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PH digs deep into buried past at Venice Biennale 2019

Updated

By AA Patawaran

VENICE, ITALY – At Wednesday’s preview of this year’s Philippine Pavilion at the 58th Venice Art Biennale, opening to the public on May 11 at Arsenale in Venice, you are invited to look closely at truths in a way you almost never do.

The Philippine Pavilion's 'Island Weather,' curated by Tessa Maria Guazon and featuring 'Arkipelago,' the 'colossal yet delicate' work of multi-discipline artist Mark Justiniani, is among the most talked about at the ongoing 58th Venice Art Biennale in Venice, Italy

VENICE EXHIBITION    The Philippine Pavilion’s ‘Island Weather,’ curated by Tessa Maria Guazon and featuring ‘Arkipelago,’ the ‘colossal yet delicate’ work of multi-discipline artist Mark Justiniani, is among the most talked about at the ongoing 58th Venice Art Biennale

Set in three modules – on three island installations at the 320-square-meter Philippine Pavilion at the main exhibition hall Artiglierie at Arsenale – is the exhibition “Island Weather,” curated by Tessa Maria Guazon, which features multi-discipline artist Mark Justiniani’s work titled “Arkipelago,” in tune with this year’s overall theme, “May You Live in Interesting Times,” by Ralph Rugoff, the American director of the London Hayward Gallery and cura­tor of the 2019 Venice Art Biennale.

At the Philippine Pavilion, on its fifth exhibition after its historic return to the Venice Biennale in 2015 after a 51-year hiatus, the viewer is invited not to look around or up at his surroundings but down, as he rarely does, beneath his feet, through clear glass, at what appears to be excavation sites in which, in details both fantastic and familiar, are found snippets of daily life or stories of a past long buried, ignored, denied, misunderstood, discarded, replaced, or overwritten.

“‘Island Weather’ takes from our islands in the Philippine archipelago,” said Guazon.

“We refer to the weather as both the atmospheric weather and the weather as a metaphor, as a meta­phor for the state of the world and all the predicaments we currently face and these predicaments are conditions not only faced by us Filipinos but by all peoples across the world.”

Instead of talking about his art installations, Justiniani in his opening day speech chose to honor the laborers in both Manila and Venice, over 100 of them, “the steel welders, the glassmak­ers, the carpenters, the painters, the artisans, the construction workers…” whom he commissioned to help bring his vision to form.

He called his installa­tions “a grand celebration of the simple life,” explaining that these workers would work diligently with glass, stone, wood, heavy metals, and other materi­als and, at the end of a hard day’s work, would go back to their simple, difficult life.

“It is humbling to see them work to make this piece work for the ‘Island Weather’ project of the Philippine Pavil­ion,” Justiniani said.

National Commission on Culture and the Arts chair and National Artist for Literature Virgilio S. Almario Jr. is proud to have heard during the preview many positive appraisals of this year’s Philippine participation in the art bien­nale, the oldest and the most prestigious in the world.

“Island Weather is an ex­ploration of our identity shaped by our islands and their vernacular cultures. Each viewer will look at the depths of (Justiniani’s) magical installations and will have different interpretations and varied experiences of them,” he said.

“This exhibition brings us once more to our historic colonial past, which has inevitably shaped our nation,” said Sen­ator Loren Legarda, in a speech read to the guests of the Philippine Pavilion opening cocktails by Philippine ambas­sador to Rome Domingo Nolasco.

“We may have achieved liberty more than a century ago, but our colonial history is a vital aspect of our nationhood that every Filipino needs to live and struggle with. While our past does not neces­sarily colonize our future, our complex knowledge of it helps in fortifying the values we will carry as we decisively chart an unforeseeable fate.”

The Philippine Pavilion’s “Island Weather,” as fully expressed by Jus­tiniani’s “Arkipelago,” is as simple as it is profound.

While it breaks through surfaces, burrowing deep into strange yet familiar objects from a buried past, it does not require its viewers to dig as deep in order to fully immerse in the experience.

Thus, the exhibition is a study of art as both a medium of pleasure and a means of deep contemplation, an exhibition immersive and thought-provoking yet playful and easily enjoy­able and, depending on the viewer, either threatening and disorienting or meditative and simply wonderful or, in many cases, both.

The 2019 Philippine Pavilion is a collaboration between the National Commission on Culture and the Arts and the Department of Foreign Affairs in partnership with the Office of Senator Loren Legarda.

Officially opening to the public on May 11, the Venice Art Biennale runs until Nov. 24.

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