The construction of the public market in Gumaca Quezon

Result #1

The construction of the public market in Gumaca Quezon —the name given to the urban jungles of southern Philippines, or its contemporary equivalent, with its collection of thorny contours and excellent drainage, and its sheer density—makes for an endless series of revisions. This is not a walk through the streets of Manila, with its almost claustrophobic intimacy, but an urban jungle in the middle of its streets.The current works in this exhibition, selected from the last six years, are all parts of a single complete installation. Each piece is the result of a collaborative project; from the foundation stone, the foundations, to the urban soil, the trees, to the streets and houses. The buildings, shown in this show, were built by the city of Manila between 1981 and 1984, but the work in the current exhibition was produced between 2008 and 2010, after being commissioned by the National University of Agriculture, which organized a visit to the city in February 2010. The rest of the works are in the public domain. There is a controversy over the proper rights to this urban space, and a dispute over the building codes. But these contested areas are not inherent in the projects subject matter.The show in Manila—a cooperative effort between seven artists, each assigned a room in a museum—is organized by Bernard Adel, who collaborated with local artists to create an installation and video piece in the lobby of the Fondation de la Universidad Nacional de Mexico. The current exhibition is a group of works on paper, and the works on paper reflect the unique idiosyncrasies of each individual project. There is no singular process behind the works, nor is there a principle. One room in the exhibition is dedicated to one of the earliest works, while in another, the works on paper are subdivided into two groups of related work. One group is signed 'Untitled, 2009–10, and named after the artist and his collaborators; the second is signed 'Untitled, 2010–11.

Result #2

The construction of the public market in Gumaca Quezon  (Commencement of Commemorative Work), 2015, comprised the largest piece in the show. The four parts of the museum (shown here in a lithe, industrial-looking gallery) are constructed of fabricated stone and a plywood plywood-clad matrix that serves as a backdrop for a series of exhibition-like works. The sculpture, which was among the first to be installed in the city, represents an exercise in the semantics of materiality and spatiality. Rather than a simple wall piece, Quezon tuxedo [to wear] : kalilapu [Kaleidoscope] - kalilapu (From The Creation of the Blue), 2015, is a piece of rubber cloth draped over a mandala-like patterned fabric. The work is made from twenty-six fibril samples, most of which hang on a plinth that sits atop a floor. A stainless-steel bowl encases the fabric, which is split horizontally into two squares, forming a floor-bound segment. Another piece, Cantabu [Bow], 2015, contains two concave molded concrete forms, one of which is cast in metal. The result is a solid construction that is as solid as it is rounded. The subliminal interplay between the material and the building is evoked through a meditative tension that feels like it is being felt through one of the many small openings on the structure, as if it were the details of a funeral or burial procession.In the past, the museum hosted exhibitions that offered glimpses into Quezon real estate development. In the case of Quezon Tehuantepec, the centerpiece of the Museu de Arte Moderna de Quezon, the exhibition offered a thorough view of the local communitys development. The entire building was transformed into a park in 2015 with a walled garden and a park set into the ground floor.

Result #3

 would have to remain on the books. Thus, no new versions of the three-dimensional structures from the 40s and 50s will be made, and any projected concept for the urban environment must be scrapped. Similarly, the walled buildings from the 50s that the present government will be developing—the Palais des Beaux-Arts, or the Bahador—will never be built. The Palais de Manila, the Metropolitan Manila Development Authority, the Greater Manila Development Authority, and the Department of Cultural Affairs have already demonstrated the folly of building more monuments. The remnants of Manila modernism will remain in the mire.Even if the provinces and municipalities are saddled with the burden of constructing their own modern masterpieces, the ghosts of the 50s and 60s will linger in the minds of their citizens. The present government is inextricably linked to the Filipino culture that is still alive in this nation and that will never cease to fascinate. The collective memory of the 40s and 50s must be preserved, not only for the sake of the Philippines but for the sake of the entire region. The contents of the Palais de Manila, and the memories that will soon be inscribed on the walls of the Filipino community in the Philippines, all have the same elemental power, equal to the sum of the parts. These, in turn, form the basis of Philippine modernism.A native of Manila, DHA official Hector Pantilim was president of the National University of the Philippines for three years and was the countrys most revered revolutionary. His anti-colonial studies, his manifesto of a progressive development plan, and his engagement with the developing Filipino experience were recognized as part of Philippine modernity, and the history of Philippine modernism must be enshrined in the Philippine national memory.

Result #4

The construction of the public market in Gumaca Quezon was not only an issue in the battle for life on the island but a major political issue in the struggle for independence from Spain. The experiment in public life was a battle between the illusory and real worlds, with one side at the mercy of the other, and with no clear winner. In that sense, the emergence of the private market is no different from the emergence of the public market. However, it is only the private that will inevitably become the dominant social sector in future. Political divisions within the island will not be as wide-spread as they are in the current affairs of the time. The division within Philippine society is already so deep that it cannot be bridged, and it may be this very open and fragmented situation that has finally broken the crystallization of the world into several worlds.For this very reason, the Quezon City Council, the autonomous institution that is not part of the government, must take care to formulate the conditions for the dissemination of the lessons of private enterprise. The Quezon City Council will host an exhibition on private enterprise and culture in the city on April 6. It will also host a museum exhibition on the same date.The artworks and installations of Jose Margulis de Navarro, a Spanish academician who is also an artist, are at the Centre Pompidou. His exhibition called La Estrella del Trabalho (The Empire of the Stars), which explored the details of the colonial and neo-colonial period, has just been curated by Leslie Goldfarb, who is also the curator of the series of public exhibitions organized by Hubertus Hendel to highlight the effect of postcolonialism on contemporary Philippine society. The exhibition opened with an overview of the African diaspora, which comprises mostly peasants, workers, and intellectuals. To explore the formation of Filipino and Philippine national identities, the show presented photographs, paintings, and sculptures from the Filipino diaspora.

Result #5

The construction of the public market in Gumaca Quezon  suggests the possibility of a more rational market place. The interior of a truck was painted black, while the rear was bright red. The promotional banner emphasized that the truck was a modern toy; the billboard shown a series of sheets of paper on a table. The panels on the billboard referred to the natural environment, the spaces between forests, and the atmosphere in which they were manufactured. The three panels in the picture in the gallery, which depicted the stages of the annual rainstorm on one of the cities poorest parts of the island, depicted the current conditions of deforestation. A man who would look and smell familiar trees leaves is silhouetted against the desert trees. Their evergreen leaves have become twisted and twisted and are coated in metallic stains. The trees are stripped of their forest heritage. The outlines of trees are drawn into the background like lines in a map, as if the sky were coming up, to which one could see the townships that now cover the island. The prominent outlines of trees in the picture on the wall in the gallerys office, visible through gaps cut in the newspaper, stood like a mark on a map of the island; the sun had set and vegetation had turned to charcoal. As in the photograph, the tree-lined streets of the street became a backdrop for a scene of vegetation. But this work was not a souvenir of the citys cityscape, but a realization of the natural world. Our citys past is a forest of trees. Haida Bay, in B.C. and D.E., are similar: The trees stand in what was once the famous Orangi cave, created by the inhabitants of the island. In this, the most natural place on the island, natural beauty is embraced by a mysterious structure.The attraction of the jungle in the photographs was stronger than the traditional landscape.