諸海各島：菲律賓藝術聯展｜Every Island from Sea to Sea

鳴謝 Acknowledgements

本展覽承蒙以下人士協助與支持，安卓藝術特此由衷表示感謝。 We would like to express our gratitude to the following individuals who have contributed in various ways to the realization of this exhibition.

Jane Martinez Mariano Gemora Montelibano III

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序：李政勇 Foreword: Andre Lee -6-

策展論述：大氣 Patrick D. Flores Curatorial Statement: Atmosphere Patrick D. Flores -8-

圖版 Plates - 16 -

策展人簡歷 Brief Biography of the Curator - 63 -

藝術家簡歷 Brief Biographies of the Artists - 67 -

作品索引 Exhibits Index - 94 -

5

序

李政勇

安卓藝術很榮幸邀請到策展人 Patrick D. Flores 策畫「諸海 各島」(Every Island from Sea to Sea) 菲律賓藝術聯展，為本地觀 眾系統地呈現菲律賓近期的藝術面貌，也讓菲律賓與東南亞藝 術在台灣獲得一次更完整的呈現與關注。 邀請國際策展人合作是安卓成立以來就想做的，但過往受 限於空間規模以及現實上的資源限制一直沒能實現，直到去 年安卓開始找尋新空間的時候，我們心中才有了比較明確的方 案。 很開心，安卓首次的國際策展人合作計畫從我們相鄰的國 度菲律賓展開，藉由策展人 Flores 博士的觀點，帶領我們從半 世紀前 Jess Ayco 的抽象繪畫與超現實風的攝影，到當代 10 位 藝術家及 1 組藝術雙人組的多元創作，從繪畫、攝影、複合媒 材、錄像和立體裝置中對菲律賓藝術進行一次深入的探討，也 為安卓藝術過往多年來與菲律賓藝術家的合作關係又一次地擴 展與深化。 未來，我們會持續這樣的策展計劃，繼續邀請國際策展人 來台為本地呈現更多元的藝術視野與創作新貌，讓台灣的視覺 藝術展覽環境更加豐厚，並持續與國際交流和激盪出更多美麗 的火花。

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Foreword

Andre Lee

Mind Set Art Center is honored to invite Dr. Patrick D. Flores to curate the exhibition “Every Island from Sea to Sea,” which systemically presented recent Philippine art for viewers in Taiwan and has again brought about interests in Philippine art, as a part of Southeast Asia art.

Collaboration with international curators has always been considered since Mind Set Art Center was established, but the limited scale of gallery space and resources impeded us from realizing the program. It was not until last year when we were looking for a new space for Mind Set Art Center that the idea started to take shape.

We are delighted to start the first curatorial collaboration with the Philippines, a geographically close nation to Taiwan. Through his viewpoint, curator Dr. Patrick D. Flores opened the exhibition with abstract paintings and surrealistic photographs by Jess Ayco who was active half a century ago, and unfolded diversified works by 10 artists and a dual of the contemporary in the forms of painting, drawing, photography, video, sculpture and mixed media. The exhibition not only discussed Philippine art in depth, but also further expanded and deepened Mind Set Art Center’s cooperative relationships with Filipino artists.

Such curatorial project will be continued in the future. Guest international curators will be invited to present diverse views and creativities of art, thus to enrich visual art of Taiwan as well as to enhance cultural exchange and hopefully would spark off beautiful results.

