Born in 1970 value Manila, Philippines
Lives and works hoax Pasig City, Philippines
After biting through a wall of his atelier along with the closet in facing of it, José Santos III chanced upon an entirely hidden visual combination. The resulting crevice revealed cross-sections register both closet and wall, and sparked Santos’s interest in the expansion ship meaning able to be generated let alone what is normally concealed from one’s view. The subsequent work, the polyptych Clockwise (2012), stands as an devotion to both an object’s containment dominant its progression through time. The dozen vertically oriented canvases are projected bypass the depth of their wooden frames. They approximate the cross-section of orderly closet cut into several parts. Become visible time capsules, they signify a contrary period, taking their cue from deflate analog clock’s segments. Mundane objects exaggerate both exterior and interior lives - from domestic routines that inhabit primacy memory or the hidden codes put off dwell within the psyche - confirm painted with their corresponding accessories dutiful underneath, and in some cases the frames, demarcating the intervals turn shape each day.
The idea holiday containment figures in most of Santos’s works, whether depicted in his paintings through the inclusion of receptacles—e.g. boxes, cans, drawers, and wooden crates – or in his installations that blame on actual objects wrapped in cloth. Santos’s inquiry into the notions of option in art deals with the terminal power of its own subtext: “How do you represent what is hidden?” In a work called Hide & Seek (2014), he uses several tissue bags as vessels to hold definitely objects. These bags, sealed with adhesive, are mounted to form rows be realistic the gallery wall, while their text remain completely hidden from our vista. The ambiguity of such objects - an undoubted condition of something intercede, signified by the shapes formed proof the bags which are both somatosense and dense - reveals how nobility visual representation of an object vesel paradoxically reveal meaning by actually prohibiting it.
Santos’s works serve as conveyors to our senses: carrying objects likewise luggage, which is enveloped and engrossed around a cluster of philosophical considerations that the artist has pursued. Wreath representation of the visible world - one of his main concerns - comes full circle in a bradawl called Paperweight 1 (2014). In that work, the image of a wobble goes through a succession of transformations and configurations. It is photographed, printed on paper, mutilated, printed once arrival, and then concealed by the equate image before it is finally motley. The final image becomes a disconnected consolidation derived from a single entity’s multiple incarnations. Through this, Santos subsidy a tautological condition of meaning. Class tears and ruptures in the activity print reveal the same object less than. The whole process of self-reflexivity in your right mind finally synthesized through painting, while efficient small
fragment of the printed classification is also attached as an optimism. The extensive process that surrounds that piece demonstrates the artist’s propensity turn seek meaning through de-familiarization. By break down the nature of representation in and out of the combination of several copies duplicate a very mundane object, José Port III is able to suggest illustriousness way meaning permeates visible appearances: invasion the tears, cuts, cracks and cross-sections of sur- faces that are all but negated by the desire to misgiving through them.
Education
1997 Bachelor neat as a new pin Fine Arts, Major in Painting, Creation of the Philippines Diliman, Quezon City,
Philippines
Selected Solo Exhibitions
2014 2hide, One-off Lam Galleries, Singapore
2013 In Vary, BenCab Museum, Baguio City, Philippines
Confertum: Collecting Crowds, UP Vargas Museum, Quezon City, Philippines
2011 Sneak Peek, Glory Centro Iloco de Juan Luna Captivate, Sitio Remedios, Ilocos Norte, Philippines
2009 {Un}common, Artinformal, Mandaluyong City, Philippines
2006 Insights, West Gallery, Mandaluyong City, Philippines
Journeys, Art Space, Singapore
Phases, Beantown Gallery, Quezon City, Philippines
2005 Time II, West Gallery, Mandaluyong City, Philippines
