Zero In

Ateneo Art Gallery | Ayala Museum | Bahay Tsinoy | Lopez Memorial Museum | Museo Pambata

It is difficult to say with utmost certainty what the future holds for Zero-in; but from the consortium’s enthused resolve and aspiration to make a difference in the way the arts and culture impacts on the way reality is viewed and experienced – already, plans are being laid for the next series of exhibitions - its prospects clearly look bright.

Zero-in is a proud achievement in Philippine museum practice. What evolved through a remarkable confluence of events, personalities, collections and histories has, five years hence, become proof that altruism is alive and well.

As the consortium enters its fifth year, it is by another startling coincidence that Zero-in welcomes its fifth member, the Chinese-Filipino lifestyle museum Bahay Tsinoy. The move rounds out the group as it reflects on its past achievements, discerns its future direction, and unfurls a rich and colorful tapestry that seeks to refigure Philippine realities by focusing attention on a community that has made an indelible mark on the nation’s artistic and cultural fabric.

This year’s theme, “Convergence,” therefore aptly describes Zero-in coming to terms with what it has begun, reconsolidating its position, and offering itself once again with even greater resolve as a template for the myriad possibilities offered by encounters held within the ambit of mutual regard for the common interest.

It is in this light that the encounter between art and science takes center stage with the exhibitions of the member museums being centered around the relationship between two divergent - albeit intersecting - bodies of knowledge: the result of their meetings marked by the discipline of clear-cult parameters mitigated by the open-endedness of the generative imagination.

Bahay Tsinoy opens the salvo of shows in this celebratory year with “Herbs, Harmony and Health,” which brings together the science and history behind traditional Chinese medicine. Over 2,000 years old, traditional Chinese medicine is an ancient form of healing guided by the principle of internal balance and harmony. In essence, it is widely known for acupuncture and herbology, a technique as well as medium to improve our capacity to balance the “resources” in our body. Traditional Chinese medicine is also a system of medicine, which uses natural laws and energetic principles in regulating the free-flow of vital energy for health and well-being.
This exhibition will show that Western and Chinese medicine are not substitutes for each other, neither are they competitors. Rather, it will reveal how medical practitioners see them as  complementary forms of medicine.

On the occasion of the tercentenary of the Jesuit Bro. Josef Kamel, SJ, the Ateneo Art Gallery presents “Flora: Beauty, Desire and Death,” celebrating the work of botanical artists who have documented Philippine plants, and contemporary Filipino visual artists, including those represented in the university museum’s permanent collection, who have derived inspiration from plants and read them as a metaphor of the human condition. Bro. Kamel, who arrived in the Philippines in 1697, placed the Philippines in the world map of science through his vigorous study of local flora that led to drawings of about 270 plant specimens.

“Fuzzy Logic” at the Lopez Memorial Museum attempts to craft a tentative survey of how Filipino visual art and popular culture have, over time, weighed in on questions of craft, mechanization, industrialization and development, and living in the age of interactive TV, surveillance cameras and Pinoy Big Brother. A cursory scan through relevant reads reveals that these engagements span ironic extremes – from ultra-nativism/self-exoticization to hybridization and blind appropriation and yet, the show plays on the volatility that rings with shifting territories, ever-changing avatars, elastic virtual communities, and multiple versions of the real.

Museo Pambata features an interactive exhibition beginning that showcases the medicinal properties of plants in “The Healing Garden.” Like a small oasis, a pocket garden of actual medicinal plants can be explored by visitors of all ages and they will experience the textures, colors, fragrances and even prepare and taste a sample of a healing elixir. Pressed flower artist Penny Reyes-Velasco presents 20 medicinal plants selected from her flower journal collection of Zambales flora from the Pinatubo mountain range (1995-1996 expeditions). Each artwork was picked, dried and carefully mounted by hand.

Closing the series, the Ayala Museum presents “Black Bouquet,” an exhibition that focuses on an intensely creative period in the early years of Juvenal Sanso’s artistic career, when the Paris-based artist produced an abundance of etchings and lithographs from 1955-1968, at the outbreak of student demonstrations, bringing together over 60 pieces from the collections of the artist and Zero-in partners Ateneo Art Gallery and the Lopez Memorial Museum.  The works showcase Sanso’s “fine hand for linear detail” yielding gnarled trees, lush vegetation, and desolate landscapes – now recognized images in Philippine modern printmaking.

