streetkonect

Siamese Rat x Astraberry x IndigoElix for !ha? 5.0

noreply@blogger.com (Unknown) — Mon, 30 Nov 2020 13:59:00 +0000

Siamese Rat x Astraberry x IndigoElix

To have Indigo’s drawings and doodles on the wall reminded us of how we started to explore the creative process. Observing him as he builds this own world of ideas in its crudest and rawest form, reminds us that children have the innate sense of creative expression in any form that they are comfortable.

We cannot help but be happy to realize that we were once kids who are just bold and daring to create something at the surge of the moment. Seeing the raw and “undisciplined” techniques revealed to us how swift imagination can run. Collaborating with our son, allowed us to be a “kid” again.

Some families keep a record of their kid’s heights every year on a door post or wall. We are keeping these drawings, and even if they will be painted over, they will forever be “embedded” in these walls.

Bart Brothers for !ha? 5.0

noreply@blogger.com (Unknown) — Mon, 30 Nov 2020 13:51:00 +0000

Bart and Yummy

Mano for !ha? 5.0

noreply@blogger.com (Unknown) — Mon, 30 Nov 2020 13:45:00 +0000

Mano
Tacloban

Greys Lockheart for !ha? 5.0

noreply@blogger.com (Unknown) — Sat, 28 Nov 2020 02:43:00 +0000

View this post on Instagram

A post shared by @srta.greys

Sylvie

That vessel is recognizable but feels unfamiliar

Changing styles, shapes, moods, phases

Where is yourself?

We are always conflicted with the 'versions' of ourselves

There is something fundamental, there is something transformational

Look for the soul in your eyes

You have affirmations

Watching this, you are actually reflected in the black mirror you are holding right now

For !ha? 2020

Music: Kozuke Anamizu (Preghost)

Alyssa Selanova for !ha? 5.0

noreply@blogger.com (Unknown) — Fri, 27 Nov 2020 12:39:00 +0000

Andy Warhol in 2020 "Everyone is an artist" for ! ha? 5.0 undo/redo/nonstop

Collaborated with different individuals from different walks of life to reconstruct my artwork (first photo).

2nd photo: Paula Tagra, Student
3rd photo: Love Barrera, Teacher
4th photo: Darla Belleza, Brand Communications and Campaigns Specialist
5th photo: Redz Milan, Freelancer
6th photo: Lorraine Ecarma, Journalist
7th photo: Alyssa Gerente, Associate Pharmacy Clerk
8th photo: John Charlo Icot, Creative Associate
9th photo: Siena Alde, Second Courser

koloWn for !ha? 5.0

noreply@blogger.com (Unknown) — Fri, 27 Nov 2020 12:31:00 +0000

"painted an image from 2 bars 3G video messenger call. Installed temporarilly in the same location where the call was for !ha? 5.0 undo/redo/nonstop"

Happy Garaje for !ha? 5.0

noreply@blogger.com (Unknown) — Fri, 27 Nov 2020 12:26:00 +0000

"We are joining by posting little portions of the studio that show parts of our work process"

!ha? 5.0 : undo/redo/nonstop

noreply@blogger.com (Unknown) — Wed, 11 Nov 2020 07:07:00 +0000

1.after 8 years we are doing this year's !ha? 5.0 with a theme undo/redo/nonstop. You are free to interpret the theme but don't overthink on it.

2. This year because of the pandemic we are extending the project to more than a week. So from Nov.11 it would culminate on November 30, 2020. We are also asking the participants to observe social distancing and safety protocols as prescribed by the health professionals.

3. We are welcoming participants from all walks of life. Although it might be totally impossible but we are trying to blur the walls of national boundary, ethnicities, regionalism, sexual orientation, generation gap and other border separations while maintaining our creativity, explorations and sense of humanity.

4. The internet is a great tool for collaboration. It would not be possible without the Friendster during the first !ha?, the sticker submissions from other places during !ha? 2.0 with the help of Multiply, we witnessed Facebooks's power of social networking in ha? 3.0 and 4.0. But for this year's iteration we wanted to comeback to the era where all the chaos happened on a blog's chat box.

For this year also we are deactivating our streetkonect's Facebook and IG page and will concentrate more on this blog again so we wont post any works on streetkonect's social media platforms. we are also affected by Social Dilemma. lol

The blog will centralize all the works and will serve as an online gallery from the submissions. We will also not create this time a separate website.

5. We welcome all forms of art. From public stickers, murals ,installations, net art, online video art and livestream performances. For drawings and 2D art it should be hanged or installed in a way people could see it. It could be your family,community or the internet. We are emphasizing here that your art should be viewable by your own audiences.

6. Send us a copy of documentation of your works to streetkonect@gmail.com. You may post also on your social media accounts. You can use the hashtags #streetkonect #undoredononstop #!ha?. For stickers and murals you may put a shoutout also !ha?5.0

7. Invite your friends to join by explaining to them and sharing this. We welcome suggestions and pitches for collaborations on how could we make this project more interesting. If you have questions and suggestions just contact us.

brief history of !ha?

noreply@blogger.com (Unknown) — Tue, 10 Nov 2020 14:59:00 +0000

!ha?

