This September at the UP Vargas Museum
Here’s what’s in store for you at the Jorge B. Vargas Museum in the University of the Philippines, Diliman, this month.
The Arrow of Time in the Heart of the Sun
2 to 23 September 2017
UP Vargas Museum opens Ian Fabro’s exhibition titled The Arrow of Time in the Heart of the Sun at the 3F Galleries on 2 September at 6 pm.
In The Arrow of Time in the Heart of the Sun, Fabro’s intricate and sinewy figures gather to form haunting images bursting with intensity. The works are bleak, sweeping, epic. They draw from a range of sources from the Bible to William Blake and explore a range of materials: graphite, ink, aluminum staple tacks, copper tacks, pins, and nails. The density of the material intersects with riveting metaphysics.
Ian Fabro (b. 1993) is an artist from San Mateo, Rizal. He is known for his large-scale pen and-ink drawings encrusted with staple wires, nails, tacks and the like. His works have previously been shown in various exhibitions here and abroad. The Arrow of Time in the Heart of the Sun is his third solo exhibit.
The Arrow of Time in the Heart of the Sun runs until 23 September.
Rituals of Invasion and Resistance
Survey of Installation Works 1992-2017
2 September to 5 October 2017
UP Vargas Museum, in cooperation with Silverlens, opens Rituals of Invasion and Resistance, a solo exhibition by Norberto “Peewee” Roldan at the 1F Galleries on 2 September, Saturday, at 6 in the evening. A walk-through of the show happens at 4:30 pm.
Rituals of Invasion and Resistance presents works in the installation of the artist from different periods in his career, be it in their original forms, in new iterations or as reconstructions. Together for the first time, the installations reveal the backbone of Roldan’s body of work, straddling between contemporary art and material culture. The works negotiate the boundaries of life and art, history, and critique.
Norberto Roldan (b. 1953) is a visual artist whose practice is rooted in social, political, and cultural commentary surrounding everyday life, history, and collective memory. He received his Bachelor of Arts in Philosophy from St. Pius X Seminary, Bachelor of Fine Arts in Visual Communications, and Master of Arts in Art Studies, both at the University of the Philippines. He initiated the Visayas Islands Visual Arts Exhibition and Conference (VIVA EXCON) in 1990 and co-founded Black Artists in Asia in 1986. He is currently the artistic director of Green Papaya Art Projects.
He has been a consistent finalist and Juror’s Choice (1998) for the Philip Morris Philippines Art Award. He is represented in several landmark surveys of Southeast Asian contemporary art: New Art from Southeast Asia 1992, Fukuoka Asian Art Museum (1992); Negotiating Home History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991-2011, Singapore Art Museum (2011); No Country: Contemporary Art For South/Southeast Asia, Solomon R Guggenheim Museum (2012); Between Declarations & Dreams: Art of Southeast Asia Since the 19th Century, National Gallery Singapore (2015); and, Sunshower: Contemporary Art from Southeast Asia 1980s to Now, National Art Centre Tokyo and Mori Art Museum (2017). He is also represented in two current Philippine exhibitions: Passion and Procession: Art of the Philippines, Art Gallery of New South Wales (2017); and, Philippine Art: Collecting Art, Collecting Memories, Asian Art Museum-San Francisco (2017).
Rituals of Invasion and Resistance runs until October 5.
Contact UP Vargas Museum
For more information about any of the events, please contact Vargas Museum at (+632) 928-1927 (direct line), (+632) 981-8500 local 4024 (UP trunkline), (+632) 928-1925 (fax), or send an e-mail to email@example.com. You may also check our website or like us on Facebook. Follow us on Twitter and Instagram (@UPVargasMuseum) for more updates.
I’m a person of simple tastes and wants. All I’ve ever wanted since I was 12 was to have my own room where I can display my notebook collection. When I was 16, I was content to stay in bed and write in my journal. At 22, I thought I needed nothing more than classical music and a bowl of spaghetti.