Junyee’s instructions as viewers walk through his piece was for the white cloth hanging on the ropes to be cut and thrown up in the air, then pierced with sticks and seed as these fall onto earth.
ALL photos this post by Eric Guazon
Junyee giving instructions
Visitors cutting the white cloth hanging from the network of ropes that define the sprawl of the site
Looking for cloths to pin to ground
Getting to the top
Photograph Eric Guazon 2013
Photograph Eric Guazon 2013
Join us for a walk through the garden with artists Junyee, Reg Yuson and Leeroy New. 
Artefact X: A Narrative of Mystification and Demystification
Cian Dayrit 2011, concrete
Photograph Eric Guazon 2013
Gigantic bird feet atop circular platforms can be seen on the hilly front lawn of the Vargas Museum. Roundish scales are incised on concrete surface, their jagged layers highlighting concrete’s bulk. This treatment of material shifts attention to talons overhanging pedestals. Students fondly call the piece ‘adidas’ referring to chicken feet, one of numerous leftovers from chicken meat sold as street-fare alongside innards and chicken blood interestingly called ‘betamax’.
Photograph Eric Guazon 2013
Artist Cian Dayrit installed the piece in 2011 for his bachelor’s thesis at the UP Fine Arts. Dayrit proposes the bird feet as artefact, a ‘remain’, a ‘find’ or archaeological dig. Enlarged to gargantuan scale, the feet appear alternately hilarious and threatening. The play with scale, the placement of unexpected object in outdoor space, its rough surface, and choice of subject make way for reactions seemingly at odds with each other. Fabrication of form becomes interrogation of transposition, of how contexts and locations make way for the generation of new meanings, dissociated from common perception. Artefact X’s scale and elevation and the changes to concrete from the elements, make it a curious landmark in the university oval. (Tessa Maria Guazon)
Photograph Louise Anne Marcelino 2013
Leeroy New and assistants prepare scaffolds for building the tree house. The inhabitable house will be astride the tree that marks the center of Junyee’s piece. Altogether, the artists’ projects plot the expanse of land as in Junyee’s piece, maps its breadth in Reg Yuson’s reflected image of the environment, and marks a point against skies as we will see when Leeroy New’s tree house is completed. (TMG)
Photograph Louise Anne Marcelino 2013
UP Diliman Chancellor Caesar Saloma welcomes audiences
UP President Alfredo Pascual says how public art lends distinction to universities citing works at UP Tacloban and universities abroad
College of Arts and Letters Dean Elena Mirano mentions the many interesting exhibition projects organized by the Department of Art Studies faculty for Arts Month
Artist Reg Yuson, Chancellor Caesar Saloma and Tessa Maria Guazon discuss the many possibilities of the mirror project in the garden
UP Diliman Campus Architect Gerard Rey Lico
Tessa Maria Guazon project curator speaks of PLOT’s beginnings, and the exhibition project as research platform
OICA Director Architect Danilo Silvestre speaks of interaction facilitated by site-specific, ephemeral art projects
Dr. Cecile De la Paz Department of Art Studies chair speaks of department extension initiatives and how they strongly bring together the production, the study and theorizing, engagement with and of Philippine art and its communities
Bullet Dumas lends verve to our program
Guests, artists and project team at program’s close
UP Officials at the program
Dean Elena Mirano, Tessa Maria Guazon, Jeff Giron and Reg Yuson
Photograph Eric Guazon 2013
Junyee installs a network of ropes across Renato Rocha’s piece and several tree trunks. Flagged with white cloth and cans they are meant to ward off birds as in real farms. The installation recalls the idyll latent in the garden, the turns of day signaled by the tilt of the sun, the length of shadows and the growth of grass all over. (TMG)
Photograph Eric Guazon 2013
Photograph Eric Guazon 2013
Reg Yuson’s mirrors enveloped the red structure in the garden. The surfaces reflected surrounding trees and terrain and visitors to the garden grounds, unlikely before with only the red building seen from afar. The artist plays with vision, enjoining us to survey ourselves and what surrounds us, underlying our fascination with reflections and how best we locate ourselves within them. (TMG)
Photograph Eric Guazon 2013
Reconstruction Word Things, Junyee
Photograph Eric Guazon 2013
Reconstructed for an ongoing Metropolitan Museum exhibition Philippine Contemporary: To Scale the Past and the Possible
Photograph Eric Guazon 2013
In a corner lot inside the university campus at Los Banos are three of artist Junyee’s works – concrete hewn to ground and two figurative pieces on pedestals. I found the orange worms playful, functional, and reminiscent of how comforting it is to be close to ground. The two other pieces shift attention to trees and the expansive grounds. Considered altogether, the artist plays with volume and mass, shifts between horizontality and verticality, between solidity and porosity. (TMG)
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