BUSA, Alfonso Jr. B.

| Arts 1 (MN) | Final Exam

Art, Politics, and Religion: How Do We Make It Work?

“The ones who did those things are sick,” remarks of retired Lingayen-Dagupan Archbishop
Oscar Cruz on Mideo Cruz’s “Poleteismo.” The artwork fronted the headlines back in 2011 and was
faced with outrage, especially from the religious sector. It enraged some people so much to a point that
a couple sneaked into the Cultural Center of the Philippines (CCP), vandalized the display, and even
tried to burn it down. In response to the mayhem, the CCP decided to close the exhibit altogether. It has
also led to the resignation of its Visual Arts Division’s head. Debates and protests ensued everywhere.
It was Cruz’s right to free artistic expression against the Church’s and the public’s right to dignity of
their beliefs. However, I believe that it was not a simple question of black and white; that no one was
completely on the wrong or right side of the tracks. The behaviors exhibited by all the parties concerned
were well within the sphere of what can be reasonably expected. The more important issue lies in the
necessity for people to learn how to co-exist amid the honest disparities that segment them.

Cruz’s work was a shrine-like installation composing of media images, religious iconographies,
and familiar objects. Among these included: images of Christ and the Virgin Mary as well as pictures
of famous personalities such as Britney Spears and Obama, election posters of Filipino politicians,
children’s educational materials, and Chinese calendars. What sparked the uproar were the more
controversial items: a sculpture of an erect male genitalia attached to a large crucifix, another crucifix
covered with a condom, and a figure of Christ with Mickey Mouse ears. Cruz is known for showcasing
provocative statements in his creations that ignite individual and collective social discussions. He is a
performance, media, and visual artist who incorporates activism into his work, which often induces
intense reactions from his audience. The infamous elements which can be seen in Poleteismo were not
new at the time of its viewing in the CCP. Cruz has already presented similar features in past exhibits
such as in the UP Vargas Museum way back 2002, and in Kulay Diwa Art Galleries in 2005.

Cruz’s passion for the arts started with humble beginnings at his childhood home in Gapan,
Nueva Ecija. When he was young, he would color his father’s newspapers. In high school, he took up
photography and later pursued formal arts studies in college. In 2001, he was invited to do several
projects in the first Philippine International Performance Art Festival (PIPAF). From there, artist-
organizers witnessed what Cruz had to offer and came more invitations, even from outside the country.
It is no surprise that he also gets invited to an event at the CCP. The “Kulo” exhibit was meant to
showcase artists and their contributions to conversations on the country’s art and its social contexts. On
the production of his work, Cruz said in an interview: “I deconstruct the images to remove the revered
and reintroduce the sacred icons of our gods [politicians, celebrities] as a realization. These gods – as
tools of commerce, as weapons of subjugation.” He also added that his role as an artist is not to define
the process or give translation to his creations but to provide images that best represent our era.
 The media has contributed immensely in igniting the controversy. Defiling objects of worship
is not an uncommon practice in the arts scene, and exhibits such as Kulo are mostly attended by people
who know what is in store for them. However, due to irresponsible media coverage, the work of Cruz
was exposed to the unfamiliar public. In the process of its circulation through the news and other media
outlets, the work was seen and understood outside the artist’s framework of meaning. The first television
network to publish a report immediately sought for the Church’s opinion, and naturally, they were
enraged by it. With religious leaders heavily condemning the artwork, widespread furor inevitably
followed. However, contrary to what was painted in the public’s eyes, Cruz’s work actually held more
meaning than what was on the surface. It was a laudable commentary on the country’s social structure,
that tackled the idea of idolatry. Poleteismo loosely translates to ‘many beliefs’ or ‘many deities.’ Cruz
wanted to demonstrate how people create idols, and that these idols whether deserving of worship or
not, affect people’s lives and how they function and see the world.

Many of Cruz’s critics have argued that his work cannot be considered art; that something as
‘blasphemous and disrespectful’ to Christianity cannot possibly be looked at as an artistic creation.
Former first lady Imelda Marcos was among those who expressed such judgment. Even National Artist
for Literature Dr. Francisco Sionil Jose felt the same. In the words of Jose, the work of Cruz was a
‘juvenile and immature’ attempt to express his views. This question of whether Poleteismo is art or not
unveils a rich area of fruitful debate. Building on Sarah Urist Green’s discussion on the definition of
art, it can be argued that Cruz’s work can still be regarded as art. Green posited that art is a ‘nebulous’
concept and that it can be taken to ‘new directions.’ Moreover, Cruz’s work may also fall within the
premises of what Denis Dutton referred to as ‘remote territories.’ Therefore, to demerit Cruz’s work
and reduce it to something that is not art would demand a more critical and thorough evaluation that is
based on objective facts and not simply on impulsive and subjective sentiments.

