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LOSTprojects in the New Museum Art Spaces Directory

LOSTprojects, along with Green Papaya Art Projects and Mo_., make up the cluster in the Philippines of New Museum’s Art Spaces map. The Directory was published early this year under the collaboration of New Museum (NY) and Art Asia Pacific magazine. LOSTprojects would like to thank New Museum’s coordinator Ethan Swan and Researcher Ringo Bunoan.

If you can’t grab a copy, head on to New Museum’s website and explore their interactive map of art spaces all over the world. The online version of our feature can be found here: http://www.newmuseum.org/artspaces/view/lostprojects.

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Bye bye, Major Dizon!


Two years in the life of LOSTprojects

LOSTprojects is putting a cornerstone on the first stretch of its history! In the last two weeks of May 2012, we’ve wrapped up all the works in stock, assembled the movable panel against the wall and saw that the bathroom behind it can pass as an awesome set for a horror blockbuster. Two years down the road we are exhausted, fulfilled, grateful with all the people we’ve worked with and encountered, and most of all surprised at the angel-headed monster LOSTprojects turned out to be! The space has become bigger than we imagined, and the surplus of it outweighed the pragmatism often uncharacteristic of an art space.

As much as its life in 18A Major Dizon Street (between the Barber and the Butcher shop, across the street from Nativity of Our Lady Parish Church) centrifugate around opportunity, us two are conscious of a different response necessary to the present time. After all, the conception of LOSTprojects was at a time when the market has spun the local community out of control and provided very little space for artists who wanted to pursue work beyond what could feed it. Even though it has only been two years, Manila has moved on (as it always does every six months) – more spaces have been available for project-based inclinations, while more models of production and presentation are being explored.

LOSTprojects as we’ve known it in 18A Major Dizon is closing, and also moving on. As a wrap up of our last two years, and as we begin a new one, we give you points of report:

Beginnings
June 2010 – LOSTprojects was an invited participant and the first Manila art space to be in VOLTA6, Basel. At that time, we called it an “imaginary space.” Through it all, we do not forget that imaginary space means that it is virtual, and that it is a platform that existed and could operate beyond a particular site.
First event – Studio Residency

The rest that is history
2010 – Residency 1 + Exhibitions 1 & 2 (#2 being the first Australian show)
2011 – WAS MINDBLOWINGLY PACKED!!! Residency 2, 3, 4, and Studio Residency of collaborative tandem for their Jakarta Biennale work + Five exhibitions, 1 Preview + Offsite group show in Melbourne + Participation in Asian Arts Space Network in Gwangju
2012 – Guest Curators for Exhibitions 8 and 9

Keywords to LOST
Privately funded by the Founders, Australia-Manila exchange, Informal consultation to overseas network, Meeting place, By Appointment, Commercial only if there is an opportunity, Dialogues, Exhibitions and residencies by invitation only, Founders are the Directors are the Managers are the Logistics are the Clean-up Crew

Get it straight
*We’ve become to be known to program bad[ass] art? Truth: LOSTprojects have accommodated artists who investigate their positions within artistic formats of painting, sculpture and photography.
*There is an honorarium for the artist-in-residence? Truth: LOSTprojects only provided the space and its network to the professionals we work with.
*We are a space you can send proposals to? Truth: Our audience, and the artists, curators and clients we worked with operate on a direct relationship with us. We’ve pursued a program based on how much we know of an artist’s overall practice.
*LOSTprojects is primarily a commercial gallery? Truth: The space is interested in artist processes and projects. We are not driven to discover or provide a new batch of “up and coming” individuals for the market. We’d rather have artist pursue “lost” projects – series and works that artists cannot otherwise present to local commercial galleries. We believe in the care of a client base that is not made up of accumulators. Hence, the collectors that we have have shown genuine interest and relations. LOSTprojects wanted to do it right – every marketing opportunity involved transparency with the artist and dialogues aimed for trust with the collector. Above all, we wanted work that satisfies the artist’s practice and work that is not compromised for a speculative client base.

The Future
LOSTprojects is conscious of an art space being a work-in-progress itself. We are aiming to re-open with a program that will be complementary again to what is necessary in the community. In the same vein, we do not want our structure as a platform to be forgotten again – that LOSTprojects was created outside a physical site and can continue to take different forms (non-site or virtual or network-based or an actual location) based on the most tenable and accountable response to how the community navigates around the bigger picture.