September 2008

Tacloban for !ha? more pics

Bart and other Cebu Artists for !ha? more pics here

KoloWn and other Cebu Artists for !ha? archive here

!ha? 2.0

July 2009

For !ha? 2.0 the format changed, it became a sticker event instead of a public art projects.

poster by Karingkay for !ha? 3.0

archive here

!ha? 3.0 : the colorblind

below is a poster for !ha? 3.0 by koloWn and text written by Angely Chi (!ha? organizer for Davao).We were planning to write a text for !ha? but the text below is more than enough.

check also the archive site here

It was in 2008 that the seeds of !HA? were sown. An art festival was brewing in Cebu and the newly-formed graffiti crew called UBEC ("Cebu" backwards) was looking at it from a distance. Its members shared the same sentiments: They can't afford the art fest's registration fee and they were wary of the attitudes of the artists in attendance. Upon these, UBEC made a street art fest that lasted a week. They first referred to it as "street art week", but then Sam Pipebomb, a crew member, pointed out that they should avoid naming it "Philippine Street Art Week" because it would be downright corny and serious. He suggested "!HA?", that expression of surprise or confusion one hears from people when they stumble upon a work of street art. An exclamation point preceding the word "HA" is enough suggestion at rebellion. No other rule permeated the first !HA? except "everything and anything in the streets". Ba!HA?la na. Dada enough.

UBEC was not alone in celebrating the streets for a week in the first !HA?. Tacloban's crew joined in. That would be the beginning of a street connection. Three years later, the network has expanded. In !HA? 3.0, more than fifty street artists and their crews in over ten cities in seven countries have participated in a week-long simultaneous street jams between Sept. 4-11, 2010.

On September 11, 2010, Cebu and Davao simultaneously celebrated the end of !HA? 3.0 The Colorblind, an experimental art fest which ran from Sept. 4-11, 2010 in several cities in the Philippines and in other countries. UBEC Crew of Cebu and DCK of Davao organized gigs in Turtle's Nest, Cebu and Durian Bar, Davao respectively, which flowed with live paintings, music, sticker-making, doodling, exhibits, etc.

The gigs were a time for physical convergence of the artists and their friends who participated and witnessed the unfolding of an experimental art fest. !HA? 3.0 The Colorblind did not happen in one place but in several places where there were artists who rowed their hometown streets with paintings, installations, wheatpastes, stencils and artistic debaucheries one can't put a finger on. The only thing uniform about the works is all of them are done in monochrome. But as to their subjects and media, Ba!HA?la na.

The artists documented their works and submitted through email for posting in the !HA? 3.0 official blog. The blog serves as the festival's online gallery. Because there is not one physical space for convergence, the coming together is done online. The blog is also linked to a Facebook page of Streetkonect, the website hosting the event. It is in the SK FB page that one can see people's response to the works. The SK FB also serves as one of the venues for artists to submit their works.

!HA? 3.0 thrives on the connection among artists established and nourished online. The non-existence of one physical space to host the festival as well as registration fees, unbinds participation. Anybody can join, that is if one frees their conception of art-making and would care to join an experimental art festival that waives age, artistic background (does not matter if you're not formally trained in anything), race, and sex.

!HA? 3.0 is not owned by any crew or individual but is a germination of an emerging art movement. There is no fixed schedule for it. Its participants do not know if it will happen annually or biennially. They also do not know if a fourth one is coming. What is certain is the existence of the art movement. Yet this too can change.

Ba!HA?la na nga.

Cebu Culmination Night at Turtles Nest

!HA? 3.0 Davao Benefit Gig

9/11/10,

Durian Bar, Madrazo Compound, C. Bangoy St., Davao City.

Nemo (Metro Manila)

Void Crew (Metro Manila)

Vermonyo (Metro Manila)

!ha? 4.0 : Contrast

March 25-31, 2012

archive: https://fourthversion-contrast.blogspot.com/

!ha? 4.0 was simplier compared to !ha? 3.0 but the guerilla performances around Cebu City made it more interesting and unique.

Nuno (Metro Manila)

Yummy, Karingkay,Hardchick (Cebu)

Culmination Night Guerilla Performance and Flash mob (IT Park to Gorordo, Cebu)

Ubec Crew and Bomba Press

2020

noreply@blogger.com (Unknown) — Thu, 22 Oct 2020 14:02:00 +0000

image by koloWn not related to the text below

It has been 2 years since the last update of this blog. Many things have happened and we must archive those on this blog in the upcoming posts.

One of the reasons why there has been a lack of updates on this blog was the way social media took over the publication of artists' new works. During the pre-Facebook era, the blog served as a hub where people browse new street art and other works in the local context. It is same also from the other art blogs during that time. Even though we had other social media accounts before like Friendster, Multiply and Myspace, the blog was still our central hub. It changes starting 2010 when Facebook was gaining attraction to us. The Facebook algorithm was so good that it forces us to post more updates on their platform and it was a good experience also.

The reason also we are posting again on the blog is we want to bring back the pre-Facebook era where this blog is the center of our activity online, shared only to those who type the url on a browser. The social media in 2020 is not the same as10 years ago. The social media feed in our timeline is curated by complex algorithms we don't comprehend.

Because it is hosted by google, we are not claiming that this blog is free from those kind "manipulations" but I guess we just want to bring the feel of typing on the address bar and wait what's the current happenings.

Stay tuned for more updates!

