) as well as an old door from the artist’s house.

The performance will be an enactment of private moments that occur in a boudoir, a glimpse into the artist’s life as well as the life of the other women in the household who have at one point or another used the aforementioned dressing table. These private moments will be parts of a woman’s daily routinesuch as facial care, putting on make-up, a manicure and pedicure, or fixing one’s hair.

Location:
47 Santiago Street, San Francisco Del Monte, Barangay San Antonio, Quezon City

Viewing time: 8am - 7pm

Pam Quinto graduated in 2014 from the University of the Philippines, Diliman with a Bachelor’s Degree in Fine Arts, majoring in Studio Arts (Painting). She was awarded with the Outstanding Thesis and the Gawad Tanglaw awards for her undergraduate thesis, Engaging Depressive Disengagement. After graduating, she participated in Artery Art Space’s Artery Mentorship Program (AMP), a three month postgraduate program for four young artists chosen to work with over 30 mentors consisting of artists, curators, gallerists, and writers. She also apprenticed in ceramics under Katti Sta. Ana and Roberto Acosta.

Her diaristic and interdisciplinary practice is an archive and archaeology of self and human experience—be it her family’s history with mental illness, her own struggles, or past relationships. With her psychologically charged works, there is a consciousness born of the absurd experience: of being in a family with a history of bipolar disorder and depression. As a means of processing the experience, and a means of shedding light on mental illness, she translates her accounts of the depressive state and self-destructive habits into works such as the ongoing photo series Somnolence: It Runs in the Family, and installations such as Engaging Depressive Disengagement and I Really Ought to Cut Back. Pam also digs up remnants of past relationships and turns them into ceramic pieces (such as Fossilized Knickers, If I Remember Correctly, and Tether), as a process of transforming meanings attached to the remnants through the manipulation of these objects, and a process of transcending the breakup and the emotions that come with it.}

^{“Talî”
Pin Calacal, Miguel Puyat & Pope Bacay}

^{The idea for the work came from how leaflets and billing statements are put in plastic bags tied to the gate of our houses. We get one each a week from Globe, LPG tank delivery, water delivery, etc and, recently, people distributing leaflets of upcoming election candidates.

This seemingly simple act of advertising feels has its conveniences since information about certain products and services available in the area quite literally arrive on our doorsteps, but it also feels intrusive since people are continuously bombarding (although in increments) us with their products at our supposed private spaces

These leaflets are ads for stuff we already have, but they’re of a different brand or service provider. In place of leaflets, the brands and services we are already using send billing statements.

Describing our consumption habits is a way to describe our lives. The amount of items we buy or kind of services we subscribe to like Maynilad, Netflix, cable, etc. are reflections of what we need and enjoy regularly. The physical manner with which information is also circulated or disseminated is also interesting especially since searching for all this information is supposedly easier because of the internet.

For this work, we want to collect and mimic a lot of these plastic-wrapped leaflets and statements and “adorn” at least our garage gate and, if possible, the entire open/grill part of the front fencing. Through the volume, we wanted to draw attention to how much of these products, services and how much we spend on them actually have a huge place in our lives especially at home.

Location:
222 New Delhi Street, Brgy. Don Bosco, Parañaque

Viewing time: 9AM -5PM}

^{Pin Calacal’s works are anchored in her understanding of the body and its control, sickness and temporariness. Using the body also as a "lens", her concerns extend to identity, the fleetingness of human connections, the definition of home and place, and the social structures tied to these. She works with a variety of mediums and materials, which include graphite, acrylic, pen and ink, yarn, textile, paper, found objects and hair. She sometimes her process describes as ritualistic, necessarily repetitive, occasionally performative, and borderline obsessive.

She graduated summa cum laude with a degree in Fine Arts from the University of the Philippines, Diliman in 2015.

Miguel Puyat's works are often influenced by subcultures and how they struggled to exist. His works are primarily sculptural while still applying painting approach and practice. His works explore the use of found objects, mostly found or reclaimed wood through assemblages and collages.

Puyat studied Fine Arts at the University of the Philippines, Diliman and has exhibited extensively in different galleries all over Metro Manila. He also received an artist residency from Light and Space Contemporary through their LSC-AIR program in 2013.

Pope Bacay articulates understandings of place in his oil and acrylic paintings of architectural structures and landscape views. His fascination for places seems to be firmly rooted in his childhood home in Oriental Mindoro. Bacay expands his quest for belonging by grounding reality in architectural form - balconies, pierced walls, shuttered windows, roof decks, the dull surface of concrete or the tedium of grill work.

Pope Bacay was born and raised in Oriental Mindoro, the Philippines. He graduated cum laude, studio arts from the College of Fine Arts, University of the Philippines

"Non cha-cha"
Rico Entico

The installation assembles a conceptual narrative and a documentation of images from fleeting moments of gaze into an experience of the everyday in the streets of Brgy. Bangkal, Makati a small town known for second hand shops and surplus parts The act of capturing images without a device will exemplified by framing various auto mechanics around the area (each without his own garage, but with basic tools and skills ready to take on any work available along Public streets of A. Bonifacio) via a household mirror, a monster mask, and a contrast viewer associates the work to an effortless action of non-action. An optical work which transforms into each other spontaneously, without internal or external compulsion, but each successful to rouse the unexpected emotional response the goes beyond the meaning one is ever willing to ascribe to it.

