Hansel & Gretel

Sanso

AFTER A SUCCESSFUL PREVIEW, “CLASSIC SANSO” TO OPEN AT THE PODIUM ON TUESDAY, 21 FEBRUARY


“I’d like to make one point clear: when I repeat myself, I feel that it is an enriching experience, because the aspect of composition is what makes any painting a vital aspect—its changeability within the same form.”
-Juvenal Sanso

After a highly successful preview, the much-awaited exhibit Classic Sanso is now set to formally open at the Podium on Tuesday, 21 February 2012 at 6:30PM.

Classic Sanso opened at Galerie Stephanie last February 9 to a select group of art collectors, critics, and friends of the artist. The quaint but successful gathering had the artist himself meeting his guests. On Tuesday, February 21 at the Atrium of the Podium Mall on ADB Avenue, the exhibit opens to the public—allowing for the full appreciation of the immense talents of one of the creative titan in Philippine art. For inquiries, please contact (632) 634-7954; (632) 709-1488; or email info@galeriejoaquin.com.

Classic Sanso is witness to a remarkable show of the internationally acclaimed Spanish-Filipino painter Juvenal Sanso of works revisiting his earlier themes and motifs. Known in the past decade for his highly regarded Moderno series – exploring the intense, highly colorful, and creative interpretations of particular views and sceneries he found memorable – the intrepid Presidential Medal of Merit awardee taps deeper into the realm of his memories to show us works that follow the conceptual line that has made him the pre-eminent Philippine visual artist today. His depictions of landscapes, seascapes, and floral scenes culled from his vast and well-travelled memories radiates with an energy and dynamism that is both alluring and captivating. His use of water is demonstrative of his singular ability to capture its many characteristics, from the vibrancy of tides to the tranquility of lakes.

Classic Sanso contains 40 rare works culled from the artist’s studio on canvas and paper. Classic Sanso shows Sanso at his very best—full of life, energy, and passion for his art.

A renowned painter, Juvenal Sanso is one of the best-known members of the Philippine Modernist movement. Having graduated from the College of Fine Arts of the University of the Philippines, he has as his contemporaries National Artists Jose Joya, Federico Aguilar Alcuaz, and Napoleon Abueva (his batchmate in UP). His teachers were National Artists Fernando Amorsolo and Guillermo Tolentino. A foremost master, Sanso has had a long and stellar career capped by a number of awards and recognitions including a King’s Cross of Isabella knighthood from the King of Spain, membership into the Order of Chevalier from the French Government, and a Presidential Medal of Merit from the Republic of the Philippines. His works are represented in the collections of some 40 museums in the world, including the Philadelphia Museum of Art, the San Francisco Museum, the Art Institute of Chicago, the Cleaveland Museum of Art, the Smithsonian Institute, the Museum d’Art Moderne in Paris, the Rosenwald National Gallery of Washington, and the Cultural Center of the Philippines. His collectors include the Rothchild Family, Nelson Rockefeller, Vincent Price, Elsa Schiaperelli, Jean Cacteau, and many prominent American, European, and Filipino families.

PIFBEX and HORECA 2012

TRADECON, INC. will be staging it's 5th International exposition on food service, catering systems, specialty foods, beverages and wines, food franchising, supplies, equipment and technnology dubbed as Philippine International Food and Beverage Expo 2012 (PIFBEX 2012) and Hotel, Restaurant, Cafe-Caterers' Expo Philippines (HORECA PHIILIPPINES 2012) to be held at the PICC Forum 1-3, CCP Complex Roxas Blvd. Pasay City, Manila Philippines on March 1-4, 2012. This four-day event aims to bring together food and beverage industry players and professionals form the Philippines and around the world to interact, transact and explore unlimited business opportunities.

Students are encourage to join in the Culinary Competitions:
- Desert-making Competition
- Cocktail-mixing Competition

We like to invite all Students, Exhibitors and Visitors to be a part of the PIFBEX and HORECA 2012! For more information, please call 395-5009, 395-5137, 343-3368 or email at tradecon.inc@gmail.com

Link: www.pifbex.com

Official Facebook Page: https://www.facebook.com/PhilippineInternationalFoodandBeverageExpo

CLASSIC SANSO

AFTER A SUCCESSFUL PREVIEW, “CLASSIC SANSO” TO OPEN AT THE PODIUM ON TUESDAY, 21 FEBRUARY


“I’d like to make one point clear: when I repeat myself, I feel that it is an enriching experience, because the aspect of composition is what makes any painting a vital aspect—its changeability within the same form.”
-Juvenal Sanso

After a highly successful preview, the much-awaited exhibit Classic Sanso is now set to formally open at the Podium on Tuesday, 21 February 2012 at 6:30PM.

Classic Sanso opened at Galerie Stephanie last February 9 to a select group of art collectors, critics, and friends of the artist. The quaint but successful gathering had the artist himself meeting his guests. On Tuesday, February 21 at the Atrium of the Podium Mall on ADB Avenue, the exhibit opens to the public—allowing for the full appreciation of the immense talents of one of the creative titan in Philippine art. For inquiries, please contact (632) 634-7954; (632) 709-1488; or email info@galeriejoaquin.com.

Classic Sanso is witness to a remarkable show of the internationally acclaimed Spanish-Filipino painter Juvenal Sanso of works revisiting his earlier themes and motifs. Known in the past decade for his highly regarded Moderno series – exploring the intense, highly colorful, and creative interpretations of particular views and sceneries he found memorable – the intrepid Presidential Medal of Merit awardee taps deeper into the realm of his memories to show us works that follow the conceptual line that has made him the pre-eminent Philippine visual artist today. His depictions of landscapes, seascapes, and floral scenes culled from his vast and well-travelled memories radiates with an energy and dynamism that is both alluring and captivating. His use of water is demonstrative of his singular ability to capture its many characteristics, from the vibrancy of tides to the tranquility of lakes.

