Team

TEAM KULAY DIWA

Meet Our Team

Roberto San Agustin Nolasco

Founder/Managing Director

A TRIBUTE TO TWO GREAT CURATORS OF PHILIPPINE CONTEMPORARY ART

BOBI

CHABET

Kulay diwa Bobi Valenzuela

Bobi Valenzuela

Contemporary Philippine Art owes a lot to the efforts of this one man, the pioneer independent curator of Hiraya Gallery, Boston Gallery, and Kulay Diwa Art Gallery. Bobi shaped the minds and hearts of up-and-coming artists with his discourses every Thursday at the Hiraya Gallery Mezzanine. It was unlimited coffee and the occasional cigarettes that powered the round table (literally round yung table) discussions. Young artists were encouraged to meet senior artists. I met Onib Olmedo, Jaime de Guzman and the Social Realists Renato R. Habulan and Biboy Delotavo in the 1990s thru Bobi. It was Bobi’s Young Artist Discovery Series in 1996 that jumpstarted my career, along with my batch mates Geraldine Javier, Wire Tuazon, Paul Eric Roca, Yasmin Sison, Mariano Ching, and Jonathan Ching, and Mike Michael Alvin R Adrao. Later we would curate a Young Artist Series at the Ayala Museum with Nona Garcia, Don Salubayba, Lyra Garcellano, and many others who later became prominent names in contemporary art. He believed in the possibilities of The Young Artist during the time when NO ONE paid much attention to us.
Ironically Bobi discouraged me to be an artist. Instead, he tried to persuade me to be the “writer and Critic and curator” of my batch. He would mentor me to continue his work, to be his assistant. And he brought me everywhere: to Bacolod, to Davao, to Dumaguete, to Ilocos and introduced me to the artists in the Regions, whom he had so much faith in. He disliked the hegemony of Manila-based art for its tendencies to pander to the prevailing taste of the Market. He believed that the soul of the Filipino artist lay in the honesty, however buki, of artists from the Visayas and Mindanao. He trained me to be critical and we often had sessions where he would show me the work of an artist and we would savagely criticize it to death. I owe my irreverent taray to this man.
Bobi had favorites and one of them is Charlie Ann Co. He believed in Charlie’s resilience when people then were reluctant to buy works. He singlehandedly found buyers for Santi Bose (di ba Kim Atienza?), Elmer Borlongan, and Mark Justiniani at a time when the prevailing taste was for abstract art.
Bobi shaped my mind by lending me books and gifting me some. We were both enthralled by Nikos Kazantzakis especially Zorba the Greek. We would discuss Kant, Heidegger, Nietzsche, and Bertrand Russell like they were just kapitbahay Niya. And we would talk of Rizal a lot. His grandfather Dr. Pio Valenzuela almost persuaded Rizal to escape the death sentence by fleeing abroad. Doc Pio went to Dapitan to ask Rizal if the Revolution of Bonifacio could have his blessing but the latter refused. It wasn’t time, Rizal said.
Bobi suffered strokes later in his life and one of his last attacks left him bedridden and then caused him his life. I went to see Bobi in 2007 and showed him my daughter and he beamed at the sight of baby Catherine because haha we really looked alike when she was younger. It is quite ironic that I’d suffer the same illness last year, but unlike Bobi, I was able to recover.
I talk to Bobi time and again. I consult him on matters that affect the art community he loved so much. Sometimes I could sense his reply. There would be signs. Or I’d meet someone that has a message in reply to my query. In his honor, I created a series of Little Prince sculptures in 2009. He was the one who gave me the book. And it has always been my companion in lessons of life.
Article by; Riel Jaramillo Hilario
Artwork by: Reil Jaramillo Hilario, The Mentor: Bobi Valenzuela. Graphite on paper. 2021.
Kulay Diwa Chabet

Roberto Chabet

Chabet studied architecture at the University of Santo Tomas where he graduated in 1961. He had his first solo exhibition at the Luz Gallery in the same year. He was the founding museum director of the Cultural Center of the Philippines and served there as a curator from 1967–1970. He initiated the first 13 Artists Awards, giving recognition to young artists whose works ‘show a recentness, a turning away from the past and familiar modes of art-making.

