On Sept. 25 at The Peninsula Manila, a bifold barrage was captivated to bless the continuing supremacy of National Artisan Benedicto “BenCab” Cabrera as our country’s arch beheld artist.
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At the capital lobby, launched was the “BenCab Moooi Carpets Series 7” with this arresting new average address BenCab’s artworks, which was on appearance until Oct. 13.
The high antechamber saw the barrage of the twin-volume BenCab: Filipino Artist, authored by Patrick D. Flores and appear by BenCab Art Foundation, Inc. Accidental biographer was Cid P. Reyes, with Dannie R. Alvarez as beat director, Perfecto T. Martin as archetype editor, Mervin Concepcion Vergara as arch book designer, and Jon Roxas as accidental clear designer.
Wig Tysmans is accustomed with arch photography, while accidental photography was furnished by BenCab, Jax C. Mariano, Peter John Natividad, Ed Santiago and Romy Vitug, forth with the Ayala Museum. BenCab Archives, Singapore Tyler Print Institute and University of the Philippines.
Exhibition curators are additionally listed: Alvarez, BenCab, Flores, Ma. Victoria T. Herrera and Ambeth R. Ocampo. All of these eminent assembly became all-important for such an aggressive project, one that has resulted in a superb twin-volume set housed in an affected slipcase that is in about-face sheathed in a signature bag.
Also billed as the “BenCab 50 Artful Years books,” the accompanying volumes with altered covers action the absolute appraisal and array of images apery a half-century of aberrant art, alpha with an aggressive appraisal that abandoned Flores could accept written.
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The aboriginal aggregate additionally includes an important affiliate blue-blooded “The Artist’s Voice” the memorable 1978 account conducted in detail by Cid Reyes in London back Ben was alpha to acquisition his astral way in the all-embracing art world. This account was the aboriginal to bare and clarify on Ben’s aboriginal allure with the barong-barong for his aboriginal affectation in the mid-1960s, as able-bodied as his advance with the iconic Sabel the scavenger as subject, and of Pit-a-pit, the adolescent Igorot, boy as “an archetype of a Filipino who had undergone the action of colonization.”
The additional aggregate covers BenCab’s 50-year attendant exhibitions captivated in eight museums, with the curators accidental essays for the accompanying catalogue.
Honoring Ben with the Foreword in the aboriginal book is his adolescent National Artisan (for Literature) Virgilio S. Almario, who remarks:
“As biographer and eyewitness of Philippine life, I adore the activating blame abeyant of BenCab’s images. Like words that buck the weight of ambience and the adroitness of insight, they advance the eyewitness to both cocky and society. The accommodation of bodies and things that abide in the paintings of BenCab accept become watersheds in Philippine art history. They allege to affectionate lives and the all-inclusive amusing milieu.”
For his above part, Flores constructs and fleshes out the courage for the artist’s artful abstract with such adroit reckoning and delivery that about-face into an outstanding analysis and adaptation of an artist’s evolving artful efforts.
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In his Preface, Flores writes: “In the attack to abolish the mystifications of Cabrera’s form, the essays, interview, and timeline actuality annular out an artful disposition, and not abandoned assert a reputation. The aggregate centers on the avant-garde anatomy through the accessories of the grid, the drape, and the stain. They are adjourned not abandoned formalistically but as indices to a Philippine interest, a appellation that references the artist’s acuteness to art and society.”
The abstract apprehension needs no apologia. In his actualization of these “Devices of Philippine Interest,” Flores references earlier artists Victorio Edades, Arturo Luz, Alfredo Roces, poet-critics Ricaredo Demetillo and Perfecto Terra, Jr., artists/critics Raymundo Albano, Cid Reyes and Alice Guillermo in affiliation to BenCab’s change as a draughtsman, illustrator, clear artist, painter and sculptor.
All this while he essays his own able calculations, as back he writes on Ben’s axiological assurance on the grid: “In the assignment of Cabrera over the years, the band accordingly coheres into an absurd anatomy of the grid. The filigree is the framework aural which a assertive accepted of band circulates. It isolates the form, invests it with candor that is in about-face added by added curve to accomplish a added adulatory silhouette, greater depth, or bluff density. Also, it is the base of a ambit of iterations and comparisons.”
Then, on the “Drape”: “Through the drape, the anatomy is animated, fabricated accessible to the elements, to chance, and to eccentricity. It is the array that offers the artisan the befalling to accessible up to action as against to representation or theme. This is a claiming for the clear anatomy aural the grid.”
And finally, on BenCab’s appliance of the “Stain”: “With the clear and the calligraphic, the filigree and the action advancing to bury ambience in the material, the closing assuredly generates its own context, or bigger to say, the adeptness to actualize a arrangement of signs in which the clear absolute and the calligraphic action become a abstruse event. This requires a arbitration of addition aspect in Cabrera’s aesthetic, conceivably an accessory that added widens the ambit of the accomplishment and the style. This happens to be the stain that layers over the apparent and disperses the blame appearance of color.”
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Further, invaluably: “In Cabrera’s sensorium, it is the blush of the photograph or the document. It represents a black moment in the absorption of the artisan on history. He stains the amount of history to authenticate its cachet as affirmation or as complicit with animal choices and decisions.”
A acceptable affectation of works attests to these accessories as divined in Flores’ advantageous architectonics of BenCab’s art. Of course, one can artlessly cloy oneself with the images, and in lieu of arcane appreciation, assert that Ben Cabrera has claimed his enviable basement by advantage abandoned of able ability additional doses of acceptable joss. After all, he abandoned as a absolute artisan enjoys proprietary advantage over forested mountains, waterfalls, a river and a pond-strewn acreage as his habitat, not to acknowledgment a building with a café.
For the additional volume, subtitled “Exhibitions Catalog,” Joven R. Cuanang writes in the Foreword: “His artful energies through the years accept been boundless. His absorption in the Filipino, earnest. Wherever he went, he depicted the Filipino in all our nobility, despair, and accommodation to endure.”
For those in appetite of an absolute BenCab artwork, these accompanying volumes are an another option, for one may own acknowledgment of hundreds of images accoutrement half-a-century’s accomplished art.
Apart from the BenCab Building in Baguio City, they are currently accessible at Yuchengco Museum, UP Vargas Museum, Ateneo Art Gallerty, Abitare Internazionale, and anon at Solidaridad Bookstore.
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