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大氣

Patrick D. Flores

菲律賓語彙中的「banwa」代表了許多的意思， 可以是「山峰」、「鄉間」、「領域」、「氣候」、

的先鋒，攝影創作的開創者，同時也是多產的劇場導 演與設計師。

「家鄉故土」、「森林」、「腹地」與「諸海各島」。

關於 Ayco 的書寫並不多。他在 1953 年參加菲律

這個字在實務的使用上也涉及生態學、環境氛圍，抑

賓藝術協會舉辦的比賽，並獲得攝影類的榮譽獎，

或在更深的內涵下具有健康、或是康復的寓意，在當

之後在 1958 及 1962 年也榮獲非具像繪畫類的獎項。

地方言之一裡，甚至具有呼吸的意義：既指涉大氣，

1970 年，曾有論者描述 Ayco 在馬尼拉馬拉特區（Ma-

亦有淨化之意。

late）的 Solidaridad 畫廊展覽中，其空間及色調趨向於

氣的吸吐與淨化作為表現形式之條件，是本展企

「無限」，多數題材是「超乎塵世之外」的，作品的

圖探究的，而這樣的條件同時也是一種權利。1884

「視覺吸引力」來自於「朦朧與清晰之間的拿捏、大

1

年，當日後成為菲律賓國家英雄的荷西．黎剎 在西

膽用色、及媒材使用與技巧上自由」。這些作品「召

班牙的一個沙龍展恭賀兩位菲籍畫家的成就時，他提

喚心靈的不定型形式，有時曖昧、有時清晰、有時細

到一位知曉消失國界的天才，如同陽光與空氣，是大

緻、有時模糊，許多時候像是處在空間深處以及微觀

2

家共享的資產 。這意味著，後殖民對於菲律賓的意

的環境裡。這當中有伊夫．坦基（Yves Tanguy）的元

義不僅僅在於成為一個國家，它首先且終於是一個

素，與些許的達利（Salvador Dalí），也有米羅（Joan

「banwa」。

Miró）的詼諧以及相較於波洛克（Jackson Pollock）更

本展進一步由藝術家 Jess Ayco 的作品形塑，出生

為內斂的衝擊力。Ayco 無法被歸類到任何明確的當代

於馬尼拉的他，根植於菲律賓中部維薩亞斯群島（Vi-

藝術流派。他曾經捏揉鋁材以創造粗獷的肌理，之後

sayas）中內格羅斯島（Negros）的巴科洛德（Bacolod）。

使用現今廣受歡迎的壓克力顏料。他進一步的落實了

Ayco 的藝術成就既寬廣且充滿

發性，在現代藝術

胡賽爾（Edmund Husserl）的『視域』與朗尼根（Bernard

中理應得到更多的關注。其創作涉及多元的媒材與主

Lonergan）的『洞察』，對 Ayco 而言，藝術家在理解、

題，具有多重奏般的氣質。在他既神秘又映照內心的

感知之後，進行表述。」例如他當時的一件作品《Dar

圖像世界中，充滿了許多的奇幻異想。他是抽象藝術

Outrage》，即「暗示了黑暗空間裡，上方一道直射而

1 José

Rizal，1861-1896。荷西．黎剎是一名華裔菲律賓眼科醫生，精通多種語言，並在文理各方多才多藝。從年輕時就

開始從事西班牙統治下的改革工作，曾在 1882 年至 1892 年旅居歐洲，出版曝露西班牙統治弊端叢生的小說，成為宣

傳運動的領袖。黎剎於 1896 年 12 月 30 日被西班牙殖民當局處決，之後被菲律賓政府尊為國父，逝世之日定為國定假日。

2 當時黎剎說道：「天才是跨越國界的……就像陽光、空氣，是留給所有人的遺產；就像空間、生命、上帝，是放諸四海

而皆準的真理。」

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降的綠光之下，一個被尖銳的三角形平面刺穿、熔化

行淨化。」因此，風景在此變成了物質，更確切地說，

中的受難形象。」

風景作為一種形式技巧及文化的寓意，而成為一種物

展覽中菲律賓當代藝術家與 Ayco 作品的對話， 3

質條件。然而，這一切並非無中生有，而是圍繞著藝

深入探討了米克．芭爾 稱之為「未預期之知曉」的

術消費的氛圍而成。Calubayan 以抹除召喚風景。他

感知過程，那是一種重新聯結時間與地點、事物與意

描繪美麗且往往神秘的風景，但他同時藉由提出觀看