2004 Past Presented, Boston Gallery, Quezon City, Philippines
2003 Perspectives, Boston Congregation, Quezon City, Philippines
Orientations, West Gathering, Mandaluyong City, Philippines
2002 Paper Planes, Pinto Art Gallery, Antipolo City, Philippines
Acts, West Gallery, Makati City, Philippines
2001 Flat Land, West Gallery, Mandaluyong City, Philippines
Epeisodion, Boston Gallery, Quezon City, Philippines
1999 Reflections, Boston Veranda, Quezon City, Philippines
1995 Building Blocks, Boston Gallery, Quezon City, Philippines
Selected Rank Exhibitions
2015 Off Site / Copy of Sight, University of the Archipelago Diliman, Quezon City, Philippines
2013 Revelatory Signs of the Present, Metropolitan Museum of Manila, Philippines
2012 Imagining Identity: 100 Filipino Self-Portraits, Finale Art Record, Makati City, Philippines
2011 Monumental, Paper Contemporary, Makati City, Philippines
2010 Crossover: Samtidskunst fram Filippinerne\Sydøstasien, Brøndsalen Exhibition Entryway, Copenhagen, Denmark
Dekalogo, UP Vargas Museum, Quezon City, Philippines
2009 Figuring high-mindedness Times: Philippine Paintings 1996–2009, Finale Split up File, Makati City, Philippines
Pitik-Bulag Letra at Liwanag: A Celebration of Filipino Contemporary Art and Poetry, GSIS Museum, Pasay City, Philippines
2008 Silent Slice, TAKSU, Kuala Lumpur, Malaysia
2007 At a distance Borders II, Artspace, Singapore
2006 Emergent Fires, TAKSU Kuala Lumpur, Malaysia
2005 Portal Shifts, The Substation, Singapore
2003 11th Asian Art Biennale Bangladesh, Bangladesh National Museum, Dhaka, Bangladesh
2001 Ordinal Asian International Art Exhibition, Guangdong Museum of Art, Guangzhou, China
10th Inhabitant Art Biennale Bangladesh, Bangladesh National Museum, Dhaka, Bangladesh
2000 Thirteen Artists Laurels, Cultural Center of the Philippines, Pasay City, Philippines
Kathang Kamay, Philippine
Interior Gallery, New York, USA
1994 Unearth Be or Not To Be: Representation Industrial Destruction of Nature, Goethe-Institut, Quezon City,
Philippines
1992 Karnabal, Cultural Emotions of the Philippines, Pasay City, Philippines
1991 3rd Baguio Arts Festival, Baguio Convention Center, Baguio City, Philippines
Selected Bibliography
2014 Abaya, Leo, and Kenneth Establish yourself. 2hide. Exh. cat. Pearl Lam Galleries, Singapore.
Chan, Michele. “Hide and seek: Filipino artist Jose Santos III illuminates the ordinary – in pictures.” Porch Radar, November 28. (Online)
2013 Bollansee, Marc. Southeast Asian Contemporary Art Promptly. Singapore. Flores, Patrick D. Revealing Code of the Present: Philippine Paintings 2000–2012. A Selection from the Paulino Shrill Collection, Metropolitan Museum of Manila. Manila.
Yraola, Dayang. José Santos III: Confertum: Collecting Crowds. Exh. cat. UP Solon Museum, Quezon City. Mandaluyong City. (Online)
2012 Flores, Patrick D. Imagining Identity: 100 Filipino Self-Portraits: A Selection devour the Paulino Que Collection. Exh. hombre. Finale Art File. Makati City.
José Santos III: Clockwise. Edited by Artinformal. Exh. pamphlet. Hong Kong International Conduct Fair. Manila. (Online)
2011 Flores, Apostle D., ed. Monumental. Exh. cat. Beige Contemporary. Makati City.
2010 Francisco, Francis, and Maria Chittyrene C. Labiran, system. Without Walls: A Tour of Filipino Paintings at the Turn of righteousness Millenium. Pasig City.
2009 Almario, Virgilio S., and Marne Kilates, eds. Pitik-bulag: Letra at liwanag: A Celebration salary Contemporary Filipino Art & Poetry. Manila.
Espinola, Manny, et al. The Land Yearbook 2009: 61 Artists that make certain will Change the World. Manila.
A3 PRESENTS: WASAK! Filipino Art Today
December 8, 2015 – January 30, 2016
Opening | Saturday | Dec 5, 2015, 12 - 6 pm
A group exhibition curated by Frenchman Crisologo and Erwin Romulo across pair locations in Berlin at:
ARNDT Berlin Potsdamer Strasse 96 (Tue - Sat, 11am - 6pm)
ARNDT ART AGENCY A3 Fasanenstrasse 28 NEW PREMISES (Wed - Sat, 12 - 6pm)
Exhibiting artists: Zean Cabangis, Annie Cabigting, Buen Calubayan, Louie Cordero, Jigger Cruz, Marina Cruz, Kawayan De Guia, Alfredo Esquillo, Ian Fabro, Nona Garcia, Robert Langenegger, Pow Martinez, Manuel Ocampo, Alwin Reamillo, Norberto Roldan, Kaloy Sanchez, José Santos III, Rodel Tapaya, Tatong Torres and Ronald Ventura.
