My art practice, whatever/however the output/mode may be, involves patterns of contemplative inquiries and challenges. The work that we do at 98B COLLABoratory is of no exception. Additionally, Project Glocal’s prospects in ensuing meaningful engagements also conform to such pursuits.
We have been aware of Project Glocal since its inception. A number of artist friends were part of its previous instalment, not to mention the fact that a couple of members of 98B have been part of/are enmeshed with its various instalments as well. We have been curious spectators and interested listeners to its unfolding chapters. At present, we are adding a new layer to the experience — hosting Project Glocal: Transi(en)t Manila.
In brief, “98B COLLABoratory is a platform for critical discourse, experimentation, exchange, information and presentation of contemporary art in the Philippines. It seeks to establish a convergence with artists, designers, curators, writers, musicians, film makers, activists, educators, researchers, cultural workers, performers, architects and students together with the general public. Deemed as a site for creative sharing, discussion and collaboration, 98B is a community + network + library + kitchen + shop. Through its various programs, projects and research, 98B aims to present local and international contemporary art outside the confines of the white cube format. As such, it presents art in multiple layers and perspectives to a broad and diverse audience while contributing to the contemporary art scene.” This being the case, Project Glocal together with this year’s convergent goals, we are excited to be implicated, entangled and drawn in to the adventures (and misadventures) that it promises to induce.
98B, established in January 2012 by Mark Salvatus and Mayumi Hirano, as an artist initiative and alternative space has always been interested with collaboration and sharing. We are stimulated with ideas, projects and explorations that ask pertinent questions, stretch boundaries and more importantly provide un-intimidating access to art and creativity. As a work in progress, we as a team allow ourselves elbow room for experimentation and unavoidable missteps from where we gather strength and knowledge. Thankfully, this particular disposition has given us much flexibility and spontaneity to venture into diverse activities to further our vision.
July of 2012 also provided us with an opportune playground to frolic in – Escolta, Manila. We are currently located at the mezzanine floor of the First United Building (formerly known as the Perez-Samanillo Building which is along Escolta Street in the heart of old Manila and a stone-throw away from the world’s oldest Chinatown. The elegant six-storey art-deco building was built in 1928 and designed by Andres Luna de San Pedro (son of Juan Luna, a world-renowned Filipino painter during the late 1800s). The area in itself is considered a historic site. It was the commercial hub of Manila during the early 1900s and was a witness to many “firsts” in the country: first ice cream parlor, first movie house, first electric tram among others. It is less than a kilometre in length but it is replete of magnificent post-colonial architecture designed by highly respected Filipino architects. Significant businesses, fashionable items and imported merchandise were sourced in the street during that period.
Since we moved to Escolta, its history and heritage have been part of 98B’s backdrop. We make no claims of being conservationists but we do support built heritage. As creatives and artists, we try to inculcate a sense of place and identity through our programs. Knowing our past is a sensible and inspiring way of enriching our present. We treat heritage and history as active cultural resources that should be impressed within the daily context of the community that we are now part of.
Art, technology, people and heritage together with the concept of “lightning residencies” are main elements of Project Glocal: Transi(en)t Manila. Therefore, it was both a reasonable and appropriate decision for 98B to align with the undertaking. Since we also have our own artist-in-residency program, we know how important actual immersion (however limited) can be for an artist’s advancement and production. A recent development also gave rise to having Escolta serve as the medium, ground and stimulus for the Manila segment. Most definitely, this endeavour will help in creating more awareness for the street. The planned projects, installations, performances and exhibitions in the various spaces in Escolta are straightforward yet approachable ways to enliven the community, advocate for heritage and welcome new audiences for art. Additionally, it could be a platform to bare pressing and current questions.
Moreover, we consider the likelihood of connecting the stakeholders of the area together with the artists as positive offshoots. Interdisciplinary and collective actions to help espouse cultural expressions enable a lingering effect for its viewers, participants and creators. We are hopeful that such organic forms of collaboration will continue even when the actual project is over. The various levels and layers of relative and reflective discourses that will emanate from being in transit and a transient are queries that resonate within everyone, however this is posed: within the context of locale, culture, nationality, gender, belonging, art or even love.
Albert Einstein said, “The important thing is not to stop questioning. Curiosity has its own reason for existing.” We are banking on the veritable curiosity from everyone involved. This sense of wonderment will fuel and energize the desire to make things happen and persist with the examination in the form of other derivatives that could result from this year’s collaborative efforts. Experiences from Project Glocal: Transi(en)t Taipei and anticipating the happenings that will take place in Project Glocal: Transi(en)t Penang are indeed sources of motivation. Fortunately or unfortunately for Dayang Yraola (Project Glocal’s matriarch and curator) we are hooked and are in for the long haul.
While it may not be a marriage made in heaven, we are committed to see it through. As with all relationships, there are numerous issues to contend with (and for sure we will have more), however, we take these as trials that will eventually benefit us as a team, as artists and as individuals. The learning and potential for growth outweigh the imminent concerns. The mutual trust that remarkable things will result from this partnership are more than enough to reason to give it our all… if all else fails, Maneki Neko will see us through.
