Literal is the new conceptual. – Jerome Gomez
Despite my ignorance of contemporary art or perhaps because of it, I go to quite a few exhibitions. I have great faith in the power of observation (Is that a contradiction?): I figure that if I look at enough new art, I will have an epiphany and bang! I’ll know what the hell I’m looking at.
Last Saturday I went to the opening of Here Be Dragons: Topology of Allegory, a group show at Manila Contemporary at Whitespace on Chino Roces Avenue (Pasong Tamo Extension) in Makati (beside Cantinetta and Terry’s). Yeah, I like an exhibition that sounds like the title of a math paper written after a couple of comparative lit electives.
I know crap about contemporary art, but I know that a topological group is a mathematical group which is also a topological space, whose multiplicative operation is continuous such that given any neighborhood of a product there exist neighborhoods of the elements composing the product with the property that any pair of elements representing each of these neighborhoods form a product belonging to the given neighborhood, and whose operation of taking inverses is continuous such that for any neighborhood of the inverse of an element there exists a neighborhood of the element itself in which every element has its inverse in the other neighborhood. Okay I copied that from a book, but I’m not having this headache alone.
Some of the featured works I did not get, such as this pile of rolled-up army maps.
Art by Felix Bacolor
Some of the works made me want to seek out the artists and swat them over the head with a rolled-up catalogue. In the words of Noel, “I can do that too, but why would I?”
But some of the works I found quite elegant, like mathematical proofs.
Art by Poklong Anading
So now I’m trying to figure this stuff out by reading art criticism. I’m lugging Robert Hughes’ The Shock Of The New, reissued this year in an edition of 1,500 copies for the 60th anniversary of Thames & Hudson the publishers.
Books in their dust covers.
The Thames & Hudson books are available at National Bookstores (found my copies at the Rockwell branch). They’re heavy, and I mean literally. The Hughes weighs more than my Macbook, but it’s worth the back strain—it’s witty, incisive, and accessible. (And useful in case Carlo J. Caparas starts a debate on Art and I am stupid enough to take the bait: I could hurl it at him.) Before this all I knew of Hughes was that he got the clap from Led Zeppelin because his wife was a groupie. I read that in a review of his memoir.
Haven’t read The Renaissance yet, but I’ve looked at the pictures.