December 31, 2010
December 30, 2010
Nuno's Top 10 of 2010
10. increase of graffiti outside manila
9. styles developing
8. HA!?
7. Carrot Bombing
6. THE 1st-year Anniversary
5. Kolown/Deform team-up
4. next-gen bombing crews
3. PSP having everything on lock
2. Wall Lords Philippines
1. Kookoo
December 26, 2010
2010 - the Philippine Street Art "ROUND UP"
2010 is on it's last week and hope you're all enjoying the holidays. We'll be doing our "ROUND UP" for the first time as we relive this year's most memorable happening, people, and their street art.Send us what/who are your top 10 of year 2010 via email: pspmanila@gmail.com
*if you can attached some photo or jpeg artwork with the theme "10" much better. :p
*we will pick 1 entry and might recieve a special gift from PSP.
December 24, 2010
The STATE of today's museums. via WoosterCollective
Over the last few days Sara and I have read a lot, if not all, of the commentary that's been posted online about the abrupt removal of our friend Blu's mural on the exterior of Los Angeles' Museum of Contemporary Art. Understandably, almost all of the discussion has been focused on the seemingly rash decision by Jeffrey Deitch, the newly appointed Director of MOCA, to remove the mural immediately after it was completed without any opportunity for debate and dialogue to happen before it's removal.
Being a high profile and extremely colorful figure, it makes sense that Deitch would quickly become the focus of the blogosphere's vitriol. It was his sole decision to destroy the mural before the public could see it, and because the mural was commissioned and authorized, it can also be said to be an act of censorship. When you read the accounts of what happened, (as well as what didn't happen) it certainly seems that the criticism is justified. And we've contributed some of our own criticism to that dialogue, both publicly and privately.
But for us, this discussion about Blu's mural should be a lot more than just a vilification of Jeffrey Deitch and a show of support for Blu. For us, it has more to do with the fact that as time goes on, more and more of our museums fail to live up to the ideals that we have for them. We want, and expect, museums to defend our free speech. We want, and expect, museums to provide a home for provocative thought. We want, and expect, museums to provoke and inspire debate. What we should not want is for museums to be so constrained and commercial that they add very little to the public debate.
The reality is that fewer and fewer museums live up to our ideals. To keep their doors open, museums like MOCA need to appease powerful donors and mount shows that are commercial and bring in the masses. It's becoming rarer and rarer for museums to mount truly provocative shows that challenge us and change the course of our society.
When Sara and I were invited by the Tate Modern in 2008 to give a lecture and slide show as part of their Street Art show, we debated up until the last moment whether we would participate. Finding out that "the exhibition" was only murals on the exterior of the building and that there were no works of art inside, was a huge problem for us. It made the exterior murals more about marketing the Tate Modern than about doing a survey of the movement. The Tate Modern placed street art back at the kids table, rather than having it sit alongside the parents. Learning at the 12th hour that Nissan was a huge title sponsor without notifying any of the participants in advance of this, was another problem for us. But in the end we did participate. What we ended up doing was to (1) mention our concerns onstage and (2) make our slide show more provocative then we had first planned, feeling that our lecture would act as a sort of trojan horse for street art to actually enter the Tate while the Tate had excluded it.
When we did our 11 Spring exhibition in December of 2006, we mounted it inside a private building without any outside funding or public support. We had no brand sponsors and the show was completely free to visitors. It would not have been possible, for many reasons, to mount that same show in a museum. And while the show had a bit of its own controversy, with people questioning the motives of the new owner of the building as well as some questioning our own curatorial decisions, the show was exactly what we wanted it to be with absolutely zero compromises.
Ironically, immediately after 11 Spring's three day run, we were contacted by New York City officials asking us to help them to learn how shows like 11 Spring could be done by public institutions. We told them we didn’t believe that it could be done, for the very reasons why Blu's wall was removed.
