United towards a common goal of preserving and promoting Philippine arts and culture, the Cultural Center of the Philippines (CCP) and the National Museum of the Philippines (NM) team up to present a collaborative exhibit, titled “Selections from the 21st Century Art Museum (21AM) Collection.”
Officially on view on November 16, 2023 at the National Museum of Fine Arts, Gallery XXVII and Gallery XXVIII at the Fourth Floor, the “Selections from the 21st Century Art Museum (21AM) Collection” is a continuation of CCP’s programs to promote its collection to a wider audience by gathering artworks that seek to outline the early trajectories of Philippine contemporary art from the 1960s to the 1980s. This effort is also in line with the institution’s goal to further promote Philippine arts and culture outside of the complex while the CCP Main Building is being rehabilitated.
The exhibition consists of two sections – “The Possibilities of Luminance” and “Man and Nature” – which are based on the initial formation of the collection under the CCP Museum and the now defunct Museum of Philippine Art (MOPA), and the visual thematic of illumination, materiality, nature, and spirited innovation that is aimed to spotlight artists who defied traditional art forms and broke new grounds in the creation of conceptual, experimental, and abstract works.
On display at the Gallery XXVII, the “Possibilities of Luminance,” is anchored on the concept of brightness or luminance as an artistic expression that ties across visual characteristics and affinities found in the artworks from the collection. The term tanglaw or light connotes the visual perception and traversal of lightness and darkness, presenting an understanding and control of light expressed through the intensity of its light source.
On the other hand, “Man and Nature,” contemplates on visual expressions surrounding human and environment, explored through the works of select National Artists for the Visual Arts. The featured artworks include modernist and abstract art practices within the Philippine contemporary art scene between the 1970s and 1980s, and eschews pastoral and genre paintings of landscapes and scenes in everyday life, navigating their practices around portrayals of human anxiety, materiality, and our shared relationship with objects and surroundings.
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