義的方式。

作品的指南，拉開風景畫及觀者或是潛在擁有者之間

舉例而言，Alfredo & Isabel Aquilizan 的作品將所

的距離。於是，繪畫的神聖地位被消除，同時，又以

謂的商業畫剪開，使之變異為片斷的曖昧，改變了普

當代藝術的姿態再次被神聖化，這樣的異化遂而引發

遍認知中的風景樣貌。當原作受到了侵犯，必然引起

了一種震顫。在承認風景畫本質與營造疏離感這兩極

不安，另一方面，卻也創造了關於作品、物件或是日

之間的擺盪，是為本作品的美學基準。

常用品的嶄新詮釋。這同時也重新定義了當繪畫離開

Dominic Mangila、Lui Medina 及 Paulo Vinluan 幾

工作室，將被如何「使用」的概念。像 Aquilizans 這

位藝術家特別關注，或是說，更深入探究抽象概念

樣的當代藝術家佔用了另一位藝術家 Antonio Calma

裡，關於物質、身體、以及物件圖像化的冥想及批判

的勞動成果，無疑彰顯了一個理論與道德上的議題，

性反思。Mangila 思索獨自旅行於繪畫道路以及內心

讓 Aquilizans 陷入了某種尷尬的處境。這兩方是否能

的意念，對空氣與光作出回應。對藝術家而言，他的

夠在當代的脈絡中相遇？如此的提問可以延伸出許多

內心「儲存了一個具有無形地景及水體的世界，萬物

不同的討論。本展聚焦的是：源自於這個過程的「抽

在此茁壯，光與大氣由想像而來，或是同時來自於記

象」程度與被異化的商業繪畫之間的關係，以及，從

憶（心理風景）與描繪景色過程中的發掘。繪畫經由

當代裝置的角度，如何看待這樣一種屬於大眾品味，

縝密的色彩安排產生了光，並透過油彩的光澤、不透

或甚至庸俗作品的表徵。這個困難的議題圍繞著風景

明、透明、等等質地所形成的層次及色調，展現空

形成，而風景本身，是關於孕育了國家與繪畫之大地

氣。」 另一方面，Medina 藉由探究對象物及素描來

的在地標誌。

探索景物的地誌或面貌。Vinluan 則帶來一部以拍攝

Buen Calubayan 如此描述這樣的狀態：「即便光 與空氣已經被轉化為必須經過解碼才能被我們吸收的

自製物件而成的停格動畫，裡頭的部分物件連同錄像 一起展出，藝術家稱之為「表演物件」。

『事物』，我主張如此的異化是實現更高層次之覺察

Marina Cruz、Marc Gaba 及 Kidlat De Guia 則 為 關

所必經的歷程。若缺乏此一異化過程，就沒有空間進

於抽象的探討帶來不同的變奏，他們深入思考織品的

3 米克．芭爾，Mieke

Bal，生於 1946 年，荷蘭文化理論學者、錄像藝術家、阿姆斯特丹大學文化研究學院教授兼創辦人。 9

花紋、裝飾及記憶，並指涉了憂思與災禍。呼吸的行

印到天鵝絨上，接著將作品像壁毯一般懸掛起來。於

為或姿態深深打動了 Cruz，展出作品之一以藝術家外

是，油彩、輸出、及織品的意義經由神秘且不尋常的

婆的短衫為主角，如同她所說的：「短衫的質地、桃

路徑互相融合並加以衍生，再現、觀看與展示的過程

子般的顏色、以及上頭的孔洞讓我聯想起肺臟。」其

在此被複雜化了，同時也混淆了繪畫、雕塑、攝影及

它作品表現了衣料本身的陰影，她將衣衫想像為佈滿

織品之間的界限。Garcia 延續她對日常生活細節的關

脈管的肺。Gaba 對色調及紋飾產生的圖像深感興趣，

注，經由極度寫實的淬鍊，賦予日常景像超脫世俗的

關於展出作品之一，他自言：「就圖像而言，血肉般

光采；而這樣的寫實同時也呈現了人為手藝的痕跡，

的色調取得了優勢。我保留了迷彩紋的形狀，但畫上

在某種意義上背叛了寫實本身的意圖。Lumbao 的錄

不同的血肉色調，身體的概念因此被突顯，作品（即

像作品專注地凝視「海的景像，如同一個被征服的景

便是透過硬邊形式）模糊了士兵的身體與身體本身之

像，當它與天空融合，取代了一個空白廣告看版的內

間的分界。」另一件作品整合了「我近來研究的條

容。」他將這視為「一種低限且安靜地產生錄像的手

紋。畫作裡，我試圖以細緻的方式整合條紋、迷彩及

法。」這樣的念頭支撐了藝術家面對錄像實踐的態度：

油彩的應用，同時暗示美國國旗。我愈來愈明白，思

