70'S TO

CONTEMPORARY
BY GROUP 6

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 HOW WAS THE “MODERN”
INTERPRETED IN THE 70'S? HOW
DID CONTEMPORARY ARTISTS
REWORK IT INFLUENCE OF THE
MODERN?
In 1965, Ferdinand and Imelda Marcos
initiated cultural projects in the
Philippines, despite poverty and social
turmoil. Martial Law was declared in 1972,
and Marcos envisioned a New Society,
aiming for rebirth and modernization. This
vision was implemented through various
arts, architecture, and urban planning
programs. The optimism was expressed
through the anthem and songs.

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 HOW WAS THE “MODERN”
INTERPRETED IN THE 70'S? HOW
DID CONTEMPORARY ARTISTS
REWORK IT INFLUENCE OF THE
MODERN?
Art circulated through institutions,
blending pre-modern, vernacular,
modern, and international threads.
National pride was instilled
through murals, folk festivals, and
ethnographic artifacts, including
the National Museum, revitalized
through Constitutional
amendments.

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 THE CCP AS SHRINE FOR THE ARTS
> The Cultural Center of the Philippines (CCP) was established on June
25 1966 through executive order 30 and inaugurated in 1969, the year
where Marcos was elected to his second term as Philippine President. it
was said that it was established to oversee art acquisition, exhibitions,
workshops, grants, and awards.
> Designed by Leandro Locsin, it combines vernacular bahay kubo and
minimalist structures. The CCP complex includes satellite structures like
the Folk Arts Theater which became the venue of the first Ms. Universe
Pageant in Philippine happened on 1974, Philippine International
Convention Center which housed the 1976 IMF- World Bank Conference,
Tahanang Filipino or Coconut Palace, and Manila Film Center. Most
buildings used concrete block-like forms, while some integrated
vernacular elements. The National Arts Center was a notable example.

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 > The CCP, supported by Imelda Marcos, provided venues, grants, and institutionalized major
awards like the National Artist Award. It was an authority on modern art and enabled the avant-
garde, staging large-scale projects like Jose Maceda's sound atmosphere project and Roberto
Chabet's museum.
> Chabet, a conceptual artist, focused on the idea behind his art rather than technique and form.
He used found objects in collages, drawings, sculptures, and installations. His work, including the
1973 "Tearing Into Pieces" art that was made of a copy of coffee table book on contemporary art
and placed it on a trash bin, was seen as a scandalous critique of the convention of art world; in
her book entitled " The Struggle for Philippine Art" was referred to as "anti-museum art." by an
artist, collector, critic, and founder of the Art Association of the Philippines Purita Kalaw-Ledesma
> CCP Museum under Chabet and Raymundo Albano showcased works influenced by western
avant-garde, pop art, environmental assemblages, new realism, performance art, and sound works.
They challenged the commoditization of art within the Marcos regime and opened non-white cube
spaces for art exhibitions and performance spaces. Alternative venues like Gallery 7, Sanctuary,
Gallery Indigo, Shop 6, and Kamalig arcade in Manila emerged.

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 CULTURAL CENTER OF THE
PHILIPPINES FOLK ARTS THEATER

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 CONCEPTUAL ART BY ROBERTO THE STRUGGLE OF THE PHILIPPINE
CHABET ART

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 > Albano, Chabet's successor, was more populist
than his predecessor. he aimed to expose art to
a learning public through 'developmental art'
projects. He characterized the period 1971-75 as
the 'exposure phase', displaying advanced art
using non-art materials. Albano emphasized the
importance of live, festive, and thematic
exhibitions, blending modernity with the urgency
of the now. He believed contemporary art should
deal with untested realms of evidence for further
understanding. EXAMPLE OF RAYMUNDO
ALBANO”S ARTWORKS

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 > Under Albano's leadership, CCP
expanded its reach to regions beyond
Manila, initiated art workshops, and
published art reviews. He incorporated
experimental forms, such as installation
art, inspired by fiestas. An early
example of installation art is Juryee's
Wood Things, 1981, made of kapok or
cotton pods, installed on the walls and
floor of the CCP's white cube spaces to WOOD THING BY LUIS YEE
make these look like crawlers JR AKA JUNYEE
encroaching on the museum space

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 CIAL REALISM (SR)
SO
During the 70s and 80s, Social Realism emerged as a
significant strand of protest art, focusing on
sociopolitical issues and struggles. SR artists worked
collectively, producing murals and aesthetic
interventions based on a common mass-based,
scientific, and nationalist framework, addressing
marginalized and underrepresented masses.