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Thanks
In the span of two years, we’ve made so many new friends and advanced old relationships and we are grateful for the community they have made for LOSTprojects. Thanks to the artists who have generously given their time and shared their practices, to the bighearted artists who donated works for the LOST and Fund(hell)raiser event, the collectors who chose to engage in continuous dialogue with us, the friends who stayed ‘till closing time, the friends who filled up the space with good spirits and our professional network who believed that we are more than just Small Fish.

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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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NEWS: CROCOGATOR 3 Manila Preview

EXHIBITION 6

JOSEY KIDD-CROWE/ New Rooms for Old Rooms/ 21 September – 23 October 2011

…all these paintings are nothing but utterly mendacious state art pampering to vanity… nothing but state art, state-commissioned art… including the so-called white-bearded man… just as the so-called free man is a utopia, the so-called free artist is a utopia… this art is a pitiful and base art… nauseating more than anything else… all of them painted only in this manner… I find these paintings most profoundly repulsive and again and again… I continue to study them, but they are repellent, that is perfectly clear… it makes no difference what you read and view, in the end it will become ridiculous and worthless… no matter which work of art, it is made to look ridiculous… it seems to you great and yet one moment to the next you make it seem ridiculous… but then most people are ridiculous and most works of art are ridiculous… they observe everything to the bitter end with their terrible seriousness… and always with those tragicomically unsuccessful hands…

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While working in a traditional studio based set up, Josey Kidd-Crowe uses a methodology of constant research through experience and discovery. His practice navigates around artistic formats of collage, painting and drawing and each work conducts a journey through ideas and influences that he chooses to accommodate at a particular time. Experience in the form of present place and activities informs his works. His paintings are always both one thing and the other: figurative and abstract, mise-en-scene and motif.  Geoff Newton of Neon Parc, with whom the artist is represented by in Melbourne, describes him painting “with an intuitive sense of urgency, making many of his modest scaled pictures wet-on-wet and in one sitting,” and that “his drawings and observations inform much of his painting practice, and in turn influence the direction of the newer works.”

Josey Kidd-Crowe lives and works in Melbourne and has been exhibiting in Australia since 2006. He is LOSTprojects’ artist-in-residence for September 2011.

RESIDENCY 3: Manila has Josey Kidd-Crowe now

NEWS: LOSTprojects participates in the 2011 Asian Arts Space Network in Gwangju, South Korea 

Along with 23 other art spaces in Asia, LOSTprojects was invited to take part in the symposium and exhibition of the 2011 Asian Arts Space Network in Gwangju, South Korea from 23-26 August 2011.

A pilot project by the Office for Hub City of Asian Culture, this meeting aimed to discuss the “role and function of art spaces in Asia in the 21st Century.” The event provided for an intensive, internal exchange among the directors of 24 spaces and an exhibition of the spaces’ respective documentation in Geumnamro Gallery of the Gwangju Museum of Art.

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EXHIBITION 5

LISA ANDREW + SIMON BARNEY + MARIA CRUZ/ Music For Everyone/ 31 July – 24 August 2011

Lisa Andrew, Simon Barney and Maria Cruz met and collaborated in artist-run initiatives in Sydney. With their ties to the Philippines – Maria was born here while Lisa & Simon spent significant time here during the 60’s and the 70’s – they have explored the possibility of doing something together in Manila.

Through a LOSTprojects residency, they have spent July 2011 fulfilling a couple of projects in Manila. Pablo Gallery opened Hollywood Hotel on 9 July with works that reflect the participatory nature of each artists’ practice. On the other hand, LOSTprojects presents Music For Everyone on Sunday, 31 July. Music For Everyone contains performative works and open-ended projects by Andrew, Barney and Cruz. It looks at associations with low-tech in the artists’ investigation on material and presents the artistic format of drawing that identifies no terminal point in line-work.

RESIDENCY 2: Lisa Andrew, Simon Barney and Maria Cruz make it to Manila!

Lisa, Maria and Simon, July 2011

NEWS: Sam Kiyoumarsi shortlisted in the 2011 Ateneo Art Awards for his LOSTprojects exhibition

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EXHIBITION 4

BJORN CALLEJA/ Fear Made Me Do This/ 4 May 2011 – 1 June 2011.