Signifying the ever increasing promise and positive outlook for Philippine arts and culture  – one marked by great enthusiasm, remarkable confidence, and boundless expectation – Zero-in marked  its fourth year with “Constructs,” a term that hearkened to hypotheses - conjuring thoughts of  entities, templates, frameworks, imagined realites ('kän-"str&kt) - at the same time that it posited imagination made real through action, permutation, transgression, evolution (k&n-'str&kt). 

Strengthening their partnership by building on each other’s areas of expertise, the Ateneo Art Gallery, Ayala Museum, Lopez Museum and Museo Pambata ng Maynila once again harnessed the potential of their collections and public programs to create a unified front that defied social devolution: constructing constructs which, altogether, formed a symbiotic, synergistic whole.

Juan Arellano: Drawing Space at the Lopez Memorial Museum explored the dynamics of space in relation to memory making and acts of self-imaging.  Threaded through by pictorial anecdotes in the life of this often overlooked modernist painter-architect, the show coaxed visitors to consider Arellano’s work by summoning intersections of relationships between geographies of built structure and psychological terrains visited and thus virtually (albeit fleetingly) possessed.  It brought together landscapes and mindscapes, making for disjointed accounts of flight/diaspora and restless habitation in pursuit of one Filipino’s constructed sense of self.

The Ayala Museum mounted an exhibition of work by the award-winning contemporary visual artist Gabriel Barredo, who continued his explorations into kinetic sculpture and assemblage with an installation entitled [IN]VISIBLE. The show took Barredo’s surrealist juxtapositions from the realm of the uncanny to the ether world of the sublime, combining icons from Christian and Eastern religions into intriguing emblems, creating objects which took viewers on a multi-sensory journey into the artist’s unique, fantastically baroque mental universe.

The state of contemporary art marked by its move towards cyberspace - in particular, the incessant digitization of images - inspired the nine printmakers behind A/P: Analog Playground at the Ateneo Art Gallery – Virgillio Aviado, Benjie Torrado Cabrera, Ambie Abano, Pablo Baens Santos, Amiel Roldan, Sid Gomez Hildawa, Marina Cruz, Noëll EL Farol, and Eugene Jarque - to take a “contemplative pause” by proffering alternative modes of production/reproduction which straddle human and mechanical intervention. Challenging existing structures and strictures, their works took a determined step back by considering selections from the permanent collection of the Gallery, while simultaneously bringing forward a bold, new agenda for their praxis. 

Junk Art Carnival, an exhibition of works done by Romy Gabriel, the “Prince of Junk, ” at Museo Pambata ng Maynila culminated the Zero-in series that year.. The show featured carnival miniature rides made out of recyclable materials such as plastics, glass, and metals - a simple and creative way of presenting the country’s waste disposal problem.  The exhibit aimed to provide children with the opportunity to discover the importance of preserving the environment and its natural resources by combining the concepts of art and recycling: constructing value systems that would inspire future prospects and help to establish a new order.

Responding to the challenge of the times, and amidst an atmosphere of renewal and rejuvenation, Zero-in entered its third year with  “Transitions.”  Museo Pambata opened the offerings that year with Weaving Lives: The Art of Saori, a show that focused on a unique weaving technique used by disabled children, amplifying the important role played by craft in creating tangible representations of their newly empowered selves, thus presenting a perfect metaphor for the transformative power of art.

For its part, the Lopez Memorial Museum mounted  “A Rough Sketch” which featured selections from the museum’s collection of drawings and sketches, expanding the viewer’s understanding and appreciation of unfettered creativity, hand in hand with its delineation of ambiguity and substance.

Inspired by Arturo Luz’s first sculpture,”Kristo,” long held in the university’s permanent collection, the Ateneo Art Gallery showed the third dimension in the National Artist’s body of work: sculptures carved out, welded and forged in stone, concrete, steel and precious metals, showcasing the modern master’s minimalist mettle from figurative geometry to tensile linearity.

