Vision Petron
Transcription
Vision Petron
A Magazine for the Youth on Philippine Art & Culture • www.petron.com 2013 A from the Editor’s desk Another year has come and again, Another Vision Petron year has passed. Another batch of young artists has been declared the best of the best! To them, we dedicate this issue of FOLIO magazine, the country’s first and only publication focused on Philippine culture and published specifically for the youth. Vision Petron 2013’s theme – A Journey of Triumphs and Milestones – revolved around success and achievement. We feature here therefore an eclectic array of articles that convey the theme in one way or another. What is the Filipino’s concept of success? Well-known culture exponent and award-winning writer Felice Sta. Maria expertly answers the beguiling question. Her treatise is a colorful revelation of what the Pinoy sees success to be. The much-loved and revered sculptor Guillermo Tolentino is given center stage for those who admire the late master whose body of outstanding works has brought him the much-deserved title of National Artist. National Museum Director Jeremy Barns who recently mounted a permanent exhibit on this much-loved artist sculptor, shares his respect and reverence for the sculptor in this article. Celebrations of success as seen in visual arts through the ages is an interesting article by art critic Lisa Ito. Fiestas, family traditions and other memorable events are captured by our painters and immortalized for generations to enjoy. Where are they now? We have complete information on the whereabout’s of our previous Vision Petron winners. Have they moved on in their careers as artists? Or have they shifted their interest? Read on. Foremost film-maker and cinematographer Romy Vitug is our personality of the year. His colorful life as one of the pioneers in this special art is a wonderful tale of persistence and talent. Petron’s 80 years of supplying thousands of Filipinos with fuel and derivative products is in itself a story of success. From its beginnings as Esso to PNOC to Petron Corporation, Petron’s journey is a most colorful read. And of course, this magazine would not be complete without the winning artworks and winning artists of Vision Petron 2013. The contest’s winners in four categories – painting (oil and waterbased), photography, T-shirt art design and the newly added, video-making – are prominently showcased in the Winner’s Section of this magazine. Thank you, our dear students, schools, teachers, national artist, friends and art enthusiast, for your support and interest in Vision Petron. We shall be here for as long as you need us. We look forward to partnering with you for years and years to come as we bring you more and more Vision Petron and FOLIOS! – The Vision Petron Team B Published by PETRON CORPORATION In partnership with Studio 5 Designs Vision Petron FOLIO is an annual publication of Petron Corporation on Philippine culture published specifically for the youth. Copyright© Petron Corporation. All rights reserved. No part of this publication may be reproduced in any manner without the written permission of the publisher. Opinions expressed in this publication are the writers’ and are not necessarily endorsed by the publisher. Please send your comments or inquiries to VisionPetron FOLIO, c/o Petron Marketing Division, SMC-HOC 40, San Miguel Avenue, Mandaluyong City or email us at [email protected]. Do visit our website www.visionpetron.com and like our Facebook page, Everyone’s VisionPetron. contents Bulletin Vision Petron is an exhibition and competition for all young and budding artists. We at Petron believe that free artistic expression remains intrinsic to nationbuilding. We support the Filipino artist’s unique vision and dynamic translations of Philippine culture through various forms of art that draw fellow Filipinos closer to their heritage and ultimately, to everyone. Petron believes that everyone has his/her own unique perspective on things and that this uniqueness can be expressed in so many different ways. That is why we created Vision Petron. Vision Petron is a competition for photographers, painters, and designers. It is also a venue for filmmakers, musicians, performance artists, art enthusiasts, enabling all Filipinos to converge and be one through their shared love for Philippine art and culture. 02 04 06 When Winning Means Nurturing: The Vision Petron 2012 Awards Night A Salute to Vision Petron The Vision Petron 2013 Diary Features 14 Eskultor ng Lahi: The Guillermo Tolentino Permanent Exhibition at the National Museum by Director Jeremy Barns Going For Gold: Winning the Games of Life by Felice Prudence Sta. Maria Lakbay Namin: The Colorful Journey of Vision Petron Winners by Jay Bautista Of Festivity, Fervor and Freedom: Images of Celebration and Triumph in Philippine Art by Lisa Ito 16 20 24 28 Petron at 80 People 32Unedited, Uncensored: An Interview with Romy Vitug by Jay Bautista Special Section 36 56 Vision Petron 2013 Winners Vision Petron 2013 Board of Judges 04 14 25 on the cover Noel M. Elicana Perspective Western Visayas College of Science and Technology 121.92 cm x 121.92 cm 32 57 1 Bulletin When Winning Means Nurturing The Vision Petron 2012 Awards Night 2 The Vision Petron 2012 Awards Night was held on August 31, 2012 at the Diamond Hotel along Roxas Blvd. No other than award-winning travel photographer George Tapan was the guest speaker. George spoke of his struggle to be an ace photographer, and recounted his humble beginnings. T Guest speaker George Tapan he Vision Petron Awards Night complete with a sumptuous sitdown dinner, an entertainment program and the who’s who as guests, was indeed the art event of the year. Young winners went home with specially-designed trophies by National Artist Napoleon Abueva and an array of gifts from Petron. Even schools of winners were gifted with computers. Winners’ families, Petron officers and employees hobnobbed with national artists, award winning painters, top photographers and photojournalists, award-winning graphic designers, and printmakers. More than the good food and warm camaraderie, the winning entries exhibited at the hotel foyer made the event a night to remember! 2012 GRAND PRIZE winners Grand prize winners in Painting Category PAINTING CATEGORY A.Oil/Acrylic LANCE KIRBY T. YANEZA Kakambal Ko ang Kalikasan FEATI University SALVADOR M. BANARES, JR. Hope University of the East Caloocan EMIL O. REAMBILLO Unending Journey University of Rizal System Morong B. Waterbased/watercolor DON BRYAN MICHAEL R. BUNAG Magkaibang Magkaibigan Bulacan State University Grand prize winners in Photography Category JOHN MARK L. SAYCON Salamin ng Buhay PUP Sta. Mesa ARMAN JAY S. ARAGO Pagkamulat University of Rizal System Morong PHOTOGRAPHY CATEGORY KYRKE STEPHEN B. JALECO Volunteers UP Baguio Grandprize winners in Printmaking Category ALEXIS S. GAPAL Nature’s Black Knights UE Caloocan MARC HENRICH W. GO Life UST Manila OLIVER E. LAGDA Barely Surviving TUP Quezon City SHIELA MAE B. DE VERA Punla Para sa Bagong Bukas UE Caloocan GIB SAM G. SALAK Explorers Adventist University of the Philippines Petron Vice Chairman Eric Recto with Vision Petron 2012 judges PRINTMAKING CATEGORY MITCHELL S. DOMINGO Pawikan and Change UE Caloocan HYACINTH LYN M. LAOKE Gandang Kalikasan Mukha ng Pilipinas UP Diliman JOHN JONAR V. GARCIA Anihan UE Caloocan Together with Petron Vice Chairman Eric Recto and AVP Mary Ann Neri, the Vision Petron exhibit was opened by National Artist Benedicto Cabrera, Raul Isidro and George Tapan Chairman Wig Tysmans signing an autograph for photography winner Marc Go. 3 Bulletin ANVIL 2013 HALL OF FAME This year has been an eventful and truly historic year for Vision Petron. For one, Vision Petron Collaterals, the array of beautiful marketing tools designed yearly to promote Vision Petron, received the much-coveted Anvil Hall of Fame Award from the Public Relations Society of the Philippines (PRSP) on March 9, 2013. The prestigious award is given to a communications tool that has won more than five awards of excellence through the years. Another important tool of Vision Petron, the culture magazine published solely for the Filipino youth entitled VISION PETRON FOLIO, also received an Award of Excellence from the PRSP. It is the 4th excellence award for the full-color glossy magazine. The Philippine Quill Awards is the annual program sponsored by the International Association of Business Communicators (IABC), which recognizes the effective use of the country’s leading corporate programs, advocacy campaigns and public relation tools. Last year’s awarding was held at Crowne Plaza in Ortigas, Pasig, Vision Petron 12 Collaterals Nurturing Nature has was given an Award of Excellence for Communication SkillsPubications category. Petron Assistant Vice President Ana Neri and Brand officer Dianne Monsod were on hand to receive the award. These collaterals reflected Petron’s love and commitment to the preserving and conservation of environment. 4 Vision Petron bagged the Hall of Fame award, the highest Anvil Award. Petron employees were onstage to receive the trophy from the Public Relations Society of the Philippines. Petron marketing with creative partner, Studio 5 Designs Receiving the Philippine Quill Award of Excellence for Vision Petron 12 collaterals are Petron Assistant Vice President Ana Neri and Marketing Executive Dianne Monsod Petron AVP Ana Neri and Brand Marketing Head Ramon Cruz receiving Vision Petron’s 8th Anvil Award of Excellence since 2001. 2013 Anvil Awards HALL OF FAME Citation: “For being a shining example of consistent and faithful adherence to Creativity and Excellence, the hallmarks of memorable visual communications, and for its vibrant celebration of the richness of Filipino culture and heritage. Given this 9th day of March 2013 at Rizal Ballroom, Makati Shangri-la Hotel Ayala Center, Makati City. 5 The VisionPetron 2013 Diary 6 June to July School visits When Vision Petron Came to Visit (total 27 schools) T his year, the Vision Petron team lived up to its theme of Lakbay. On the road for four days to visit five colleges in the North was like attending a family reunion or a traditional event one was not allowed to break. Benguet State University University of Northern Philippines A visit to the University of Northern Philippines in Vigan was a must because it has produced two young winners, Jareds Yokte and Jeminic Real. After partaking of the popular Vigan empanada and longganisa, we left this Unesco-world heritage city and trek to another culture center – the Cordilleras. From Vigan, it would take another four hours to reach Baguio, our favorite mountain city. It is home to National Artist Bencab, and is also home to loyal colleges and universities who have never failed to send an entry to Vision Petron for the last 13 years. Our trip took us 50 kilometers down to Tarlac. Not only is this province home to the best sapin-sapin in the country but Tarlac State University has produced eight grand prize winners! One day Vision Petron should install a marker as a reminder of this feat. Our Southern sojourn was all of five straight days. Vision Petron team taking a break at Jack’s Ridge, Davao Tarlac State University Cebu holds another marker in Vision Petron history. Four grand prize winners in painting and another four grand prize winners in photography have all come from this Queen City of the South. In Cebu, we visited University of San Carlos campus in Talamban which has the only Fine Arts program in the province. Also upon their invitation, we also visited the University of San Jose Recoletos in downtown Cebu City. An early flight to Iloilo was our next stop where we were greeted with the smell of La Paz batchoy and freshly baked biscocho as we headed for Western Visayas College of Science and Technology (WVCST). A standing-room-only crowd was waiting for our arrival. Even the WVCST Officials were in full attendance as we explained the new theme, Lakbay Tagumpay, which we tried translating in the Ilonggo dialect. Western Visayas College of Science & Technology 7 Bulletin June 19Adven tist Universi ty of Philipp 25 Asia Pa ines cific College 26 Techno logical Univ ersity of th EARIST e Philippines Manila 28 UST Co llege of Fine Arts Far Eastern University FEATI Univer sity July 3 Univer sity of Rizal System Mor 4 Bulac ong an State Un iversity Bul acan Polytechnic University of 8 Unive the Philippin rsity of Nor es Manila thern Philipp 9 Univer ines sity of the Ph ilippines Bag Unive uio rsity of the Coordillera s Benguet St ate Universi ty 10Tarlac State Univer sity 11 Techno logical Inst itute of the UP Dili Philippines man Quezon City 12 UST Co llege of the A rc hitecture Unive rsity of the East Calooc 15Unive an rsity of San Carlos Unive rity of San Jose Recol 16 Weste etos rn Visayas College of Sc 17Unive ience and Te rsity of Min chnology danao Matin a Ford Acade my of the A rts Davao Philippine W omen’s Colle 18UP Min