The neighbourhood’s curiosity is brimming. That, or people parking for a mass & the customers from next door (while waiting for their turn for shiatsu and man-pedicure) can’t really treat LOST as window gallery with its current exhibition – Fear Made Me Do This by Bjorn Calleja. They’ve crept in boldy, passing comments “What happened to the babies?” (Ben’s show), “I’m a photographer too but had to quit work because …”. After all it can’t be helped that they need to take a closer look at the wallet-sized photos making up Bjorn’s installation and that they felt a little bit more ease in the dark with topless boys armed with masking tape.
 – May 3, 2011

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Turning from his usual colorfully strange canvas worlds, Bjorn explores methods to learn about painting. Fear Made Me Do This is consequential to his conviction that “art is a language” – a language perhaps that begins with a catharsis. Bjorn bravely admits that his installation is LOSTprojects is borne out of paranoia – a paranoia that magnifies the ambivalent place of Facebook. Approximately 3000 photographs of his Facebook friends were printed and assigned to a mis-en-scene of death. All together, the installation becomes a parody collage of thumbnails from a networking structure that has “vulnerability” in its fine print. It is vandalization that makes us to examine again the thin line (or perhaps non-existent) line between public domain and private spaces.

As much as Fear Made Me Do This started as a projection to overcome a social liability, Bjorn’s exhibition speaks about his encounter with a system that requires whoever is in it to constantly treat it as a puzzle piece.

OFFSITE: LOST @ Y3K Melbourne

Y3K EXHIBITION PAGE

NEWS: Ben Quilty wins Archibald Prize 2011

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EXHIBITION 3

SAM KIYOUMARSI/ Inalienable Dreamless/ 16 March – 16 April 2011

After the opening of LOSTprojects last year, the art space is moving on to its 2011 exhibition program that presents a focused platform of six exhibitions and two residencies by artists based in Manila and Sydney.

The program is ushered in with a new series by Sam Kiyoumarsi titled Inalienable Dreamless. This exhibition presents Sam’s inquiry to portraiture as a staple motif and how he reflects on this critique to create portraits differently.

This series of selected portraits taken within the span of 2005 to 2011 diverges into a pair of tendencies in Sam’s conceptual practice. He fashions subjects ominous in their uncanniness within traditional frames of photography at the same time inspects the limit to a photograph’s materiality. Inalienable Dreamless makes up Sam’s immediate culture – artists, musicians alongside people with lives run-of-the-mill. He captures them in the breach between snapshot and staged, debauched and restored.

NEWS: Ben Quilty opens his exhibition Trashed in LOSTprojects, 24 November 2010

Cos Zicarelli, Ben Quilty, David Griggs and Jayson Oliveria

EXHIBITION 2

BEN QUILTY/ Trashed/ 24 November – 24 December 2010

LOSTprojects is proud to present Trashed, an exhibition of new works by Australian painter Ben Quilty. Trashed continues Ben Quilty’s investigation into the destructive possibilities of young masculinity. Constantly exploring notions of identity within the crude initiation ceremonies of young Australian men, Quilty points out the absurdity of the way young men are ingratiate into adult society.

Exhibiting fast and thick paintings of his baby daughter alongside the visage of Captain and Cook and smashed cars he poses as many questions as he offers answers about the way men behave within society.

NEWS: Deborah Smith visits Manila and LOSTprojects 10-17 November 2010

Deborah Smith, Claus Carsten and Curro Gonzalez

www.deborahsmith.net

EXHIBITION 1/ RESIDENCY 1: 

POW MARTINEZ/ March of the Pigs/ Oct 6 – 14 November 2010 (Residency: July – September 2010)

The difference with LOSTprojects from most alternative art spaces is that its official history began with being plotted on an international art map before the inauguration of its exhibition space and program. Returning from VOLTA6, an art fair that selects galleries that “work with the most exciting artists” in Basel, Switzerland, LOST finally opened its space to its first studio-residency grantee, Pow Martinez on July 1, 2010.

LOSTprojects’ residency program provides a studio for artists to work in for up to three months. The studio is located on the first floor of three storey apartment in the offbeat strip of Industrial Valley in Marikina City. After the residency, it subsequently becomes the exhibition space.

Pow Martinez, recently awarded in the 2010 Ateneo Art Awards, finishes his residency at LOST on October 1, 2010. Aside from being LOST’s first resident artist, Martinez’s fourth solo exhibition is also the alternative art space’s first show.

LOSTprojects is therefore proud to formally open its exhibition program with March of the Pigs, an exhibition of new works by Pow Martinez. The series carries on Martinez’s preference to play and self-proclaimed arrogance towards painting. Generous, thickly textured paints and recurring imagery allow his style to be distinct. He continues to, what he calls, “abuse and exhaust the image.”

March of the Pigs also has references to Metal music, and draws attention to the incompatible visual realism with the actual mash and mosh of the genre. Also known for his Sound Art projects, Martinez’s acuteness to noise and music is naturally reflected in his paintings – his works from both media concentrating on layers, irregularities and other instinctual arrangements.

NEWS: Pow Martinez wins Ateneo Art Awards 2010

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