marco ruben t. malto ii bayang magiting 2013
DESCRIPTION
Catalogue on Marco Ruben T. Malto II Bayang Magiting Exhibit, 2013TRANSCRIPT
GALERIE ANNA
4th Floor SM Megamall A Mandaluyong City Telephone No: (+632) 470 2511 or (+632) 470 9869 [email protected] Gallery Hours: 10 AM - 9PM daily ht tp: / /ga ler ieanna.com
Would Andres Bonifacio have been as brave to lead the 1896 Philippine Revolution if not
for a talisman tied around his neck during the Battle of Pinaglabanan? Artist and University of the
Philippines fine arts professor Marco Ruben Malto II explores the rootedness of the Filipino valor
in native spirituality throughout history in his solo exhibition Bayang Magiting, which was on view
at the Galerie Anna, SM Megamall in November 2013.
Bayang Magiting explores the role of talisman in Philippine revolts
by Abby Mercado
The oval wooden pendant with the sculpted image of Nuestra Señora del Pilar on one
side, and Santiago de Galicia on the other, is said to be the amulet or “anting-anting” used by
Bonifacio during the Katipuneros’ first encounter against Spain, a week after the Cry of Balinta-
wak. Other Filipino revolutionaries have been recorded to have resorted to this practice of wear-
ing anting-anting in times of battles. Macario Sakay, during the war against the American forces,
wore an undershirt with religious symbols crudely drawn on the cloth. Valentin “Tatang” Delos
Santos, along with other members of Lapiang Malaya, charged the defunct Philippine Constabu-
lary in 1967 armed only with bolos and amulets in their quest for reforms during the Marcos re-
gime.
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Spiritual roots of Filipino valor
The role of anting-anting in the lives and deaths of these brave Filipinos is a manifest of
how the revolutionaries’ faith in the protection provided for by their amulets might have helped fire
up their courage to revolt. Even the Philippine cinema acknowledges the potency of the talisman
as it painstakingly details the transformation of legendary characters due to amulets, as in the
case of Nardong Putik the minute he puts his anting-anting into action.
But more than the overt as well as covert messages of his works, Malto presents the
symbols of anting-antings and proffers them as forms of art. His meticulous selection of texts and
imageries, as found detailed in various amulets, showcases the artist’s deliberate intent to bring
forth not only the meanings but also the intricate aesthetics of anting-antings. In Bayang Magiting,
the exhibited works consisting of 45 paintings, drawings and a sculpture borrowed folk forms and
other representations of the Filipino belief system from the precolonial until the present time for its
motif. By doing so, Malto is able to appropriate images across history to paint how Filipinos sum-
mon their gods-- whether by relying on precolonial forms of talisman or on more traditional repre-
sentations of the Catholic faith-- for protection in conquering battles not only for personal gains,
but more importantly for national integrity toward Filipino nationhood. Each painting (in acrylic),
drawing (in gouache) and even the lone sculpture (cast in sawdust, wood) narrates a full story,
with themes that can either be traced back to the Philippines’ past, or be related to the more cur-
rent events in the country.
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3
In his painting Andres de Saya, Malto portrays the reliance of Bonifacio’s bravery on his
faith in the Virgin Mary, or at least that would be one impression considering Bonifacio’s amulet--
the Nuestra Señora del Pilar. But according to Malto, the bastidor can also be that of Mary Mag-
dalene to symbolize the MAGDALO faction of Emilio Aguinaldo in the Katipunan, which
“positioned” the Supremo to submit to their terms.
Ako si Superman tells the story of tribal warriors, who, armed only with tattoos on their
bodies (worn as badge of valor from past battles), felt in possession of the power of a superhero
in the fight for their ancestral lands.
The Oraculo drawing series are compositions of chants (combination of corrupted Latin
and Filipino among other languages passed on and constantly, albeit unintentionally, changed in
the process) interplaying with symbolic elements found in amulets, and adorned with visions of
one’s (the artist’s?) aspirations as if said in a prayer.
Beyond Bonifacio
Bayang Magiting is one of the countless exhibits to commemorate the 150th birth anniver-
sary of the Supremo. To showcase the unparalleled bravery of Bonifacio, if not to address the
seemingly overlooked significance of possibly the first Philippine President in the attainment of
national sovereignty, major exhibitions of similar theme had been on display in galleries and mu-
seums around the metro, even all over the Philippines, throughout 2013. Yet while many of the
commemorative shows seemed to have dwelled on narratives and images about the Katipunan,
the life of Andres Bonifacio, or his bravery, Bayang Magiting goes beyond Bonifacio to tell the
stories of other courageous Filipinos who fought, and continues to fight, for the Philippines.
4
With borrowed figures from Damian Domingo’s tipos del pais set amid a prisoner behind bar and
layered with the Alpha-Omega and Animasola symbols (pertaining to the Infinite God and His all-
seeing eye), Malto gives tribute to the noble Filipinos who ended up in prisons during the revolts
or wars, while the title Desaparecido recalls to mind the undying search for countless political
prisoners still missing today. The mother in a long black veil, deep purple dress with a white hand-
kerchief and a child in tow shows the sorrow of those who have been longing to find their loved
ones, but also reminds of the Virgin Mary in search of her son Jesus in the Passion.
The towering figure of Angono’s Higante over a toiling farmer (a borrowed image from a
16th century Murillo Velarde map) is a reminiscent of many power disputes over land between the
hacienderos and the tillers in the past as in the present time. But with the Chinese-faced higante
in place of the usual Spanish mestizo-looking figure in this painting, one is asked to consider an-
other analogy—that of the Chinese government’s claims over certain Philippine territories.