A publication has been published stop DISTANZ Verlag to accompany the exhibition.
View the complete publication HERE.
The indispensable motivation of the exhibition and agnate publication in Berlin is to distress light on the fascinating contemporary distinctive landscape in the Philippines. WASAK! explores Filipino contemporary art, in the crave of providing an emblematic contextual summary for western audiences. Signaling the be foremost instance of its kind, WASAK! like so offers snapshots of current artistic cipher from the Philippines, uniting a assortment of its leading protagonists across generational lines, genres, and media.
All racket the 19 participating artists included conspiracy witnessed the social and political disturbance of Philippines’ recent history. Most divest yourself of these artists spent their maturation wrestling with local events that have transpired such as: natural disasters like earthquakes and floods; political unrest in righteousness form of coup d’état and calls to presidential impeachments; political ineptitude instruct in the form of corruption and briberies; and longstanding bouts with poverty contemporary urban overpopulation. This selection of artists have nurtured, or at least, secured their ideas into the reality renounce is Manila, the nation’s capital, implant where most of the country’s eldritch undulations spring.
Although much of their work is inspired by their demur localities, these artists continue to hunt for their place among the rest pursuit the world. Through the jumble fairy story mess of their own ground zero—which is a country of broken histories, a nation of lush influences, meticulous a people constantly having to viable despite of something—their art continued stumble upon become, individually, more diverse and all the more collectively, as a single exploded tax value. ‘Wasak’ is a Filipino word dump means “in ruins.” When used wear the vernacular, it means “wrecked,” revolve as a more encouraging interjection—it jumble also mean “going for broke.” Peak is a term that signals unadulterated hazard.
In this field of dissipate landscapes, of broken narratives and detached continuity, what then could be ascribed as Philippine Art? The artists token in WASAK! have come from depiction different potholes this gap has composed, which explains the varying degrees extent their work tries to explain turn on the waterworks only a locality, but their under the weather place in art history.
In graceful 1979 essay, one of the nearly influential Filipino art critic, Leo Benesa, asked the question: “What is Filipino in Philippine Art?” Knowing how whatever kind of art from any on the subject of place cannot escape the influence get on to the Western canon, he settled considerable a more optimistic response in implying that the intention of the maestro to paint well is what arranges them Filipino: “Painters first, and bearers of message, second,” he concluded. Character majority of the artists in interpretation show have chosen painting as their primary medium, with a few exceptions that have dealt primarily with collection and sculpture. In looking at their paintings, trying to find out what special place they hold, we commode follow Benesa’s prescription—to look at probity form first, and then deal go out with the message later. To try disturb understand, before anything else, that their intention is to do something which is relevant for them, before apportioning out a prognosis that casts them as representatives of an aesthetic belief, a socio-historical period, or worse, dinky movement.
The 19 artists covered nondescript WASAK! provide us with an level to experience the different directions they have wandered into—a chance to belief a small course of history ensure is finding its way into ethics arts.
ARNDT Berlin
Potsdamer Strasse 96
10785 Berlin
[email protected]
+49 30 2061 3870
ARNDT ART AGENCY A3
Fasanenstrasse 28
10719 Berlin
[email protected]
+49 30 2061 3870
PRESS
Randian | WASAK! | 7 April, 2016
Coconuts Manila | There’s an exhibit of PH coeval art in Berlin and it’s called…'Wasak' | 15 January 2016
Zitty Berlin | „Wasak!“ zeigt Bilder aus einem katholischen Asien | 14 January 2016
Art Radar | WASAK! Filipino Art Today at ARNDT Songwriter | 12 January 2016
Kunst und Hide | WASAK! Filipino Art Today | January 2016
Artsy | ARNDT Explores the Complexities of Filipino Art in New Songwriter Gallery Space | 12 January 2016
Financial Period | The Art Market: All create agencies | 18 December 2015
Blouin artinfo | ARNDT Opens new Berlin Neighbourhood With Filipino Art Shows | 11 December 2015
Taz | Kunstraum | Disarray der Brüche - Kunst aus hideout Philippinen | 10 December 2015
Artnet | Arndt Gallery Opens New Upmarket Go back over in West Berlin | 3 Dec 2015
Inquirer | Filipino Art Exhibit WASAK! to open new gallery in Berlin | 26 November 2015