january 23-30, 2002
greenblet cinema 1, makati city
metro manila, philippines
















































































Video Installation


We also aim, by placing our artworks at the lobby of  World Cinema, to pay homage to the simpler cinematic beginnings of the moving image, as well as display the innovation and imagination of today. 

Ultimately, our exhibit aims to make it clear that the virtues of video are not found in easy entertainment but in creative artistic empowerment. 

Video (comprised of the VCR, television set, the VHS tape and the sound and moving imagery it contains) has been an ubiquitous part of most Filipino households.   

It is generally considered to be a vehicle of amusement.  Different from television with its predetermined programs or movie house with its seasonal offerings, video gives the viewer the choice of playing whatever he or she wants to watch whenever he or she  wants to. 

 In this way, we can consider it as a relatively more empowered  form of entertainment.  And yet, if we look closely we would realize that the medium has generally gone underused.  The more creative possibilities of video have yet to be discovered by most of us.   

The fact that we can select, record, edit, and manipulate moving images with this ordinary tool makes it rich and versatile medium for artistic expression. 

The exhibit that we propose for the inside lobby of World Cinema is an attempt to showcase the many forms that video, as an art form, can take.   

Sheer moving imagery, sound, the more conventional elements of narrative or plot, and even the physical three-dimensional qualities of the Television screen and the VCR machine will all be utilized by our group of artists.   

While it is true that video shares a  lot of things in  common with the various fields of visual art (the color, shape, and imagery of painting, the three-dimensionality of sculpture; the temporal unfolding of performance and installation art (and the sound of music), we would like to show that the medium is still unique.   

We plan to exhibit works ranging from the familiar and movie-like, to installations and three-dimensional sculptural configurations. 

We also aim, by placing our artworks at the lobby of  World Cinema, to pay homage to the simpler cinematic beginnings of the moving image, as well as display the innovation and imagination of today. 

 Ultimately, our exhibit aims to make it clear that the virtues of video are not found in easy entertainment but in creative artistic empowerment.


Artist:Cocoy Lumbao Jr.
Working Title: The Death March
Installation, Video: colored, sound, running on loop


Twelve monitors are placed side by side with each other, forming a line across the bottom of a long wall. Their screens each show a different footage from shots taken from a camera mounted to the moving platen of a typewriter, fixed in an angle where the lens is facing the ground,  while a chosen subject types his/her own view about death in the form of a Japanese haiku. Each subject’s typed haiku is also mounted on the wall on top of the monitor playing the footage constructed from that haiku. Images of  a stutter -like scanning of the ground, or soil, or floor, or tiles, or lawn, or grass, depending on where the typist situated his/herself while making the haiku. The sound of the striking keys of the typewriter is put together with the sounds of actual marches, soldier-like and in rhythm.

Artist:Cocoy Lumbao Jr.
Working Title: Cautiously Inoffensive
Installation, Video: colored, sound, running on loop


Tables, each with two chairs, are set in the manner as any conventional café or coffee and pastry shop would be arranged along the walkways of a mall, and if possible, situated near actual food stalls where the public may also sit freely, while they eat their orders, drink their coffee, or even while they simply rest or engage in conversation.

Two small monitors are placed on each table, fastened on the same side of the two chairs,  also facing each other. Played on their screens are footage of an actual heart surgery being performed on a certain patient, shot in close-up, in detail, and in full color.  Each monitor is assigned to play a particular patient under surgery.


Artist: Jose P. Beduya 
Working Title : The Cave of Seem


A video projector would be projecting videotaped footage of the full-size shadows (falling against a white vertical surface or wall) of people walking.   A wall of the curving walkway inside Greenbelt’s Cinema 1 would act as the appropriate projection screen for the piece.  The video projector would be installed in such a way—with its back to the wall and the lens pointed to the opposite wall—that the viewers of the exhibit will be walking between it and the wall on their way to and from the theater seats or as they view the works in the area.  In this manner the “real” shadows of passersby would also be cast against the projection screen/wall and in effect “mingle” with the videotaped shadows.


The work attempts to make a connection with the physical and psychological space of the viewer.  Shadows are absences of light caused by the presence of opaque bodies; as such they are the holes caused by physical displacement.  In this respect, I believe that these shadows have a potential to be somehow more “real” than the recorded images of well-lit objects or persons, and that the shadows caused by the viewers are nearly of its same quality and property. 

The videotaped shadows are meant to indexically deceive the viewer into feeling the presence of absent entities.  In this manner I want to bring illusion back to the medium of the recorded image and to introduce the actual presence of viewers into its realm.  I believe that this commerce between illusion and reality is a vital component of everyday life, and that shadows, as that source of mystery and unseeing, are just as important as light and our perception of the world. 

1. One two-hour long videotape
2. One video projector
3. One three-foot high, 4ft. x 4ft. wide pedestal as a base for the video projector


Artist: Publio Atienza
Working Title: Glitches


The work will be basically be this 11 tv sets installed parallel to each other,set at the bottom of the space wall. simulated mimed) walking is projected on each screen with split second "glitches". These "glitches" in their movements will make pass on varrying time frames. the work will start with these tv sets with their projected somewhat "combined" action(the walking action projected) then this "glitches" --disturbing the action, and back to it's former state. the work is something that starts harmoniously, breaks apart, and comes back. the persona on the sets would be shown simulating the movement from the lower leg, down (the image that'll be seen on the sets is this action done by the latter mentioned body parts)...


Artist: Ronald C. Anading
Working Title: Time Code

The work is an installation of eight monitor screens placed on the floor in a circular arrangement. Videos of my hand drawing the lines along the wall are played back consecutively on these monitors. The process will continue until all eight monitor screens are covered with lines.

Requirements: 8 monitors & 8 Vhs Players  


Drawing, painting, sculpture, photography, mixed media works & other alternative mediums such as film, video & performance art are often seen as separate categories. My work examines the line that separates these categories. It explores the many ways these categories interpenetrate each other’s territory & in the process redefining the characteristics of these categories.

My work is a process-oriented. It starts as a series of horizontal lines freely drawn on a wall. While drawing the lines with one hand the other hand videotapes the lines being drawn. The video –camera thus records what is in effect a performance and at the same time functions as a drawing tool like the pencil. The resulting video becomes not only a video work but also a virtual drawing.

Copyright © 2001 .Mov: The 1st Philippine Digital Film Fest and Filmless Films. 
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