Reactions to Disconnection Notice
September 9, 2010 1 Comment
Disconnection Notice, an art exhibit at LARK gallery in New Manila, opened on the 7th, and it’s there that I continued my birthday celebrating post-launch with the Lacuestas, Sarge and Mookie, and other guests at the exhibit. Disconnection Notice takes the works Sarge and Mookie, Luis Katigbak, Carlomar Daoana, Larry Ypil, and, uh, me, and then interprets them into installation art. I am often a dolt about visual arts in general, and installation art probably even more so. So my first time around the gallery I just took the whole thing in. According to Mookie, she and her sister Andrea, who created the artworks on display, read over the literary works, then they talked about how these could be expressed on a conceptual level, and then Andrea executed these concepts.
I can’t really speak for the other artworks and how they were interpreted (though I did quite like them, particularly affecting for me was the one based on Luis Katigbak’s work, which featured two clocks whose times were both drastically different, but then again it just might be me and my experiences with long distance relationships) but I would like to write about and express my thoughts on the interpretation of my work.
I told myself that after I released the Kobayashi Maru of Love I would stop writing about my last relationship, but Disconnection Notice is a spill over from that, and I feel that some mention of it really works to bring out how I appreciated the work.
The theme of Disconnection Notice is, well, lovers’ disconnections and I had sent Mookie “7 Days: A Romance in NonFic Shorts” as my entry. She excerpted about half of one of the pieces in the work, content from “Tuesday.”
Sarge and I stood in front of the work. I was cracking wise about how bad I am at understanding installation art and making bad readings of the different works on display (I sound like an idiot talking about art, so I might as well be funny about it). The installation (picture above) had a window on which the whole text was scrawled. That’s all I noticed about it the first time I saw it. But when I was parked in front of it, then things started clicking in my head.
It was a dirty window because it was still being put up. Around the window were scattered tiles and other stuff for house building. And the text was written on the window. It was like I had been hit by a lightning bolt.
This effect may be most powerful because of how personal it was. I had not discussed how the word would be adapted. I had come there hoping to be surprised. But this surprise just bowled me over.
In the talk that my ex and I had when she was breaking up with me, I had told her that I imagined our relationship to be a house that I was building. I was putting up the walls and I didn’t know that she was getting ready to leave, that she wasn’t willing to see through this thing that we’d started together.
So when I saw how the work was interpreted, with that deeply personal moment suddenly expressed in this way, I really did feel my heart drop. I don’t know if, when other people go to the exhibit and they see what’s on display, they will connect so well with mine or any of the other works. Perhaps as Alain de Botton said, we do need certain pains in our life to fully appreciate art.
I’m always excited by what comes out of collaborations (or really artists doing what they will with my art). It’s resulted in a great series of mixed media pieces by Jeno Ortaliz, and the art for KM of Love (by Adam David) and Geek Tragedies (by Josel Nicolas and Adam David) and now this. I responded to the adaptation in a way so powerful that it surprised me. And I think that’s the best that we can ask for when our work is adapted, that in that new form it takes the same spirit and feeling but expresses it in a new way.
I like to think that this was striking, and it was a good thing. It is my work after all, but after its interpretation, it was a totally new and different piece of art. And I’m just happy that my work was given the time and attention to be rendered in such a way.