03.11.10 kulturnatib

Irony

Last weekend I was extended an invitation similar to one that, a decade ago, I was giving out.

Honoring the invitation, I found myself in a kind of deja vu, and was soon mulling over the similarities and differences of this occasion and its attendant circumstances with the one a decade back, where, in the most immediate of these differences, I was among the hosts, while, this time around, I was among the guests.

Both occasions were the introduction of a studio-gallery and, simultaneously, a group exhibit to highlight this introduction.

The former space was called 'Lunâ,' and this more recent one, 'Le Temporaire.'

Neither are english names.

Le Temporaire, however, is easier to understand or guess at, while Lunâ was often mistaken for being english as the orthographic mark over the letter â was easily missed in the reading and forgotten or dispensed with in the writing especially when using an english designated computer keyboard.

Right away both names, resolutely non-english, are proud identity badges.

More so with Lunâ since adopting that name immediately carried a triple burden. First, pronounciation, leading to the explanation that, no, it is not luna or moon, then, identification, leading to a further explanation that, yes, it is an old Bisayan agricultural word that in its various applications could be translated into english as 'rooted in the rightful place'. Lastly, vision, leading to a discussion on how with the space the group hoped to encourage the development of the local contemporary visual arts.

In short, serious.

This was then reflected in the title of our group show, “Munas Ginhawa.” Or, struggling to breathe, a local expression that means in the achieving of something one almost lost one's breath.

Meanwhile, Le Temporaire, as the name suggests, is a bit lighter or less fixed. And, in what seems to be in keeping with that name is the title of their show, “Pique-nique,” whose english equivalent is, likewise, not difficult to arrive at.

Lighter, however, does not at all mean less serious, especially in the sense of commitment to art.

While there is almost a generational gap between the artists of Lunâ and Temporaire there is no question or difference in their commitment to art.

The biggest difference, however, is not with these two groups and their spaces, but in their particular general cultural milieu.

The Temporaire artists decided to call their space that because of their short-term lease. The building owner wants to tear it down and replace it with another structure. But the present structure is in a 'heritage' rich area regulated by 'heritage preservation' laws.

There are also such laws in the Philippines. But they are hardly respected and, much less, enforced.

Here they are and that is what the Temporaire group is banking on. They plan to take on the building owner as they assert the prerogatives of heritage and culture.

The Lunâ Art Collective, meanwhile, struggled under a milieu that is still largely indifferent to art, personified in the current mayor who cares nothing for art because, you cannot eat art, he has said.

Lunâ survived a while. But, Le Temporaire could very possibly exist longer. I smiled at that irony as I walked to the bus stop.