-streetkonect

SUWA-IL: Bart Bros x Soika Vomitir X Alien

noreply@blogger.com (Unknown) — Fri, 24 Aug 2018 06:49:00 +0000

Secret Fresh Gallery

photos by Patrick Ang

We Like To Drink Anywhere: We’re Calling it Commorancy ###

noreply@blogger.com (Unknown) — Wed, 14 Feb 2018 09:19:00 +0000

After developing a high tolerance for alcohol and the usual sleep deprivation. This group of friends decided to make something of it — most of them already being in the creative and artistic space of society, they turned what used to be just nights of drinking, gluttony, and video games into a collective of people who are self-proclaimed “Proprietors of a Good Time” (no sexual innuendo intended) who were hellbent on bringing creatives and eccentrics together. The Easy Afternoon Fellas.

The first of a series of events is Commorancy.

In a questionable attempt at trying to sound cool. We decided to call the event Commorancy###, by definition “A house or a dwelling place — usually a temporary one”. With the intention of bringing people together in unusual nooks and crannies of Cebu. Each Commorancy has a numerical suffix attached to it which indicates the first clue of its location — The house number. The nomadic nature of the events allows guests to feel familiar in an unfamiliar place. Same same but different.

One of the goals of Commorancy is to create a very casual space for informal dialogues between people. In hopes of creating relationships that would someday become awesome collaborations with different creatives.

One of Commorancy’s attractions during the event is the mobile “Saop™” cocktail bar. The token gay boy/bartender Zach Aldave curates and conjures up signature recipes for partners. The signature drink is a token of gratitude to the host or the venue.

Another thingy that the guys from EAF are planning to do during Commorancy is “WIP NIGHT” where people — drunk or not drunk — gather and talk about the projects they are working on. It’s a very loosely moderated set-up where the person talking decides whether they want advice or just want to talk about their project.

Commorancy also allows small scale food and beverage start-ups to pop-up during the event for exposure and as much moolah they can bring in by selling their stuff. So far EAF’s go-to coffee friends are the guys at Dirty Puma Coffee Co.. For the past 2 events they’ve had BRGY. Donuts and Haps-Homemade Goodies.

The afternoon begins with more than your usual dose of caffeine then crescendos into a night of heavy drinking, good conversations, and maybe even a cute boy/girl’s phone number or someone’s CV — or maybe just really a good friend.

words and photos by Zack Aldave, eaf mastermind

Let's Talk: Ernest Diño

noreply@blogger.com (Anonymous) — Sun, 04 Feb 2018 06:23:00 +0000

Earlier this month, 856G Gallery together with Beta Operations and Tropical Futures Institute displayed the video art pieces of RV Sanchez and Ernest Diño in a week-long exhibit.

Both artists are founders of Beta Operations, a collective interested in the development of new media art through tool exploration. Various art pieces from the group have been displayed on Streetkonect’s webpage over the past two years, and we’ve been proud to host a few videos from both RV and Ernest.

Here’s a quick interview with Ernest Diño about his artistic process and the videos displayed in his recent exhibit in 856G, "Diprosopus"

A lot of people know you as a filmmaker, production designer, and cinematographer. What’s the difference between your experimental films and your video art pieces? What lines are drawn between the two?

Well, I guess they've transformed but they're still essentially the same thing. It was quite some time before I heard of and embraced the term video art. So while I was doing my earlier works, around 2011, I was still thinking of them as experimental films.

My background has always been with narrative film, watching them and helping in making them. So when I transitioned to making strange videos they were essentially experimental films but still coming from an albeit failed narrative slant. After a while I met some people who mentioned that what I was doing was probably video art. After a bit of research on the subject and seeing some works and the people who make them, I was overwhelmed by a unique sense of discovery that only comes from knowing what something you've been doing all along actually is known as. From that point on, most of my personal work has been video art, although yeah they probably are still experimental films.

How’d you come up with your set for your show with RV Sanchez this year? How long did it take to come up with the video installations that you’ve made for this exhibit?

As with all my previous works, the piece I had for the exhibit was made up of clips I had lying around. It took a while for me to build the concept but the process of piecing together the final video only took less than a week from the exhibit opening. The final result was a single piece called Diprosopus, which had two projections playing on each other.

Can you share a few interesting behind-the-scenes stories in the development of the pieces for the exhibit?

Well, the exhibit itself was planned late last year, there was a good several months for us to prepare the pieces but it took a while before we could finalize the number of projectors we could get, and I was conceptualizing for a multiple projection setup. The actual time I had to work on it was about a week before the opening, which was when the number of projectors available was finalized. Also, most of the work was edited on my office computer. (Hope my employers don't read this)

Some artists have habits that keep them creative. Some listen to background noise while working on their art pieces; some take long walks around the city. Others shut themselves in for time alone. What habits have you made as a video artist? How do you keep the creative juices flowing?

I keep a camera on me at all times. Even if it's a dslr or a crappy phone camera, I'm gonna shoot footage on things that spark my interest whenever I'm walking around. I've captured several accidents, incidents, and dead animals over the years. I also walk. A lot.

What kind of themes do you currently enjoy exploring? What draws you to these themes?

I like exploring themes that deal with the subconscious. In film, most of the stuff we see are put together as a coherent scene from several shots subconsciously. I'd like to try and test that to its limits.