With the Ayala Museum moving to new premises, a new chapter in its history unfolded through    Crossings: Philippine Works from the Singapore Art Museum. Surveying a hundred years of art, from conservatism to modernism to contemporary expression, this exhibition of selected works from the collection of the Singapore Art Museum, presented a vivisection of the country's social, economic and political history set against the context of a borderless and increasingly global museum.

Brimming with excitement over the success of their initial outing, which lived up to the consortium’s potential to showcase the breadth and quality of Philippine visual practice under the aegis of peer collegiality and cooperation, the three museums set about organizing their Zero-in return engagement in 2003 with  “Skin, Surface, Essence” which sought to uncover the myriad meanings and manifestations of being Filipino.

In keeping with its role as a leading research center of Filipiniana, the Ayala Museum delved into the decorative masonry on the façade of colonial churches in “Palitada: Skin of the Church,” which likewise critiqued the problems of heritage conservation in the country. Ateneo Art Gallery devoted its showing to pay tribute to the then largely underrated and unheralded modernist Nena Saguil in “Landscapes and Inscapes: From the Material World to the Spritual,” piquing a resurgence of interest in her introspective work. The Lopez Memorial Museum’s “Essence and Sympathies” turned to the works of expatriate Filipino artists in its collection, fleshing out ideas of identity and nation. This year would also see the group welcome the country’s premier children’s museum, Museo Pambata, into the fold through “Skinteractives,” which engaged the exhibitions of the partner museums through hands-on displays geared specifically towards a primary school audiences, thus underscoring the importance of shaping young minds and developing new audiences. 

In 2002, three private art museums, the Ateneo Art Gallery, Ayala Museum, and the Lopez Memorial Museum came together, fired by civic pride and a deeply rooted sense of social responsibility. Bound by similar geneses - their holdings serendipitously presenting a Philippine art historical continuum – they allied on the promise of strength as a consortium, drawing on the professional expertise of their staff, collections, and programming.  .

The personal tastes of the founding fathers of the three museums, Fernando Zobel and Eugenio Lopez, played an important role in shaping the public’s awareness of and appreciation for Philippine art. Thus was the first Zero-in exhibition themed “Private Art, Public Lives.” Mitigated by an enlightened concept of stewardship, this project investigated, for the very first time, how different collections move outside of individual or familial domains to become part of the public trust. Presented separately, yet tethered together, not only chronologically but with a keen interest in foregrounding innovative perspectives, the exhibitions cast light on the Lunas and Hidalgos of the Lopez through “Vexed Modernity;” focused attention on a significant aspect of the Ayala’s trove of Amorsolos in “Amorsolo’s Brush with History,” and proposed the philosophy of Ricoeur as a way of seeing the pioneers of Philippine avant-gardism through “Refiguring Modern Philippine Art” at the Ateneo. 

Museo Pambata features an interactive exhibition that showcases the medicinal properties of plants. Like a small oasis, a pocket garden of actual medicinal plants can be explored by visitors of all ages and they will experience the textures, colors, fragrances and even prepare and taste a sample of a healing elixir.

Pressed flower artist Penny Reyes-Velasco presents 20 medicinal plants selected from her flower journal collection of Zambales flora from the Pinatubo mountain range (1995-1996 expeditions). Each artwork was picked, dried and carefully mounted by hand.

Exhibition runs from November 11, 2006 until January 31. 2007.

25 October 2006 – 5 April 2007
Contact Persons: Ms Fanny San Pedro/Ms Joy Victoria
Contact Details: 6312417 / pezseum@skyinet.net

Science and technology’s penchant for exactness and predictability have traditionally been at odds with often spontaneous liberties taken in the name of artistic creativity. And yet even with growing numbers of artists getting wired, moving from the use of precision and power tools to digital media and all the sampling, ripping and montaging that’s come with Internet access, the seemingly blurring lines between techies and arty types still come dogged by almost cyclical acts of assimilation and resistance.

