GALERIE ANNA

4th Floor SM Megamall A Mandaluyong City Telephone No: (+632) 470 2511 or (+632) 470 9869 galerie.anna@yahoo.com Gallery Hours: 10 AM - 9PM daily ht tp: / /ga ler ieanna.com

Would Andres Bonifacio have been as brave to lead the 1896 Philippine Revolution if not

for a talisman tied around his neck during the Battle of Pinaglabanan? Artist and University of the

Philippines fine arts professor Marco Ruben Malto II explores the rootedness of the Filipino valor

in native spirituality throughout history in his solo exhibition Bayang Magiting, which was on view

at the Galerie Anna, SM Megamall in November 2013.

Bayang Magiting explores the role of talisman in Philippine revolts

by Abby Mercado

The oval wooden pendant with the sculpted image of Nuestra Señora del Pilar on one

side, and Santiago de Galicia on the other, is said to be the amulet or “anting-anting” used by

Bonifacio during the Katipuneros’ first encounter against Spain, a week after the Cry of Balinta-

wak. Other Filipino revolutionaries have been recorded to have resorted to this practice of wear-

ing anting-anting in times of battles. Macario Sakay, during the war against the American forces,

wore an undershirt with religious symbols crudely drawn on the cloth. Valentin “Tatang” Delos

Santos, along with other members of Lapiang Malaya, charged the defunct Philippine Constabu-

lary in 1967 armed only with bolos and amulets in their quest for reforms during the Marcos re-

gime.

1

Spiritual roots of Filipino valor

The role of anting-anting in the lives and deaths of these brave Filipinos is a manifest of

how the revolutionaries’ faith in the protection provided for by their amulets might have helped fire

up their courage to revolt. Even the Philippine cinema acknowledges the potency of the talisman

as it painstakingly details the transformation of legendary characters due to amulets, as in the

case of Nardong Putik the minute he puts his anting-anting into action.

But more than the overt as well as covert messages of his works, Malto presents the

symbols of anting-antings and proffers them as forms of art. His meticulous selection of texts and

imageries, as found detailed in various amulets, showcases the artist’s deliberate intent to bring

forth not only the meanings but also the intricate aesthetics of anting-antings. In Bayang Magiting,

the exhibited works consisting of 45 paintings, drawings and a sculpture borrowed folk forms and

other representations of the Filipino belief system from the precolonial until the present time for its

motif. By doing so, Malto is able to appropriate images across history to paint how Filipinos sum-

mon their gods-- whether by relying on precolonial forms of talisman or on more traditional repre-

sentations of the Catholic faith-- for protection in conquering battles not only for personal gains,

but more importantly for national integrity toward Filipino nationhood. Each painting (in acrylic),

drawing (in gouache) and even the lone sculpture (cast in sawdust, wood) narrates a full story,

with themes that can either be traced back to the Philippines’ past, or be related to the more cur-

rent events in the country.

2

3

In his painting Andres de Saya, Malto portrays the reliance of Bonifacio’s bravery on his

faith in the Virgin Mary, or at least that would be one impression considering Bonifacio’s amulet--

the Nuestra Señora del Pilar. But according to Malto, the bastidor can also be that of Mary Mag-

dalene to symbolize the MAGDALO faction of Emilio Aguinaldo in the Katipunan, which

“positioned” the Supremo to submit to their terms.

Ako si Superman tells the story of tribal warriors, who, armed only with tattoos on their

bodies (worn as badge of valor from past battles), felt in possession of the power of a superhero

in the fight for their ancestral lands.

The Oraculo drawing series are compositions of chants (combination of corrupted Latin

and Filipino among other languages passed on and constantly, albeit unintentionally, changed in

the process) interplaying with symbolic elements found in amulets, and adorned with visions of

one’s (the artist’s?) aspirations as if said in a prayer.

Beyond Bonifacio

Bayang Magiting is one of the countless exhibits to commemorate the 150th birth anniver-

sary of the Supremo. To showcase the unparalleled bravery of Bonifacio, if not to address the

seemingly overlooked significance of possibly the first Philippine President in the attainment of

national sovereignty, major exhibitions of similar theme had been on display in galleries and mu-

seums around the metro, even all over the Philippines, throughout 2013. Yet while many of the

commemorative shows seemed to have dwelled on narratives and images about the Katipunan,

the life of Andres Bonifacio, or his bravery, Bayang Magiting goes beyond Bonifacio to tell the

stories of other courageous Filipinos who fought, and continues to fight, for the Philippines.

4

With borrowed figures from Damian Domingo’s tipos del pais set amid a prisoner behind bar and

layered with the Alpha-Omega and Animasola symbols (pertaining to the Infinite God and His all-

seeing eye), Malto gives tribute to the noble Filipinos who ended up in prisons during the revolts

or wars, while the title Desaparecido recalls to mind the undying search for countless political

prisoners still missing today. The mother in a long black veil, deep purple dress with a white hand-

kerchief and a child in tow shows the sorrow of those who have been longing to find their loved

ones, but also reminds of the Virgin Mary in search of her son Jesus in the Passion.

The towering figure of Angono’s Higante over a toiling farmer (a borrowed image from a

16th century Murillo Velarde map) is a reminiscent of many power disputes over land between the

hacienderos and the tillers in the past as in the present time. But with the Chinese-faced higante

in place of the usual Spanish mestizo-looking figure in this painting, one is asked to consider an-

other analogy—that of the Chinese government’s claims over certain Philippine territories.