Classic Sanso contains 40 rare works culled from the artist’s studio on canvas and paper. Classic Sanso shows Sanso at his very best—full of life, energy, and passion for his art.

A renowned painter, Juvenal Sanso is one of the best-known members of the Philippine Modernist movement. Having graduated from the College of Fine Arts of the University of the Philippines, he has as his contemporaries National Artists Jose Joya, Federico Aguilar Alcuaz, and Napoleon Abueva (his batchmate in UP). His teachers were National Artists Fernando Amorsolo and Guillermo Tolentino. A foremost master, Sanso has had a long and stellar career capped by a number of awards and recognitions including a King’s Cross of Isabella knighthood from the King of Spain, membership into the Order of Chevalier from the French Government, and a Presidential Medal of Merit from the Republic of the Philippines. His works are represented in the collections of some 40 museums in the world, including the Philadelphia Museum of Art, the San Francisco Museum, the Art Institute of Chicago, the Cleaveland Museum of Art, the Smithsonian Institute, the Museum d’Art Moderne in Paris, the Rosenwald National Gallery of Washington, and the Cultural Center of the Philippines. His collectors include the Rothchild Family, Nelson Rockefeller, Vincent Price, Elsa Schiaperelli, Jean Cacteau, and many prominent American, European, and Filipino families.

Desire, Ennui, Anxiety: Marcel Antonio at Yuchengco Museum, January of 2012

In July of 2010, the poet V.I.S. de Veyra posted a blog essay on the art of Marcel Antonio titled “Blue Funk’d Stories: The Expanding Art of Marcel Antonio” (read at http://partycrashingangle.blogspot.com/2010/07/blue-funked-silent-stories-expanding_26.html) and coined the phrase-tag Blue Funk Erotica for Antonio’s art.

De Veyra described Blue Funk Erotica as 1) unsmiling faces-derived figurative drama (primarily portraiture, then), 2) replete of appropriations or art-historical quotes, 3) suggestive (but only suggestive) of a narrative, 4) quasi-rebellious towards rigid allusions and painting titles’ guidance, 5) unpainterly expressionist, 6) of an in-a-trance mood as against a happy one, and 7) conscriptive of the painting viewer as peeper. “This erotica should stay around and keep us entranced,” the poet-critic wrote, “being not so much one that tickles the groin as a kind that promotes the understanding that every face, gesture, object, color, and shape is a secret sex object and clandestine true story waiting to be told.” But also debunking a previous simplistic tag on Antonio’s art as “narrative expressionist,” de Veyra wrote: “In Antonio’s case, his blue funkism's ‘de-expression’, or ‘dis-expression’ and narrative confusion through the mannerisms of narrative imagery and titling, seems to be a produce of a Russian Formalist narrative bent to ‘defamiliarize’ images and shapes towards a higher enigma. Thus his refusal to ‘express’.”

The abovementioned blog started a dialogue between Antonio’s art as well as intent (of unintent) and de Veyra’s reading, culminating in a late-2011 collection titled “Desire, Ennui, Anxiety” which shall be shown this coming Feb 6 to 25 at the Yuchengco Museum.

This title for Antonio’s new series does not so much signal a change in his art’s direction as clarify where de Veyra’s reading is right and where it needs to be tweaked. For instance, while de Veyra opts for a Barthesian “variety of narrative possibilities,” Antonio’s pragmatic knowledge of his audience allows/welcomes two basic approaches to his art.

The one approach favours rigid symbolist readings, especially as Antonio is himself attracted to the “monumental” (Antonio’s term) figure common among utopian-art compositions (of Wagnerian glorifications, classical idealism, Nazi art, Stalinist totalitarian art, socialist realism, etc.) as well as in advertising art or the idealizations of soft porn.

But, for the other approach, Antonio acknowledges that de Veyra is right about his—Antonio’s—own efforts to frustrate, so to speak, all symbolist and narrative approaches, via experimentations with juxtapositions/relations and eclectic allusions. These experimentations, appropriations, and art-history quotes result in a dehumanized atmosphere, involving such stuff as machine esthetics and the usual facial expressions of ennui and boredom, all moving towards Antonio’s intended postmodernist multiplicity of meanings. But the final result on each single canvas is an invite to a pseudo-narrative half-aware of this pseudo-ness, welcoming while parodying the various cultural and moral significations possible to professional and popular semiotics.

In this sense, Antonio’s art would be self-described as anxious about the unknown, desirous of knowledge as a matter of course but likewise celebrating the ennui of knowledge’s elusivity, even the charm of that ennui itself alone. Ennui as both springboard and object of desire, then, visually fulfilled or illustrated on an Antonio-esque drama field.

A final stamp to this anti-narrative effort to “recover the sensation of life” (Victor Shklovsky) is the artist’s devotion to the coloration of Diego Velázquez or Chagall as well as the latent abstract geometrics beneath all his pseudo-narrative stagings.

V.I.S. de Veyra joins Antonio in this exhibit with fourteen new poems printed in the exhibition catalogue.
For more information about the show, contact the Yuchengco Museum, 2/F RCBC Plaza, cor. Ayala and Sen. Gil J. Puyat Aves., Makati City, Philippines 1200 or Galleria Quattrocento, 3rd Floor Glorietta 4 Art Space, Glorietta 4, Ayala Center, Barangay San Lorenzo, Makati City (Telephone: [632] 818-5939 // [632] 519-7221; Mobile #: 0917-8911322; Email: galleria.quattrocento@gmail.com; Website: http://philpaintings.com/).

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