Any other upcoming projects or exhibits? What do you have prepared for 2018?

Nothing? I dunno. I'm not telling.

What are your thoughts on the new media art scene here in Cebu? What words of advice could you give to younger artists who’d like to dabble in video art and other new media art forms?

Try and do things differently. And most importantly, don't let me tell you what to do.

Let’s Talk: RV Sanchez

noreply@blogger.com (Anonymous) — Wed, 31 Jan 2018 01:14:00 +0000

Earlier this month, 856G Gallery together with Beta Operations and Tropical Futures Institute displayed the video art pieces of RV Sanchez and Ernest Diño in a week-long exhibit.

Here’s a quick interview with RV Sanchez about his artistic process and the videos displayed in his recent exhibit in 856G, “Taped” and “Meltpiece.”

You’ve done quite a number of videos art pieces for Beta Operations ever since the group was established in 2016. What draws you to video art and tool exploration? How does tool exploration enhance your experience as a performance artist?

I never know how to answer the question what draws me to video art. I am drawn to different art forms. Video is just another tool I currently want to mess around with.

I think tool exploration helped me build confidence to try out new things without being concerned about attracting public sensation. It has resulted in personal growth for me as a performance artist.

How’d you come up with your set for your show with Ernest Dino this year? How long did it take to come up with the video installations that you’ve made for this exhibit?

Although I’ve been doing a number of performances, it was last year that I started filming them. The pieces presented for this show are video recordings of my performances called “Taped” and “Meltpiece”.

“Taped” was filmed during my art residency in India last December 2017, while “Meltpiece” was filmed here in Cebu last September 2017. Both performances deal with the idea of consumerism in society and people’s neglectful tendency towards the environment.

Can you share a few interesting behind-the-scenes stories in the development of the pieces for the exhibit?

My performance “Taped” was roughly inspired by shibari, an ancient Japanese artistic form of rope bondage. But for this piece, I had to utilize the materials I had during that time: a packing tape, a trash bag and some rubbish. I performed nude on the rooftop of the residency studio where nudity is not allowed, so I had to make sure no locals were watching. Also, the temperature at that time was roughly between 8-20 degrees.

Some artists have habits that keep them creative. Some listen to background noise while working on their art pieces; some take long walks around the city. Others shut themselves in. What habits have you made as a video artist? How do you keep the creative juices flowing?

Doing a lot of sketches, reading books/articles about contemporary art and watching Yassi Pressman’s sexy dance videos.

What kind of themes do you currently enjoy exploring in your video art pieces? What draws you to these themes?

I’m not really concerned with themes prior to making video works or performances. I enjoy the creative process of making the work and exploring different tools, regardless of the theme.

Any other upcoming projects or exhibits? What do you have prepared for 2018?

Abangan

What are your thoughts on the new media art scene here in Cebu? What words of advice could you give to younger artists who’d like to dabble in video art and other new media art forms?

The new media art scene in Cebu is very young and promising. I hope there will be more institutions that will provide artists creative platforms.

Advice? Just keep creating what you want, without the pressure of commerce and criticism. Don’t be afraid to experiment with different tools. Mess around with them. Destroy them.

The exhibit opened on January 11, 2018 and lasted until January 22, 2018. Streetkonect will also be posting an interview with Ernest Diño later this week.

photos: RV Sanchez / Ernest Diño

noreply@blogger.com (Unknown) — Wed, 17 Jan 2018 03:30:00 +0000

856G Gallery together with Tropical Futures Institute and Beta Operations presents video works by RV Sanchez and Ernest Diño.

RV Sanchez works on video, performance, and varieties of media addressing issues in contemporary society. His video work Taped deals with the idea of consumerism in society and people’s neglectful tendency towards the environment. The video was filmed during his residency at Healing Hill Art Space in India last December 2017.

Ernest Diño lives in the ethos of punk rock. He works on sound, photography and moving images. He cuts, copies and pastes mundane clips of sounds, videos, still images creating new dimensionalities. His video work Disprosopus explores the relationship between imperfect images and spectation as an ordeal.

Ernest and Rv are two of the founders of Beta Operations that launched in 2016, with the aim of exploring new media tools for artistic production and exhibition and to promote new media art to the Cebuano audience and beyond.

The show opened last January 11, 2018. The show is until January 222018

beta_ops: LUMOS by RMNS

noreply@blogger.com (Unknown) — Tue, 16 Jan 2018 05:47:00 +0000

Beta Operations(beta_ops) is a collaborative project between individuals and organizations which explores new tools for artistic exhibition and production. Last year beta_ops produced more than 5 shows in Cebu, Manila and screened some of its videos outside the country. Next year the beta_ops will be back to explore more newer tools and exhibitions. If you are interested you can DM their Instagram and Facebook.
As of now they are busy recruiting new blood to join their projects. Here at Streetkonect we will publish some of the experiments that the group will come up.
The video above is by RMNS. He is exploring videos as well as coding and hardware building. He is also active in the local street art community.

Digging Deeper: Sunday Sunday

noreply@blogger.com (Anonymous) — Fri, 17 Nov 2017 00:27:00 +0000

Sunday Sunday is a bottle full of endless energy. One might think that the band's enthusiasm might wane after playing around the local music scene for almost two decades, but Sunday Sunday's brio hasn't dulled in the least.