Social commentaries such as Poleteismo are said to be done with the idea of implementing or
promoting change by appealing to people’s sense of justice. Cruz succeeded with his intentions insofar
as the public’s reactions validated the meaning of his artwork. The hate that he received was a concrete
manifestation of his claims about society. However, in the area of affecting actual change, Cruz failed
quite miserably. One critic even went as far as saying that Cruz only made Catholics ‘worse persons,’
with some suddenly threatening to commit bodily harm against CCP officials, and others attempting
arson. Being in a nation where people have been raised and taught not to defile religion in any manner,
Cruz’s attempt to instill critical thought was as good as swimming against the currents of a waterfall.
As pure and commendable his purpose was, he was simply against the Goliath of idolatry. Nonetheless,
he is still deserving of credit for his work; at least one person was able to see through these ‘issues’ that
prevail within society and dared to speak their mind.
 Poleteismo will forever hold its mark in the history of Philippine arts. It stands to prove how
potent of an instrument art can be. It stimulated and provoked people’s thoughts that sparked agreements
and disagreements everywhere. With all that has transpired back in 2011, I believe that everyone
involved all had a role to play in setting off the conflict; thus, must all take the time to reflect upon
themselves and learn their lessons. Artists such as Cruz must also consider the audience of their work;
that is by including disclaimers and explanations so that their meanings become clear. Furthermore, if
necessary, the CCP can limit the viewers of certain artworks in its exhibits. On the other hand, the media
must always be responsible with their stories and refrain from giving the public loose pictures of what
provocative artworks mean. Lastly, Catholics, especially their leaders must not be too quick to judge
and condemn without sufficient information. Instead of proving one or the other wrong, I believe that
this country is capable of cultivating an environment where free artistic expression can flourish, all
while preserving the dignity of long-held beliefs and institutions.

References:

Lee, Ashley. “Closure of ‘Kulo’ Ignites Censorship Debate in the Philippines.” ArtAsiaPacific, 24
October 2011, http://artasiapacific.com/News/ClosureOfKuloExhibitionIgnitesArtCensorship
DebateInThePhilippines. Accessed 25 August 2021.

Silverio, Ina Alleco R. “Artist Mideo Cruz wants to provoke critical thought, gets death threats instead.”
Bulalat, 5 August 2011, https://www.bulatlat.com/2011/08/05/artist-mideo- cruz-wants-to-
provoke-critical-thought-gets-death-threats-instead/. Accessed 25 August 2021.

Mayo, Rachel. “From Religion to Idol Worship.” Philippine Daily Inquirer, 20 August 2011, https://li
festyle.inquirer.net/10443/from-religion-to-idolworship/?__cf_chl_jschl_tk__=pmd_4twsTHv
uP_8ly124wSsr_RGWAqkfv54zAMIPZyJtld0-1629982466-0-gqNtZGzNAfujcnBszQ8R.
Accessed 25 August 2021.

Idris, Jake. “Poleteismo: Art in sacrilege.” IAmHypocrite, 4 August 2011, https://iamhypocrite.wordpr

ess.com/2011/08/04/poleteismo-art-in-sacrilege/. Accessed 25 August 2021.

Montaña, Robert. “Lessons to be learned from Poleteismo.” The Manila Times, 15 August 2011, https
://www.manilatimes.net/2011/08/15/opinion/analysis/lessons-to-be-learned-from-poleteismo/
717633?__cf_chl_managed_tk__=pmd_1z.OgiePpx3R4o2XTsTnbPzKszgQWns2cjHA1NxJd
js-1629701747-0-gqNtZGzNAxCjcnBszQzl. Accessed 25 August 2021.
CMFR staff. “Broadcast media fomented the ‘Poleteismo’ controversy.” Center for Media Freedom
and Responsibility, 5 September 2011, https://cmfr-phil.org/media-ethics-responsibility/ethics
/broadcast-media-fomented-the-poleteismo-controversy/. Accessed 25 August 2021.

Hirano, Mayumi. “Interview with Mideo M. Cruz.” Blogspot, 22 November 2013, http://2050artandw
riting.blogspot.com/2013/11/interview-with-mideo-m-cruz.html. Accessed 25 August 2021.

Tan, Kimberly Jane. “Controversial 'Poleteismo' not art, says national artist.” GMA News Online, 16
August 2011, https://www.gmanetwork.com/news/news/nation/229551/controversial-poleteis
mo-not-art-says-national-artist/story/. Accessed 25 August 2021.

Cruz, Isagani. “Poleteismo is art, not Art.” PhilStar, 15 September 2011, https://www.philstar.com/ot
her-sections/education-and-home/2011/09/15/726967/poleteismo-art-not-art. Accessed 25
August 2021.

Uy, Hannah Jo. “A Day in the Life of Mideo Cruz.” Manila Bulletin, 23 April 2018, https://mb.com.p
h/2018/04/23/a-day-in-the-life-of-mideo-cruz/. Accessed 25 August 2021.