Fuzzy Logic which opens on October 25 at the Lopez Museum attempts to craft a tentative survey of how Filipino visual art and popular culture have, over time, weighed in on questions of craft, mechanization, industrialization and development, and living in the age of interactive TV, surveillance cameras and Pinoy Big Brother. A cursory scan through relevant reads reveals that these engagements span ironic extremes – from ultra-nativism/self-exoticization to hybridization and blind appropriation and yet,Fuzzy Logic plays on the volatility that rings with shifting territories, ever-changing avatars, elastic virtual communities, and multiple versions of the real.

Fuzzy Logic is the Lopez Memorial Museum’s contribution to Zero In 5, a collaborative project among Ateneo Art Gallery, Ayala Museum, Bahay Tsinoy, Lopez Memorial Museum and Museo Pambata. Zero In 5 marks the 5th year that this museum consortium has pooled its efforts to share and expand museum-going audiences and more pointedly focus on bridging formal and museum education modes. Lopez Museum days and hours are Mondays-Saturdays, 8am-5pm, except Sundays and holidays. Call 6312417 for details.

15 November 2006 – 1 March 2007
Third Floor Galleries

The exhibition focuses on an intensely creative period in the early years of Juvenal Sanso’s artistic career.

Venice 1954 – Sanso was at work at a fresco painting at the Palazzo Dario. This contact with stone and plaster and creating an image for a very large surface was the prelude to a highly prolific period in printmaking. The Paris-based artist produced an abundance of etchings and lithographs from 1955-1968, at the outbreak of student demonstrations. Back home in the Philippines, the graphic arts movement had its beginnings in the 1960s with the efforts of Manuel Rodriguez, Sr.

Sanso’s “fine hand for linear detail” yielded gnarled trees, lush vegetation, and stark landscapes – now recognized images in Philippine modern printmaking. This artistic phase reached its peak when the Print Club of the Cleveland Museum of Art honored him as Artist of the Year.

The exhibition will include over 60 etchings and lithographs from the artist and from the collections of Zero In institutions, Lopez Museum and Ateneo Art Gallery. Black Bouquets is the Ayala Museum’s contribution to Zero In 5, a collaborative project among Ateneo Art Gallery, Ayala Museum, Bahay Tsinoy, Lopez Memorial Museum and Museo Pambata. Zero In 5 marks the 5th year that this museum consortium has pooled its efforts to share and expand museum-going audiences and more pointedly focus on bridging formal and museum education modes.

Contact Person: Clarissa Chikiamco
Contact Number: 4266488/cchikiamco@ateneo.edu

The Ateneo Art Gallery, the country’s premier museum of modern Philippine art, presents Flora: Beauty, Desire and Death, an exhibit which opens on 11 October 2006 at the Ground Floor, Rizal Library, Ateneo de Manila University, Loyola Heights, Quezon City. The exhibition forms part of Zero In 5: Convergence, the annual consortium project of the Philippines’ leading private museums: Ateneo Art Gallery, Ayala Museum, Lopez Memorial Museum, Museo Pambata and guest member Bahay Tsinoy.

Flora: Beauty, Desire and Death brings science and the arts into dialogue. Occasioned by the centenary celebration of the death of Bro Josef George Kamel (1661-1706), a Jesuit botanist from Bruno in the Czech Republic who spent his mature years not in his hometown but in the farthest reach of the Spanish empire, in the quiet compound of the Colegio de Manila, in the Philippines. Flora joins a year-long celebration in honor of Kamel and brings together works of botanical art through facsimiles of important historical works: Kamel (1686), del Cuellar (1795) and Blanco (19th century) and original botanical drawings by Cordova in dialogue with works by Araceli L Dans, Yasmin Almonte-Lantz, Geraldine Javier and the botanically-themed works in the Ateneo Art Gallery.

Finding a common ground, the exhibition’s curator Rene B Javellana, SJ (Director, Fine Arts Program, Ateneo de Manila) relates the human curiosity about plant life with the search for useful – not defined as the crassly pragmatic but useful in the human sense. Thus, the sub-themes “beauty”, “desire” and “death”: Flora as epitome of beauty and testament to nature’s design capability; flora as symbols of human desiring expressed in collecting and documenting, whether for scientific purposes or for enhancing the quality of life; and flora as salve for loss expressed in the language of flowers.

