ReCollection 1081: Clear and Present Danger (Visual Dissent on Martial Rule)


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July 14-September 30, 2012 at CCP Bulwagang Juan Luna (Main Gallery) and Pasilyo Guillermo Tolentino (3/F Hallway)
Organized by Center for Art, New ventures and Sustainable Development (CANVAS), Cultural Center of the Philippines and Liongoren Gallery with the support of Pioneer Insurance 
Curated by Marika Constantino and Ruel Caasi

Participating Artists

Brenda Fajardo, Imelda Cajipe Endaya, Anna Fer, Ofelia Gelvezon-Tequi, Phyllis Zaballero, Aster Tecson, Neil Doloricon, Pablo Baens Santos, Edgar Talusan Fernandez, Orlando Castillo, José Tence Ruiz, Renato Habulan, Antipas Delotavo, Papo de Asis, Charlie Co, Eghai Roxas, Gene de Loyola, Al Manrique, Jaime de Guzman, Alfredo Liongoren, Edicio de la Torre, Benjie Torrada Cabrera, Biboy Delotavo, Jaime de Guzman, Jose Valerio, Junyee, Manny Garibay, Manuel Pañares, Nunelucio Alvardo, Onib Olmedo, Ruben de Vera, Heber Bartolome, Santiago Rose, Virgilio Aviado, Ang Kiukok and BenCab.

On Martial Law

“On September 21, 1972, President Marcos issued Proclamation 1081 which declared martial law and the establishment of the New Society. Surrounding this event were raids and mass arrests, censorship of the media and cultural forms, the closure of newspapers, widespread militarization and human rights violations in the form of “hamletting”, disappearances and “salvaging”. In his public statement, Marcos said that he imposed martial law because the nation was “imperiled by the danger of a violent overthrow, insurrection and rebellion”. In fact, this step gave him the absolute political power which he always sought and which finally enabled him to entertain the illusion of becoming president-for-life and to set up a family dynasty with monarchic overtones.”   -Alice Guillermo, Protest / Revolutionary Art in the Philippines 1970-90 (Pub 2001)

Some works from the exhibit

Favali at iba pang Biktima
Oil on Canvass | 1987
Anna Fer | Ateneo Art Gallery Collection
Inspired by an incident in Palawan. Anna Fer was a witness to this gruesome event where an indigenous man was brutalized and held at gunpoint. For her, this work summarizes the cruelty of the Marcos regime.

No to US Bases and Nuclear Weapons (Inang Bayan Poster)
Offest Print Mounted on Plywood | Undated c. 1980s
Anna Fer | Artist’s Collection

Batas Militar, A/P, 1/3
Rubbercut | 1984
Anna Fer | Bantayog ng mga Bayani Foundation Inc. Collection

Kare’t Krus
Oil Pastel on Paper | Undated c. 1980
Aster Tecson | Artist’s Collection

Government, Protesters and Big Capital: The Stand-Off
Graphite and Tempera on Paper | 1983, Who Magazine
Jose Tence Ruiz | Artist’s Collection

Beauty and the Bases
Pen and Ink on Paper | 1983, Who Magazine
Jose Tence Ruiz | Artist’s Collection

Inhumane Wrongs
Pen and Ink on Paper | 1985, National Midweek Magazine
Jose Tence Ruiz | Artist’s Collection

No to Ballots! No to Bullets! Boycott the May 1984 Batasan Election
Offest Print Mounted on Plywood | 1984
Anna Fer | Artist’s Collection

Paano Maibalik ng Eleksyon ang Demokrasya kung ang Bayan ay Gapos ng Diktadura?
Offest Print Mounted on Plywood | 1984
Anna Fer | Artist’s Collection

Martial Law 1081
Pen and Ink on Paper | Undated c. 1980s
Anna Fer | Artist’s Collection

The Duties of a Citizen
Pen and Ink on Board | 1983, Who Magazine
Jose Tence Ruiz | Artist’s Collection

Tanni as Don Quito Against the Nuclear Windmills
Pen and Ink on Board | 1983, Who Magazine
Jose Tence Ruiz | Artist’s Collection

The Great Vanishing Coco Levy
Pen and Ink on Board | 1982, Who Magazine
Jose Tence Ruiz | Artist’s Collection

Boxing with the PCO: Macoy vs. the CPP
Pen and Ink on Board | 1983, Who Magazine
Jose Tence Ruiz | Artist’s Collection

Ahente!
Pink and Ink on Board | 1983, WHO Magazine
Jose Tence Ruiz | Artist’s Collection

Ver / Marcos, Enrile, D. Cojuangco
Pink and Ink on Paper | Undated c. 1980s
Anna Fer | Artist’s Collection

Untitled
Mixed Media on Paper | 1981
Santiago Rose | Manuel Buncio Collection

Sabbath of the Witches
Oil on Canvas | 1970
Jaime de Guzman | Bantayog ng mga Bayani Foundation Inc. Collection Donated by Alfonso T. Yuchengco Jr.
Sometime in 1970, Imelda Marcos hosted a dinner in Malacañang for artists, together with her close friends and members of the elite. Jaime de Guzman was among those present. In the course of the evening, he made a drawing on the back of the invitation from which this painting is based on: the guests literally “feasting” on the artist.

***** I hope many Filipino youth get to see the exhibit and learn from our dark past and anti-martial law struggle as documented by our visionary artists and I wish CCP would rethink of its policy in disallowing no-flash photography in exhibits so Filipino youth who do not have the luxury to see an educational exhibit like this at CCP can somehow experience it even just through photos, blogs or open digital gallery/library.

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About Joanna Lerio

cultural journalist, multidisciplinary artist, educator, traveller, dreamer, yogini, vegetarian, advocate Facebook.com/JoannaLerioOfficial Youtube.com/juanalily Juanalily.wordpress.com/ Juanalilytravels.dreamtrips.com/refer Twitter.com/JoannaLerio Facebook.com/linanganng.kulturangpilipino Artistswelfare.org/join-us/
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One Response to ReCollection 1081: Clear and Present Danger (Visual Dissent on Martial Rule)

  1. Pingback: Balikwas: Literature under Martial Law | ISLANG MALAYA

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