For Philippine Video Art? More Things to Come
By Clarissa Chikiamco
Today marks the opening of the End Frame Video Art Project, the first Philippine video art festival, at the North Court of Power Plant Mall. Spearheaded by Visual Pond, a non-profit organization co-founded by this author with fellow art managers, and under Power Plant Mall’s Focus on the Arts Program, End Frame aims to call attention to and create discussion on video art done by Filipino artists and experimental filmmakers.
Throughout the duration of the festival, September 25 – 28 at the
The beginnings of this project can be traced to August last year when I met Kentaro Taki, director of Videoart Center Tokyo, at the Asia-Europe Art Camp in
Video art, though, should not be confused with simply video. The medium of video alone is insufficient to classify something as video art. The idea and intentionality of the artist must be considered, particularly its noncommercial nature and yes, the art-for-art’s-sake thing again, as well as the conceptual value garnered by the viewer. Of the latter, de Guzman summed up the feeling during the screening of entries, “You know it [video art] when you see it!” (Of course, one must take into account that the “you” is always relative which is why there’s hardly ever, if ever, a 100% consensus on what is art and what isn’t.)
If that seems rather murky, Videoart Center Tokyo gives rather clear-cut criteria on video art: no straight narrative/documentary, no commercial film, no Mtv, no
Video art is another realm being explored by Filipino artists and, as the publication of a still of Tad Ermitano’s work Hulikotekan v. 2.1 in the latest issue of Time proves, our artists have got what it takes to burst into the international art stage. It’s with this frame of mind that we formed a partnership with The One Minutes Foundation, an organization based in
This Olympic One Minutes will also feature distribution/exhibition of works via mobile phone, demonstrating that today’s art can be viewed by simply reaching for the device in one’s pocket. Video art’s increasing use in the visual arts scene is a result of the times we live in when even McDonald’s puts a plasma television in their store and we are continuously exposed (or assaulted?) by moving images in the everyday. The language of this media resonates with a broader audience and the accessibility of technological equipment enables artists to shoot and edit on their own.
Exhibition though can sometimes be a problem, particularly in video installations that use multiple monitors. That’s why I tip my hat off to the Listening Group of Companies, particularly their Chief Operation Officer Levenson Rodriguez, for the technological support not only for End Frame but for the Philippine video art scene. The Listening Group of Companies, together with Visual Pond, plans to sustain the momentum of this project through a continued showing of video art in the three different Listening branches at Power Plant Mall,
One wonders, however, how far video art can go without financial support. While a new breed of art collectors is amassing young, contemporary and avant-garde art, would they go so far as to collect video? In our culture of piracy and mass reproduction, how much is one willing to pay for a video artwork? How can video art be enjoyed by a collector? What is the role of our art museums in terms of this new media?
There are many questions unanswered still and perhaps all the more elicited from the project. Yet, as long as more people become aware and start thinking of these possibilities, stimulating dialogues and discussion, it’s a certainty that we will have a healthy local video art scene and it’s with feeling that I believe we are on the tip of an iceberg, with many more things for video art to come.
The artists and the artworks that are being shown in Power Plant Mall are Adjani Arumpac, Ab Ovo; Ramon Bautista, The Persistence of Vision; Jasmin Bernardino, One Becomes Two; Bea Camacho, Enclose; Dante Dizon, Light Headed; Tad Ermitano, Hulikotekan v. 2.1; Rodel Gadapan, Glimpse of Reality; Mitch Garcia and Ian Madrigal, RPG II: Culture Shock or Culture Sucks; Miguel Gonzaga, Premonition; Antoinette Jadaone, It feels so good to be alive; Richard Legaspi, Kahon and Claro Ramirez, Jr., Bandera.
End Frame at the
Power Plant Mall is located at the