Two countries on canvas at the KCC Contemporary Art Exchange Exhibit

Part of "Beyond Hallyuwave," a series on Filipinos' fascination with Korean culture beyond KPop and Koreanovelas.

My professor in Fine Arts once said, “An artwork is a reflection of the artist’s soul.” A piece can convey more than a thousand words, and before the first stroke touches the canvas, a lot of thought has been put to it. I haven’t held my brush in a long time, and seeing an exhibit—like the Philippine-Korean Contemporary Art Exchange Exhibition—brings me nostalgia of my colorful days in art school.

The exhibit was launched last Friday, May 30, at the Korean Cultural Center. Five artists from the two countries joined to showcase their works in celebration of the 65th anniversary of the bilateral relationship between South Korea and the Philippines

Different on the surface, same in the core

During the Artists' Talk, representatives sat behind a long table, the FIlipinos united in casual wear while among the Koreans one dressed formally, while another wore a T-shirt and jeans with a yellow ribbon (symbolizing unity and hope for the victims of the MS Sewol ferry accident) pinned on his chest.

The session began with filmographer Manny Montelibano describing his inspiration for his two pieces, “Pamunit” ("fishing" in Hiligaynon) and “Panilag” ("to observe"), which in single channel video and sound splice together scenes that show that mundane day to day life can be so much more than just killing time.



Meanwhile, everyday objects such as leaves, threads, and cloth are the medium of interest for another Filipino artist, Geraldine Javier. While some artworks can be too self-indulgent or grand, objects like these can be used to make a simpler masterpiece. “Filipino artists can be limited by what materials they can afford,” she said. Javier’s installation art, “Bliss,” uses a mix of organic materials blended with daily objects to create an intricate large piece that almost takes up a quarter of the exhibit hall.



For Leslie De Chavez, a slight shift in local politics can greatly impact the daily lives of Filipinos. His oil painting, “Front Acts,” shows a dark representation of how politics, religion, and consumerism have shaped our daily lives into a quagmire of despair.

With the Filipino artists reflecting society as a consequence of poverty and politics, the two Korean artists, Joo Dae-Hee and Kim Min-Kyung, choose to depict Korean society through individuals whose choices show the downside of progress.



Joo’s “Please” (a series of four giant paintings of infants in coffin-shaped frames) and “The crying, cover with a smile” (portraits of children) are grim reminders of how Korean families are shaping their children’s future to be constrained and imprisoned by the expectations of society.



Kim Min-Kyung’s “Camouflage Selves” series focuses on Korea’s obsession with physical appearance, with some Koreans changing themselves completely to conform to a perceived ideal appearance, disregarding what they can offer beyond looks.

Camaraderie over a bowl of bibimbap

If there’s one thing that Filipinos and Koreans have in common, it's their love of having a good time over good food and good entertainment. The KCC hall was filled with Filipinos, Koreans, and guests of other nationalities, resembling in a way the colorful bowls of bibimbap which were served during the ceremonies.

While the guests ate, they were entertained by a rendition of Korean opera and a performance featuring the loud bang of the traditional Korean drums, samulnori, followed by the calming sounds of our traditional percussion, the kulintang.

After the meal, distinguished guests took the stage to give their message to the creatives in the room.

In one of my classes in art school, the professor presented to us the challenges that face aspiring artists. Art, even though it is the reflection of one’s soul, is often sacrificed in order to put something on the table. The common inside joke in art school is that when you start to paint, you go hungry.

But it is not all hopelessness and gloom for Filipino artists. De Chavez points out that local artists can get support as much as Korean artists, through collectors and different local groups. However, “The difference between Korean and Filipino support is that the Koreans are more organized with their [programs],” he said.

At the end of the day, each piece depicts more than the artists’ soul and expression, but rather the soul of the two societies. The two countries are very different economically, but the artworks show how our similarities intertwine: the genuine concern and care for our countries and their future. — BM, GMA News

The 2014 Philippine-Korean Contemporary Art Exchange Exhibition is on exhibit at the Korean Cultural Center at Bonifacio Global City until July 26.

South Korea offers various and artists residency programs, available at the Seoul Artspace Geumcheon website.