「在我的作品裡，我持續探索理解各種現象的新方

索反恐，事實上即是思索美帝……這其中確實參照了

式，這些現象可能是關於城市景觀、都會性、現實、

當下的政治議題，但圖像的解讀是保持開放的。」De

或視野本身。我視錄像為一種工具，傳達的不是我所

Guia 著迷於創造藝術的原始力量，他說：「我腦海中

見的世界，而是觀察時的思考過程。透過連續鏡頭與

閃出了『空氣與淨化』這組辭彙，與『諸海各島』一

影像的處理，我重新建構特定時間軌跡或展現景物的

起喚起了我對於海燕風災景像的思索。颱風是帶來改

曖昧性。這些重組大多涉及細微的改變且無意造成任

變的風，清理了它所經之處的一切。颱風過後，曾經

何超現實的效果。我在創作中掙扎著，企圖達到一種

粗暴吹走所有東西的空氣又變回寧靜的藍天。在我持

『崇高』，並開發錄像（以及電視與電影文化）本身

續編織相片的工作中，作品呈現為編織的圖像。我想

具備的紀錄現實的功能，以人們意料之外的方式呈現

要深入研究傳統的編織紋樣……希望嘗試不同厚度的

平凡無奇的圖像與序列，以期能達到某種『靈光』。」

剪裁，讓編織在最終的作品中佔據更多的份量。最終

立基於 Ayco 多方想像的縱橫交錯，以及由繪畫、

的作品可能會像是本地的草蓆，天空與海洋的藍、以

物件、流動影像及文本所呈現的他度空間，「諸海各

及災後殘骸的大地色系互相交織於其中。」

島」無視於可能遭遇的不足及困難，希冀尋求意識具

最 後，Patricia Eustaquio、Cocoy Lumbao 及 Nona

體化的轉渡過程裡，覺察的必要基礎。步入展場，最

Garcia 不懈地處理視角的問題：如何從一個混合著私

初映入眼簾的是一幅流星劃過天際的影像，是當年，

密與疏離、冷淡與痴迷的姿態與基石之上，看待此種

由 Ayco 透過相機捕捉而來。

實踐。Eustaquio 將層次豐富的油彩堆拍攝下來，轉

10

11

Atmosphere

Patrick D. Flores

The Philippine lexicon yields the word “banwa.” It of-

Not much is written on Ayco. He competed at the

fers a myriad of meanings: “mountain,” “countryside,”

Art Association of the Philippines competitions. In

“terrain,” “climate,” “homeland,” “forest,” “hinterland,”

1953, he was conferred an Honorable Mention prize

“every island from sea to sea.”

It is practically the

in photography. In 1958 and 1962, he was awarded

ecology, the atmosphere, or if more deeply evoked,

prizes in the non-objective painting category. Of an

a local moral word that equally conceives of well-be-

exhibition in 1970 at the Solidaridad Galleries in Ma-

ing, or ginhawa, breath itself in one of the vernacular

late in Manila, a writer described Ayco’s spaces and

languages: the air and the clearing at the same time.

tints fading “into infinity” and that most of his subjects were “extra-terrestrial.” The “visual attraction”

