JUNE 04, 2016 7PM

Featuring works by:

RV Sanchez
Bugz Saavedra
Mark Deutsch
Ernest Diño

In the last 10 years Cebu along with the rest of the world has gone through a tremendous amount of transformation. The unbridled growth of our skyline with the slow but sure connectivity of our islands. We’ve been connected to the internet for the last decade but it is only in these last few years that technology and internet have had a profound impact on our society. Case and point we are the ‘selfie’ capital of the world. We have outstripped India as the call-center capital of the world. This new societal condition of the ‘information age’ juxtaposed against traditional Filipino mentality has generated many new paradoxes.

The artist represented in Scope: Cebu have utilized new digital media and process initially developed for commercial production of digital services to explore and produce their own creative vision.

Videos were selected by Flaime and Tropical Futures Institute

Moving images... Visual engagement... SCOPE is a bi-monthly episode that compiles videos and moving images from the Philippines and abroad. The projections are organized to serve as an introduction, to help promote the practice and to create a program devoted to video works. Its range takes into consideration diverse themes, geographies, issues and contexts. SCOPE aims to initiate a repository of videos in collaboration with artists, curators and art spaces within the region.


An afternoon with Mitra Azar
May 31, 2016 | Tuesday | 3PM
98B COLLABoratory
Mezzanine, First United Building
Escolta, Manila
Mitra Azar is a self-described eclectic schizo-nomadic video-squatter and “ARTthropologist” with a background in aesthetic philosophy. He admits to be haunted by images and by the relational-performative-philosophical aspect of doing them. The idea of borders as fluid, flexible, amorphous entities – and the political role of art and digital technologies within the frame of an aesthetic of crisis and of mass events – have been the framework of his practice-based research.
The talk will be moderated by Renan Laru-an

PAN/// Project: Ben Vitualla Manufacture Consent

June 04 2016 | 4PM
PAN/// 98B Escolta
Ground Floor Panpisco Building
246 Escolta, Manila

Manufacture Consent.
New installation by Ben Vitualla

I am interested in the notion of faceless crime and the intersection of vulnerability.

Referencing the safe space of homes by incorporating a flower element found in houses around the world. Creating figurative images in the background and the use of guns for protection. The black silhouettes of figures are carrying assault rifles to some a tools to protect as well as tools for crime, and suggest violence or at very least the threat of force. The work encourages dialogue around gun safety, crime in the community, power and safety, and the cultural climate of the country.

Ben Vitualla was born in Cebu, Philippines. In 1979 his family moved to United States. He received a BFA in studio art in University of Memphis and a MFA from Vermont Collage of Fine Arts. He is now living in Nashville, TN where his studio practice utilizes research as integral component on responding to crime prevention and awareness. His collaborative mixed media projects are created by using photography, sculpture, painting, and video.

Currently Ben is managing Blend Studio downtown Nashville. Blend Studio is a space for artist to create and developed work that engages in a collaborative practice that response to contemporary topics. He is currently an adjunct professor at Austin Peay State University. Ben has exhibited work regionally and nationally in Nashville Public Library, Nashville, TN, Material Art Space, Memphis, TN, Rawls Museum, Courtland, VA, and Salisbury University, Salisbury, MD.

PAN/// is a project space initiated by 98B COLLABORATORY and Panpisco Sales Inc. using the old store front of the company along Escolta street in 2014. It was created as a platform for exhibitions and projects for young and experimental artists and creatives from the Philippines and abroad.


6pm MAY 26, 2016
Ground Floor, First United Building
Escolta, Manila

Double Waters is an artistic experiment on the ambiguity of objects as art and as a functional object. Donald Judd, the late American abstract artist, was firm in his belief that art loses it’s artistic value when it becomes functional. He refused to treat his furniture designs as objects of art. I want to explore this idea by questioning when art stops becoming art, and when it starts becoming simply a piece of furniture. Would it remain art simply because it isn’t useful? Would art become a utilitarian object simply by changing it’s layout or configuration? Is it possible to reconcile a middle ground between installation art and furniture? Can art be something not just a thing you hang on the wall, or something you put on a pedestal, but something that can be used? Certainly, the installation connects the observers to the feelings of the author with regards to water. Its fluid, reflective quality that evokes certain memories of childhood or quiet meditative moments in our lives. It is certainly an experienced phenomenon, specifically because the visitors are forced to modify their behavior in space, but I seek to discover the threshold when the observer’s behavior and subjective perception changes the value of the object. It is an open-ended question, but by creating a mobile installation that can be easily moved, and by creating it with an anthropometric dimension that invites people to view it as an object to sit on, I seek to discover a plausible answer by the end of the exhibit. Every week or bi-weekly the observers will be asked what they think about the objects, what they feel about it, and whether they feel comfortable sitting on art and still respect the object as art even if it’s below their buttocks, supporting their body weight. When the inherent function of art becomes blurred, what comes next? I want to deduce from the experiment that the installation can exist beyond human preconceptions, that it can be ‘super-functional’ or something that can posses a value that are both artistic and functional. The conclusion will be presented and a talk will be given about the data derived from the experiment.

José Tong was born in Manila, Philippines in 1987. Tong experiments with the hybrid of different artistic practices including painting, site specific installation, furniture and space design. He completed a BS in Architecture with honors at the University of Santo Tomas de Manila in 2009. He was awarded a Monbukagakusho

Scholarship and furthered his Architecture studies in Osaka, Japan. He has joined design competitions both in his home country and Japan. After his return to the Philippines in 2013 he participated in group exhibits in Manila. His studies in Architecture introduced him to the influential German school, the Bauhaus andDutch De Stijl movement, and subsequently adapted “Gesamtkunstwerk” or synthesis of all artforms into his artistic and design approach. His travels in Japan introduced him to Zen philosophy and pared-down aesthetics of the tea-master Sen-no-Rikyu and has since applied eastern and wesern philosophies to his work. He currently lives and works in Manila.

PAN/// Project: LINDSLEE Paranoia of the Plutocrats

June 04 2016 | 4PM
PAN/// 98B Escolta
Ground Floor Panpisco Building
246 Escolta, Manila

LINDSLEE: Paranoia of the Plutocrats

The rich becomes richer and the poor becomes poorer. Lindslee’s installation responds on the seeming government control by the wealthy, mighty and influential.

His work depicts the paranoia of the affluent and the powerful. They hire a bunch of body guards and security personnel to protect their collections - art, high end cars, mansions, gold and other material things. To a certain degree, this conveys a particular line of thought: that luxuries are more valuable than LIFE itself. It is unfortunate that people tend to overlook the essence of a meaningful existence due to the value placed on commodoties.

Lindslee depicts the ridiculous side of a “caught in the act” scenario; it connotes a certain denial of what has been blatantly seen by the eyewitness or felt by one’s conscience. 

PAN/// is a project space initiated by 98B COLLABORATORY and Panpisco Sales Inc. using the old store front of the company along Escolta street in 2014. It was created as a platform for exhibitions and projects for young and experimental artists and creatives from the Philippines and abroad.