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THE CROSSING (5 minutes / no natsot / aegean sea)
In line with its program to support all forms of art, whether visual or performing, and to highlight the capacity of art to inspire more art and cross genres, nationalities, and forms, the Cultural Center of the Philippines (CCP) is proud to present a group exhibition entitled In Transit as a venue grantee of the CCP’s Visual Arts and Museum Division (VAMD) for 2015.
In Transit is principally about looking into and rethinking the creative process involved in artistic practice. It is also an exercise in bridging the gap between artistic stimulus and final output. The works in the exhibition were made through a prearranged process, from video, to audio, to material; and entailed varying degrees of interaction and dialogue among artists of different backgrounds, preferences and creative practice.
The brainchild of Jazel Kristin, In Transit stems from a video shot by the artist in 2014. Jazel Kristin often makes use of video in her work, creating pieces that depict her preoccupation at a certain point in time. The video, from which the title of the exhibition is taken, is called In-Trance-It. It shows a stream of people walking, sometimes into themselves and other times away from their own image. The kaleidoscopic rendering of people passing through what seems to be a busy thoroughfare doesn’t give any indication as to where everyone is headed, and is almost hypnotic in its repetition. The sound of the rhythmic footsteps on the floor continues as the images are distorted and then returned back to their original angle. The large projection motions viewers into the CCP’s Bulwagang Fernando Amorsolo while the music compositions and art pieces are exhibited on either side of it.
Working with the video as their point of reference, musicians and artists of varying nationalities, interests, and expertise, were asked to collaborate and create a new piece in their respective media for the exhibition. The musicians were tasked to make a new composition based on the In-Trance-It video, a copy of which was given to them a few months before the exhibit was set to open. They would then send their new piece to the artist assigned as their partner at a pre-arranged date. No explanation was made as to the idea behind the video, allowing the musicians the freedom to embed their own meaning in it. Finally the artist was to make a visual art piece from the composition given to them, in any medium they prefer. The idea was to make something from a point of reference that came in the form of a completely different media.
While the other aim of In Transit was to demystify the process of creating an artwork, whether a musical piece or a visual art piece, somehow it ended up asking broader questions than giving any concrete answers. Does what we listen to while working directly influence our output? Does having a certain amount of knowledge or information about an artist influence how you will receive or perceive their work? How are images formed in our minds from music? The exercise continues.
-M.R. Estrada, 2015
|Travel, by definition, entails movement and removal. Frequent travelers will tell you that genuine travel entails being an outsider, looking away from the self, and often ironically results in introspection and an inner homecoming. In Multiverse , Jazel Kristin deconstructs her journey from her first international exhibit, Parallel Universe, held in Aubagne, France in 2009, to her present state almost five years later as an artist who is now based both in Paris and in Manila.
Multiverse is an exhibition containing new perspectives and diverging realities. Up front, it takes art quite literally out of the white box and into the streets. Part performance, part-documentary and Multiverse collaboration with the artist’s father, photographer Carlito Villamarin, the pair tries to debunk the viewpoint that art is only for the four walls of the gallery or museum. The final collages by Jazel Kristin contain broken and multi-layered images that reflect exterior surroundings and blurs the line between the two worlds, merging street and private space, the outside and the inside, by way of France and the Philippines.
Jazel Kristin’s collages feature fragments, slices, juxtaposition, repetition, ripples, textures, depth, and alternating dimensions. They are dream-like and surreal, with multiple layers echoing like a recurring dream. Of the ten artworks on exhibit, half were shot in Sta. Ana, Manila, and exude the warmth of both the people and the place. These works are chaotic, full of images and textures that exude heat, noise, and energy. The rest o the collages were shot in France and feature the artist on her own, with less people willing to interact with her and her work. Similar in stance as peddlers of paintings in the streets, she parades her works as if requesting them to be seen, and engaging them as objects on display in the exterior spaces they are in.
Multiverse was created to be shown, paradoxically, inside a gallery, but tries to allow for fluidity and movement, for a looking away from the confines of “art”. The interaction between art and space is layered with the nuisances o the relationship between a father and a daughter, and consequently between the artist and the viewer.
– Rica Estrada