This exhibition is about the air and clearing as a con-

would lie in the “hazy-sharp designs, bold colors,

dition of expressive form. It is a condition; but it is

freer technique of the medium.” These works “call

also an entitlement. When Jose Rizal made a toast to

to mind amorphous shapes and forms, vague, some-

the triumph of two Philippine painters at a Salon in

times sharp, sometimes delicate, cloudy, many in

Spain in 1884, the would-be National Hero spoke of

deep space, often in microscopic environment. There

a genius knowing no country; it is like light and air,

are elements of Tanguy, less Dali; the whimsy of Miro

the patrimony of all. In other words, the post-colony

and the dash of Pollock, though much restrained. …

was more than just nation; it was first and finally a

He cannot be categorized into any definite contem-

banwa.

porary school. He had used aluminum, crumpled,

The exhibition is further shaped by the work of Jess Ayco, born in Manila but whose roots are in Bacolod in the island of Negros in the Visayas, the central islands of the Philippines. Ayco deserves to be more sharply profiled as a modern artist whose artistic sympathy was broad and inspiring. His medium and range of themes were diverse. His temperament was

for bold texture, and at present, uses popular acrylic paints. He affirms Husserl’s ‘horizon’ and Lonergan’s ‘insight’ for, to him, an artist understands, feels and states.” A case in point is the work Dark Outrage, which “suggests a melting, crucified form in a dark space impaled by an acute, triangular plane; the figure is spotlighted from above by a green ray.”

polyphonic, and there was a lot of whimsy in his

In conversation with Ayco, contemporary Philip-

at once esoteric and visceral pictorial universe. He

pine artists probe the articulations of this process of

was an early abstractionist, a pioneer in the field of

sensing what Mieke Bal refers to as the “unthought

photography, and a prolific practitioner in theater as

known.” It is a way to re-encounter time and place,

director and designer.

thing and meaning.

12

What is known, or captured, as landscape, for in-

will be no space for clearing.” The landscape, there-

stance, is reorganized as semblances of painting in

fore, becomes material, or better to say, a material

the work of Alfredo and Isabel Aquilizan, who cut up

condition in the sense that it is a technology of form

so-called commercial painting so that it could mutate

and an allegory of culture. It, however, does not play

into the ambiguity of its fragments. The effect elicits

out in a vacuum. It moves around the climate of the

discomfort, to be sure, because an original work is

consumption of art. Calubayan evokes the landscape

violated. On the other hand, it creates a new schema

under erasure, so to speak. He paints it beautifully,

of work, object, or commodity. It likewise redefines

if not enigmatically, but he also carves out a distance

the concept of “use” of a painting when it circulates

between it and the beholder or the potential posses-

beyond the studio. This situation, without doubt,

sor by proposing instructions on how to view it. This

presents a theoretical and ethical issue, a predica-

induces a frisson, an alienating effect, demystifying

ment for contemporary artists like the Aquilizans

the painting’s hallowed status and at the same time

who engage with the labor of Antonio Calma as a

mystifying it again as contemporary art. This back

fellow painter. Can the two come in contact in the

and forth between poles of acknowledgement and

context of the contemporary? There are many lines

distantiation is the aesthetic of the work.

of argument that may proceed from such a question.

What is focused on in this exhibition is the degree of

Dominic Mangila, Lui Medina, and Paulo Vinluan are

“abstraction” that emanates from the process in rela-

attentive to this level of abstraction, or better still,

tion to the alienation of a commercial painting from

of mediation and critical reflection on material, the

its picturesque aspirations and the appropriation by

body, and the animation of objects. Mangila responds

contemporary installation of a marker of popular

to air and light as he ponders a sense of travel along

taste or even kitsch. Central in this difficult encounter

the making of the painting and the interiority of his

is the landscape, the index of the locale, the breeding

mind that “stores a universe of amorphous landforms

ground of both country and painting.

and bodies of water where the creatures thrive in… so in this case, light and air are imagined or perhaps