But the bottom line is this - EVERY artist wants to be recognized by their peers and the public at large. One would be hard-pressed to find any artist – including graffiti and street artists – who didn't want to do everything they could to be included in a museum's collection. Museums mean that you are part of history. All artists want to be part of history, especially graffiti and street artists.
To judge something that you're not a part of, before you've seen the final result, is not a practice that Sara and I engage in. So we, even now, have no ability or desire to judge or critique the upcoming street art show that Deitch and MOCA will mount in April. But certainly the removal of Blu's wall doesn't signal that the show itself will be very daring and provocative.
Our hope is that the final outcome from all of the discussion this month about Blu, Deitch, MOCA, and censorship is that it will become a clear catalyst for Deitch, the curators, and the artists, to be even more daring with their work and its message INSIDE, knowing now that this will not be the case OUTSIDE.
Being a high profile and extremely colorful figure, it makes sense that Deitch would quickly become the focus of the blogosphere's vitriol. It was his sole decision to destroy the mural before the public could see it, and because the mural was commissioned and authorized, it can also be said to be an act of censorship. When you read the accounts of what happened, (as well as what didn't happen) it certainly seems that the criticism is justified. And we've contributed some of our own criticism to that dialogue, both publicly and privately.
But for us, this discussion about Blu's mural should be a lot more than just a vilification of Jeffrey Deitch and a show of support for Blu. For us, it has more to do with the fact that as time goes on, more and more of our museums fail to live up to the ideals that we have for them. We want, and expect, museums to defend our free speech. We want, and expect, museums to provide a home for provocative thought. We want, and expect, museums to provoke and inspire debate. What we should not want is for museums to be so constrained and commercial that they add very little to the public debate.
The reality is that fewer and fewer museums live up to our ideals. To keep their doors open, museums like MOCA need to appease powerful donors and mount shows that are commercial and bring in the masses. It's becoming rarer and rarer for museums to mount truly provocative shows that challenge us and change the course of our society.
When Sara and I were invited by the Tate Modern in 2008 to give a lecture and slide show as part of their Street Art show, we debated up until the last moment whether we would participate. Finding out that "the exhibition" was only murals on the exterior of the building and that there were no works of art inside, was a huge problem for us. It made the exterior murals more about marketing the Tate Modern than about doing a survey of the movement. The Tate Modern placed street art back at the kids table, rather than having it sit alongside the parents. Learning at the 12th hour that Nissan was a huge title sponsor without notifying any of the participants in advance of this, was another problem for us. But in the end we did participate. What we ended up doing was to (1) mention our concerns onstage and (2) make our slide show more provocative then we had first planned, feeling that our lecture would act as a sort of trojan horse for street art to actually enter the Tate while the Tate had excluded it.
When we did our 11 Spring exhibition in December of 2006, we mounted it inside a private building without any outside funding or public support. We had no brand sponsors and the show was completely free to visitors. It would not have been possible, for many reasons, to mount that same show in a museum. And while the show had a bit of its own controversy, with people questioning the motives of the new owner of the building as well as some questioning our own curatorial decisions, the show was exactly what we wanted it to be with absolutely zero compromises.
Ironically, immediately after 11 Spring's three day run, we were contacted by New York City officials asking us to help them to learn how shows like 11 Spring could be done by public institutions. We told them we didn’t believe that it could be done, for the very reasons why Blu's wall was removed.
But the bottom line is this - EVERY artist wants to be recognized by their peers and the public at large. One would be hard-pressed to find any artist – including graffiti and street artists – who didn't want to do everything they could to be included in a museum's collection. Museums mean that you are part of history. All artists want to be part of history, especially graffiti and street artists.
To judge something that you're not a part of, before you've seen the final result, is not a practice that Sara and I engage in. So we, even now, have no ability or desire to judge or critique the upcoming street art show that Deitch and MOCA will mount in April. But certainly the removal of Blu's wall doesn't signal that the show itself will be very daring and provocative.
Our hope is that the final outcome from all of the discussion this month about Blu, Deitch, MOCA, and censorship is that it will become a clear catalyst for Deitch, the curators, and the artists, to be even more daring with their work and its message INSIDE, knowing now that this will not be the case OUTSIDE.