There's an undeniable touch of vivacity whenever Sunday Sunday plays on stage - an infectious zest that starts at the touch of the instrument and then spreads throughout the crowd.

Last month the band released its new album, Sunday Sunday Great Test-Hits, and Streetkonect got to sit down and talk with the band's vocalist, Bobby Dee.

Sunday Sunday’s been in the scene for a long, long while. When did Sunday Sunday first come together? How many years have you guys been together and how many iterations did Sunday Sunday go through?

The band traces its roots to 2006 during our senior year in high school, we were called 'The Smurffs' back then and the band consisted of a different lineup. Then we changed our name to 'Anagram' later that year and played under that name for few years. Several name and lineup changes later, we finally had thecurrent lineup and settled for the name "Sunday Sunday" in 2010.

There were around 4 lineup changes before we got the current lineup of Myself, Cortz, Robbie and Jeremy.Jeremy joined back in late 2006, Cortz in late 2010 and finally robbie in 2011. The four of us are all batchmates in high school by the way, at USC-BHS!

Photo by: Steven Canete

We heard that your boss gave Sunday Sunday’s name. What’s the story behind that?

Hahaha...yes we were playing under the name "Serious Osmeña" during that time, it was around 2010 and my boss back then(Mr. Anthony Chua) came up with the name and suggested it to me, he was into Indie rock and roll as well so I thought it was a great suggestion.

It's a name of a Blur song too, but we love Oasis more..haha

How long did it take to work on Sunday Sunday Great Test-Hits? Were there any hang-ups?

It took us more than a year to finish the album. We recorded the first song for the album January 2016.

During that time we became a 5 piece band, as our former bass player Joshua Suarez returned to the band to play guitars, but for personal reasons he had to leave again later that year, so we had to adjust to playing again as a 4 piece band and, we had to postpone our recording for some time to try to regroup and review our plans for the album. It was in early 2017 that we went back to recording again and we usually found time for recording during Jeremy's days-off from work.

Hang-ups were time constraints since we all had work(med school for Robbie).

Photo by: Steven Canete

What’s the band’s song-making process? Do the lyrics come first, and then the music comes after, or does it go the other way around?

It could go either way, but often times the music does come first. Some songs were written more than a decade ago, so it kinda helped us when trying to list down songs for the album.

One fun thing about writing the songs was when I would just go to Jeremy's house(that's where we recorded the album tracks except for the drum parts) to work on some tunes or chord progressions right on the spot, we'd record a demo, send it Cortz and Robbie then we'd all record our parts the following week.

There were songs that we recorded/arranged that before we got to rehearse it in the studio. Again for songwriting process the music comes first, then the beer, then the lyrics..hahaha

Photo by: Steven Canete

Sunday Sunday’s lyrics (and titles) are pretty cheeky. What’s your writing process? Where do you find the words for your songs?

The lyrics don't really mean much to me at least, it's just a group of words arranged in a way to at least make it sound good when sung.

We love the whole wordplay thing, sounds cool..haha I do try to write the songs with a certain theme in mind but I don't necessarily write within the theme.

I believe a song could mean anything to anyone and I guess it's up to them to find that meaning. A song could not mean anything to me at one point and then I'd think otherwise later on.

A lot of our titles don't have anything to do with the songs, we just think they're fun and I guess
we're trying to mask the meaning of the songs with funny titles.

The band’s always so vivacious playing up on stage. Where does Sunday Sunday’s energy come from?

Alcohol and adrenaline equals lowered inhibitions and energy..haha I guess that's just how we are on stage, we try as much as we can to have fun and it shows with how we
play live.

Photo by: Steven Canete

What are your favorite band moments? Favorite places to play in? Do you guys have any signature moves when you play up on stage?

Favourite band moments would include messing up the songs on stage, and playing the songs right as well. Another would be doing our dance numbers, I think we're the only band that launches an album or EP and does a dance number in the middle of the set, at least we're pioneers of something..hahaha

Our favorite places to play in would be the pubs here in cebu, Mac Cafe, Handuraw, Azul, KOA, The Outpost(back in the day).

Signature moves, mine would include dancing around, and shouting in the middle of the song.

Jeremy's would be his happy drummer mode wherein he'd look so happy and doing dance like maneuvers while playing the drums.

Cortz's would be rocking out with his guitar, and closing his eyes feeling the music and scolding whoever makes a mistake. Robbie's would be his stationary bass playing stance with the occasional bobbing of his head.

Looking back at everything that your band’s been through, what kind of advice would you give your younger self?

Make time for music. The goal is to "Live Forever"

You can check out Sunday Sunday Great Test-Hits on bandcamp right here.

Digging Deeper: Ronyel Compra

noreply@blogger.com (Anonymous) — Sun, 29 Oct 2017 16:28:00 +0000

Tracing familiar objects using traditional art styles, Ronyel Compra's "luta" pieces featuring his grandmother's house and other objects of nostalgia certainly make a dent.

Here’s Streetkonect’s little interview with the artist a week after the“Lakra” exhibit at 856 G Gallery.

First of all congratulations on your successful solo exhibit at 856 G Gallery. Lakra was well –received. We all enjoyed looking at the different luta pieces displayed at the exhibit. We’re just wondering, why luta though?

