Balag Dos

Freedom Installation

"Balag Dos" takes from the artist's 1970 installation "Balag."  As a freedom installation, the UP Diliman community is invited to take part in the creation of the artwork by writing messages on clothes and mounting them on the bamboo poles that comprise the structure at the Quezon Hall Amphitheater.

 Luis "Junyee" Yee Jr. is a Filipino visual artist who works with paintings, sculpture and is credited as one of the pioneers of installation art in the Philippines.

 

"Balag Dos" by "Junyee". Photos by Aranjay Garchitorena

Plot the Riles

13 February 2015, Friday Forum, 1-3 PM
College of Fine Arts Auditorium
with speakers from Riles Network and CJ Chanco of IBON Foundation

Installation Opening, 3 PM, AGT (Monorail) Field in front of College of Fine Arts

“PLOT THE RILES: A Forum and Participative Installation on the Philippine Railway System” aims to depict the existing railway lines in the Philippines and expose its limitations in providing Filipinos the mass transportation system that the country needs for a long-term and inclusive economic development. The installation component of the work consists of large-scale, color-coded lines or networks, tracing the different routes of the train systems in the country, across the site of the Automated Guideway Transit (AGT) prototype. The participative aspect of the installation will enable the viewers to propose future train routes that they see as important sites the trains should reach, based on the needs of the majority. A forum preceding the opening of the installation aims to contextualize the work, introduce the importance of the railway system as a mode of transportation in the Philippines, talk about the current issues regarding the MRT and LRT, and highlight the need for a collective effort in achieving a safe, sustainable, and accessible mass transportation system in the country.

Conceptualized and spearheaded by: Nicole Tee, Nathalie Dagmang, JC JC Rosette
Participating artists: Andrej Ledesma, Carzen Esprela, Ramon Afable, Renz Lee, Kitty Kaburo, Ness Aban, Efren Madlangsakay, Rex Aguilar, Maisha dela Cruz, Faya Concepcion, Hayme Zulaybar

Pagpag at Bolasi

Artist: JM Balingit


Balingit comes from almost two-decades of professional experience in waste management and was inspired to take up one of the stables upon seeing how the artists had been challenged to remake these unlikely spaces to make personal and sensorial statements on social relationships woven into questions related to the physical environment. He takes the two terms in the title from artifacts found in dumpsites such as Payatas. Pagpag refers to food leftovers recovered and dusted, sometimes recooked then served to the families of scavenger families. Bolasi is a concatenation of the words bote, lata, and sibak.

Nameless Ones

Artist: Claro Ramirez

Ramirez plays on the still strong Filipino penchant to mount wall trophies to summon memories of glories past. Working on a trove of materials found by residents in the stud farm mounds, the artist culled these laminated and since effaced documents of tasks completed in a foregone past also to invoke often overdrawn hopes pinned on education being able to raise the stature of the anonymous amidst very real structural obstacles. Nameless ones is also an obvious reference to the Juans (aspirationally autonomous) in Back to Square 1/Juan.

UP Outdoor Recreation Group

With the use of body outlines of UP ORG members, the graffiti at the rightmost end of the stables closest to MRF Bldg B is a literal marking off of space with the traces of these individual bodies making present human narratives behind the objects strewn about the MRF. Like the other organizations and collectives who have opted to occupy the stables, this site stands as both coordinating hub and free wheeling creative space for those accessing Off Site/Out of Sight projects through this specific network.

UP Journ Club-23 Informal Broadcast News

The UP Journ Club is turning their stables, collegially shared with other College of Mass Communication students, into workshop spaces for their members and variable use for external-outreach activities. For the duration of Off Site/Out of Sight, UP Journ Club’s space constitutes the informal media bureau of Off Site/Out of Sight installations-workshops.

C.P. Garcia Gallery

As the nearest community settlement to the MRF, this stable has been apportioned to the residents of CP Garcia as they basically regained access to the more interior spaces of the MRF upon engaging with this project. It is a multi-purpose space in which continued workshop output, communal bonding activities, and possibly incubation of sustainability projects can be undertaken.

CClab

Artists: CClab

Contemporists Collaborative is a University of Santo Tomas-born architectural collective which came on board as a means to provide architectural interventions on the stud farm as physical site and convergence point for broad ranging artistic projects. Their initial propositions of crafting Invisible Links, or a Malleable Pathway have taken form in the setting off of a trail that visually and spatially conjoins MRF Bldgs A and C with a tree-bound swing respite in between. Possibly the biggest challenge facing this project was the summoning of creative solutions toward the crafting of architecture that would tread softly and wisely upon the grounds of this already fragile site.

Tangay- Tangan

Artists: Katti Sta. Ana and Manolo Sicat (with residents of Arboretum and the UP Academic Community)

Tangay (carried away) and Tangan (held in the hand) were the key words informing this project which hoped to occasion dialogue during a creative activity participated in by invested parties in the continuing tenuous negotiations over land involving the UP administration, the Quezon City local government, and in this particular case, residents of the Arboretum. As these negotiations delicately touched on such dire questions about tenure, human rights, and state funds shifting away from educational institutions, the process-oriented approach which physically yielded these mini precarious houses only underlines even more questions. Sta. Ana asks for instance: “Will the university ‘hold the hand ’of these communities? Or will it continue to deal with them at arms length?”

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