ge Davao danao Davao 23 PWU M anila 27 Miriam College For another five days and a thousand kilometers, Davao in the south was the final stop. It was a most memorable trip because Mishael Pueblas, one of our two winners from Davao was going home since finding work as a producer for television in Manila. Unknown to his family and to his alma mater, UP Mindanao, Pueblas was in between shoots to join us. Aside from UP Mindanao we were scheduled to visit Philippine Womens College Davao, and two fine arts schools, the University of Mindanao, and the oldest in the south, the Ford Academy of the Arts. Ford Academy’s founder and literary icon, Aida Ford personally greeted us at her school premises. In Davao we broke bread with deans and students who filled us with crabs and durian. Our two days in Davao made up the five days in Visayas and Mindanao. Including our visits to Metro Manila schools, we spent 19 days on the road or airborne. We thank our partners - the deans and previous winners who joined us in our travels. Our visit was also our way of honoring our winners and of reminding our young artists that if their talented classmates made it, so can they! Philippine Women’s College Davao University of Mindanao Ford Academy of the Arts 8 UP Mindanao Davao Friday, August 16 Full House: Last Day of Submission, Project Secretariat Last Day, No Extension O n August 16, a deluge of entries for Vision Petron arrived at the Vision Petron Secretariat’s office. It was the last day of submission, and like in the previous years, it was traditionally hectic. Number of entries increased this year Leading the herd was the perennial top grosser - the University of Santo Tomas - where an entry to Vision Petron was considered a class requirement or plate in the College of Fine Arts and Design. UST is known also for their award-winning photographs and thought-provoking paintings. Far Eastern University, made its green and yellow gold presence felt on the last day of submission. with a hefty amount of entries in the oil/acrylic category from its Fine Arts majors. Students show their entries in the painting category Technological Institute of the Philippines Quezon City dominated the watercolor/water-based category with more than a hundred entries from mostly architecture and engineering students. Not even the heat of the sun or the sudden drizzle could douse the enthusiasm of students from EARIST, Bulacan State University, and Technological University of the Philippines Manila. From the provinces, entries were mostly from Iloilo, Bacolod, Davao and Baguio. As a way of showing Vision Petron’s gratitude, their entries may be retrieved from the nearest bulk plant in their localities. Project Secretariat at work Newly-designed t-shirts Proud student with his submitted artwork Photos by James Ona 9 Bulletin Thursday, August 22 Choosing The Year’s Best Judging T-shirt Art Design Category, Ynares Sports Arena I n all competitions, be it art or otherwise, everything boils down to the credibility of the jurors. One thing Vision Petron has kept sacred is the impeccable credentials of its judges in its 13 years of existence. That’s why we have judges that we have been getting more than once. In fact National Artist Napoleon Abueva has been a judge since the contest’s inception. This is the same reason why students have loyally joined us through the years. For them winning means getting the masters’ nod. Due to the large amount of entries, judging was held for the first time at the Ynares Sports Arena in Pasig, the perfect venue to hold more than 900 paintings, 600 photographs, and more than 500 t-shirt entries. Chairman for T-shirt Art Design Raul Isidro The T-shirt art design judging chaired by known abstractionist and printmaker Raul Isidro was held on the first of the four days of judging. The return of T-shirt art design proved to be a practical decision for Vision Petron. Other judges were senior visual artist Justin Nuyda, Islands Group head Jay Aldeguer, and BG Hernandez of Studio 5 Designs and Ramon Cruz of Petron Corp. Judges cast their final vote Judges in a huddle The three t-shirt art design grand prize winners 10 Tuesday, August 27 For the painting category, National Artist Abdulmari Imao led an illustrious panel of judges made up of National Artist Napoleon Abueva, Danilo Dalena, Elmer Borlongan, Alfred Esquillo Jr., Raul Isidro and Ana Neri. Judging Painting Category, Ynares Sports Arena Chairman for painting category, National Artist Abdulmari Imao National Artist Billy Abueva Danny Dalena writes his choices Paintings literally fill up the Ynares Sports Arena The grand prize painting winners with the Vision Petron team 11 Bulletin Wednesday, August 28 Judging Photography Category, Ynares Sports Arena Chairman for photography Wig Tysmans Judges double-checking their scores In the photography category, as always the deliberations were full of excitement and colorful discussions. Judges were keen on discovering the entries that were “purists”. George Tapan discusses the details of a photograph The grand prize winners in photography 12 Thursday, August 29 Judging Video-Making Category, 1771 El Pueblo Ortigas Center Pasig City The judging of the new video-making category was extra special. Judges were led by cinematographer Romy Vitug, whose members were the cream of the crop in this medium: Directors Laurice Guillen and Raymond Red, Howie Severino and Ana Neri. A week before, they were given a complete set of 59 videos for viewing. They then each chose their ten best. After much in depth dissection from the compiled short-list, three videos emerged as grand prize winners. These outstanding videos will be shown during the awarding ceremonies slated at the National Museum in October. Judges discuss the merits of each short-listed video All ready for judging Actual tabulation of the scores Judges’ briefing on the video-making rules 13 FEATURES Eskultor ng Lahi The Guillermo Tolentino permanent exhibition T Tolentino’s Bonifacio penchant for realism was not as the reality demands but what his concept dictates. His masterpiece, Bonifacio Monument built in1930 bested a national design competition honoring the founder of the Katipunan. 14 he National Museum recently inaugurated its newest permanent exhibition at the National Art Gallery, housed in the Old Legislative Building in Rizal Park, devoted to the life and work of the first National Artist for sculpture. Entitled Escultor ng Lahing Pilipino: Honoring the Life and Work of National Artist Guillermo Tolentino, this exhibition was formally opened on July 24, 2013 on the occasion of Tolentino’s 123rd birth anniversary. An unprecedented array of sculptures drawings, studies and memorabilia that evoke Tolentino’s artistic genius and his place in the nation’s history have been brought together, drawing on important private collections including the Tolentino family itself. Guillermo Estrella Tolentino (1890-1976) was in 1973 awarded the distinction of National Artist of the Philippines, in the field of sculpture. He, along with fellow National Artist and painter Fernando Amorsolo (18921972) dominated the Philippine art scene from the 1930s to the 1950s, and has remained popular to this day for depicting in a classical fashion his subjects, tying portrayals of figures with his concept of the ideal human forms. One of Tolentino’s more important contributions to Philippine art is his representation of canonical Filipino figures in three-dimensional forms that are initially based on plaster and then cast in metals such as bronze. He also subscribed to the then-new material, concrete, and developed his idealized figures within the limitations of that medium. Besides creating the curriculum for sculpture at the School of Fine Arts of the University of the Philippines and teaching, he also worked on commissions for public sculptures and civic buildings. In his spare time, Tolentino developed his expertise in baybayin, the traditional Filipino script, and translated Philippine literature in Spanish into Tagalog and afterwards into the pre-colonial syllabary. The best known of his work was the translation and transcription of Dr. José Rizal’s Mi Ultimo Adios. Tolentino also often signed and named his sculptures using baybayin. Musically inclined too, he played the guitar and piano with equal mastery. Tolentino first got his encouragement to develop his artistic talent from his fifth grade school teacher, Mrs. H. A. Bordner, in Malolos, Bulacan. He began Tolentino was versed with doing historical busts. It was also his specialty to do presidents such as these three of Carlos Garcia, Ramon Magsaysay, and Ferdinand Marcos Model for the Commonwealth Arch Tolentino’s Bonifacio penchant for realism was not as the reality demands but what his concept dictates. His Bonifacio bust shows a manner befits a leader. at the National Museum By Jeremy Barns, National Museum Director his apprenticeship at the University of the Philippines School of Fine Arts after he moved to Manila for his high school studies. One of his first mentors was Professor Vicente Rivera y Mir (18721954) who introduced him to GrecoRoman sculpture and the making of plaster casts, and he also began working with architect Juan Arellano on various projects, including the relief figures for the Casino Español on Taft Avenue. He graduated from the School of Fine Arts in 1915, with diplomas in both painting and sculpture. Not one to be constrained by the narrow occupations available to Filipino sculptors at that time – either a maker of funereal statuary or in a workshop carving iconic images of venerated saints, Tolentino travelled to Washington, D.C. for further studies in 1919 before moving to Europe, and especially Rome. Returning to the Philippines in 1922, he began teaching at the School of Fine Arts two years later. From 1953 to 1955, he served as the school’s director, retiring in 1955 as professor emeritus. Tolentino firmly established himself as a master in classical sculpture. He secured his reputation when he received national recognition for his work on the Bonifacio Monument (more formally known as the Monumento a los heroes del 1896), the design for which was chosen in a competition organized by sculptor Vicente Francisco, and architects Andres Luna de San Pedro and Tomas Mapúa. The call for designs for the monument was made on 29 August 1930. Tolentino›s winning design, which to this day is a major landmark of the national capital, features a tall pillar surmounted by a winged victory holding aloft a torch. Around the monument’s base stand larger than life figures of Filipinos and members of the Katipunan led by their supremo, Andres Bonifacio. Tolentino also sculpted the Oblation that serves as the iconic symbol of the University of the Philippines, and which depicts a naked man facing upward with arms outstretched, symbolizing the total and selfless offering of oneself to his country. The statue was commissioned in 1935 by University President Rafael Palma. Originally located at the Manila campus in Ermita, it was moved to the Diliman campus in celebration of the University’s 40th anniversary in 1948. Detail of the Commonwealth Triumphal Arch, commemorating the inauguration of the Commonwealth of the Philippines. It shows a young mother breast feeding her baby from behind symbolizing future generations. The title of the exhibition was inspired by Filipino poet José Corazon de Jesus whose 1930 poem “Ang Bantayog ng Bayani” mentioned Tolentino twice and referred to him as eskultor ng bagong lahi, a “sculptor of the new spirit” who possessed an artistically superior soul. Now, looking back on Tolentino’s prodigious output which never failed to capture something distinctively Filipino through his idealized, classical approach, he can be truly regarded as eskultor ng lahing Filipino, a sculptor of the Filipino spirit - that was certainly once new, but is now as timeless as it is a monumental part of the nation’s artistic heritage. The exhibition can be viewed at Security Bank Hall (Gallery XII) of the National Art Gallery. 