EXHIBITION 9

Curated by Timo Roter/ Afraid To Be Good/ 28 March – 28 April 2012
FEATURING: Argie Bandoy, Mathieu Bessey, Arvin Flores, Josey Kidd-Crowe, Nuno De Almeida e Silva, Jannis Marwitz, Manuel Ocampo, Timo Roter, Christian Rothmaler, and Philipp Schwalb

LOSTPROJECTS TOGETHER WITH 8. SALON (Hamburg, Germany) is proud to present Afraid To Be Good, this Wednesday, 28 March 2012. It is an exhibition of abstract paintings reflexive of the tradition of this medium. Considered to be the first show in recent years that gathers painters from an international scope in an art space in Manila, it showcases non-figurative painting practices of emerging and seasoned artists from Australia, Germany, the Philippines, Portugal, and the USA. They are, namely, Argie Bandoy, Mathieu Bessey, Arvin Flores, Josey Kidd-Crowe, Nuno De Almeida E Silva, Jannis Marwitz, Manuel Ocampo, Timo Roter, Christian Rothmaler, and Philipp Schwalb.

The curator of the exhibition, Timo Roter, has been organizing shows on contemporary art from Germany since 2005 in the Philippines. He has also arranged an exhibition of artists from the Philippines last year in 8. Salon, Hamburg. For LOSTprojects this year, Roter expands this initiative by extending the cultural connections he continues to build among particular platforms in Germany, Philippines and Australia. Accordingly, this platform of exchange facilitates the visual arts community’s larger program of placing Manila in the global scale.

EXHIBITION 8

Curated by Arvin Flores/ Picture Assembly/ 15 February – 18 March 2012
FEATURING: Enzo Camacho/Amy Lien, Lena Cobangbang, David Griggs, Sam Kiyoumarsi, Robert Langenegger, Jayson Oliveria, Anibal Pella-Woo, Gerardo Tan and Maria Jeona Zoleta.

LOSTprojects presents Picture Assembly a group show that explores photography and collage as practices that designedly assemble the nature of the picture, producing altered realities culled from source images which by themselves serve as secondary experiences.  Photography as we know makes it possible to duplicate things or events distant from their origins where multiple interpretations can be made to complicate the picture.  A camera can thus be said to function like a collage machine.

The artists in this show use photography to introduce various actors, scenarios, concepts, and conditions to recreate reality.  While the practice of collage allows the use of the printed image altered to assemble another layer of meaning, exposing thereby the tenuous condition that we make of our immediate realities.  Collage is applied to tear down source images, along with their intended meaning, in order to make the artists’ own interpretation of what reality should be, based on desires, conceptual interventions, fantastic narratives, artistic ploys, and role play.

Enzo Camacho and Amy Lien work collaboratively to blur the boundaries of artistic practice in order create newer spaces of discourse open to formal interventions.  Both are magna cum laude graduates of Harvard University.  They showed recently at Republikha Gallery in Manila, and at 47 Canal in New York.

Lena Cobangbang’s works are broad-ranging, moving across video, installation, and found objects to embroidery, cookery, performance and photography, obsessive-compulsive, and at turns celebratory and macabre.  Apart from making art, she writes and works as a production designer. Her art practice extends to doing art administration and exhibit organizing.  A graduate of the University of the Philippines, Cobangbang currently works as a gallery manager and program director of Secret Fresh.

David Griggs uses urban leitmotifs in his paintings and installations that question the control protocols pervading within private and public domains.  His works vary across different mediums.  He has exhibited extensively in solo and group exhibitions throughout Australia and Asia and has conducted research for projects during residencies in Barcelona, Manila, Thailand and Burma. 

Sam Kiyoumarsi is mainly influenced by contemporary practices in aural and visual art, but recently has started working with mixed media collages, which he then photographs after to produce a new kind of photograph.  Sam is a resident artist and administrator at Light and Space Contemporary, an artist-run space in Quezon City.  He is mainly self-taught, and has been participating group shows since 2006, and has had three solo exhibitions in 2011.

Robert Langenegger’s brutal and vulgar renditions of social life laden with lewd sexuality coupled with psychological violence, forces the viewer to take his aesthetic thoughtfully as symbolic manifestations of the unconscious rendered without inhibition. Langenegger studied Fine Arts at the University of the Philippines in Diliman.  He shows at Finale Art File Gallery in Manila and has shown in France, Hong Kong, Berlin, Australia, and the U.S.

Jayson Oliveria applies end game strategies for making works that have an internal logic to them, harnessing accidents with a gambler’s luck, the artist displays a keen taste for the obsolescence of style.  Oliveria consistently being exhibits extensively both locally and abroad, including his recent show at Galerie Zimmermann Kratochwill in Graz, Austria.

Anibal Pella-Woo is an artist/educator who lives and works in New York, a graduate from Columbia University, and teaches at Fordham University. For his piece in the show, he states: “Perfect Shot: Thewhole is greater than the sum of its parts” continues my investigation into the idea that a photograph acts in culture as a floating or empty signifier. The photograph is a found image. The text connected with it, is in the form of a series of different modes of interpretation available to the viewer: technical, descriptive, analytical, metaphoric.”

Gerry Tan continues to question the uncertain valuation of experiences through signs in the form of the cut-up as the perfect image for the fragmentary conditions of today.  Using the process of collage has allowed Tan to investigate another medium of representation, one that jettisons the recognition of signs in favor of cognitive signification. Gerardo Tan took his BFA degree in Painting at the University of the Philippines in Diliman and his MFA degree in Painting at the State University of New York at Buffalo on a Fullbright Fellowship grant.  He shows extensively both here and abroad while remaining one of Manila’s prolific painters.

To say that Maria Jeona Zoleta’s work is provocative is an understatement, the works going beyond the realm of the senses into pure mental phenomena, an indescribable assault on reason, morals, taste, and physical possibility, from Manila’s foremost emerging young talent.  She’s a product of the University of the Philippines, and shows at Finale Art File and Manila Contemporary.

About the Curator
Arvin Flores is an artist who conflates language with abstraction, thinking that the confusion between signs and their inscription would lead into real painting.  He holds an MFA graduate degree from The School of the Arts, Columbia University, New York NY, and a BFA from the College of Creative Studies, University of California at Santa Barbara.  He is also an educator, does independent curatorial work, and frequently writes as an extension of his creative and critical practice.

EXHIBITION 7

ENGLAND HIDALGO/ In Disgust/ 14 December 2011 – 22 January 2012

Newsworthiness is defined as a subject having sufficient relevance to the  public or a special audience to warrant attention or coverage.  As much as the news nourishes our daily thirst for information, these facts mimic each day to the next carrying similar stories again and again as time passes.

In England Hidalgo’s residency and exhibition at Lost, he deals with the daily ritual of printing, buying and reading a broadsheet: drawing, painting and assembling society’s infantile fixation with current events attempting to reprint yesterdays headlines.

RESIDENCY 4: England Hidalgo’s ‘eskapo’ to LOST


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