You made a luta piece for Fortuna Circuit before, what drove you to make an entire set of luta pieces for a solo exhibit? What’s this predilection towards incorporating local art processes?

As far as I could recall, doing the luta of my grandmother’s house was originally what I had in mind when I started to try this process because I was thinking of extending the life of the deteriorating house, and conveying a visual narration about the place. I even showed the very first luta of the house during the 1^st Fortuna Circuit last 2015.

It's also because I'm always drawn to the idea of nostalgia and the thought of going home. It's a very personal thing that I can't go away with. Most of my art making's always been that way; about my roots and the primordial influences and the visual feast in that actual environment where I spent my childhood. I have this strong connection and memories that always direct me to choose local materials and local elements in my art.

2. Does Lakra have collaborative pieces where you work with the community like what you did in Fortuna Circuit?

In a way, the show is (technically) a community collaboration, still, because it was an accumulation of different ideas and effort, from the people of Tropical Futures Institute who moulded the concept to become a show, and also the people of Interlace who manually weaves the fabric by hand from the natural fibre, to threading and hand woven from a traditional fabric weaver. And down to the raw materials that came from the province (mostly Buri palm from Bohol).

3. Do you have any interesting stories to share about Lakra?

To sum up, its all about my fond experiences of the place as a child growing up. Creating the works for this exhibit had brought me back to the activities I did as a child. For the lack of toys, I recalled playing with soil beneath the house, digging holes, molding and mixing the soil with water, the actual gestures creating this works were so connected with that feeling of being at home or a child's play. It was very personal experience doing this body of work.

4. What’s your art process? What kind of habits have you built as an artist (e.g. drinking a cup of milk tea before going to work, listening to a certain album while working)?

I always play random music in my playlist, from classical to rock, instrumentals to somehow set me to a certain high-level-mood and to fill my head while working. For this particular piece, I do stretching before I took-off to do the work each day, since imprinting the house is a physically laborious work.

I had to condition myself like the farmer who plowed the field working nearby while I was working on my luta. I had to go up climbing stairs, climbing the walls, digging up and breaking down soil as a type of paint, mixing and smothering it all over the fabric while under the heat of the sun. At the end of day's work I ended up smelling like sweat and dirt.

5. What would you say is the perfect space for working on art? Where do you usually work?

As I got into the practice longer, I tend to not rely on the traditional art materials like paints, canvas, and even the conventional studio space. Naturally, I am so adventurous with my craft, and I get totally excited with everything new like new environments and new techniques and material. It gets me to experience new and fresh ways. I always keep my standard and expectations low regarding the resources so I could easily adapt to new space and could create anything that is available in any given space.

6. What do you do in your downtime? What hobbies do you pursue outside your profession as an artist?

I do sports, like soccer, and if I am not doodling or making drawings I watch movies and documentaries. That’s what takes up most of my time when I am not doing something with my hands.

7. You’ve come far as an artist. If you could go back in time, what would you tell your younger self studying at UP?

As a student, I over-think and overwork myself and procrastinate. I was being too careful not committing mistakes or creating bad works. Thus I ended up doing the cycle of overthinking and overworking in a limited time plus, I had a different perspective in life and in art then.

I would definitely tell my younger self that art is more than physical and mental work. It is not about the self-image you build to be projected as who you want yourself to and others to see. And definitely not about the accolades and awards. But rather, it should be an innate spiritual practice that during the process is where you live yourself and the reward is all in that point.

Questions: Tiny Diapana

Photos: Ernest Diño

Photos: Dispop Vol.1

noreply@blogger.com (Unknown) — Fri, 15 Sep 2017 08:51:00 +0000

photos by Ernest Diño.

DISPOP is a monthly event showcasing your favorite local avant/art rock bands. Still, in its infant stage, it aspires to be a venue for unheard and unafraid acts around Cebu City. (Libya Montes)

Photos: The Meme Show

noreply@blogger.com (Unknown) — Thu, 14 Sep 2017 06:25:00 +0000

Photos from The Meme Show last August 18, 2017

Couldn't Load Image Graffiti by KoloWn

noreply@blogger.com (Unknown) — Fri, 08 Sep 2017 14:58:00 +0000

In Escario, Cebu n November 2016, A group of artist named Andres painted a mural criticizing the burial of the late President Ferdinand Marcos at the Libingan ng mga Bayani. (image from Andres facebook)

A group of Marcos supporters painted over the mural. (image from Andres facebook)

KoloWn buffed over the tagged mural but added a stencil of "Could'nt Load Image. Tap to Retry". Image copied from Instagram.

image via KoloWn

BINISAYA Official Line Up

noreply@blogger.com (Anonymous) — Wed, 23 Aug 2017 14:12:00 +0000

Press Release

Since 2012, BINISAYA hosts an annual short film competition. This year, over 60 short films were submitted from participants hailing from different parts of the Visayas and Mindanao, namely, Cebu, Iloilo, Leyte, Cagayan De Oro, and Davao. We are proud to announce the top 10 short films that have made it to the competition. The winner will be announced during the BINISAYA Film Festival this coming September.

SHORT FILM COMPETITION

1. “Ang Ikaduhang Pagbalik“ Jeffrie Po (Cagayan de Oro City) 26 mins

A man wearing a barong, holds some fliers, roams around the park, and begins to interact with people. He is a preacher who wishes to gain more followers of his church. He's been asking the people in the park to listen to the words of the lord. Then, the preacher approaches a lone, young man sitting on a bench.