15 FEATURES Going for Gold Winning the Games of Life By Felice Prudente Sta. Maria Desire success. Prepare to win. And never give up! Victory in school, career, personal affairs, and society demands increasing one’s capabilities continuously toward leading a life well. Every phase offers lessons, risks, failures, and opportunities. The champion has a keenly developed awareness of what happened, is happening, and - ahead of others – will likely happen next. 16 Duyan Ka Nang Magiting by Honey Maglalang (AUP) Competitive Advantages “How to succeed” continues as one of the most popular and enduring topics debated on and written about. Although victory finds its roots in overcoming an enemy or rival in battle, today it also means achieving mastery in any effort against all odds. Old proverbs from Pampanga and Ilocos emphasize, “Victory is attained through courage.” In northern Mindanao, courage and bravery are traditionally called the “shields of life.” A warning to heed from northeastern Luzon notes, “Use your courage well or it will cause your downfall.” In Bicol there is a similar caveat in support of self-discipline, “Courage without discretion is useless.” Everyday, the courage to do well and be good is tested. boys and girls so their hearing, vision, smell, taste, and touch could be used for making wise, common sense judgments when observing, understanding, and relating to the surroundings, its geography, geology, weather, plants, animals, people. Warrior victors had keen senses. They sensed foe approaching from the sound of rustling tall grass or the feel of vibrations on bare earth. Today, formal schools offer additional skills and knowledge to master the contemporary world that is everyone’s playing field. Exact, physical, natural, social, and behavioral sciences, along with their application to technology, offer what common senses cannot detect: the nano, the micro, the macro. Learning continues after graduation, so those who master how to study well and sustain focus the “whole distance” acquire a valuable advantage. First Kiss by Nomer Kaiz Del Mundo (UST) The American football quarterback who became a congressman and was defeated in his bid for vice president of his nation, Jack Kemp, wisely said, “There is a kind of victory in good work, no matter how humble”. Great achievements for the sake of self, family, community, the underserved, country, and planet require passionate determination, what the poet Ralph Waldo Emerson called the “victory of a flaming heart”. The desire for success creates a point of view and a way of living rooted in goals, determination, and hard work. Today, even being happy is classified as a victory. Starting Young Kaisa Ligaya Payapa “KALIPAY” by Coleen G. Regis (PWC Davao) Humankind has been marking life’s stages as birth, puberty (when the body is first able to procreate, usually in tween or early teen years), marriage, and death. Elders trained Gains begin with getting passing grades, and preferably better. But there are other competitions for teens. Winning a seat in the student council. Garnering a medal in a varsity game. Meriting and maintaining a scholarship. Securing on-the-job training or internship at a top-tier venue. Winning a national competition in arts or sciences. Completing a technical or vocational program or a university degree course. Graduating with honors. Membership in an honors society. All are preparation for adult life that is laden with responsibilities and obligations to counterbalance human rights. Outside of school there are other opportunities for teen victory. Election to an SK Council. Being selected as a kuya or ate for youth participants in an NGO, People’s Organization, or religious activity. Winning a major media sponsored competition. Bagging a slot in any skills, leadership, or personality enhancement program, especially if it has limited attendance. From childhood to teens, there are chances to start the life of an achiever. 17 Luck Is Not Enough The adolescent must morph into an adult. Late-bloomers can too. A sport offers valuable lessons for the workplace. Coaches train professional competitors to replay wins and losses in their mind to spot how to do better and beat best records, their own and those of rivals. They also recommend dissecting how the greats play in order to copy them. That means acquiring the discipline to practice winning moves till they become second nature. The champ also masters fair play and magnanimity, what an old Filipino proverb preaches: He is twice a victor who knows how to be humble in a moment of victory. Dedication to doing exceptionally well in an art – playing a musical instrument, acting, dancing, painting, singing – also benefits from analyzing and emulating the best examples. Being an achiever can become habit. raging hormones. If allowed to run wild, romance and strong emotions can complicate plans, forcing single parenthood or early marriage on the unprepared. Will power to overcome unwise desire is the partner of great talent and dreams of success. When family life works out, one garners multiple victories. From birth, a child’s chances in life increase when brought up in a nutritionally, mentally, and emotionally secure, stable, and stimulating environment. Infants and nursery age children lacking enough A new graduate should spot a model in the workplace to emulate. How does that outstanding person – that leader – think, analyze a challenge, speak, dress, deal with people, behave at a meeting and at a meal, care for office and public property? The young person starting a career has to practice acting and thinking to fit the position aimed for. Emulating a leader helps one become a leader. Many companies offer training programs and corporate social responsibility projects to develop the full person: as worker and as human being. Dependability is one way to get noticed. Receiving “more work” can be a reward. A trusted, new employee might be given “harder” assignments so bosses can size up the staffer’s potential for learning new and resulting promotions. Business icons have identified the ability to spot and manage change as fundamental to career and entrepreneurial victory. Ready for Love 18 Many of life’s challenges occur outside work. A major victory for teens and young adults is to conquer physical and chemical changes like an even keel, to remain well balanced throughout adversities big and small. Fear of failure should never outweigh the desire to win. The Good Life Everyone seeks a decent life and profits from an honest living. There are things to buy, foods to savor, places to explore, experiences to try. But the victory in middle adulthood, according to developmental psychologists, is feeling that one is contributing to the world by what one is doing for home and country. Tulong-tulong Sa Pag-ahon by Hanna Nicole Manalo (UST) love and care are likely to mistrust people and lack self control; as adults they will often harbor negative attitudes and self-doubt coupled with lack of initiative. Spoiled children often do not have generosity of spirit and team skills. Parents who encourage children to be helpful, disciplined, honest, responsible, imaginative, and able to use mind and body creatively generally turn out welladjusted adults who can succeed. Self-management of the rebellious, moody teen years, with its insecurity, confusion, and threat of a weak sense of self worth is truly a personal victory on the road to adulthood. Armed with self-confidence, a young adult is ready to take on the future. Throughout life, each person is challenged to keep on Writer Horace Mann announces, “Be ashamed to die unless you have won some victory for humanity.” In 1990, there were 60 million Filipinos when the country joined the United Nations effort to halve extreme poverty in its midst by 2015. Today there are 105 million Filipinos with around 28 percent below the poverty line, meaning individual earnings of less than P 16,841.00 a year. Those contributing income tax to underwrite social services, especially for the unfortunate, are in the minority. It takes great courage to become part of the solution and refrain from increasing the socio-economic problem. Every person is challenged to be steadfastly law abiding, healthy Best Buds by Krista Mari Albano (FEU) (physically, mentally, emotionally, spiritually), eco-friendly, respectful of people and place. Victors have self-initiative, determination, frugality, and an updated commitment to the common good. “One may know how to gain a victory, and not know how to use it,” warned author Pedro Calderon de la Barca. “What good is courage, if you don’t use it for good?” says a Tagalog proverb. Whether through public office, civic clubs, community projects, art for all efforts, health outreaches, and other programs, an individual can share. Use good for good. As late President Corazon Aquino said, “I would rather die a meaningful death than to live a meaningless life.” A Day to be Remembered by Krista Mari Albano (FEU) The Spirit of Victory Ancient Greeks honored Nike, the Goddess of Victory; Romans renamed her Victoria. In myth she was daughter to a Titan, and lived on Mount Olympus with her sisters Kratos (strength), Bia (force), and Zellus (zeal). Nike inspired triumph in athletic games, victory in war, and life over defeat. The Philippines celebrates a history of victory. Individual, institutional, and political courage to carry the torch has helped see the nation through political darkness, natural calamities, social trauma, economic downturns. The spirit of victory is in everyone; when enflamed it is Hope in Action. About the Writer: Felice Sta. Maria is an award-winning writer of Philippine history and culture. She currently serves as trustee of the Philippine National Museum and is Adviser to Ayala Museum and Ginhawa Institute of Indigenous Art. (She has been our judge in the painting category since Vision Petron’s inception.) 19 FEATURES LAKBAY NAMIN The Vision and Inspiration by Balaram Das Ochangco (UST) The Colorful Journey of Vision Petron Winners I By Jay Bautista 20 t was in last year’s Vision Petron that National Artist Benedicto Cabrera, chairman of the board of judges, who commented that Vision Petron is now entering its fourth “cycle of its significant existence.” A “cycle” means that those who joined Vision Petron as freshmen have already graduated from college and have moved on. As Vision Petron is most endeared among students and has become a fixture in their active college life, this year it is ripe to look back and aptly reflect to what has former Petron president Khalid Al-Faddagh commented “to what was originally been a venue for a wall calendar has created a life of its own.” Vision Petron has now become an exciting rite of passage to some of our country’s outstanding visual artists and art-related practitioners. At the onset, we have committed to keep in touch with our winners. Through the years, we watched over them as they moved forward to win bigger recognition and chart their own respective artistic journeys. Be Full time, Have More Awards If we are to be measured by our first grand prize winners, then we are on a promising direction. Robert Besana of Vision Petron 1 (2001)is now on his 5th year as Director of the School of Multi-media arts. Having won both a grand prize and a runner up in both categories of painting then, we know him well to be always experimenting and not limiting his perspective to flatness of his brushes. In fact for his recent solo exhibition last October 2012 at the blanc compound entitled Mysteria Lucis, he used ballpoint pens on plywood. “I still practice art but am more focused on educating young artists. As an artist I gained a lot of confidence and I used that to pursue art. Art competition, as big as Vision Petron will always be relevant, it encourages young artists to strive for excellence. Like when athletes compete, they would do unimaginable amount of practice, they would put their hearts to it. And they make sure that they’re in their best shape before they compete. If you follow this kind of discipline as an artist, you don’t need to worry about losing, win or lose you will become a better artist. Being in your best shape, condition, and being at your best artistic potential is already a victory which we all should strive for in the first place. Winning the actual competition is actually the consolation. In art, I teach what I practice, and I practice what I teach. It’s all interconnected. The students learn from me and at the same time I learn from them. These are all part of this whole process of art-making aside from other things, if we’re to define art as a process or activity. Another Vision Petron 1 winner is Ricky Ambagan who is a full time painter. He stresses: “Hindi ako huminto sa pag pinta. Proud kami yung unang batch na nanalo. Kumbaga wala pang blue print na pagbabatayan. Malaking bagay dahil noong panahon na yon naging proud ang UP College of Fine Arts sa akin. May respeto agad na nilagay kasunod ng pangalan ko. Bukod sa prestigious siya sa mga studyante, Vision Petron mismo ang pumupunta sa mga school para mag-promote.” Hall of famer Ronald Jeresano, who recently had a solo exhibition last July entitled “For the Love of” at the Jade Art Gallery in Singapore, owes it to Vision Petron for boosting his confidence and to be worthy of his stature now. He adds: “Winning in Vision Petron proved to myself that I am for real and I must not take it for granted. Winning as a student is very hard and very, very tough. You have to constantly challenge yourself.” Other notable Vision Petron winners who have made names for themselves are Orley Ypon, Mark Andy Garcia, Jaime Gubaton, Arturo Sanchez Jr. and Raffy Napay who together with another winner Charles Buenconsejo were the two of the three winners who won in the this year’s Ateneo Art Awards, besting ten other