He led the 1970s conceptual art group called Shop 6 and taught for over 30 years at the UP College of Fine Arts, where he espoused an art practice that gave precedence to the idea over form. Since the 1970s, he has been organizing landmark exhibitions featuring works by young artists. During the inaugural years of Kulay Diwa, Chabet initiated several shows that would be pivotal to the careers of several artists

Chabet described his pieces as “creatures of memory” and himself as their “custodian.” His works are the result of a process of unraveling fixed notions about art and meaning. Highly allegorical, his drawings, collages, sculptures, and installations question modernity. His works are meditations on space, the transitory nature of commonplace objects, and the collisions that occur with their displacement.

Prolific and multifaceted, Chabet ventured into architecture, painting, printmaking, sculpture, stage designing, teaching, photography, and writing..

In 2011, Roberto Chabet, widely acknowledged as the father of Philippine conceptual art and arguably the most influential contemporary Filipino artist, curator, and teacher will celebrate fifty years of pioneering conceptual work and role in shaping contemporary Philippine art. To mark the occasion, Chabet: 50 Years, a year-long series of exhibitions, talks, and publications will be launched at various venues in Manila, Singapore, and Hong Kong throughout 2011 – 2012.

Envisioned as a series of exhibitions that will unfold at different places and times,

Chabet: 50 Years maps out the manifold aspects of Chabet’s work. The first and long-overdue survey of the artist’s work and career, it is a historic presentation that will bring together for the first time selected key works by the artist, from his early works on paper to his more recent signature installations using plywood, neon, metal sheets, and various found objects. It will provide a thorough overview of Chabet’s work and examine his undeniable influence on several generations of Filipino artists. To be shown alongside Chabet are works by other noted figures in Philippine modernism in the 1960s and 70s, and over 75 contemporary Filipino artists, who all studied under Chabet, and together represent a dynamic movement in Philippine conceptual art.

Roberto Chabet was born in 1937 in Manila, Philippines, and held his first solo exhibition at the Luz Gallery in 1961. A graduate of Architecture from the University of Sto. Tomas, Chabet is highly regarded for his experimental works, ranging from paintings, drawings, collages, sculptures, and installations made out of mostly ordinary and found material. Breaking away from the rigid formalisms of Modernism, Chabet insists on a more inclusive approach to art, a search for the sublime not just in abstract ideas but also in the immediacy of the quotidian and the commonplace. In his works, abstraction and the everyday collide, creating spaces for new meanings.

Chabet was the founding Museum Director of The Cultural Center of the Philippines (CCP) where he initiated the Thirteen Artist Award in 1970, an award that supports young artists whose works show “recentness and a turning away from the past”. It remains the most prestigious recognition to be given by a national institution to young Filipino visual artists. After his brief tenure at the CCP, Chabet led the seminal alternative artist group Shop 6 and taught for over thirty years at the University of the Philippines College of Fine Arts and at key artist-run spaces in Manila. Since the 70s, Chabet has been curating landmark exhibitions of vanguard works by young and emerging Filipino artists. He is the recipient of the JD Rockefeller III Fund Grant (1967- 1968), the Republic Cultural Heritage Award (1972), the Araw ng Maynila Award for the Visual Arts (1972), and the CCP Centennial Award of Honors for the Arts (1998).

In 2009, the Asia Art Archive in Hong Kong and the Lopez Memorial Museum in the Philippines co-launched The Chabet Archive, a milestone research, and digitization project covering fifty years of the artist’s work, that provides the inspiration for this momentous anniversary celebration.

Source: Wikipedia
Photo by MM Yu

Art is meant to disturb, science reassures

…Georges Braque

The world always seems brighter when you’ve just made something that wasn’t there before. …Neil Gaiman

Art is the only serious thing in the world. And the artist is the only person who is never serious.       …Oscar Wilde

Kulay Diwa Logo

Subscribe To Our Newsletter

Join our mailing list to be the first to receive the latest news, exhibitions and updates from our team.

You have Successfully Subscribed!

Pin It on Pinterest

Share This