Buen Calubayan speaks to this condition. According

remembered (mentalscape) and discovered (in the

to him: “Even the light and the air have turned into

painting process of the pictorial space) at the same

‘things’ that we need to decode for us to consume.

time. Light (in painting) is generated by careful place-

But I argue that this is the necessary task of alien-

ment of colors; consequently air is emitted through

ation in order to achieve a higher degree of con-

various layers and degrees of paint’s luminosity,

sciousness. Without such process of alienation, there

opaqueness, translucence, and so on.” For her part,

13

Medina explores topography or a semblance of a

clear to me that to think about anti-terrorism is really

scape through object and drawing. And Vinluan pro-

to think about the American empire…There is refer-

poses a stop-motion animation short, using a puppet

ence and a definite recognition of contemporary po-

that he had made himself. He presents a video along

litical topics, but the image remains open.” De Guia is

with some of the objects from the animation; he calls

drawn to the elements as primeval forces at work in

them “performance objects.”

the making of art: “The phrase that jumped out at me was the ‘air and clearing.’ This combined with ‘every

This investigation into abstraction is further inflected

island from sea to sea’ brought out thoughts of some

by the efforts of Marina Cruz, Marc Gaba, and Kidlat

of the images I had from the aftermath of typhoon

De Guia who probe ornament and the memory of

Yolanda. Typhoons are winds of change clearing the

textile, referencing both melancholy and catastrophe.

land of what was there, clearing everything in its

Cruz is struck by the act or gesture of breathing.

path. And after it passes, the same air that violently

One work zeroes in on a blouse of her grandmother.

blew everything away turns into calm blue skies.

According to her, “the material and the peach color

Continuing with my works of weaving photographs,

with holes remind me of lungs.” The other works are

the works would be of woven images. But I want to

marked by “shadows made by garments.” She thinks

do some research into traditional weaving patterns…

of garments as vessels and lungs. Gaba is acutely

I would like to experiment with making cuts of dif-

interested in the tone of color and the imagery that

ferent thickness so the weave itself becomes a greater

surfaces from pattern. In his own words: “As far as

part of the final work. With this the final work may

the imagery is concerned, the main development is

come out as a kind of the local mat or banig with the

the predominance of the flesh tone. I am retaining

interplay of the cool blue skies and seas, opposed to

the shapes of the camouflage pattern, but painting

the earthy colors of of the debris field.”

them in various tones of flesh. The idea of the body is therefore coming forward, and the work comes to

Finally, Patricia Eustaquio, Cocoy Lumbao, and Nona

blur (though via hard-edge) the distinction between

Garcia grapple with the problem of perspective:

the soldier’s body and the body itself.” The other

how to see this materialization from a stance and a

piece integrates “the stripe-work that I’ve been ex-

slate, mingling intimacy, distance, indifference, and

ploring. In the painting, the striping is in the manipu-

obsession. Eustaquio photographs a mound of tex-

lation of the existing camouflage pattern as well as in

tured paint, prints it on velvet, and suspends it like

the application of paint. In a way that I hope will be

drapery. The strains of paint, print, and fabric mix

subtle, the American flag will be alluded to; it became

uncannily to complicate the procedures of repre-

14

senting, seeing, and displaying; and to confuse the

material condition through painting, object, moving

stature of painting, sculpture, photography, and tex-

image, and text. The project seeks to intuit a neces-

tile. Garcia pursues her abiding interest in the details

sary ground for the sensible to materialize, no matter

of everyday life which when made to pass through

how barely and elusively. The first image in this exhi-

the sieve of intense realism assume an otherworld-

bition is a meteor streaking across the sky, caught by

ly aura; the same realism describes an artifact that

the camera of Ayco.

betrays its own devices. Lumbao’s video work gazes intently at “the image of a sea, as a subdued image, replacing the contents of an empty billboard as it blends with the sky.” He regards it as some “sort of a minimalist, and quiet approach in generating video.” This impulse sustains his attitude towards video practice: “In my works, I continue to explore new ways of understanding phenomena—may it be about cityscapes, urbanity, reality, or vision itself. I turn to video as a tool to transmit not essentially the world I see but the thought process that goes in observation.