finalists for having the best shows during the preceding year. Pag sinabing “ArtPetron,” expressed another hall of famer, Jeffrey Salon, “karamihan diyan nagsimula yung mga magagaling na young artists at nakikilala na ngayon sa larangan ng sining sa bagong henerasyon.” Salon also emphasizes: “Isa pa sa pinaka-gusto ko at kung bakit kakaiba siya ay dahil hindi nawawala ang kulturang pananaw, sa pamamagitan ng mga tema. Kumbaga sa makabagong panahon ngayon lalo na sa mga kabataan, napipilitan silang alamin at subukan gawin ulit para malaman ang kahalagahan nito sa buhay ng mga Filipino.” For 2007 winner Julmard Vicente who is only the second student to win both grand prize (in oil/acrylic) and a runner up (in watercolor/waterbased), Vision Petron was his first and most meaningful prize: Nakakatulong (yung Vision Petron) dahil every time na may nagtatanong sakin kung may napanalunan ako ang lagi kung unang sinasabi ang Artpetron. Makikita mo palang sa mukha ng mga client/collectors/ gallery na nakasama ka sa winners ay matamis na ngiti at tuwa. For Vicente, “ArtPetron ay may puso. Hinde lang sa competition makakatulong din sa pamamagitan ng promotion, na makilala uli ma-rediscover uli ang maganda at ibang nakalimutang kultura ng mga Pilipino.” Previous winners went on to win bigger art awards. Chrisanto Aquino is still a student of Tarlac State University but his unique visual style has won for him the second place in Tanaw, the 2nd BSP Painting Competition last May. Only previous winners of Philippine art competitions could participate and Vision Petron was one of the contests that have been recognized in the Philippine art scene. The latest Cultural Center of the Philippines 13 Artists Awardees last February included Mark Salvatus and Joey Cobcobo, both won back in 2002. Conceptualized by the late Roberto Chabet, as critical connection to the Thirteen Moderns and Victorio Edades, the CCP 13 Artists Awards is held once in three years and is one of the most prestigious Philippine contemporary art accolade because it is given by artists themselves. Its roster of winners is a veritable who’s who list in the Philippine art scene today. National Artist BenCab was among its first awardees in 1970. This year’s Vision judges Danny Dalena, Justin Nuyda, Elmer Borlongan, and Alfred Esquillo Jr. were also previously bestowed the honor at the onset of their careers. Cobcobo mentions: “Vision Petron way back in 2002 was my first major Grand prize award.“Pinabilis nito ang pagsikat ng isang tao” Pinadami nito ang aking mga kaibigan at kakilala sa art community, schools and universities. In my first solo exhibit, entitled Black Saturday they sponsored the catalogs printing, freebies and a lot of moral support. Importante din yung pagtanaw kung saan ka nagsimula at pagpapasalamat sa kanila na tumulong, kung pano ka hinubog at inukit upang maging pulido at importanteng tao sa larangan ng sining. Nagpapasalamat po at saludo po ako sa inyong adhikain makatulong at magpalawak sa kaalamang sining, kultura at pagkilala kung sino at saan kami nagmula na naging palaisipan sa amin at mga istudyante.” “Joining Vision Petron was more of a competition of your limits as student. It’s more of a survey of other artists’ works from different schools. More importantly this is where you meet other artists as peers whom you interacted and collaborated with as you went on with your art practice.” relates Mark Salvatus. In fact it was during the awards night that Salvatus got the best advice of his life through judge Freddie Aquilizan when he said “don’t stick to painting.” 21 Salvatus founded 98B, an alternative and creative venue for artists, writers, photographers and cultural workers. Based in Escolta they hold artist talks, bazaars every two weeks called X Future Markets, and publish art-related materials. When Art is Work and the Client is not a Collector For others in the roster, winning in Vision Petron meant an open door to the corporate world. Photography winner Mishael Pueblas now works in production outfit doing TV commercials. “Vision Petron is unique because it gives winners the feeling of no one is better than the other. Unlike any other competitions when you have to daydream of being on top of everybody. Unique because once you win, you’ve got to be adopted like an orphan -- update you of how you’ve been doing in your field, and even visit where you came from and started,” Pueblas reminisces. “My first cash reward in the competition helped me to purchase my first Digital SLR Camera (Canon EOS 350D),” relates hall of famer James Ona, one of our back-to-back winners in Photography (2007 and 2008). “As an ArtPetron winner, I was accepted in one of the best wedding photography studio companies where I had more opportunities to learn more about the technical side of photography.” “Vision Petron transformed me into a professional photographer. In PUP Manila, I got the chance to work as the university photographer for five years. Now, there are more responsibilities and expectations from my new clients. From covering weddings and birthday events – to documenting corporate events and shooting portraits of some of the biggest names and members of the board of directors of leading companies for annual reports and coffee table books,” Ona proudly compliments in an email to us. 22 Another hall of famer, Paul Quiambao of UST built on his popularity on campus and founded Fotomasino, the biggest university-based photography club boasting 500 members. He was also chosen to be the quadricentennial photographer of his alma mater to document significant activities related to the celebration both here and abroad. Charles Buenconsejo, our first back-toback winner in photography in 2004-2005: “ArtPetron has become a stepping stone for my career in photography. In a way, yes, because art competitions are good training ground for one’s career. However, you should not stop pursuing what you love to do even if you lose in a competition because this loss will still allow you to grow and gain experience.” talent, and provided me to be equal among other schooled painters. It was the push I needed in my career. After winning, I knew I had to constantly be at par and be on my toes for each painting that I come up with.” Cebuanos have a special place in Vision Petron having had 6 winners in the painting competition. Other notable artists from Cebu are Orly Ypon (two time winner), Jose Pempe Ibanez, Darby Alcoseba and Clint Normandia. With photography always taking a back seat to painting, Buenconsejo strives to raise the bar for his medium. He is one of the few contemporary artists who exhibits in art spaces using photos as his take off point in his artworks. Considered one of Cebu’s finest watercolorist, Normandia reminisces: “Vision Petron has helped me a lot in the early stage of my career as an artist. It was where I started to have a name, many galleries and clients have noticed me and commissioned me.” My Canvas, My Photo, My Hometown Across the Miles, Philippines on their Minds Ilonggo winners Arel Zambarrano and Alex Ordoyo continue to practice their art while actively teaching young students to hone their craft and make an artistic difference in their localities. One of our first winners Yveese Belen is now a British Citizen. She fondly recalls: “Yung nerbiyos ko nung nanalo ako sa Vision Petron first time. Sa laki nung competition, biruin mo nanalo ako? Naaalala ko din ung mga mukha nung mga tao na happy while checking all the works that made through. Vision Petron made me who I am today.” Not all winners succumbed to the call of the city. Some chose to stay in their respective hometowns. From there, they created communities and helped made a difference in how art is perceived by their kababayan. “Dito ang gyera namin. Dito kami nakilala at dito naming gustong manatili,” says Zambarrano who last month curated a group show of Ilonngo artists at the Museo ng Iloilo. Cebu-based Florentino Impas is known for genre paintings and is a much-sought-after portraitist of the religious. From cardinals, bishops and church patrons, Impas is a dedicated realist on canvas. He recently did a profile of our newly canonized Filipino saint, Pedro Calungsod for a new cathedral in Cebu City. A self-taught painter, Impas did not let poverty dampen his spirits. Impas is grateful that the Petron art competition has welcomed students enrolled in workshop or museum- based painting students for that year. Homegrown artists like him get to compete with other painters on a common theme: “ArtPetron allowed me to show my Some of Vision Petron’s offsprings left the nest farther than they should have. They are now based abroad but they are still as passionate as the day they got their Abueva trophies. Photography winner Pacifico Jose Jr. works as a Sanitary Engineer in Singapore but still photographs in his spare time: “During my time in 2004 & 2005, I think Vision Petron was very unique on the theme for each year’s competition in such a way that they want to compare the old and the new in our culture and traditions. To show and preserve our culture in different media (film, canvas and paper) through the young generations minds and creativity. Vision Petron has given young bloods to showcase their talent with their masterpieces in a big platform.” Other worlds like academic and virtual Meanwhile some of our winners have trekked in other creative worlds such as the academe or in advertising agencies. CCP 13Artists Awards Ateneo Art Awards 2013 Our Vision Petron journey continues, the road is still long, but the young artists we meet along the way make our trip fun and worthwhile. Impas Sanchez Ypon Cobcobo Jose Aquino Belen Garcia Salvatus Hall of famer Judeo Herrera who together with another winner Mark Miclat teaches art education and fine arts at their alma mater, Tarlac State University. “Malaki ang pagkakaiba ng pagtuturo at pagpipinta pero marami rin silang pagkakatulad. They are similar in the sense that we educate people through art and also through teaching. We also have our social responsibility which is practiced in both fields. They both improve the way we live and how they develop us as a human person. In teaching our return of investment are our students and how they achieve in life, in art we become mirrors of the society, somehow our opinions are heard and our perceptions are understood by the viewing public.” says Mark. Herrera Vision Petron 5 winner CJ de Silva-Ong is now an art director: “Joining Vision Petron had been a constant challenge for me. For five consecutive years, I kept joining but I never won until the 5th time. Through Vision Petron, I was able to push myself and my craft further. I explored my identity as an artist and as an idea person. Also, Vision Petron became an opportunity for me to meet the masters I always looked up to, like BenCab, as well as interact with my contemporaries. In a way, I had a deeper exposure to the Filipino art community. Undeniably, Filipinos in general see art as a luxury, something they really don’t give importance too. Oo nga naman di ba, paano Besana ka mag-a-art kung gutom ka at walang matitirahan. Through art competitions (which technically inspires creation), Filipinos are exposed and encouraged to pursue art.” Her advise to students: “Creation will always be the answer (to any problem, I think). Continue to create beauty that inspires.” Lakbay Namin Credits Black and white portraits by Wig Tysmans (taken from Brushstrokes From the Heart: First Five Years of ArtPetron by Dr. Alice Guillermo), Colored photos courtesy of the artists CCP 13 Artists Awards c/o Francisco Cabuena, Mark Salvatus portrait by Marc Go Jay Bautista is a Project Officer of Studio 5 Designs which serves as the Vision Petron Secretariat 23 FEATURES Of Festivity, Fervor and Freedom Images of Celebration and Triumph in Philippine Art By Lisa Ito On the night of June 25, 1884, a group of around 60 Filipinos gathered at a dinner banquet at the Restaurante Inglés in Madrid, Spain. They were celebrating a small but significant victory: two young painters from Manila recently won gold and silver medals in the prestigious Madrid Exposition. The first person to give the two artists a toast was a young doctor. At a time when Filipinos were seen and treated as inferior subjects of the Spanish empire, he gave an eloquent speech on how their victories have “wreathed their country in rays of glory” and affirmed how genius, “like light and air” transcends nation or race. M 24 ore than a hundred and twenty years have passed since that night. Today, we still remember these two artists, Juan Luna and Félix Resurrección Higaldo, and the young doctor, José Rizal. Luna and Hidalgo’s achievements heralded the triumphs, both local and global, of succeeding generations of Filipino artists. Considered as important developments in Philippine art history, their prize-winning works were history paintings: fictional scenes from Classical narratives that could