He convinces the young man to join his church, and attend a ceremony the next day. This young man shows no interest. The next day, however, the young man decides to join the service and tries to find said church. During the ceremony, the preacher discusses about their faith in god to the devotees. As the ceremony ended, the preacher gives each one of them a gift. Later that night an assembly takes place.

2. “Sierra Madre” Jovanni Tinapay (Cebu) 14 mins

Kalipay, a young girl, searches for her grandfather's long lost ship in a conflict in between her family and the sea.

3. “No Seguir” Niño Tecson (Cebu) 1 min

Rizal writes his last farewell. He is soon interrupted by the knocks on his door.

4. “Pleasant Words” Bugz Saavedra (Cebu) 1 min 37 secs

This is a TV test card substitute where Rody-chan and friends talk pleasantly.

5. “Hilom” P.R. Patindol (Leyte) 14 mins

Twin brothers struggle with their identities amidst the quiet cruelty of a remote island.

6. “Mga Bitoon sa Siyudad” Jarell M. Serencio (Davao) 5 mins

An hour before the bomb explosion at Roxas Night Market, Davao City, two young brothers, Oliver (12) and Mac-Mac (9) went from one table to another to serenade the market goers. The money they earn is used for their day to day school allowances and also their means of helping their father who work as a masseur at the night market.

Few minutes later, Mac-Mac discovered that he lost some amount of money. The two brothers immediately traced their steps back hoping to find it. Oliver reassures Mac-Mac that he will help him look for the missing money and told him not to go anywhere until he comes back. Oliver went his way, while Mac-Mac patiently waits. Minutes ticked by and a loud explosion happened. Roxas Market turned into chaos but Mac-Mac was still waiting for his brother to return.

7. “Pagrara Sang Patipuron” Jean Claire Dy & Manuel Domes (Iloilo) 20 mins

Pagrara Sang Patipuron follows a group of indigenous Aeta women weaving artists in Nagpana, a sitio up in the mountains of Barotac Viejo, Iloilo. The film explores their artistic processes and products, reflecting negotiations between tradition and modernity.

The Nagpana community is home to weaving artists that traditionally make crafts (purses and bags) that answer to a saturated market of woven crafts. This circle of women weaving artists are going beyond the products the Aeta are known for, by weaving jewelry with designs inspired by their environment and the people they live with.

For these women, to weave from the center, to weave a circle, is to weave a life confronting realities of lack and insecurities brought about by poverty. With the help of two young artist entrepreneurs in the community, the women were empowered to explore their artistic imagination and extend the limits of their design process in the hope of transcending their present realities. The Aeta are considered the first inhabitants of the Philippine archipelago, but they are also one of the most marginalized indigenous peoples in the country.

8. “Mga Bitin” Archie Manayon (Cebu) 8 mins

About Mouthbrooder Cichlids

9. “Sa Laing Kalibutan, Adunay Kita Karong Gabhiona” Ronnie Gamboa Jr. (Cebu) 12 mins

One of the many possibilities when we create a world made of joy, pain, unresolved feelings, memorable moments, and a few buckets of beer.

10. “Leonora Kilat” Mariya Lim (Cebu) 15 mins

With her movie star grandma dead and her favorite movie theater dying, Shirley's life mission is holding one last screening at the Colossus Theater of Philomena Singson's legendary film, Leonora Kilat.

There are also two other short film categories BINISAYA holds, which are the Shorts in Exhibition and the Asian Shorts

SHORTS IN EXHIBITION

1. “Mea Culpa” Rom Factolerin (Laguna) 23 mins

Anton, a rookie cop was assigned an unusual task of guarding a tortured captive criminal. Upon accepting the assignment, he is immediately plunged into the center of a drug related crime of embezzling three million pesos worth of drug money, thus the instruction of holding on the captive until verification of the location of the loot is on his hands.

In those fateful 72 hours of wait-and-see scenario both prisoner and guard discovers an unusual ephemeral sense of connection that both of them refuses to recognize. The negated odd feelings send them into oblivious past that either kills them both or suffer a discomfited feeling of guilt that will eventually destroys either of them any other way.

2. “Hindi Man Tayo Manalamin” Ronaldo S. Vivo, Jr. (Manila) 13 mins

This is a tale told in four parts. The story begins with an unreliable narrator's take on an urban legend about a fetus flushed down the toilet of a fast food restaurant, followed by a guide on how to effectively clean up a literal bloody mess. The remaining parts deal with the uncertainty in identifying the remains of a departed friend and a conversation between two absentee mourners about the art of death that ties everything together.

3. “Sore” Rodiell Veloso (Misamis Oriental) 15 mins

Two schoolboys' friendship is at test as they wait for an emergency appointment at a clinic.

4. “Saksi sa Binuwad na Asin” Ivan Zaldarriaga (Cebu) 24 mins

A group of young people living in the slums of Cebu embark on a film workshop that requires they document their own village, Sitio Kanipaan, and its inhabitants. This place, once the untouched seaside where water buffalo roamed, grew as informal settlers occupied and developed the land. Due to reclamation and nearby real-estate development the value of the land is rising and the villagers homes are insecure as they may be evicted anytime.

