Kwatro Kantos

Kwatro Kantos is an art collective that works under a desire to question and explore the fil-am identity, often touching on the commonalities in cultural experience. The collective consists of curator Lian Ladia and artists: England Hidalgo, Marcius Noceda, Carlo Ricafort and Mel Vera Cruz. Their more recent works share a communal interest in “subversive” semiotics. Semiotics, similar to the artistic understanding of iconography is a nuanced ability to communicate through the use of imagery and signs. And Kwatro Kantos uses this study of symbols as a means of upsetting the accepted meaning behind objects, creating a new perspective for viewing both social and cultural experiences.

Lian’s presentation was interesting but simultaneously dry, revealing that despite their contemporary flare, kwatro kantos’ themes find much inspiration in a historical understanding of art, referencing Dada, pop art, surrealism, etc. Given my own interests in art history it definitely helped me contextualize their process and come to terms with their mission as a collective. Having presented on the group, I was able to look at a range of their works and read into their history and exhibitions. So hearing the views of both artist and curator was interesting in comparison to not only how I responded to their art but also how I presented the their work. I had hoped that a larger number of the artists could have come in as their work was very personal and at times hard to decode without outside information, which was evident as a attempted to lead a discussion and analysis of some of their pieces. But I did find it helpful to hear their take on working within a collective and the dynamic between the group and the artists as an individual.

Despite cultural commonalities, it was difficult to come to a concrete conclusion without any real point of reference. and as a result Mel’s video was very appreciated and it was interesting to go into his studio and see how he displays his work. It’s fairly unusual so see gallery spaces exhibiting working in such a way but it was also somewhat reminiscent of the older salon style of exhibition. Due to both my study and creation of art, I’m always very interested in seeing physical spaces / work and discussing process. Overall I really appreciate having guest artists such as the kwatro kantos coming into the class.

Jenifer K. Wofford and Johanna Poethig

Both Jenifer Wofford and Johanna Poethig’s work examine the complexities of Philippine identity. Wofford reexamines the idea of the Filipino nurse and under the issues of power, gender, and immigration she evokes a style of modern ambiguity, which I view as a means of challenging her audience to rethink the stereotypes and iconic imagery off which she plays. And on a different level Poethig’s work delves into Philippine history, exploring the political strife, which led many to move outside of the country’s borders during the early – mid 80s. I found her perspective unique, as it is one of a child of American missionaries growing up in the Philippines. Her position seems to be a physical reversal of the idea of “the other” which we often examine in class.

Personally I enjoyed the discussion of the history and controversy surrounding Poethig’s work LAKAS SAMBAYANAN. The piece itself, commemorating the People Power Revolution, illustrated the complexities of the Filipino experience during the fall of the Marcos regime. Heavily covered in cultural iconography, the seemingly simple mural holds a multitude of meanings. The vibrant colors and active composition seem representative of the energy, spirit, and mobilization of the people in regaining their freedom. And the striking symbolism behind the cracked statue of Marcos further emphasizes the importance of this moment in history, commemorating the country’s new potential outside of his dark shadow.

And with a personal interest in the Bay Area’s deeply rooted mural tradition, it was interesting to hear people’s thoughts regarding the notions of public and community art. In my experience I find that it is essential for such works, being in the public sphere, to speak to the concerns and identity of the surrounding community. And the erasure of the mural seems almost fitting as we witness the gentrification of such areas by the growing number of city developers. In a case where a work personally speaks to the community I believe that it is both the responsibility of the property owner and community to keep the work relevant and in tact, reflecting their own interest and care for the piece. And despite the impact of the mural at the time, it seems to have faded into the memories of those who once celebrated its meaning. but i believe that like the moment that it celebrates, it is a distant memory to those who knew of it, but nonetheless a memory of a important moment in history.