also be interpreted as allegories of critique against the spoils and excesses of colonial rule. On the other hand, many other Philippine artists of the 20th century have literally portrayed the related themes of celebration through festivity and victory over adversity in their own works. During the period of Spanish colonial rule, Western painting traditions were introduced and was generally commissioned for religious and church use or for secular private consumption: first, to help the colonizers propagate the Catholic faith and, later on, to mark the rise of a newly-emerging native elite. Colonial tradition and the fiesta As painting began to take on a more secular character in the 19th century, artists began to explore and use a wider range of subject matter and styles. The tipos del pais watercolor paintings, for instance, would show the different Philippine inhabitants in their native wear. Later on, genre paintings depicting the daily life of the common folk at work and play in their communities began to be produced. Visual representations of both tagumpay (triumph) and pagdiriwang (celebration) Spolarium by Juan Luna. Oil on Canvas, 1884 (Philippine National Museum Collection) Las Virgenes Cristianas Expuestas al Populacho by Felix Resurreccion Hidalgo. Oil on Canvas, 1884 (Bangko Sentral ng Pilipinas Collection) (Note that this is a smaller version of the one that won silver in the 1884 Madrid Exposition and was destroyed during the war) quickly became part of this colorful and diverse repertoire. Philippine art abundantly features many representations of the fiesta or pista, with its religious processions, pageantry, and social rituals. Many Filipino painters have captured the local color and merry-making that the country’s hundreds of rural fiestas are famed for. The subject itself was intriguing yet common enough to appeal to both conservative or academic schools and the emerging and modernist painters of the American colonial and Post-World War II era. Manila-based National Artist Fernando C. Amorsolo, for instance, has also painted such scenes. An oil on canvas work entitled Antipolo Fiesta (1947) depicts the festivities in the rural town of Antipolo, centered on a couple dancing, surrounded by townsfolk and visitors all watching intently. The scene emphasizes the simple, natural abundance of the locality. Framing the small, circular gathering in the foreground are baskets of fruits, the traditional roasted pig or lechon, and the lush vegetation of the hilly, forested place. A parol lantern hangs from a nearby house while the facade of the town church symbolically hovers in the background. This is antedated by another work of Amorsolo, entitled Moro Celebration, in 1929, which shows a similar dancing scene overlooking a wide, blue bay. On the other hand, Angonobased National Artist Carlos “Botong” Francisco would be known not only for his revival of mural paintings of important Philippine historical events but also his vivid representations of fiestas and the bayanihan spirit. Francisco’s fluid, linear style, vivid 25 Maytime in Antipolo by Fernando Amorsolo. Oil on Canvas, 1943 (Bangko Sentral ng Pilipinas Collection) Fiesta by Carlos V. Francisco. Oil on Canvas, Undated (Private Collection) colors, and penchant of filling up of the entire pictorial space produced many of the most iconic images of the Philippine fiesta. Painting and fluvial festivities A country crisscrossed by rivers and surrounded by rich seas, the Philippine’s many fluvial festivals and riverine pageantry have been also captured through painting. There are indeed many river festivals held across the country, from the Bocaue River festival in Bulacan to the Penafrancia festival in Naga and the Sharif Kabungsuan festival in Cotabato City. That fluvial celebrations have appealed to generations of painters, patrons and the public alike is not surprising. The symbolism of water itself is one that can possibly unite a diverse number of communities from Luzon to Mindanao, as well as differing Angono Fishermen Festival by Jose V. Blanco. Oil on Canvas, 1984 (Blanco Family Museum Collection)) 26 religions. The vitality and purity denoted by water is associated with the divine by both Muslims and Christians, seen in the ritual ablutions, aspersions, and washings practiced by believers from both faiths. Another contemporary of Amorsolo, painter and writer Dominador Castaneda, created the work entitled Fluvial Procession (1956, oil on canvas) which is documented in both the Cultural Center of the Philippines’ Encyclopedia of Philippine Art and A Portfolio of 60 Philippine Masterpieces (1986). The painting depicts a boat filled to the brim with revelers, crossing a river flanked by banderitas and bamboo; houses and a church facade lie on the other side of the river. The regional and folk realism of Francisco and successive generations of artists based in the lakeshore town of Angono, Rizal would also be conveyed in their representations of fluvial festivals. Jose V. Blanco, for instance, would for decades capture the town’s yearly festivals and the San Clemente Parish Church in works such as the Fluvial Procession of Angono (1984, oil on canvas). Perhaps most memorable of these is Blanco’s massive painting of the town fiesta, on display at the family museum. The painting shows fluvial rafts move through an entire sea of locals, numbering almost a hundred. The emphasis here is not on the patron saint nor in the rural landscape, but on the entire congregation of people themselves. Detailed portrayals of Blanco’s town mates show how individuals all comprise a family and community when positioned all together; the mass of portraits continues to astound in their loving, familiar realism. It is the sense of communal connection that also draws one towards such rituals. From social festivity to personal and political milestones The representation of celebrations and their associated places, objects and values continues to be a popular subject in Philippine art. Manuel Baldemor’s representation of the scenic festivities in the Laguna woodcarving town of Paete won the Grand Prize in the 1973 Art Association of the Philippines’ competition for the Painting category. Baldemor would also produce a work featuring the San Isidro Labrador fiesta in the nearby province of Quezon. Other artists such as Tam Austria and Nemiranda would also represent the fiesta celebration and the bayanihan in their colorful works, further making this subject matter a more familiar and popular one to the public. Particular objects most often associated with the celebratory fiesta would still focus on the religious roots of this public ritual. One of Fernando Zobel’s earlier works, Carroza (1953, polymer on wood) is a luminous representation of the festival carriage or float, where the icon is adorned with votive lights. National Artist Hernando Ocampo, on the other hand, represents the fiesta through a stylized composition featuring the parol lantern in a 1957 work. Yet the portrayal of celebrations can also range from the social to the solitary, from the level of the community to the personal, from the imitative to the ironic. Sculptor Julie Lluch’s terracotta portrait, entitled Birthday Psalm (1997), for instance, captures the solitary, domestic festivity of one’s natal day by including two symbols: an apron and a cake, quietly and somberly marking a milestone in the subject’s life. Similarly, an undated oil on masonite work by Juan Arellano, entitled Fiesta, depicts the celebrations from another angle, where the light-filled, gaily scene of celebration is juxtaposed against a dim, bleak foreground. In the darkness, two children turn their backs to the whole scene, seemingly isolated and detached from the scene of the merry-making. One can feel a sense of apprehension and anxiety in this contrast of opposites: fear at what lies ahead for the vulnerable and the Salubong by Sanggawa. Oil on Canvas, 1994 (Image courtesy of Elmer Borlongan) dispossessed who have been left out of the celebration and the spotlight. This unsettling scene in Arellano’s work is a reminder of the persisting realities of withdrawal, hypocrisy and inequity that persist up to the present day—issues and concerns that artists such as the Social Realists of the 1970s and 1980s have portrayed through their works. Here, the fiesta and its celebration is rarely portrayed as a happy encounter, but is also represented as a constructed spectacle. This is seen in the work Salubong (1994, oil on canvas) by the Sanggawa muralists collective: a parody of pageantry ensues as the religious icon of the Virgin Mary is devoutly paraded in front of the swimsuit-clad beauty pageant winner. Both are Madonnas enthroned, elevated and worshipped, pointing to the contradiction and irony between the religious and secular spheres of life. These also reflect critical analysis of the fiesta pageantry as a tool for capturing the hearts and minds of the populace, whether in colonial or post-colonial eras. The history of the Philippines in the past century is an interesting history of change, dissent and celebration. The festivity and memorialization that follows every successful revolt or historic event is also immortalized in photographs, public monumental sculptures, murals, stamp series and other forms of art. The challenge is to know where to head to after the gaiety has died down. The public’s experience with the EDSA I and II, for instance, point out to the need to go beyond festivity after these transient moments of triumph. This is reflected in Pablo Baens Santos’ post-EDSA I painting entitled ‘Congratulations to the Liberal Democrats’ (1986), which portrays the usual trappings of nation—the flag, the hand sign, and the cheering mob—yet also implies an ironic emptiness behind the words ‘panalo tayo’. Looking back at the work in 2013, it seems that this vision of victory is not yet complete, that there is a need to continue with the unfolding fight for freedom and social justice that began with the nascent stirrings of the century past. Lisa Ito teaches art history and theory at the University of the Philippines College of Fine Arts (UP CFA). She co-authored Without Walls: A Tour of Philippine Paintings at the Turn of the Millennium (2010). She holds a degree in Fine Arts (Art History) from the UP CFA and is taking up her master’s degree in art studies. 27 FEATURES of Fueling Journeys Petron Corporation celebrates eight decades of fueling millions of lives. 28 “Put a tiger in your tank!” You might recognize this slogan if you were a motorist in the ‘60s. Back then, Petron went by the name of Esso Philippines and Esso Extra was one of our known gasoline products. Decades before putting “a tiger in your tank,” we have long fueled your journeys on the road. It all started on September 7, 1933 when American oil firms Socony Vacuum Oil Company and Standard Oil Company merged to form Standard Vacuum Oil Company or Stanvac. Offering kerosene (Petroleo Marca Gallo or Cock Kerosene), lubricants (Gargoyle Oil), and automotive fuels, Stanvac vowed to develop the local petroleum industry and make the customer the center of its operations. It leveraged on its predecessors’ combined assets (retail and distribution networks), as well as technical and marketing experiences. Fuel has been our trade since day one. With the consumers’ changing demands, we knew that a refinery would make us flexible and put our company at the forefront of fuels technology. We began construction of what would later be known as the Petron Bataan Refinery (PBR) at the dawn of the ‘60s. From being a multinational, we became a government-controlled company in 1973, a partner of Saudi Aramco during the onset of deregulation in 1994, and now a fully-privatized, Filipino owned and operated company under the aegis of San Miguel Corporation, one of the region’s largest and most diversified conglomerates. Throughout these decades of significant socio-economic changes in Philippine history, Petron has dutifully ensured a reliable supply of petroleum products for the country’s needs, powering industries, promoting economic growth, and uplifting the lives of Filipino’s everywhere. Evolving for the Filipino Petron today is the country’s largest oil refining and marketing company—an industry leader in every major market segment. From a refining capacity of only 25,000 barrels of crude oil in 1961, PBR is now an integrated crude oil refinery and petrochemicals complex with a rated capacity of 180,000 barrels per day. We operate the most extensive distribution and retail networks, and supply nearly 40% of the country’s oil requirements. With over 2,100 Petron service stations, we keep our world-class fuels and innovative services within the reach of every Filipino in the archipelago. Our locally-made products are testaments of Filipino talent and ingenuity. We offer products that promote fuel efficiency and give more value to your money. We ensure that they