Carnival of colors
Painted in pastel and bright tones, the artist’s attempt to showcase the sorry state of var-
ied political and social issues through iconography is easily revealed if one is not deceived by the
festive aura that emanate from the vibrant illustrative works.
Lauriat, for instance, should elicit a mouth-watering reaction to many Filipinos’ favorite
Chinese dishes. But Malto’s concoction of two tattooed men (Pintados of the Visayas) with
Maitum for heads in a brave, defiant act of breaking a Chinese terra cotta soldier into two with a
bloodied saw figures a strong sentiment about China. Malto, nonetheless gives justice to its title
through the white line drawing in the background-- a Chinese character bearing a covered platter
of lauriat. This may well be an attempt to sugar coat his message, or perhaps a caveat that not
everything Chinese is bad.
Most, if not all, of Malto’s featured works in Bayang Magiting are ironies of sort: under-
neath their bright colors and fine rendition lies the sad truth about a multitude of past as well as
pressing issues still stunting the nation’s progress. They are brave but not brazen, subtle and yet
strong in their attempt to get the artist’s message across his public.
5
An artist-collector’s take on history
A philatelist and a Filipiniana collector, Malto has to know his history. The importance or
value of the items requires him not only to refer to the historical basis of each but also to discern
the continuing relevance of his collection. Malto’s interest in the role of anting-anting in Philippine
history and the country’s celebration of Bonifacio’s 150th birth year have given the artist the op-
portune time to explore and put across his own sentiments about current issues through his can-
vas. As “history repeats itself”, knowing history can prevent one from committing the same mis-
take over and over again. With today’s netizens resorting to throwback Thursdays or flashback
Fridays to bring back special memories by posting pictures of personal pasts, Malto chooses to
use Bayang Magiting to remember and remind us how the Filipino valor as shown throughout the
Philippine history remains steadfast and significant in today’s territorial turmoil.
6
Mutya (8” x 11”, cast saw dust, pearl, wood, acrylic, 2013)
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Oraculo para sa Kristong lasenggo (2012) Nang Wala Pang Mundo: Gumamela Celis (2013) Oraculo para sa kay Pedrong salubsob (2012) Oraculo para sa sa Maryang desgrasyada (2012) Nang Wala Pang Mundo: Ecce Homo (2013) Putol (2013) (8.25” x 11.5”, gouache and ink on paper)
Pangitain ni Valentin (31” x 23.5”, acrylic on canvas, 2013)
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Vertud (31” x 23.5”, acrylic on canvas, 2013)
Omni Potente I-V (8.25” x 11.5”, gouache on paper, 2013)
Ang Ikalawa (31” x 23.5”, acrylic on canvas, 2013)
Mea Culpa (31” x 23.5”, acrylic on canvas, 2013) Desaparecido (31” x 23.5”, acrylic on canvas, 2013)
12
Dragon Rojo sa Bajo de Masinloc (41” x 30.5”, acrylic on canvas, 2013) Binalot (41” x 30.5”, acrylic on canvas, 2013) Higante (41” x 30.5”, acrylic on canvas, 2013)
13
Ako si Superman (31” x 23.5”, acrylic on canvas, 2013)
Venom Deus (31” x 23.5”, acrylic on canvas, 2013)
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Ready, Aim, Fire! (45” x 30.5”, acrylic on canvas, 2013)
Bilateral Talks-I-II (8.25” x 11.5”, gouache and ink on paper, 2013)
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Prusisyon sa Galicia (38” x 46”, acrylic on canvas, 2013) Ammah (43” x 38.5”, acrylic on canvas, 2013)
16
Abiste Abite Abitem I-III (8.25” x 11”, gouache and ink on paper, 2013)
Pangatauhan (45” x 30.5”, acrylic on canvas, 2013)
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Andres de Saya (30.5” x 45”, acrylic on canvas, 2013) La Sagrada (2013)
Tatsulok (2013) Nang Wala Pang Mundo: Infinito Dios (2013)
Nazareno (2013) Pasyon (2013)
(8.25” x 11.5”, gouache and ink on paper)
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Sa Pusod ng Angono (31” x 23.5”, acrylic on canvas, 2013) Ang Pagdaan ng Salaksak (31” x 23.5”, acrylic on canvas, 2013)
Kahit Deus Pa, a ni Esteban (27” x 24”, acrylic on canvas, 2013)
Oraculo para sa Bajo de Bejo (8.25” x 11.5”, gouache and ink on paper, 2012)
Layas (18” x 24”, acrylic on canvas, 2013)
Lauriat (25.75” x 22.5”, acrylic on canvas, 2013)
Du
elo
(2
0”
x 5
7”,
acr
ylic
on
can
vas,
20
13
)
20
Espiritista (45.5” x 30.5”, acrylic on canvas, 2013)
Advancer shoot, GMA NewsTV crew with reporter Micaela Papa
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State of the Nation Address with Jessica Soho, GMA NewsTV, aired 29 Oct 2013 http://www.gmanetwork.com/news/video/182016/stateofthenation/seryeng-
katipunan-naglalahad-ng-pakikipaglaban-ng-mga-katipunero
OPENING RECEPTION with Art Historian Santiago A. Pilar, and National Historical Commission of the Philippines Chair Maria Serena Diokno;
SangHabi performance 05 November 2013, 6PM
Invitation card and Guest book
5-19 November 2013
GALERIE ANNA 4th Floor, SM Megamall A, Mandaluyong City
M A R C O R U B E N T R I N O S M A L T O I I B A Y A N G M A G I T I N G 2 0 1 3