THE Kurit-Lagting Art Collective launched over the weekend its first-ever online show that promotes active participation and creativity in the Bikolano community through group interaction and self-exploration.
The exhibition, titled Pagbutwa, is inspired by the Bikolano word for the resurfacing of something long concealed. The idea relates to the emergence of the artistic product from the pandemic-induced disruption in the artistic process, as the show falls under a bigger community project that looks into the relationship of the ecology between production and space.
“The works talk much about the disruption of the artistic process and the artistic product or outcome in the context of containment and restriction, which may be regarded as dialogues between the ecology of production and space,” said Kurit-Lagting honorary member Robert Marticio, who is also the president United Architects of the Philippines Student Auxiliary (UAPSA) Area B District 5, one of the exhibit’s partners along with Sorsogon Initiatives for Culture and Arts Development.
Aside from the participation of Kurit-Lagting artists from Sorsogon, Albay, Catanduanes, Masbate and the Camarines provinces, as well as a select few from Metro Manila and other regions, there was an open call for artists to join the virtual show.
Among the featured pieces is an oil painting, titled Babaylan by John Patrick Cunanan of University of Nueva Caceres in Naga City. The work depicts the namesake warrior with the mystical authority to heal even life-threatening illnesses and unknown diseases. Another is Heroes and Survivor by University of Saint Anthony’s Charina Ponesto that portrays medical workers as modern saviors.
The works are on view on the social-media pages of Kurit-Lagting until November 30.
The exhibit is part of the three phases lined up for Pagbutwa as a community art project. The first one is the recent launch of the online exhibit that, according to curator Geri Matthew Carretero, is meant to “highlight fragmented, disrupted process and engagement and at the same time capture the stillness, movement and continuity of production.”
“We will use #Pagbutwa and upload whatever artworks they like without the curator intervening in the kind of works they choose to post on Facebook and Instagram,” Carratero said. “Whatever is uploaded or produced during the posting of their works in these platforms will be included in the next phase.”
Phase two is the migration of the works from the digital domain to a physical community space, particularly in barangays located in coastal areas where most community members live. Part of this next step are storytelling, visual mapping workshops, talks and interactions about the effects of the pandemic with the members of the community.
From the community, the works will then journey to a museum for the third and final part of the Pagbutwa.
“The idea of this whole project is always linked to the production of space and place, and the mutation of the project is attributed to the journey of the artworks and the curatorial form,” he said. “The curatorial mode needed during this time should work on explorations grounded on research and telling narratives about the temporal modes of production, of the absence and presence of audiences, of the politics of spaces and collective memories and experiences of artistic initiatives through inclusive and easy to navigate platforms and mechanisms to continue reaching destinations.”
Kurit-Lagting began as a mural painting group of five members in 2002. Combining the Bikolano words kurit, which means to draw or make a mark, and lagting, or the hard nut of the pili, the provincial icon of Sorsogon province, the group was formalized as an art collective in 2011.
Today, the group has grown to take on art advocacies on human rights and the environment with around 30 artist-members who are mostly self-taught.
The exhibit title of Pagbutwa, or emergence, now bears a deeper meaning after typhoon Rolly made landfall in the Bicol region on Sunday, a day after the show was launched.
In the opening, Edge Uyanguren of the Concerned Artists of the Philippines said the show proves that there is no lockdown in creativity, nor is there a quarantine for nationalist fervor for those in the creative industry.
“Sana po ay ang ating mga likha ay magsalaysay at mangusap ng inspirasyon sa ating mga kababayan na kumakaharap ngayon sa napakatinding krisis,” he said. “Itong ating mga likhang sining ay magkakaroon ng napakahalagang kontribusyon, lalong lalo na kapag ito’y ating inaalay sa ating mga kababayan.”
“This exhibit is dedicated to our frontline workers, artists who struggle during this difficult time,” added Kurit-Lagting member Marigrace Despi Carretero. “We hope the viewers imbibe the values of compassion to reach out to struggling brothers and sisters. I call out to everyone not only to view the exhibit, but also to become aware of the essence of art in their lives.”