I manipulate footage and images to reconstruct certain passages of time or to show the ambiguity of the scenery. Most of these reconstructions involve subtle alterations which do not aim for any surrealist effect.

I strive, in my works, to achieve a kind of ‘sublimation’ instead, of exploiting the inherent capability of video to record reality (along with the whole televisual and film culture) to turn uneventful images and sequences against our own expectations in order to attain a kind of ‘epiphany.’”

Every Island From Sea to Sea: Recent Philippine Art is staged in the context of the ramifications of Jess Ayco’s allusion to a more unearthly reckoning of the

15

16

17

18

19

Jess Ayco

無題

Untitled

20

21

22

23

Jess Ayco

無題

Untitled

24

25

26

27

62

策展人 CURATOR

63

Patrick D. FLORES

Patrick D. Flores 為菲律賓大學（University of the Philippines）教授，任教於該校藝 術研究系，曾於 1997 年至 2003 年間擔任系主任，他同時是馬尼拉 Vargas Museum 策 展人，以及新加坡國家美術館副策展人。曾參與 2000 年《建構進行中：亞洲藝術新 角度》 (Under Construction: New Dimensions in Asian Art）及 2008 年光州雙年展《立場 文件》(Position Papers) 的策展工作。他在 1999 年以訪問研究員的身份前往華盛頓國 家藝廊， 2004 年為亞洲公共知識份子學人 (Asian Public Intellectuals Fellow)。Flores 出 版的著作包括 Painting History: Revisions in Philippine Colonial Art（1999）、Remarkable Collection: Art, History, and the National Museum（2006） 及 Past Peripheral: Curation in Southeast Asia（2008）。2010 年獲亞洲文化協會獎金。2011 年擔任卡爾斯魯厄藝術 與媒體中心舉辦之展覽《全球當代：1989 後的藝術世界》（The Global Contemporary: Art Worlds After 1989）顧問委員會成員，以及古根漢美術館轄下亞洲藝術協會成員。 同年，他與奇廷泫（Joan Kee）為《第三文本》（Third Text）合編東南亞專輯。2013 年， 獲邀代表克拉克學院和菲律賓大學藝術系， 在馬尼拉召開一個名為「東南亞藝術史 發展」（Histories of Art History in Southeast Asia）的學術研討會。2014 年，Flores 為洛 杉磯蓋提研究中心客座學者，並於 2015 年擔任威尼斯雙年展菲律賓國家館策展人。

64

Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is Adjunct Curator of the National Gallery Singapore.

He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia(2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated the Philippine Pavilion at the Venice Biennale in 2015.