are environment-friendly as well. Petron takes pride in being a pioneer in the local oil industry. In 1986, we started producing diesel with only 0.5% to 0.7% sulfur content, lower than the government standard of 1%. We launched the country’s first-ever low-lead and unleaded gasoline in 1994, a year after signing the Health Air Pact with the government. We then introduced two of our most beloved fuels today: Petron XCS Gasoline, which minimized engine deposits in 1996, and Petron Diesel Max, which reduced smoke emissions in 1998. Even before the Clean Air Act (CAA) was passed in 1999, our products were already compliant to its specifications. We phased out leaded gasoline nationwide well before the government’s December 2000 deadline. Two years later, we started supplying unleaded gasoline with 35% aromatics and 2% benzene content as required by the CAA, and advanced the production of diesel with 0.05% sulfur content before 2004. Tested and trusted, our branded fuels are integral in the lives of millions. They have become household names synonymous to fuel excellence. Keeping the needs of our customers in mind, we relentlessly formulate new products that are relevant to their unique lifestyles. In 2010, we introduced Petron Turbo Diesel, a high-technology automotive diesel recommended for Common Rail Direct Injection (CRDO) engines; it promotes superior acceleration and performance. We also unleashed Petron Blaze 100, a first-ofits-kind premium gasoline with a 100 octane number to ensure unparalleled engine power. This year, we rolled out Petron Super Xtra Gasoline, which cleans away and prevents harmful engine deposits. A few months later, we made a new industry milestone by evolving Petron Blaze 100 into Petron Blaze 100 Euro 4, the first premium plus gasoline in the country that meets more stringent fuel specifications set by the European Union. Petron Blaze 100 Euro 4, released two-and-a-half years ahead of government mandate, has 29 Lakbay Alalay 2013 significantly low amounts of sulfur (0.005% or 50 parts per million) and benzene (maximum of 1% by volume). Currently, the Philippine standard for automotive gasoline allows up to 0.05% sulfur or 500 parts per million and up to 2% benzene. Petron Blaze 100 Euro 4 is notably environmentfriendlier and cleaner than any gasoline in the market today. 30 Companion on the Road We envision every Petron service station as a motorist’s nirvana. We show how we value every visiting customer by welcoming them to our stations with a smile and offer them services such as cleaning their windshields, checking their tires or engines, and disposing of their trash inside their cars. This is the Petron experience, customer service with a personal touch. Our quality services complement our first class products. We operate repair and maintenance centers to cater to the specific requirements of motorists. Besides selling our lubricants and specialty products here, these centers are outfitted with modern equipment and manned by well-trained technicians. Moreover, our service masters can give basic car maintenance and under-the-hood services. Never one to shy away from innovation, we have engineered a variety of Petron Cards that encourage convenience and ensure customer satisfaction in every swipe. In 2004, we introduced the Petron Fleet Card, the first microchipbased fleet card in the country. The Petron Fleet Card enables our fleet customers to better manage their fuel expenses and make cashless transactions anytime, anywhere. Four years later, we introduced another innovation in card technology—the Petron e-Fuel Card, a prepaid card that can be used to purchase Petron fuel products, services, and other merchandise. Last year, we launched the Petron Value Card (PVC), which rewards member-customers with loyalty points for every purchase of Petron products. These points may eventually be used to purchase Petron fuels. In addition to motoring incentives such as free towing and roadside assistance, PVC gives cardholders discounts from various partner merchants. Tree planting at the Bataan Refinery Geared for the Future Over the years, our commitment to care for the environment has grown, bolstered by our belief that it is essential in our business’ long-term sustainability, and especially our children’s future. Our commitment to nation-building has likewise grown, bringing Petron today at a historical crossroads, a period of unprecedented progression with “game-changing” activities in the pipeline. We embarked on our massive network expansion program at the start of 2009. Since then, we have opened over 2,200 new Petron stations all over the country, and pioneered the micro-filling or bulilit station business particularly in farflung areas. Besides bringing our products and services closer, our expansion program has opened doors for more enterprising Filipinos to partner with a company they can trust, spurring livelihood opportunities and economic activities in their respective areas. Our $2-billion Refinery Expansion Program (RMP-2) will be completed in the first half of 2014. This significant project will increase our production of valuable products such as gasoline, diesel, and petrochemicals, helping ensure the long-term supply security of the country. More importantly, RMP- 2 will enable Petron to locally-produce more technologically-advanced fuels that meet with Euro 4 fuel standard. As we celebrate our 80th anniversary, we mark the first year since we established Petron Malaysia, our first international foray. Petron Malaysia was founded in 2012 after we successfully acquired three Exxon Mobil downstream companies— another first for our company. Petron’s triumphs these past eight decades have shaped Petron into what it is today, the number one oil and marketing company in the Philippines. From our humble beginnings as Stanvac to where we are now, we have made Petron a company that is built to last. We will sustain our success by staying dedicated and passionate about our vision to be the leading provider of total customer solutions in the energy sector and its derivative businesses. Our consumers can expect us to keep expanding our reach to them and evolving our products and services for their enjoyment. Our commitment to nationbuilding, particularly to the Filipino, will never falter. Hereon, looking forward to the decades ahead, we are excited to fuel your lives as you have fueled our journey. 31 People Unedited, Uncensored An Interview with Romy Vitug Interview by Jay Bautista S tarting out as a photographer for The Manila Chronicle in the late 50s, Romy Vitug would eventually venture into film upon much prodding from his artist and photographer friends. With more than 50 feature films to his credit, he is arguably one of the country’s foremost cinematographers. He has won every major award in his field including the first FAMAS Hall of Fame and the Parangal Patnubay sa Kalinangan for Cinematography by the City of Manila. Not only does Vitug belong to a different period, he is of a different time. However at 76, his memory is as sharp as ever. His father Honesto Vitug wanted him to be a lawyer and work in the Foreign Service. But the focus of his lens and clicks on the camera were too unbearable to ignore to the curious Vitug. Always smiling and approachable, like an unedited reel, he was unstoppable in sharing his memories during the interview: how he passed up Himala, how indie movies can be our last best hope for a flagging film industry. Ever optimistic and light-spirited, he would chuckle at his every comment. Similar to his low-key, dramatic lighting style that he was known for, Vitug confesses that he is not comfortable with being in the spotlight as much as he enjoys behind-thescenes. Having been a judge in our photography category since its inception nine years ago in 2004, it was Vitug’s dream for Vision Petron to have a video-making category. Informed of this, Petron didn’t waste time in adding the new video-making category which he chairs. He shares you his thoughts. Q : Can you tell us briefly about your family? Portrait by Wig Tysmans 32 A: My late father is Honesto Vitug (19081993) who was considered the Father of Philippine Photojournalism He photographed 14 presidents starting with General Aguinaldo to late President Corazon Aquino. He was short-listed for the National Artist Award last time. But sad to say, maybe for lack of budget, painters were always preferred. Walang laban ang photography. Bakit ganun? We were five children and I was the fourth. We are from Lubao, Pampanga. My father was the classmate of Diosdado Macapagal. Kababata pa niya. Poster from video48.blogspot.com At the start, my father did not want me to be a photographer. Nag-drop out na ko sa pre-law in MLQU. He was even insistent to say “ituloy mo na pag-aaral mo.” Pero nagustuhan ko na photography. As the son of the chief photographer of The Chronicle of the Lopez family, I was accepted as a stringer. But my father wanted me to take up law, eventually be in foreign service. Q : When did you want to be a photographer? A: Masyadong mababa ang tingin sa photography noon. Gusto ko iangat, however for three years I was not even an apprentice in the Chronicle. I would cry to senior photographer Rosendo Cruz about this. Was it lack of talent or was it delicadeza since my father was the chief photographer? Cruz advised me, “the Chronicle will get you because of you, not because of your father.” Looking back now, I guess my father wanted me to be independent from him. He did not want to influence anyone just to get me in. He even said, “iinumin mo muna ang Ilog Pasig bago ko raw siya maabot.” As a photographer, natuto ako hindi umasa sa tatay ko. Since I know the laboratory guy of the Chronicle, he would give me extra rolls of film. Using my old Nikon rangefinder, I would go to Intramuros and shoot, to practice exposure. Madilim, maliwanag. My father advised me not to use light meter. “Use your eyes!” he said. Pag-uwi ko pa sa bahay, dala exposure meter, kukunan ko pa ang pamangkin katabi ang kandila para mag-practice ng exposure. Tinatandaan ko lahat. Madalas ako maglakad sa reclaimed area where the Cultural Center of the Philippines is now. Kinukunan ko yung pagreclaim -- yung pagsipsip ng lupa. Minsan may nalunod na bata. Takbo ako dun. Di makita ng scuba diver yung bata. Tapos nung nakita, pag angat, parang eksena na pieta. Against the 3 o’clock sun, nakunan ko ng sillouette. Click, click, click. I took series of shots hanggang sa inakyat sa breakwater. Dinala sa Philippine Navy para ma-resuscitate. Pero wala na. Then may pari dumating, binendisyunan. Yung police detective, dala-dala yung tsinelas at damit, pupuntahan yung magulang para ipaalam na namatay. Sumama ako. Gusto ko makita yung reaksyon ng nanay. Nasa likod ako ng detective. Kumatok. Ipinaalam na “nalunod po yung anak nyo.” Pagkakuha ko nang reaksyon ng nanay. Umalis na ko. Dinevelop ko sa Chronicle then na-feature the next day entitled Sea Tragedy front page yung parang Pieta na photo. That’s the time the Chairman of the Lopez group, Oscar Lopez asked me, “would you want to join The Chronicle?” Napatalon ako! Kasi noong araw ginagalang ang mga photojournalist. Nagtagal rin ako mga five years. Then sa Manila Times 2 years. Q : What were the highlights of your being a photographer? A: Actually hindi pa ko photographer for Chronicle when Magsaysay died in 1957. My father took closed up shots of the gripping hands of his family. During the funeral, he advised me to focus on the crowds. Thus when I arrived at the Chronicle and there was still no front page, they asked for my photos. They ended up in the front page the next day. So I felt proud because father and son were front pagers. There’s also a classic photo of Marcos when he ran for president in 1965. It was in Carcar, Cebu when I took his photo with a victory sign on stage with the crowd as his background. The photo eventually became a main image of his campaign poster. He credits that photo to be his good luck charm. I shot him again in ’69 when he ran against Eugenio Lopez. This time it was in Dinalupihan, Bataan. Marcos won again. Since then President Marcos will call me just to photograph him and his family. In fact during the EDSA Revolution, I was in Malacanang and took final photos of the Marcoses in the Philippines which was featured in the Philippine Daily Inquirer. Another milestone is courtesy of National Artist BenCab. I was the first Filipino photographer to formally exhibit in an art gallery in the Philippines. That was in his Indigo Gallery in 1976. I showed about 3040 photos mostly landscape on the Manila Bay’s ongoing reclamation near CCP. In fact BenCab was with me when I took most of the shots. Alfredo Roces who had a column then even reviewed the exhibition. My artistic inclination was further honed when I befriended artists like Mauro Malang Santos, Vicente Manansala and the rest of the Saturday Group. I would take their portraits while