Location:
A. Bonifacio Street Bangkal Makati

Time of viewing:

Rico Entico is an independent filmmaker, performer and a videographer based in Makati, Metro Manila. He straddles between narrative and experimental forms of the moving image, which offers an absurdist yet poignant vision of some of the undercurrents that drive his characters’ motivations, namely their vices and virtues. His films include Luha 20/20 (2015), Panggatong para sa punong nagmahal ( a hearth for the loving) 2018 , kapital k 2016 , Gastusing Dasal I, I to 6 (2013-2018) and several video art projects from 2009 up to the present. . He made a dozen of music videos for the art band (the sleepyheads), Grandi Oso and Pastillan Dong which aired all over music channels and video portals in the Philippines and also a co-founder of Lost Frames (Screenings and Talks).

“In-out of bola-bola”
Ronyel Compra

During summer months volleyball courts and basketball courts appears in random open spaces in the provincial barangays. These are usual past time activities every afternoon when the heat of the day slows down. Mostly on dried soil posts are erected serving as basketball ring or volleyball net using ordinary wooden posts and fishing nets.

Majority of these courts are erected in un cemented dried soil, what is distinct with these volleyball games in the provincial areas, aside from the obvious resource of using the basic materials ; these courts mostly are without line to indicate the outbound or inbound line. Therefore the ruling is different from the usual games seen on professional games.

I will be choosing one particular volleyball arena within Barangay Dakit of Bogo City where Iam currently residing. this project I will be using posters and random campaign mateirals as raw materials to create a tight rope and install the handmade rope as border line. Upon every match this line will be an indicator for the volleyball players of the inbound and outbound of the ball.

Location: 2 sites

RONYEL COMPRA is a visual artist based in Cebu. He earned his BFA from the University of the Philippines Cebu. Compra creates his works mainly on various techniques within the production, the process involves different procedures that were mimicked from local crafts upon his observance of the practical trades of Nipa hut-weaving, boat-building and charcoal-making.
What interests him are memories, history, and experiences which he often integrates in his art practice and his interest on the stories and ephemerality of things and situations, through his immediate surroundings and interactions. He explores his themes into multimedia, I.e. video, sculptural-installations, performances and printmaking.

His current work includes a series of LUTA which translates to frottage or rubbing . These were created through transferring a precise image from an actual texture or object into a piece of cloth or paper. Like the rubbings practiced by the ancient Chinese printers to come-up an exact ratio of 1:1 scale He collaborated with group of artists and non creative individuals to create body of works. From 2015 and 2017, He immersed and collaborated with the Talaandig tribe artists who are known in using soil as the main ingredient of their paintings. He Co-founded KLMTW (kalimutaw) who participated and represented the Philippines in Georgetown festival in Penang and the PTTTK in Jogjakarta Indonesia last 2016 and 2017. During the concluded VIVA EXCON Capiz last November 2018, He, together with KLMTW, created a full scale rubbing of an old cemetery’s facade in Capiz. Employing the technique of rubbing with the use of local soil as main ingredient fusing parallel narratives into his own vocabulary.

“Unfinished Arrangements”
Zeus Bascon

My current actualities involved moving and working in the locations of my recent projects. A house of a dear friend, a gallery, a computer shop, the bus, a theater lobby i have turned in and fit into my convenience. My studio here in Santa Rosa was left, ready for the coming flood and a momentary inactivity: my table rubbished of past projects, room filled of unfinished works and the floor revealing cracks of my days past. For the 1st Kabit at Sabit, i will proceed with an ongoing activity (Unfinished Arrangement) that would revisit and sort the contents of my studio as an attempt to organize a timeline of my past, present and near future.

Location:
is Blk 3 Lot 8 Unit A St. Louis Street, Console Subd. Phase 4, Brgy. Dita, Sta. Rosa, Laguna

Zeus Bascon (b.1987) After finishing a business course at the University of Sto. Tomas, Zeus Bascon built his career in art through his active participation in exhibitions since 2006. Bascon's work often explores the Self, extracting narratives charged with the supernatural and the spiritual. Presently working with excess, he focuses on the transmutation of form – extracting elements from past works integrated with new layers and strategies of presentations in order to establish connections between the internal and the external; the logistics of locations; energies stored in time; and evidences of intuition. In 2014, he participated in a residency program held by the Koganecho Area Management Center in Yokohama, Japan. And in 2018, Bascon became one of the recipients of the Thirteen Artists Award.}
1st Kabit at Sabit
Simultaneous Installation | Multiple Locations | Online and Offline
May 11, 2019

Organized by Load na Dito

Load na Dito is a mobile research and artistic project, initiated in 2016 with a vision to generate and archive information, experience and knowledge of contemporary art and culture in Manila and beyond. We organize research & discussion groups and practice-based experimental platform in various sizes and forms.

E-mail us at loadnaditoprojects.manila@gmail.com