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 Protest art, including canvas paintings, posters, illustrations, and street art,
emerged after Martial Law. Artist collective Kaisahan, composed of artists like
Antipas Delotavo, Neil Doloricon, Renato Habulan, Edgar Talusan Hernandez, Al
Manrique, Jose Tence Ruiz, and Pablo Baen Santos, discussed their social and
political orientation.
Kinupot is a 1977 work by Edgar Talusan Fernandez
derived from the words “kinuha” (to take) and
“sinupot” (to bag). Created during the Martial Law
era, the work references desaparesidos (missing
persons) while depicting restraint felt during a period
of media censorship
KINUPOT BY EDGAR FERNANDEZ

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 Kaisahan's influence as a collective reached organizations like the group of UP
Fine Arts Students who eventually became known in the 80s as the Salingpusa.
The group made collaborative murals where the strain of Social Realism could
still be felt. Among its founding members were Elmer Borlongan, Karen Ocampo
Flores, Emmanuel Garibay, Mark Justiniani, Lito Mondejar, and Federico Sievert.
Beyond Manila, the strain of political art could also be observed in Bacolod,
where artist groups such as Pamilya Pintura were formed with Nunelucio
Alvarado, Charlie Co, and Norberto Roldan were members.
Most of these artists are now established as indvidual artists, who
continue to pursue projects and perform multiple functions. Roldan, for
example is now based in Manila, and heads and runs the long running
Green Papaya Art Projects. Co runs Orange Gallery in Bacolod:
Ocampo-Flores curates, teaches and organizes, and is known for
spearheading. with other artists, the loose collective Tutok

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 At present young artists are forming collectives to share interests
and create platforms for exchange and collaboration. An
example is the Project Space Pilipinas, founded by Leslie de
Chavez in 2007, aims to broaden participation in art projects by
involving young artists and communities in Lucban.
> Varied forms of expression can be observed from the period which spilled
over from the previous decades. Among these are expressionist works that
conveyed emotional qualities or states, as in the dogfight paintings of National
Artist Ang Kiukok, hinting of conflict and aggression; or the paintings of Onib
Olmedo which feature men with ovoid faces often donning a mysterious
expression bordering on ennui. In sculpture, Eduardo Castrillo's gigantic metal
work Pieta, 1969, evoked a strong feeling of anguish and loss through the
expressive poses of Mary the mother and the oversized body of Christ which
she supports

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 PIETA BY EDUARDO CASTRILLO

> On the other hand, the influence of folk

scenes in Philippine art is evident in the works
of the Blanco family, Santiago Bose, Roberto
Feleo, and Brenda Fajardo, who explore
ethnicity, identity, and alternative historical
narratives in their works, combining indigenous
myths with foreign interventions.

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 Contemporary art in the Philippines draws inspiration from
native, folk, self, environment, nation, past, and Modern styles.
Artists explore processes beyond Fine Arts, forming networks
and engaging communities. Festivals mobilize organizations
and spaces, while alternative spaces support young artists'
experiments. Expat artists also make waves in the international
art scene, broadening our knowledge and inspiring future
Philippine contemporary art. These artists continue to inspire
and engage with the art world.

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BRENDA FAJARDO'S TULAD NG
MGA NAUNA, MAY PANININDIGAN
Brown and Beige Aesthetic Vintage Group Project Presentation
> They too broaden our knowledge
and inspireus to seek what and how
Philippine contemporary art might
continue to mean something to us
today.
 Art is not just a“tool”or handmaiden to a
certain ideology, advocacy or purpose, but
a methodology in itself, with specific and
independent modes of seeing, doing a
feeling, from where new knowledge
springs.The artists process and practice as
cultural workers, aphrase that also
implicates their roles as organizers
collaborators, educators, administrator,
writers, theorists, quasi-ethnographers,
healers, curators and in some cases, as
owners of galleries and other spaces
Page 16 of 17
 GROUP 6 (G12 STEM
3 ROMANS)
GROUP MEMBERS:
YBAS, JHESERY H.
ROCAFORT, JOHN LLOYD

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