they were painting or having a discussion at their favorite restaurant in front of the US Embassy. Q : What made you shift from photography to film? A: My concern was, yes I’m a photographer but what if there is no news? Kung walang bakbakan, barilan, patayan, what will I do? The thought made me shift from film to cinema. In 1974, a UP professor named Virgie Moreno was part-owner of a bar named Los Indios Bravos in Remedios, Mabini. A frequent hang-out of artists and writers including Nick Joaquin, she commented “Romy, you move to movies na, hindi na journalism yan. Pag di mo na gusto aayusin mo. Inaayos mo na. That’s editing.” The truth is, I really love moving pictures. Then I applied in Channel 5, owned by the Roceses, they said I still have to train in handling yun nga lang the video camera is 16 mm, I would start from the bottom rank. I didn’t mind. “In Alamat ni Julian Makabayan, there was a scene where the rice fields were burning and Julian was on a horse and was being chased by the constabulary. As the smoke from the flames was eating up the flames, the farmers who by this time WERE surrounding Julian were like floating on clouds. It was nearing dusk, the shadows were prefect. It was like in a dream. Romy Vitug on his most memorable scene. Photo with Director Celso Ad Castillo (courtesy of Prof. Ernesto Enrique) 33 Vitug’s early photographs For Channel 5, my first assignment was to shoot an apartment na nasusunog sa may Buendia avenue. Isang bumbero lang sinundan ko. Yung eksena, involves mga manok natataranta, then pan ako sa may matanda sa bubong, babalik na naman ako sa bumbero. Hanggang sa namatay yung bumbero. Hanggang sa dumating pamilya niya. Nung pinanood sa Channel 5 pati may ari commented masterpiece daw. Regular na ko the next day. However after one year umalis na ko. Biruin mo nag-aral ka na ng camera may sweldo ka pa? I met Lino sa mga stage plays of PETA. I was publicity photographer on the side and he got me to do stills for Tinimbang Ka Ngunit Kulang in 1974. Kasabay ng Tinimbang Ka Ngunit Kulang yung Pinakamagandang Hayop sa Balat ng Lupa ni Celso Ad Castillo. Sabi ni Direk Lino “Panoorin mo yan, may mata yan.” Pinanood ko, na-impress ako. Then Lino Brocka gave me my biggest break with the movies Tatlo, Dalawa, Isa and Lunes, Martes, Myerkules, Huwebes, Byernes, Sabado, Linggo. Lunes Martes was shot in a bar in Olongapo. The shooting had to wait because it took me forever to study the lighting inside the night club scene. I even kept the Americans as extras waiting, even Director Lino was waiting. Lino even remarked to our publicist Bibsy Carballo: “Romy is obsessed!” Q : What’s the difference between photography and film? 34 A: Wala naman yan pagkakaiba, exposure lang. Alam mo nung nasa movies na ko, hindi ko makuha yung gusto kong lighting sa stage. Iniisip ko lagi may kulang pa ako. Yung parang available lights. Sa stage kasi may available lights. What I like is parang you did not light the place. May ilaw pero hindi halatang may ilaw. Parang natural light. That’s the best. Mahirap kasi yun. Kailangan control mo. Napakahalaga ng lighting. Kung cinematographer ka, alam na alam mo dapat yun. Halimbawa, 7 o’clock sun. Pag sinabi ng director “I want a 7 o’clock sun.” Madaming sources of light nun para 7 o’clock sun. Or what fiesta lighting is (masayang maliwanag) . Or low key, may ilaw pero madilim. Not well-lit. Portion lang. Pag naglalakad madilim, maliwanag sa pupuntahan, pero hindi malakas yung ilaw.. Ganyan din ako nung nag-start sa photojournalism. Hindi na muna ako nagbasa ng mga photography magazine or how-to-manuals kasi hindi ko maintindihan. Halimbawa depth. Later on nung alam ko na gamitin yung camera dun na ko nagkaroon ng problem, gusto ko sharp lahat e. Nagpunta na ko sa library. Nauuna lagi yung paggamit ng cameras, imbes na magbasa. Saka ako nagkainteres on what is depth. Q : Can you tell us the difference between film and digital? A: Yung konting kislap sa digital masakit sa mata, sa film gustong-gusto yun. Yung mga spark, yung makintab. Comparing to analogue, ang digital kaya na rin pang quality. Pero darating ang araw lalampas na rin sa film. Para sa akin pare-pareho na rin yan. Q : What makes a good cinematographer? A: Ilaw, framing, composition. Ang cinematographer kahit gaano kagaling, kung mahina ang visual range ng director, tagilid yung cinematographer. Masarap yung magkakasundo kayo. That’s why I love working with Celso. Paglipad niya, lumilipad ako. On the average magkasama kayo ng three months sa shooting. Kapag six months, magandang-maganda na yan. Q : What do you remember of directors you have worked with? A: Naalala ko kay Lino Brocka mabait siya at magaling siyang umalalay sa baguhan. Pwedeng mag-teacher. Nung first day ko sa kanya, nagulat ako pinababa nya yung maraming mga ilaw. Sanay kasi ako bilang photographer isang ilaw lang. Tumakbo ako sa kanya, “direk bakit ang daming ilaw?” He said “dyan kita kailangan, lahat ng dadaanang eksena ng artista, iilawan mo.” Then I met Celso Ad Castillo when he was doing Burlesk Queen and I was filming Mga Bilanggong Birhen. Ako nanalo for photography, he won for Best Picture. Celso promised me Pagputi nang Uwak, Pag-itim ng Tagak (which was sidelined) when he will resume shooting. Pagputi ng Uwak, Pag-itim ng Tagak starred Vilma Santos, Bembol Roco (his second film after Maynila sa Kuko ng Liwanag) and Christopher de Leon (first time actor winning Best Actor). It also won for me my first Famas trophy for photography. Celso naman napakataas nang visual range niya. Nagsusulat rin kasi siya. Celso and I also did Isla and Paradise Inn. Himala was also offered to me. With all due respect to Ishmael Bernal, I already accepted to shoot Haplos for Butch Perez when they sent me the script for Himala. Si Director Eddie Garcia naman nakasama ko sa P.S. I Love You, first movie ng Viva Films. May mataas na visual range rin si Direk Eddie. Pati sa kanya nanalo ako for Saan Nagtatago ang Pag ibig? Iba siya pag artista, iba siya pag director. Pag take na wala nang kibuan. Ibang tao na. Q : How about Director Laurice Guillen? A: Would you believe I met Direk Laurice in Butuan? Out on an assignment, I scouted the area for some models and found her. I featured her and Susan Calo (Medina) in the Chronicle magazine. She started out as an actress. Lino got her as one the bar girls in Lunes, Martes together with June Keithley and Maya Valdez. A protégé of Lino Brocka, she would eventually get me for Init sa Magdamag, Kasal, Kung Mahawi Man ang Ulap and Salome in 1984 which was an adopted version of Akiro Kurosawa’s Rashomon. Written by Ricky Lee, Salome was so acclaimed it was even shown at the Toronto Film Festival. One of the few directors I really respect. May mata rin on the craft and mataas ang visual range. Kalmado lang sa set yan. Gusto nyan pag natataranta o nagmamadali ako kasi ibig sabihin may magandang eksena akong naiisip. Sasabihin pa nyan, “Romy, nandyan na naman tyanak mo.” Q : As a cinematographer, what do you think are your most important films? Your artistic contribution to the industry? A: First, I am always proud of Alamat ni Julian Makabayan (directed by Celso Ad Castillo). Ginagawa pa lang namin, we were already criticized. Nung matapos we were criticized again. Martial Law kasi. Kinopya daw namin from a foreign movie. Kahit hindi nanalo ng awards, happy ako dun. Nanghihinayang ako bakit hindi nanalo pero di ko makakalimutan. Another is Pagputi nang Uwak, Pag-itim ng Tagak (directed again by Celso Ad Castillo) then Haplos (directed by Butch Perez). Proud din ako sa Atsay. Naalala ko ni-request ako ni Eddie Garcia as cinematographer. Q : What would you still want in the future? A: Gusto ko gumawa ng period film, parang Lincoln. May nagawa ako nung baguhan pa ako nung 70s, tele-movie kay Armida Siguion-Reyna, Dong-aw sa mga Ilocano nun panahon ni Diego at Gabriela Silang. We shot in Paoay it in 16mm. Gusto ko rin gumawa ng Rizal or Aguinaldo. Something I could leave behind as a legacy. Nung araw dream ko to go abroad. Pinadala ako ng United States Information Sevice to observe cinematography abroad pero wala akong nakasalimuha na cinematographers. Later nag-decide ako. Dito na lang ako, a big fish in a small lake than a small fish in a big lake abroad. Gusto kong gawin yung halong aksyon at drama. Dito pag action puro action. Pag drama puro drama. Walang halo. Dito yung konsepto mo ng action yung tumatakbo ang mga bida habang may sumasabog sa likuran nila. Ang layo na natin sa China, yung Crouching Tiger was excellent. Kailangan baguhin at iangat na natin ang pananaw ng mga manonood. Q : How is the current state of Philippine cinema? A: Ang maganda sa indies yung nanalo tayo sa mga festivals abroad. Pero ang question ko bakit ayaw tanggapin sa mainstream? Nanalo tayo sa Europe kung saan-saan, pero sa sinehan bakit hindi tinatangkilik? Tinatanggap yan sa festivals like Cinemalaya pero sa mainstream hindi. Parang sa tingin ba nang tao hindi siya film kaya di sinusoportahan kasi video ginamit? Mahal kasi kung i-transfer sa film. Bihira lang yung nalilipat sa film, an example is yung Ang Pagdadalaga ni Maximo Oliveros (directed by Aureus Solito). Kumita yun kaya na-transfer sa film. Pilipinong-Pilipino yung kwento. Bakit hindi natin kayang gumawa ng tulad ng Slumdog Millionaire e yung location nung opening scene parehas na parehas sa mga squatter sa mga syudad natin? Kaya natin. Dito nag aral yung producer ni Bruce Lee. Dito nag-umpisa bago nagproduce sila. Bakit sila naka-produce ng Bruce Lee, pati Jackie Chan, international? Magandang tanong bakit walang mag-gamble? Q : What’s your take on independent films? A: May matutunan ka rin. The fastest movie I once did was one month but ideally three months or matagal six months. Sa indie, you have to do everything in three days or so. Q : In the current crop of directors, do you see a young fresh talent? A: Nung una niyang pelikula pa lang Bayani, si Raymond Red. Sinabi ko pati sa isang interview, Raymond Red is the future of Philippine cinema. Artist and painter din kasi siya. If one needs to have the artistic skills to produce a decent movie what more a great film. I have to thank and appreciate Virgie Moreno because marami siyang pinadala abroad to train including Raymond. His latest, Kamera Obscura is awesome, parang European. Actually dapat proud tayo na may Pilipinong kayang ganyan. Silent film yun and it is his tribute to our cinema heritage. Marunong lumingon sa nakalipas si Raymond, kaya alam niya pupuntahan niya. Q : It has been nine years since you have been judge in Vision Petron. Your dream to have a video-making category has become a reality. What do you expect from the students? Or what would you want to see? A: Ganoon na ba katagal? It was a very historical period because nagsalubong yung film and digital. Parang dumami ang mga photographers ngayon. Ang daming magagaling! Pero baka tawagin nila akong makaluma pero sana dumaan muna sila sa film. Kasi hindi nila na-experience yung hirap e. Kaya kokonti yung photographer noon before digital, kasi mahirap yung exposure, under exposed or over exposed ka. With digital, bahala ka na point and shoot. Pag nalagay sa auto, ok na. Pag sira, erase. Pag film yan kakalat yan. Natupad din. Meron palang company like Petron Corporation that is willing to sponsor and spend time on this. Lalo na bagsak ang movie industry ngayon. Noong araw 250-500 films a year. Now, sad to say, kapag film festival lang nabubuhay ang industrya. Imagine as a cinematographer, mabubuhay ko ba ang pamilya ko with that? Kung marami tayong na-discover sa photography sana maka-discover ng batang magaling sa bagong video-making category natin. Vitug with fellow judges in 2012 photography judging. 