In the realm of contemporary art on a global scale, Manila is uniquely situated between and within cultures, where histories and traditions collide and conspire with each other. Some of the most exciting artists in the world are working here today, drawing on an artistic tradition that is remarkably rooted in multiple pasts, and remarkable because it appears radically new. The issues brought up at Asiatopia when it was hosted here a few years ago are still very pertinent to what artists are confronting in their daily practice.
The specter of European avant gardes still haunts a lot of the contemporary artspeak, and for young artists working in an Asian context, it can be at times liberating to fold into the work another set of histories. It can also be frustrating, when the works have to be defended on grounds that are not yet open to all the players. Perhaps this is why artists who work in spite of this are making such interesting new work, and the voices are profound and more complex than one language could hold.
The work of Jeho Bitancor continues to confound and awaken the attitudes of the spectator, and that seems to be part of his larger intentions. His work falls in and out of categories in multiple directions. The paintings sometimes become very useful props for an installation, and his installations can turn into acts of live performance, and they tend to speak on all these levels at once all on their own.
This is why visitors to hotels in Manila are in for a real treat when they come to visit. If the expectation is for an art that is based on some classical notions of visual imagery, then the expectations will soon be swept away, and caught up in a cultural moment that could very well be defining a new art movement that can speak to and for a global community. This makes it a particularly exciting time to be here.