EVENT: "VOLUME II: KASAMÁ" EXHIBIT

Volume II: Kasamá (January 30 to February 28, 2014) was an unprecedented gathering of seventy-one Filipino and international visual artists to commemorate the sense of camaraderie and communality within the Philippine Art Scene since the turn of the millennium. Volume II: Kasamá was also about creativity, uniqueness, and individuality with respect to artistic expression. Most importantly, the exhibition traced several generations of artists from those whose careers began in the 1970s to today's younger contemporaries.

In this Volume II: Kasamá exhibition, Erehwon strove to deliver the best of Philippine Art, especially from young artists, in order to activate its advocacy as the site where progress and development of young art is seen and best presented, furthering its aim to be the living hub and nerve center of the arts in the Philippines, as well as the Southeast Asian region as a whole.
Dr. Reuben Ramas Cañete of the University of the Philippines and Erehwon resident artist Eghai Roxas served as the exhibition's curators. The participating artists were:

1. Dominic Alfonso
2. Jepoy Almario
3. Tyago Almario
4. Nune Alvarado
5. Ricky Ambagan
6. Mark Dawn Arcamo
7. Ral Arrogante
8. Cesar Arro
9. Pandy Aviado
10. Kevin Balboa
11. Renz Baluyot
12. Salvador Bañares
13. Grandier Gil Bella
14. Malyn Bonayog
15. Ferdinand Cacnio
16. Henry Cainglet
17. Demosthenes Campos
18. Jonathan Castro
19. Toti Cerda
20. Joseph de Juras
21. Sim de Pio
22. Camille Dela rosa
23. Antipas Delotavo
24. Neil Doloricon
25. Boy Dominguez
26. Egai Talusan Fernandez
27. Sarah Gaugler
28. Pedro Garcia
29. Proceso Gelladuga II
30. Allain Hablo
31. Renato Habulan
32. Joey Ibay
33. Louie Ignacio
34. Sajid Imao
35. Jun Impas
36. Raul Isidro
37. JC Jacinto
38. Pete Jimenez
39. Jonathan Joven
40. Rico Lacsano
41. Raul Lebajo
42. Fred Liongoren
43. Derrick Macutay
44. Marco Malto
45. Lotsu Manes
46. Josue Mangrobang Jr.
47. Charmaigne Mendoza
48. Sio Montera
49. Othoniel Neri
50. Dario Noche
51. Carlito Ortega
52. Vincent Paul Padilla
53. Demi Padua
54. Dan Raralio
55. Cid Reyes
56. Lester Rodriguez
57. Eghai Roxas
58. Jonah Salvosa
59. Adi Baen Santos
60. Mimi Tecson
61. Resty Tica
62. Crispin Tuazon
63. Van Tuico
64. Valen Valero
65. Jericho Vamenta
66. Javy Villacin
67. Boysie Villavicencio
68. Atsuko Yamagata
69. Orley Ypon
70. Art Zamora
71. Pinggot Zulueta

Remarks on the artists' works included in Volume II: KASAMÁ

Volume II: Kasamá combines several schools of thought and movements in Philippine and international art together for the purpose of asserting the vital and multicultural identity of the Filipino artists.

For example, the Filipino Abstractionists are well-represented from such senior living artists as the famed art critic Cid Reyes, whose Birds in Flight point towards the vigor of Semi-Cubist High Modernism in the 1970s; to Allain Hablo, whose advocacy towards Minimalism in the 1990s can be seen in Anticipates Surprise; and the millennial advance of Abstract Illusionist Eghai Roxas, whose Beyond Levitation is a monochromatic puzzle of real and imagined, gesture and absence.

On the other hand, the Neo-Ethnic chromaticity of Henry Cainglet's Autumn Scent points towards the Postmodern movement of the 1980s and 1990s. This re-emphasis on the human figure can be seen in the predominant movement of Contemporary Figurative Expressionism, such as young artists Josue Mongrobang Jr.'s Preempting a Great Fall, Cesar Arro's Four Traits, or Joseph de Juras' Absence of Light and Shade, which all depict the human subject as carrying out a heroic struggle against unseen forces.

The return towards a romanticizing but surrealist painterly tradition is also evident in the works of Raul Lebaio (Umbrella in My Garden), or Camille Dela Rosa (Guardians of the Cosmic Orbs) where dreams and ambitions overlap and present visions of Filipino-lived alterity.

The scientific Post-Expressionist works of Malyn Bonayog (Unravel), Toti Cerda (Original Copy), and Ricky Ambangan (Gabay) all register various levels of intervention in daily life from a visual-retinal viewpoint.

Not to be outdone are the stalwarts of other movements like Social Realism (Adi Baen Santos, Egai Talusan Fernandez, Antipas Delotavo, Nune Alvarado, and Neil Doloricon).

In a nutshell, the Volume II: Kasamá exhibition's discriminating patrons and viewers got what they expected: the highest guarantee of quality and introspection from the visual artists in the Philippines.

Remarks on the participating Filipino artists of Volume II: KASAMÁ

Says Dr. Reuben Ramas Cañete, curator of Volume II: Kasamá, in his notes on the Filipino artists represented in the exhibition:

"Continuing the search for excellence in contemporary Philippine Art, Kasamá highlights the artistry and vigor of seventy-one Filipino artists from throughout the country. Their works speak of a coming together of not only talent but also aesthetic potential. By combining the best of the myriad number of styles found in current artmaking, Kasamá establishes the solidarity of Filipino artists as a socio-aesthetic rather than a stylistic affiliation. Running the gamut from naturalism to surrealism, expressionism to abstraction, and folk art to postmodern pastiche, the body of works of the participants in Kasamá elucidate the commonality of the experience of being Filipino in the here and now of the Philippine condition. The tradition centrality of Manila as the focal point of Filipino artistic production is elided, but also supplemented by the artistic contributions of Filipinos from northern, central, and southern Luzon, the Visayas, and even Mindanao. What results is a national survey of not only Filipino Art, but Filipino Art with a qualitative difference and distinction, Kasamá articulates the art communitarian ethos of hard work, unique vision and excellence in execution to result in a felt solidarity of what it means to be an artist in the here and now of the Philippines, and thus, the need to qualify as worthy of the distinction to be a Kasamá is based on the mutually acknowledged attributes of professional collegiality, mutual respect, and the common perception of art as the highest attribute of a unified humanity. Taken together, these seventy-three Filipino artists expand the possibilities of art from Volume I and tune them to the concerns of nation, globality, and interconnection."