35 VISION PETRON WINNERS Grand Prize Winners Painting- Oil/Acrylic Noel M. Elicana Perspective Western Visayas College of Science and Technology 121.92 cm x 121.92 cm 36 Edu P. Perreras Success Comes From In a CAN not a Can’t Museo ng Angeles 121.92 cm x 91.44 cm c o n g r Bernardo S. Cabugnason Pasalamat Tarlac State University 91.44 cm x 121.92 cm a t s 37 Grand Prize Winners Painting- water-based media Arnold D. Lalongisip Susi ng Tagumpay PUP Lakandayang Cultural Association 50.8 cm x 76.2 cm 38 Don Bryan Michael R. Bunag Walang Hanggang Karangalan Bulacan State University 76.2 cm x 101.6 cm Chrisanto N. Aquino Sa Pagdating ng Isang Anghel Tarlac State University 111.76 cm x 99.06 cm 39 Grand Prize Winners Photography Janica A. Arceta Kalayaan Eulogio “Amang” Rodriguez Institute of Science and Technology Reu Dawner A. Flores Journey to Love and Happiness Adventist University of the Philippines 40 Ezra L. Acayan Gawgaw Far Eastern University - Manila Bryan R. Morit Big Joy of A Little Boy John B. Lacson Foundation Maritime University-Arevalo Ma. Yohana R. Frias Lakbay Kaalaman at Karangalan University of the Philippines - Manila Sheila Mae B. De Vera For the Win Polythechnic University of the Philippines - Sta. Mesa 41 Grand Prize Winners T-SHIRT ART DESIGN Mardale C. Chu Juan’s Ride to Ambition University of Santo Tomas 42 Deo Carlos D. Amarante Katas ng Tagumpay Eulogio “Amang” Rodriguez Institute of Science and Technology Jirah B. Pastrana Lakbay Tungo sa Tagumpay Bulacan State University 43 Grand Prize Winners video-making Efigenio Christopher D. Toledo IV and Balaram Das D. Ochangco Pitik Mulat Sa Maynila University of Santo Tomas 44 Julius Mikko D. Bayani, Mark Jay D. Felipe and Jerome S. Martinez Lakbay Tagumpay St. Louis University Baguio Roman Marcus M. Abad Diwang Meridian International College 45 Runners-Up Painting- Oil/Acrylic Dave B. Cruz May Mataas na Pangarap Eulogio “Amang” Rodriguez Institute of Science and Technology - Manila 121.92 cm x 91.44 cm Marvin E. Quizon Ngayong Araw Ikaw ay Dumating Bulacan State University - Malolos 91.44 cm x 121.92 cm Weriel B. Mallari Una’t Huling Pag-ibig Tarlac State University 91.44 cm x 121.92 cm 46 Arman Jay S. Arago Tagumpay na Pagsilang University of Rizal System, Morong Rizal 91.44 cm x 121.92 cm Runners-Up Painting- water-based media Gieward J. Hulagno Hanggang Papaghiwalayin Tayo ng Kamatayan Western Mindanao State University 57 cm x 76 cm Mark Lester E. Espina Inspirasyon sa Tagumpay Eulogio “Amang” Rodriguez Institute of Science and Technology 91.44 cm x 121.29 cm Mark Kelvin M. Benitez A Carabao’s Bacon Polytechnic University of the Philippines - Manila 76.2 cm x 101.6 cm 47 Jophel B. Ybiosa Ang Inspirasyon Federation of Philippine Photographers Foundation Runners-Up photography 48 Ezra L. Acayan Basaan Far Eastern University - Manila Melcharo J. Tumbiga Champion Ako Ramon Magsaysay Evening Vocational School Anthony Francis A. Villalon Kuntentong Biyaya Asian College Reu Dawner A. Flores Hakbang Adventist University of the Philippines Gilbert John Gomez A Step To Success Bulacan State University 49 Semi-Finalists Painting- Oil/Acrylic Garryln Eve G. Caragdag Kadang-Kadang Techological University of the Philippines - Manila 76.2 cm x 76.2 cm 50 Crisanto G. Sator Connection Tarlac State University 91.44 cm x 121.92 cm Michael B. Pamonag Lakbay Ng Buhay Tungo Sa Tagumpay Western Visayas College of Science and Technology 99 cm x 99 cm Roland F. Llanera Light Of Peace Western Visayas College of Science and Technology 121.92 cm x 121.92 cm Arnold D. Lalongisip Ani Ng Lahi PUP - Lakandayang Cultural Association 91.44 cm x 121.92 cm Fernando E. Antimano The Fruit Of Sacrifice University of the East - Caloocan 121.92 cm x 91.44 cm Ciron Dane L. Señeres Tuloy-Tuloy Na Paglalakbay,Sa Pagkamit Ng Tagumpay Techmological University of the Philippines - Manila 91.44 cm x 121.92 cm Alvin D. Florentino Abot Kamay Eulogio “Amang” Rodriguez Institute of Science and Technology 91.44 cm x 121.92 cm 51 Semi-Finalists Necel Pineda Obra Ni Idol Tarlac State University 91.44 cm x 60.96 cm water-based Media Benito D. Bartolome Joyride University of Saint Louis 50.8 cm x 76.2 cm Edward Paul M. Aquino The Long Wait University of Rizal System - Morong 73.66 cm x 45.72 cm Arman Jay S. Arago Ulan Sa Aking Tagumpay University of Rizal System - Morong 55.88 cm x 73.66 cm 52 John Mark. L. Saycon The Game of Success PUP Lakandayang Cultural Association 76.2 cm x 101.6 cm Noel M. Elicana The Finish Line Western Visayas College of Science and Technology 76.2 cm x 101.6 cm Crisanto G. Sator Halfway To Success Tarlac State University 88.9 cm x 111.76 cm Marco Roldhan M. Bañares Blessing Pintura Art Workshop 121.92 cm x 91.44 cm Alfredo G. Baluyot Pag-Asa Ng Bayan Tarlac State University 109.22 cm x 78.74 cm 53 Arvil Joshua Z. Camacho Ang Pagpapagaspas: Pagkilala ng mundo sa lahi ng Kampeon Saint Louis University Semi-Finalists T-Shirt Art design Ralph Christopher G. Gutierrez Pagsisikap Asian College - Quezon City Arian B. Abolucion Saludo Ako sa Manggagawang Pinoy Western Visayas College of Science and Technology 54 54 John Verlyn C. Santos Tagumpay Ko, Tagumpay Mo, Tagumpay Nating Lahat Bulacan State University Raymark O. Jinon Dakila Western Visayas College of Science and Technology Joshua T. Ternora Level Completed University of Northern Philippines Christian Billy E. Bagtas Bayan Ko Eulogio “Amang” Rodriguez Institute of Science and Technology Sharmaine C. Polinio The Game of Success Technological Institute of the Philippines Don Bryan Michael R. Bunag Voyage of Dreams 55 Bulacan State University Vision Petron Board of Judges Seated: National Artist Napoleon Abueva, Mary Ann Neri, National Artist Abdulmari Imao (Chairman) Standing: Elmer Borlongan, Danilo Dalena, Raul Isidro, Alfred Esquillo Jr. Painting Judges Photography Judges NAPOLEON ABUEVA Considered the “Father of Modern Sculpture,” Mang Billy continues to be active as a proponent and advocate of Filipino Art. Considered the “Father of Modern Sculpture,” he was conferred National Artist for Visual Arts in 1976 at the age of 46, the youngest to be accorded the title. Mang Billy has been with us since our inception and chaired this category in the initial decade. GEORGE TAPAN George is one of the country’s top travel photographers. Last year he came out with the coffeetable book Palawan Islands. He won the in the Places category of the National Geographic 2012 Photo Contest and the PATA Gold Award for Best Travel Photo. ABDULMARI ASIA IMAO Imao is a native of Sulu, is a sculptor, painter, photographer, ceramist, documentary film maker, cultural researcher, writer, and articulator of Philippine Muslim art and culture. He was conferred National Artist for Visual Arts in 2006. This is his third year as judge and first time as chairman. DANILO DALENA Born in Pakil, Laguna Danny started out as an illustrator for the Free Press and Asia Philippines. A fine arts graduate of UST, he was part of the first CCP 13 Artist Awards in 1972 and won the first Mobil Art Awards. This is his third straight year as judge. ELMER BORLONGAN A fine arts graduate of the University of Philippines, Elmer was a member of the progressive art groups Saling Pusa and Sanggawa. A recipient of the prestigious CCP 13 Artists Award in 1994, He had a two-man exhibition in Tokyo with his wife which opened last week. ALFRED ESQUILLO JR. A fine arts graduate of UST, Alfred won almost all major local art contests including the grandprize in the Philip Morris Asean Art Awards. A recipient of the CCP 13 Artists Award in 2000, he was chosen to be part of an exhibition of Southeast Asian artists in Turin, Italy this November. RAUL ISIDRO He has been our judge in the Painting category since 2005 and chair of this year’s T-shirt design category and chaired last year’s Printmaking category. 56 Top: Edwin Tuyay, Ernesto Enrique, Wig Tysmans (Chairman), George Tapan Lower: Denise Weldon, Mary Ann Neri, Sonny Yabao WIG TYSMANS Wig is one of the country’s top portraitists and commercial photographers whose career spans to more than 40 years. An architecture graduate of St. Louis University, among his recent coffeetable books are The Future Begins Here: The DLSU Centennial Book and Malacañang: The Official Illustrated History (Aquino Edition). He has been our chairman since the photography category’s inception in 2004. EDWIN TUYAY Edwin’s photojournalism career began with the Manila Chronicle which permitted him to cover Office of the President, Defense, and Senate beats. Today, Edwin travels all over Asia to shoot presidents, prime ministers, celebrities and taipans. He shoots for Bloomberg and is an advocate of street photography. SONNY YABAO Sonny is a photojournalist whose first images of Asia appeared in Orientations magazine and the broadsheet The Asian (Hong Kong). In 1985 he was named Photojournalist of the Year by the Press Photographers of the Philippines and National Press Club. Among his book projects are The Philippines A Manifold Land, Spirit of the Place, and Memory of Dances. A retrospective of his work is being prepared this year. ERNESTO ENRIQUE He started his professional career in photography as a ‘stringer’ for the Philippine News Agency in the 70s. Currently, he is a senior lecturer at the College of Fine Arts in UP, where he also studied architecture. He also conducts photography workshops for the college as well as for private and government agencies. DENISE WELDON Denise Weldon graduated from the Wheaton College in Boston where she is the first recipient of the Miriam F. Carpenter Prize in photography to be honored for two conservative years. She is a much sought after portraitist. From Left to Right: Justin Nuyda, BG Hernandez, Raul Isidro (Chairman), Ramon Cruz, Jay Aldeguer Standing: Howie Severino, Romy Vitug (Chairman), Raymond Red Seated: Laurice Guillen and Mary Ann Neri T-shirt art Judges VIDEO-mAKING Judges BG HERNANDEZ He is the Creative Director and Vice-President of Studio 5 Designs, Inc., a pioneering graphic design company specializing in corporate communications. He is also a multi-awarded book designer with 30 titles to his name, he designed the new Philippine bank notes for the Bangko Sentral ng Pilipinas, and he is currently a brand consultant for a city. LAURICE GUILLEN A protégé of Lino Brocka, Laurice began her first major work as a director with Init sa Magdamag. Her other films include Salome, Ipagpatawad Mo and Dahil Mahal Kita: The Dolzura Cortez Story. In 2006 she was awarded the Gawad Tanglaw ng Lahi by Ateneo de Manila University for services to the Arts. Director Guillen headed the organizing committee in the past three Cinemalaya Philippine Independent Film Festival. Director Guillen in currently doing a drama series for a major television network. RAUL ISIDRO Raul is a well-respected abstract painter specializing in lithography and printmaking. He has held important positions such as president of the Printmakers Association of the Philippines (PAP), Art Association of the Philippines (AAP) and as dean of Philippine Women’s University College of Fine Arts. He will have a show at the Ayala Museum this December. This is his second year to chair the T-shirt Art Design Category. JAY ALDEGUER He is the President and CEO of the Islands Group based in Cebu. At 27 he youngest to be awarded the Ten Outstanding Young Men (TOYM), Islands Souvenirs has brought him to the Retailer of the Year Hall of Fame. He just launched the Islands Stay Hotels this year. JUSTIN NUYDA Born in Albay, he graduated with a BFA from the University of Santo Tomas, Manila in 1966. He has staged several solo exhibits and participated in numerous group shows in a career that has spanned more than four decades. A Cultural Center of the Philippines Thirteen Artists Awardee in 1972, Tiny just had a solo exhibition last August at the Galerie Joaquin. RAMON M. CRUZ Monching is the Head for the Brand Marketing Group of Petron. He has 25 years of marketing experience, 17 years of which is with San Miguel Corporation. He is one of the prime movers of Vision Petron for more than three years now and hands on with the execution of Petron’s brand image in its corporate collaterals. ROMY VITUG Romy started as a photographer for The Chronicle. As one of the country’s foremost cinematographers with more than 50 feature films to his credit, he has won every major award in his field including the first FAMAS Hall of Fame and the Parangal Patnubay sa Kalinangan for Cinematography. He chairs our first video-making category. RAYMOND RED Raymond is one of the pioneers of modern Filipino independent and alternative cinema. Having a background in Fine Arts and photography, Red immediately gained recognition by winning awards and citations, both locally and at the international film festivals scene, including the prestigious Palme d’Or award at the 2000 Cannes Film Festival for his short film Anino. A retrospective of his films were recently shown at the Guam International Film Festival. HORACIO SEVERINO Since 1988 Howie has been a full-time journalist and leading documentary filmmaker. He is one of our country’s most awarded member of media. In 2009 with his appointment as GMA Network’s Vice President for Multimedia Journalism and his subsequent assignment as Editor-in Chief of GMA News Online. MARY ANN M. NERI Ana is the Assistant Vice President for Marketing of Petron Corporation. Under her guidance Petron’s youth program for arts and culture has progressed to Vision Petron. Ana brings with her more than 20 years of experience in advertising and brand management in J. Walter Thompson and has spent six years in San Miguel performing various Marketing roles. Again, she served as judge in three categories this year. 57
Similar documents
folio - Vision Petron
All rights reserved. No part of this publication may be reproduced in any manner without the written permission of the publisher. Opinions expressed in this publication are the writers’ and are not...
More information•Vision-Petron
Philippine culture published specifically for the youth. Copyright© Petron Corporation. All rights reserved. No part of this publication may be reproduced in any manner without the written permissi...
More information