Flora is presented by the Ateneo Art Gallery in cooperation with the Ateneo de Manila University’s Fine Arts Program and the School of Science and Engineering. It celebrates the work of botanical artists who have documented Philippine plants, and artists who have derived inspiration from plants and read them as a metaphor for the human condition. Museum hours are 8am-5pm, Mondays to Fridays and 8am-12noon on Saturdays. The museum is closed on Sundays and holidays.

Zero-in, the consortium of the country’s premier private museums celebrates a milestone anniversary in 2006 as it enters its fifth year with Zero-in 5: Convergence.

Since it was established in 2001, Zero-in has focused attention on the strengths of the member museum’s professional expertise, collections, and programming, proposing dynamic alternatives for institutional support and cooperation. From the original group which consisted of the Ateneo Art Gallery, Ayala Museum and the Lopez Memorial Museum, museums which were bound by similar geneses as personal collections, and whose holdings serendipitously presented a Philippine art historical continuum, Zero-in later welcomed the children’s museum, Museo Pambata, into the fold to underscore the importance of shaping young minds and developing new audiences. This year, the Chinese-Filipino lifestyle museum Bahay Tsinoy rounds out the group as the consortium reflects on its past achievements, discerns its future direction, and unfurls a rich and colorful tapestry that seeks to refigure Philippine realities by focusing attention on a community that has made an indelible mark on the nation’s artistic and cultural fabric.
The theme, “convergence,” therefore aptly describes Zero-in coming to terms with what it has begun, reconsolidating its position, and offering itself once again with even greater resolve as a template for the myriad possibilities offered by encounters held within the ambit of mutual respect. 

It is in this light that the encounter between art and science takes center stage with the exhibitions of the member museums being centered around the relationship between two divergent - albeit intersecting - bodies of knowledge: the result of their meetings marked by the discipline of clear-cult parameters mitigated by the open-endedness of the  generative imagination.

Bahay Tsinoy opens Zero-in 5: Convergence on 7 October 2006 with Herbs, Harmony and Health, which brings together the science and history behind traditional Chinese medicine. Over 2,000 years old, traditional Chinese medicine is an ancient form of healing guided by the principle of internal balance and harmony. In essence, it is widely known for acupuncture and herbology, a technique as well as medium to improve our capacity to balance the “resources” in our body. Traditional Chinese medicine is also a system of medicine which uses natural laws and energetic principles in regulating the free-flow of vital energy for health and well-being. This exhibition will show that Western and Chinese medicine are not substitutes for each other, neither are they competitors. Rather, it will reveal how medical practitioners see them as  complementary forms of medicine.

On the occasion of the tercentenary of the Jesuit Bro. Josef Kamel, SJ, the Ateneo Art Gallery presents Flora: Beauty, Desire and Death on 11 October 2006, celebrating the work of botanical artists who have documented Philippine plants and contemporary Filipino visual artists who have derived inspiration from plants and read them as a metaphor of the human condition. Bro. Kamel, who arrived in the Philippines in 1697, placed the Philippines in the world map of science through his vigorous study of local flora that led to drawings of about 270 plant specimens. 

Fuzzy Logic which opens on 25 October 2006 at the Lopez Memorial Museum attempts to craft a tentative survey of how Filipino visual art and popular culture have, over time, weighed in on questions of craft, mechanization, industrialization and development, and living in the age of  interactive TV, surveillance cameras and Pinoy Big Brother. A cursory scan through relevant reads reveals that these engagements span ironic extremes – from ultra-nativism/self-exoticization to hybridization and blind appropriation and yet, Fuzzy Logic plays on the volatility that rings with shifting territories, ever-changing avatars, elastic virtual communities, and multiple versions of the real.

Museo Pambata features an interactive exhibition beginning on 11 November 2006 that showcases the medicinal properties of plants in The Healing Garden. Like a small oasis, a pocket garden of actual medicinal plants can be explored by visitors of all ages and they will experience the textures, colors, fragrances and even prepare and taste a sample of a healing elixir. Pressed flower artist Penny Reyes-Velasco presents 20 medicinal plants selected from her flower journal collection of Zambales flora from the Pinatubo mountain range (1995-1996 expeditions). Each artwork was picked, dried and carefully mounted by hand.

