Project Space Pilipinas is an artist-initiated platform committed to art and cultural activities. It provides venue, assistance and support for artists, cultural workers and individuals with artistic interests. With a holistic framework, it hopes to serve as a vehicle for the development of various practices of art through traditional, alternative and emerging approaches. Its primary objectives are to provide creative opportunities and make art accessible to various audiences. Its core programs include artist residencies, exhibitions, education, and collaborations.
Designed to serve as a springboard to further artistic endeavors through substantial art interactions and creative discourse, the artist-in-residence program also known as the Neo-Emerging Artist Residency (NEAR Lucban) is also envisioned to establish effective networks in creating opportunities for possible collaborations with other local and international artists. click here to read more
The Exhibitions Program provides opportunities for creative productions, art and cultural exchanges, and outputs for innovative, exploratory, and relevant projects. Project proposals are accepted from artists, curators, groups, and other interested parties. click here to read more
Valuing the need for continuous learning, the Education Program organizes forums, artist talks, workshops and seminars related to art and its production. click here to read more
Working on a collaborative and collective conscious practice, the Collaborations Program initiates projects and activities involving art and cultural practitioners including individuals and groups with shared concerns. click here to read more
L A T E S T @ P R O J E C T S P A C E P I L I P I N A S
Ongoing: SaLang#2: Dansoy Coquilla “DyipFie” (until 31 May 2018)
In DyipFie, Daniel “Dansoy” Coquilla revisits one of his enduring themes which is the jeepney, this time as seen through the lens of the selfie. Measuring at 3.5 x 20 feet, the diptych affords a panoramic view of the passengers and their reflections—a juxtaposition between physical embodiment and its simulacrum. Acting as the “camera” that at once captures and reveals the image of the passengers are the tiled mirrors that adorn the underside of the jeepney’s roof, which constitutes the second half of the diptych. The first half is devoted to the subjects jostling together in the cramped space of the vehicle’s interior, with some holding the bar to stabilize their balance, all wanting to catch a reflection of themselves. Acting as some kind of a bridge between these two parts are the driver and the two passengers seated beside him, their gaze also tilted upwards.
Coquilla conflates the iconography of the jeepney with the current rage of the selfie, essentially a self-portrait with the aid of a cellphone’s camera, on the visual realm as well as the linguistic plane through the portmanteau which is the title. For years, the artist has depicted his subjects looking up, inspecting something, creating the dialectic of being watched and looking back. In this work, they are all about capturing a likeness of themselves within the autonomous and apparently self-sustaining world of the jeepney. What kind of discovery does their radical act of self-examination afford? And with us viewers, how do we reconcile the feeling of impinging upon their shared privacy and as well as being momentarily appraised by them in the first half of the painting? The viewers and the passengers are united in the act of looking, in the recognition of a self “othered” by a mirror or a selfie, here in a jeepney that, through development couched within the terms of modernization, threatens to vanish. (Carlomar Arcangel Daoana)
Upcoming: SaLang#3: Mondrian Fan CLub – David Medalla * Adam Nankervis “Signals in the Sky” (opening 23 June 2018)