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Artist: Ohm David
David is an artist and resident of Pook Amorsolo and thus grew up around the stud farm when it was still in use as a stud farm. His childhood reminisces include feeding the horses as he tagged along with his mother who was once employed by the National Stud Farm. Kwadra is an attempt to dream about this and buried pasts in general, using patches of memory to possibly construct images of a however uncertain future.
Artist: Carol Peña-Santos
While noting that part of the MRF used to be a veterinary hospital, Peña-Santos physically stages her fascination for hospitals as institutions of power and control as popularly tagged to Michel Foucault’s writing. She creates a simulation of this clinical space, through the laying out of a bare site lined with white tiles and a central ocular contraption. Through this, and despite the immediate siting of the work in a potentially toxic MRF, she hopes to reassert the idea of nature as an environment for healing. As visitors are encouraged to enter into what is meant to be a portal or a rabbit hole, a sense of hope or anticipation is counted on as a way to wear down some degrees of fear and anxiety usually attributed to the trauma of bodily subjecting to protocols of colonizing medical sites.
Kyrios and Kyrioser by Carol Peña-Santos
Artist: Claro Ramirez
Still in line with evoking the unbound terms defining relations between the MRF and those living around it, the transformation of this stable, collaboratively done with workers in the MRF and residents of CP Garcia subtly pose the shared work as a means to physically and metaphorically broaden the parameters of ‘owning’. With materials culled from the stable ruins, books coming together from booksale shopping missions, and outright donations even from workers in the MRF, this modest gesture to return to why places of learning were put up in the first place, is also a taunt to think through what art can and cannot do.
Honesty Library by Claro Ramirez
Artists: Cavity Collective
Cavity Collective occupies two stables, one humorously marked off with a “no trespassing public property” sign. Counting on visitors’ choosing to encounter rather than retreat, they intend the paired spaces to literally open up as artists’ spaces where they may, in the course of the project, paint and repaint, hold gatherings like their recent sticker festival or their Ipin Festival after party, where communal activities like sticker trading, sketchbook/blackbook collaborations, and performance-rap/spoken word, wordplay may unfold in this temporal Cavity Collective satellite headquarters.
No Trespassing/ Public Property by Cavity Collective
Artist: Oca Villamiel
Pre-school calendar shift, the University of the Philippines Diliman’s vaunted sunflowers once stood for how UP graduates instinctively turned to the light to ensure their education got digested and productively played out in wider worlds beyond Diliman. Not having come from UP, Villamiel accidentally plugs into this Peyups narrative in this ambivalent scene of hope and despair replete with a haunting life-size angel of death.
Ilaw at Dilim by Oca Villamiel
Artists: Jose John Santos III/ Pam Yan Santos/ Arvi Fetalvero/ Ioannis Sicuya/ Angel Ulama
Partly in response to the given incongruences of the site (a catch basin for yard waste, forgotten neighbor to the College of Fine Arts, the stud farm’s green but essentially now brown nature), Model Units 1 and 2 play on the irony that rings through having a liveable space in the absence of access to land. The intent to posit crafted luminosity in a dark space took tangential routes (including observing how the proliferation of glow-in-the-dark soda bottles eventually turned into trendy Christmas trimmings last year). This team of artists eventually settled on harvesting typhoon debris both at the farm and the nearby art school in comically posing two real estate showrooms, one with densely strung natural wall treatment and another with its own ‘finity’ pool. Taken together, the project brings to mind how urban Philippines is being turned into a network of arguably homogenous condominiums with a pocket few bannering rigged nature subs like vertical gardens to anaesthetize buyers from the actual state of territories constantly at the brink of transformation by ‘developments’.
Model Units 1 and 2. Photos by Abby Lagarico
Artists: Lyra Garcellano with Christopher Zamora, Caloy Gernale and Mervin Pimentel
Fuelled by capitalism, profit-oriented production, moreso over-production of consumer objects, give rise to waste in many forms and the guileless exploitation of the environment. Zamora, Gernale, and Pimentel’s wheat-pasted image of a ravenous can opener alludes to this neo-liberal cycle of vicious and monstrous consumption. Juxtaposed against the indicting texts on Garcellano’s otherwise innocuous cans, the work as a whole seeks to explore ecological concerns from a class conscious perspective.
Artist: Alma Quinto
C.P. Garcia Homes is a rough parody of a gated community. Proceeding from what Quinto initially called her New Build Zone (NBZ) Project, the room-size work is a collaborative project with the CP Garcia community, access to which is literally a few steps away from the stud farm stables. In aiming to establish physical and psychological connections between these two adjacent but set off sites, Quinto, along with participating residents recreates community maps drawn by residents during a workshop done in and about their own neighborhood.
Using dried banana leaves which are light and readily available (like materials used to build their precarious houses), the project counts on that which is abundant in the site and on collaboratively building a home space that might bridge these residents’ need for tactical invisibility for their own survival, along with their right to represent and assert themselves and participate in this creative process. C.P. Garcia Homes is also a child-friendly space where children can play, create and paste their works on the wall as they learn art by doing. A number of children call it the cuadra ("papasok ako sa cuadra") which they find more fun and exciting than the public school they go to.
C.P. Garcia Homes: Build at Your Own Risk. Photos by Abby Lagarico
Artist: Roselle Pineda
Pineda’s Time Capsule is a collaborative presentation about personal memory and larger questions about the keeping of these memories. The work plays upon notions of what is sustainable and worth remembering in this space which time seems to have forgotten, and amidst the emergence of generations of Filipinos dealing with sensory overload, and markedly diminished interest in what is past. Pineda: “I am interested in how people from various backgrounds view ideas of memory, preservation and history, amidst depleting sources, disenfranchisement, environmental degradation, and a systemic neoliberal economy and culture that constantly packages us, including our memories, as commodities.”
Artists: Richmond Dampil and UP Outdoor Recreation Group
Posed from an avowedly religious standpoint, Revelation is a look into how personal searches unfold during the darkest moments of human lives. Anchoring the journey through the use of recycled materials, visitors are encouraged to think upon how individuals strike upon variable paths, with some leading nowhere, and some pinning their faith on the divine, beyond the wiles of fraught human hubris. Counterpoised against these references to choice and chance is a wayward urinal of fresh water situated outside, signifying a perhaps not so poetic flushing out of toxins alluding to how the farm presently performs as overworked filter of campus excess.