65

66

Jess Ayco

Jess Ayco

無題

Untitled

無題 Untitled

Photography

Painting

攝影

繪畫

24.5 x 19.5 cm

31.7 x 77.5 cm

Jess Ayco

Jess Ayco

無題

Untitled

無題 Untitled

Painting

Painting

繪畫

繪畫

92.5 x 118.7 cm

27.7 x 21.3 cm

Jess Ayco

Jess Ayco

無題

Untitled

無題 Untitled

Photography

Painting

攝影

19.5 x 24.5 cm

繪畫

43.3 x 36.2 cm

Jess Ayco

Jess Ayco

無題 Untitled

無題 Untitled

Photography

Painting

攝影

24.5 x 19.5 cm

繪畫

48.9 x 64.7 cm

Jess Ayco

Alfredo and Isabel Aquilizan

無題 Untitled

風景：馬比尼藝術計畫 2

Photography

複合媒材

攝影

24.5 x 19.5 cm

Landscapes: Mabini Art Project 2 2016

Intermedia 尺寸可變

Dimension Variable

Jess Ayco

Buen Calubayan

無題 Untitled

風景欣賞說明

攝影

Photography

24.5 x 19.5 cm

Instructions on Viewing the Landscape 2016

油彩、畫布、講義

Oil on canvas, handout

74 x 104.5 cm (framed), handout: 2 sheet / 4 page, A4 size

94

Paulo Vinluan

Kidlat de Guia

手提箱 Valise

Banig ng Buhay（生命的浪潮）

有聲手繪與真人動畫、立體物件

手工編織相紙

2016

Live action video and hand drawn animation, with sound and objects 3:13 mins

Banig ng Buhay (Weave of Life) 2016

Hand woven photographs 91 x 159 cm

Ed. 2 + 1 AP

Lui Medina

Cocoy Lumbao

無題（風景起源自？）

筏

Untitled (Where does landscape begin?) 石墨、紙 Graphite on paper 119.5 x 240 cm, 2016

無題（盤古大陸以降） Untitled (After Pangaea)

石墨、石膏 Graphite on Plaster

Raft 2016

無聲影像

Single-channel, silent video 8:20 mins Ed. 2/3

122 (Φ) x 27 cm, 2016

Dominic Mangila

Marc Gaba

人體，揮擊 Figure, Swipe

反恐怖主義（帝國）

相片、油彩、畫布

2016

213 x 366 cm, 2016

Oil on camouflage printed fabric

Photographs and oil on canvas Photograph ed.1/10 Oil paintings

Antiterrorism (Empire) 油彩、迷彩布料

137.1 x 213.4 cm

25.4 x 25.4cm x10 Photographs

61x 71 cm x18

Patricia Eustaquio

Marc Gaba

初生之石

From Earth Dig Tender Rocks

反恐怖主義（荒漠之體）

數位印刷、天鵝絨

油彩、迷彩布料

2016

Digital print on velvet 500 x 150 cm Unique

Antiterrorism (Desert Body) 2016

Oil on camouflage printed fabric 96.5 x 96.5 cm

Marina Cruz

Nona Garcia

呼吸的圖樣

昇 II

Breathing Patterns

Ascend II

2016

2016

Oil and embroidery on canvas

Oil on canvas

油彩、刺繡、畫布 135.2 x 105 cm

油彩、畫布

152.8 x 213.8 cm

Marina Cruz

Alfredo and Isabel Aquilizan

尋找陰影 I & II

風景：馬比尼藝術計畫 1

Looking for Shadows I and II

Landscapes: Mabini Art Project 1

2016

2016

Oil on canvas

Intermedia

油彩、畫布

35.2 x 30.7 cm x2

複合媒材 尺寸可變

Dimension Variable

95

諸海各島：菲律賓藝術聯展 Every Island from Sea to Sea: Recent Philippine Art 2016/10/15-11/26

作者

Patrick D. Flores

發行人

李政勇

主編

郭怡孜

校訂

朱莉安

設計

Marco Liu

翻譯

郭怡孜

發行處

安卓藝術股份有限公司 106 台北市大安區和平東路一段 180 號 7 樓 tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com

印刷

崎威彩藝有限公司

定價

新台幣 1200 元

出版日期

中華民國 105 年 12 月

版權所有，未經許可不得刊印或轉載 Author

Patrick D. Flores

Publisher

Andre Lee

Mind Set Art Center

7F., No.180, Sec. 1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan

tel: +886-2-23656008 fax: +886-2-23656028

www.art-msac.com / info@art-msac.com

Editor

Isabelle Kuo

Proofreader

Julian Chu

Designer

Marco Liu

Translator

Isabelle Kuo

Printed by

Kiwi Printing Co., Ltd.

Price NTD1200 Copyright © 2016 Mind Set Art Center.

All images © of the artist.

All essays © of the authors.

All rights reserved.

Printed in Taiwan, December 2016.

ISBN 978-986-91318-9-6

諸海各島 : 菲律賓藝術聯展 / Patrick D. Flores 作 . 臺北市 : 安卓藝術 , 民 105.12 96 面 ; 29.7 x 21 公分

ISBN 978-986-91318-9-6( 平裝 ) 1. 藝術 2. 作品集 902.391

105023175