![]() The number of stars theoretically changed as the number of provinces changed. The 1948 design, with the four golden stars replaced by a ring of golden stars. ![]() The Presidential Arms (minus the circle of stars) against a blue field with four golden stars on each corner. The coat of arms of the Philippines against a blue field with four golden stars on each corner. The presidential arms against a white field. The number of stars correspond to the number of provinces.įlag of the vice president of the Philippines The seal of the president of the Philippines against a blue field. Within the chevron are three six-pointed stars (fixed on each of the vertices), and a sun with eights major rays (set in the center), all in yellow. Recollection 1081: Clear and Present Danger (Visual Dissent on Martial Rule) runs from 14 July to 30 September 2012 at the Bulwagang Juan Luna (Main Gallery) and Pasilyo Guillermo Tolentino, 3f, Cultural Center of the Philippines, CCP Complex, Roxas Blvd., Pasay City.This is a list of flags used in the Philippines.Ī horizontal bicolor of equal bands of blue and red, with a white equilateral chevron spanning the width of the hoist. The later piece depicts the ordinary citizen, also from behind, marching under a profusion of yellow ribbons.Įlsewhere in the CCP: works from Rick Rocamora, an award-winning Filipino American photojournalist at the Pasilyo Vicente Manansala, the 2 nd Floor corridor, and Tony Dezuñiga, the late Filipino comics book illustrator, creator of the Jonah Hex character, at the 4 th floor’s Bulwagang Fernando Amorsolo. The original centers on a soldier shown from behind, marching on to confront both government and political protesters. Their images have been enlarged to a point that they appear so pixelated, you can only distinguish their forms from behind a camera’s lens.īen’s 21 st Century Proclamation is a digital drawing based on an etching from the 1970s that carries a similar composition. ![]() Bogie’s Revolution Evolution Pixelation is a digital print on tarpaulin with portraits of Martial Law’s two key figures: President Marcos in 1972 and his secretary of National Defense, Juan Ponce Enrile, in 2012, now the Senate President. Also great to see: paintings by Charlie Co from the early 1980s, darker and more sinister than his work today, and Ang Kiukok’s series of works on paper, Scream I and II.īoth Tence Ruiz and Bencab also presented new work, the only two artists who did so. I enjoyed viewing Jose Tence Ruiz’s political cartoons from the 1980s, from his own collection, and Benedicto Cabrera aka Bencab’s etchings from the 1970s, from the CCP’s collection. What the exhibit does give us are rarely seen choice works from private collections. There seems to be no demarcation between work done before or after the Aquino assassination, an important catalyst for the protest movement. Did any of them work together, influence the other? The exhibit does not seem to delve very deeply or expound on those questions. You don’t get a sense of those variations in this show, though, nor does the viewer get a context from which the artists practiced. Students of Philippine history know that these different spans of time fostered distinct modes of protest. The pieces range across various periods, from the 1970s, the early Martial Law years, to the mid-1980s, circa the EDSA Revolution that toppled the Marcos government. It barely skims the surface of work that remonstrated against the oppression of that era. The show does not claim to be all encompassing and complete. This is an exhibit of mostly paintings and prints produced in reaction to the curtailment of political freedom under a dictatorship. Not an easy exercise given the broad timeline and the complex issues that marked that period, from 1972 to 1981.įorty years ago this September, President Ferdinand Marcos issued Proclamation 1081, the declaration of Martial Law that marked the beginning of his one-man rule. ![]() How to encapsulate a pivotal decade in our recent history? Recollection 1081: Clear and Present Danger (Visual Dissent on Martial Rule), the exhibit now on view at the Cultural Center of the Philippines, attempts to capture the climate of protest under Martial Law. Jaime de Guzman, "Sabbath of the Witches", oil on canvas, 1970
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