Urbanization spreads towards the rural, this film lets us hear the voices of the people who are witness to this transformation and who constantly adapt as each new wave of change approaches. All video footage and interviews are taken by the youth themselves who have chosen what they want to share with the outside world.

5. “Aliens Ata” Karl Glenn L. Barit (Metro Manila) 7 mins

Dalawang magkapatid ang susubukang kayanin at intindihin ang pagkawala at pagkawalay ng mga magulang, titingala sila sa langit upang humanap ng mga kasagutan.

6. “Luding's Station” Samantha Solidum (Cebu) 7 mins

A sari-sari store owner helps a young man reunite with his first love.

7. “The Stevens” Karl Lucente (Cebu) 13 mins

Bert and Juna are not The Stevens.

ASIAN SHORTS

1. “Gabul” Imam Syafi’i (Indonesia) 5 mins

About a police officer who issued his conscience for a small child.

2. “Oh-bey” Gloria Abigail Haryono (Indonesia) 6 mins

A flower named Beybi always curious about what does it feel like living outside the greenhouse, but she was told not to go outside. However she found out that the outside world was really fun.

3. “Nameless” Ruhul Robin Khan (Bangladesh) 13 mins

A shred film, anticipates the universal believe & the practice of human society; over the line of sex, gender & religion all people are a global community. It’s telling about global trepidation & the position of messy people.

To end with a symbolic representation of the relation between state and people. Where to endorse the power practice, the state provoked the people with vantage. In most of the cases the people cannot understand the exploitation of state, as the process of exploitation is in a downy mood.

4. “Calmara” Erinda Febriani (Indonesia) 19 mins

Calmara is the wife of Arjuna, who suffered from Alzheimer's disease. Little by little he has forgotten everything.

5. “Tradition” Lanka Bandaranayake (Sri Lanka) 11 mins

An old woman decorates a bride with the traditional Sri Lankan jewelry. She describes the symbolic meaning of each jewelry piece. Those meanings carry the girl to her past relationships and their deep scars. The bride’s ultimate destiny seems something illusive.

6. “If You Leave” Dodo Dayao (Philippines) 21 mins

Two amateur ghost hunters are hired to surveil an alleged haunted house. Nothing much happens. But just because you can’t see the patterns of strangeness, it doesn’t mean they aren’t there.

Pusakal : From the Streets

noreply@blogger.com (Unknown) — Mon, 24 Jul 2017 08:11:00 +0000

images from kult's press release

Let's Talk: Kathryn Layno

noreply@blogger.com (Anonymous) — Fri, 07 Apr 2017 14:38:00 +0000

Our Current Condition is the second year of Fortuna Circuit, an annual exhibition featuring artists from all around the Philippines. To give more detail on the artists and their work, we've decided to feature a few interviews with the exhibitors.

What art piece(s) are you bringing to the exhibit? What’s the story behind it?

Quick sketches using pen and ink on index cards by my friends and I. For my part, they were the state of mind that I was in at the time I was drawing them. They can be anything from gratitude for certain things, political statements and struggles with depression and anxiety.

What school of art do you follow? Who are your influences?

I generally work digitally for comics and illustration but also do pen and ink on paper occasionally. Some of my influences are Rebecca Guay, Alphonse Mucha, Jo Chen, Daisuke Ishiwatari, Jim Lee, Kim Jung Gi, James Jean and a bunch of videogame, anime and animation artists.

What’s your art process? Do you have any habits or practices that you do before making a piece (eg taking a walk, or drinking beer before painting)?

I like to immerse myself in the themes I want to portray in my work. It also depends on what the project calls for.

I collect images to make a “mood board” to guide me, visually. I also listen to music that coincides with the imagery. If I have time, maybe even watch a movie or delve into a videogame to get the gears turning.

Where do you want your art to take you? Where do you see yourself and your art in the future?

Originally, I wanted to be in animation but my route veered towards comics, professionally. I want to be able to do animated shorts or animatics in my spare time.

I also want to put out my own comics and art books someday. I see myself continuing to work with comics and illustration. Story telling is essential to what I want to do with my art.

Advice to budding artists out there.

Explore outside of your comfort zone, do not be afraid to socialize now and then (that is how I got most of my professional work) and go at your own pace. Everyone progresses differently and as long as you are a better you, that is good enough.

Let's Talk: Miko Puns

noreply@blogger.com (Anonymous) — Thu, 06 Apr 2017 14:05:00 +0000

What art piece(s) are you bringing to the exhibit? What’s the story behind it?

“ Inner Aggression”and“Enough to go around”

What school of art do you follow? Who are your influences?

I guess I‘d say, it’s more on the realism side? But it does adapt into different styles,

depending on what is required. I have a multitude of influences actually but the few that really made an impact on my art are Frank Frazetta, Adam Hughes, Kim Jung Gi, and Alphonse Mucha.

What’s your art process? Do you have any habits or practices that you do before making a piece (eg taking a walk, or drinking beer before painting)?

I’m not sure if I have any. I just do it. But it has to be a good idea.

Where do you want your art to take you? Where do you see yourself and your art in the future?

I don’t know, I haven’t really thought about that.

Advice to budding artists out there.

Just do it. And keep on doing it. There are no shortcuts to getting good at your craft.