Closing the Zero-in 5 exhibition series on 15 November 2006, the Ayala Museum presents Black Bouquet, an exhibition that focuses on an intensely creative period in the early years of Juvenal Sanso’s artistic career, when the Paris-based artist produced an abundance of etchings and lithographs from 1955-1968, at the outbreak of student demonstrations, bringing together over 60 pieces from the collections of the artist and Zero-in partners Ateneo Art Gallery and the Lopez Memorial Museum.  The works showcase Sanso’s “fine hand for linear detail” yielding gnarled trees, lush vegetation, and desolate landscapes – now recognized images in Philippine modern printmaking.

A full-color catalogue and an educational workbook will be available. For more information, please contact Rosan Cruz at 449-2856 or 0917 897-8490 or email rcruz@benpres.com.ph

In every aspect of Philippine life, in every phase of Philippine history, in its culture and tradition, language and songs, in everything Filipino, there throbs a Chinese presence, which found its way there long before the Philippine recorded history. 

Bahay Tsinoy, a museum of the Chinese in Philippine life, in coordination with the Ateneo Art Gallery, Ayala Musuem, Lopez Memorial Museum and Museo Pambata announces its participation in Zero-In: Convergence, an annual consortium project of four of our country’s leading institutions. 

Herbs, Harmony and Health brings together the science and history behind traditional Chinese medicine (TCM). Over 2,000 years old, TCM is an ancient form of healing guided by the principle of internal balance and harmony. In essence, it is widely known for acupuncture and herbology, a technique as well as medium to improve our capacity to balance the “resources” in our body. 

TCM is also a system of medicine which uses natural laws and energetic principles in regulating the free-flow of vital energy for health and well-being. Its nutrition programs restore balance within by using food as a form of therapy. It also recognizes the energetic properties of certain foods specific for individual constitutions with the seasons. 

Western and Chinese medicine are not substitutes for each other, neither are they competitors. Medical practitioners see them as a complementary form of medicine, both of which, aims to heal.
In Herbs, Harmony and Health, Bahay Tsinoy Museum reveals the hype, the history and everything over, under, outside, inside traditional Chinese medicine. 

Museum Hours: Tuesdays – Sundays 1:00 – 5:00 P Closed on Mondays 

For more information, you may contact Vivian at 526-61-96/97/98

wala

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Zero-in 5: a collaborative project between Ateneo Art Gallery, Ayala Museum, Bahay Tsinoy, Lopez Memorial Museum, and Museo Pambata.  Zero-in 5 marks the fifth year that this museum consortium has pooled its efforts to share and expand museum going audiences and more pointedly focus on bridging formal and museum education modes

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Donec eget dolor. Sed placerat pellentesque tortor. Aliquam luctus sapien ac magna. Integer lobortis, leo vel semper pharetra, est dolor porta enim, vitae vestibulum mauris leo ut nunc. Praesent adipiscing elementum nulla. In et odio. Morbi luctus ligula quis sem. In hac habitasse platea dictumst. Nullam a metus a nunc pharetra lacinia. Aliquam vitae felis nec lectus tincidunt lobortis. Vestibulum sit amet ante quis est consequat semper. Maecenas lectus. Maecenas consequat. Suspendisse mattis sapien in enim. Cras lectus sapien, vehicula in, blandit quis, consequat in, velit. Mauris cursus risus non libero.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Donec eget dolor. Sed placerat pellentesque tortor. Aliquam luctus sapien ac magna. Integer lobortis, leo vel semper pharetra, est dolor porta enim, vitae vestibulum mauris leo ut nunc. Praesent adipiscing elementum nulla. In et odio. Morbi luctus ligula quis sem. In hac habitasse platea dictumst. Nullam a metus a nunc pharetra lacinia. Aliquam vitae felis nec lectus tincidunt lobortis. Vestibulum sit amet ante quis est consequat semper. Maecenas lectus. Maecenas consequat. Suspendisse mattis sapien in enim. Cras lectus sapien, vehicula in, blandit quis, consequat in, velit. Mauris cursus risus non libero.