Carnival of colors

Painted in pastel and bright tones, the artist’s attempt to showcase the sorry state of var-

ied political and social issues through iconography is easily revealed if one is not deceived by the

festive aura that emanate from the vibrant illustrative works.

Lauriat, for instance, should elicit a mouth-watering reaction to many Filipinos’ favorite

Chinese dishes. But Malto’s concoction of two tattooed men (Pintados of the Visayas) with

Maitum for heads in a brave, defiant act of breaking a Chinese terra cotta soldier into two with a

bloodied saw figures a strong sentiment about China. Malto, nonetheless gives justice to its title

through the white line drawing in the background-- a Chinese character bearing a covered platter

of lauriat. This may well be an attempt to sugar coat his message, or perhaps a caveat that not

everything Chinese is bad.

Most, if not all, of Malto’s featured works in Bayang Magiting are ironies of sort: under-

neath their bright colors and fine rendition lies the sad truth about a multitude of past as well as

pressing issues still stunting the nation’s progress. They are brave but not brazen, subtle and yet

strong in their attempt to get the artist’s message across his public.

5

An artist-collector’s take on history

A philatelist and a Filipiniana collector, Malto has to know his history. The importance or

value of the items requires him not only to refer to the historical basis of each but also to discern

the continuing relevance of his collection. Malto’s interest in the role of anting-anting in Philippine

history and the country’s celebration of Bonifacio’s 150th birth year have given the artist the op-

portune time to explore and put across his own sentiments about current issues through his can-

vas. As “history repeats itself”, knowing history can prevent one from committing the same mis-

take over and over again. With today’s netizens resorting to throwback Thursdays or flashback

Fridays to bring back special memories by posting pictures of personal pasts, Malto chooses to

use Bayang Magiting to remember and remind us how the Filipino valor as shown throughout the

Philippine history remains steadfast and significant in today’s territorial turmoil.

6

Mutya (8” x 11”, cast saw dust, pearl, wood, acrylic, 2013)

9

Oraculo para sa Kristong lasenggo (2012) Nang Wala Pang Mundo: Gumamela Celis (2013) Oraculo para sa kay Pedrong salubsob (2012) Oraculo para sa sa Maryang desgrasyada (2012) Nang Wala Pang Mundo: Ecce Homo (2013) Putol (2013) (8.25” x 11.5”, gouache and ink on paper)

Pangitain ni Valentin (31” x 23.5”, acrylic on canvas, 2013)

10

Vertud (31” x 23.5”, acrylic on canvas, 2013)

Omni Potente I-V (8.25” x 11.5”, gouache on paper, 2013)

Ang Ikalawa (31” x 23.5”, acrylic on canvas, 2013)

Mea Culpa (31” x 23.5”, acrylic on canvas, 2013) Desaparecido (31” x 23.5”, acrylic on canvas, 2013)

12

Dragon Rojo sa Bajo de Masinloc (41” x 30.5”, acrylic on canvas, 2013) Binalot (41” x 30.5”, acrylic on canvas, 2013) Higante (41” x 30.5”, acrylic on canvas, 2013)

13

Ako si Superman (31” x 23.5”, acrylic on canvas, 2013)

Venom Deus (31” x 23.5”, acrylic on canvas, 2013)

14

Ready, Aim, Fire! (45” x 30.5”, acrylic on canvas, 2013)

Bilateral Talks-I-II (8.25” x 11.5”, gouache and ink on paper, 2013)

15

Prusisyon sa Galicia (38” x 46”, acrylic on canvas, 2013) Ammah (43” x 38.5”, acrylic on canvas, 2013)

16

Abiste Abite Abitem I-III (8.25” x 11”, gouache and ink on paper, 2013)

Pangatauhan (45” x 30.5”, acrylic on canvas, 2013)

17

Andres de Saya (30.5” x 45”, acrylic on canvas, 2013) La Sagrada (2013)

Tatsulok (2013) Nang Wala Pang Mundo: Infinito Dios (2013)

Nazareno (2013) Pasyon (2013)

(8.25” x 11.5”, gouache and ink on paper)

18

Sa Pusod ng Angono (31” x 23.5”, acrylic on canvas, 2013) Ang Pagdaan ng Salaksak (31” x 23.5”, acrylic on canvas, 2013)

Kahit Deus Pa, a ni Esteban (27” x 24”, acrylic on canvas, 2013)

Oraculo para sa Bajo de Bejo (8.25” x 11.5”, gouache and ink on paper, 2012)

Layas (18” x 24”, acrylic on canvas, 2013)

Lauriat (25.75” x 22.5”, acrylic on canvas, 2013)

Du

elo

(2

0”

x 5

7”,

acr

ylic

on

can

vas,

20

13

)

20

Espiritista (45.5” x 30.5”, acrylic on canvas, 2013)

Advancer shoot, GMA NewsTV crew with reporter Micaela Papa

22

State of the Nation Address with Jessica Soho, GMA NewsTV, aired 29 Oct 2013 http://www.gmanetwork.com/news/video/182016/stateofthenation/seryeng-

katipunan-naglalahad-ng-pakikipaglaban-ng-mga-katipunero

OPENING RECEPTION with Art Historian Santiago A. Pilar, and National Historical Commission of the Philippines Chair Maria Serena Diokno;

SangHabi performance 05 November 2013, 6PM

Invitation card and Guest book

5-19 November 2013

GALERIE ANNA 4th Floor, SM Megamall A, Mandaluyong City

M A R C O R U B E N T R I N O S M A L T O I I B A Y A N G M A G I T I N G 2 0 1 3