CEBU, Philippines - In the lexicon of creative terms and jargons, there is a difference between “modern” and “contemporary art” – a difference which 856 G Gallery’s “Modernist Print Collection” doesn’t turn a blind eye to.
As the featured show of the gallery for the month (which comes to a close tomorrow, March 27), the collection does more than fete the creative tenors of three of the country’s celebrated talents – as it also leads viewers through the differences and similarities between “modern” and “contemporary art”; leavening the masks behind their facades by setting the spotlight on more than 20 pieces by maestros Manuel Baldemor, Pandy Aviano and the “Father of Philippine printmaking” Manuel Rodriguez.
In the world of art, the term “modern” refers to the “Modernism Period,” a period which experts of the field approximates to encompass works made between the 1890s to the 1960s – with some arguing that its imprint trailed on until the late 1980s.
When it comes to works that are immersed in “the now,” the term “contemporary” is used to describe works that were made within the last couple of decades – influenced by reverent creative dichotomies that are drawn from an amalgamation of the past, present and what is to come.
As creative slants, “modern” and “contemporary” are practically the same – only different in the temporal influences and sensibilities that sired and sires them into form.
Like an actor whose career spans decades, “modern art” represents classic roles that defined an actor’s career when he was young, while “contemporary art” alludes to comeback roles that reaffirm his abilities as a thespian – sans technical gimmicks and crass theatrics.
In “Modernist Print Collection,” audiences are reminded of where the aggressive stance of contemporary art hails from – nodding to the ploys and touchstone harmonies modernism then vehemently concerned itself with.
The use of non-conventional artistic methods and materials is undeniably profound in the featured collection – what with materials like Abaca paper and Cogon Grass paper used in the creation of a number of its presented pieces.
The exhibit brings viewers back to the past when the art of conversation was more organic – molded by an “Adam’s perception” of the world that’s cropped from the works of its exhibiting artists.
In effect, we are all reminded of how divergent creative growth and direction can be – focusing on pieces that resound where the masters of the past were steering us to; reminding us that art is not just eye candy, but an integration of societal structure and social aesthetics. (FREEMAN)