December 22, 2010
Stretching Our Hands Out! (with paint)
Nothing beats the good feeling of getting noticed about what you did. We've read much of them, happily went through all the articles that came out, and we are very thankful for those who take a bit of their day's busy schedule. But this one from Katrina Stuart Santiago's Pilipinas Street Plan exhibit blows the place apart, posted at GMANews.TV brought us to realization how valuable our contribution at Lopez Museum's Extensions show. Maybe it's just so happened that there's a little contrast in between the institutions mentioned (not aware of its political history) that made our minds up and write this post. In a contrary, maybe we didn't "blow the place apart" literally, but somehow build a bridge stretching our hands out (with paint) reaching both ends.
Katrina Stuart Santiago quoted us: "In fact, Pilipinas Street Plan seems to be changing the landscape of our lives. And it does so by taking your breath away and blowing your mind apart, all at the same time."
And for us the following lines made us feel very grateful: "This generosity is clear in Pilipinas Street Plan’s work here. It’s also what reverberates through the halls of the Lopez Museum. Right here, we see where the great hope for revolt in Philippine art lies. It lies in the hands of those who are nameless. It’s in the imagination of those who want to change the way we consume art and live on our streets. It’s in the minds of those who rethink our politics for us, in big bright colors and the strangest of images."
Read the full article here: http://www.gmanews.tv/story/208426/pilipinas-street-plan-blows-the-place-apart
Extensions runs until April 20, 2011 at the Lopez Museum, G/F Benpres Building, Exchange Road corner Meralco Avenue, Ortigas Center, Pasig City. Contact them at 02 - 6312417 and 6359545.
Katrina Stuart Santiago quoted us: "In fact, Pilipinas Street Plan seems to be changing the landscape of our lives. And it does so by taking your breath away and blowing your mind apart, all at the same time."
And for us the following lines made us feel very grateful: "This generosity is clear in Pilipinas Street Plan’s work here. It’s also what reverberates through the halls of the Lopez Museum. Right here, we see where the great hope for revolt in Philippine art lies. It lies in the hands of those who are nameless. It’s in the imagination of those who want to change the way we consume art and live on our streets. It’s in the minds of those who rethink our politics for us, in big bright colors and the strangest of images."
Read the full article here: http://www.gmanews.tv/story/208426/pilipinas-street-plan-blows-the-place-apart
Extensions runs until April 20, 2011 at the Lopez Museum, G/F Benpres Building, Exchange Road corner Meralco Avenue, Ortigas Center, Pasig City. Contact them at 02 - 6312417 and 6359545.
December 16, 2010
December 14, 2010
December 13, 2010
December 09, 2010
TUTOK - Ano Bayani? at the Cultural Center of the Philippines
Check out PSP's wall and a number of great artists' works for ANO BAYAN!? at the Cultural Center of the Philippines tonight organized by TutoK.ANO BAYAN!? is jointly curated by TutoK, led by Wesley Valenzuela, Noel Soler Cuizon and Jef Carnay, with coordinators Kirby Roxas, Lotsu Manes, Don Djerassi Dalmacio, Crisanto de Leon and Mervin Pimentel. This exhibit is presented in partnership with Tin-aw Art Gallery and the School of Multimedia Arts, Asia Pacific College.
The exhibit will run from 09 December 2010 to 30 January 2011 at the Bulwagang Juan Luna (Main Gallery) and Pasilyo Guillermo Tolentino (3rd Floor Hallway) of the CCP. The opening reception starts promptly at 6:00pm on Thursday, December 9.
December 08, 2010
Random Late Posts!
Lot's of happenings, great projects, unlikely exhibitions, everyone's busy, holidays are coming, more street art in the making... please bear with us, we missed a lot of good stuffs these couple of months, good art, bad art, a lazy blog updater, hates, loves, facebook likes... hope you enjoy our random selection of flicks mostly we just took from ungga's blog.
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