Ocula MagazineContentsView All
Featured ContentEditors PicksView All
Ocula ReportInto the Blue: Dhaka Art Summit 201823 Feb 2018 : Himali Singh Soin for Ocula{{document.location.href}}
'Water is declared the territory of citizenship', whispers a voice in Ursula Biemann's film Deep Weather (2013). A camera pans the Canadian Arctic's tar sands—a series of toxic lakes and darkened swelling seas—then moves seamlessly to the shores of Bangladesh, where climate refugees repeat the futile act of moving heaps of sandbags to...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : 'Read More')}}
Ocula ConversationTouria El GlaouiFounder, 1-54 Contemporary African Art Fair{{document.location.href}}
Between 24 and 25 February 2018, the 1-54 Contemporary African Art Fair will take place at La Mamounia, a historical hotel in the centre of Marrakech. This will be the fair's first edition on the African continent, and will feature 17 galleries from Denmark, France, Italy, the UK, the US, Morocco, Côte d'Ivoire and Nigeria, representing some 60...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : 'Read More')}}
Ocula ReportSame, but different: the 10th India Art Fair23 Feb 2018 : Gayatri Uppal for Ocula{{document.location.href}}
Launched in 2008 by Neha Kirpal with just 34 participating galleries, the India Art Fair was initially known as the India Art Summit before rebranding in 2011. Initially seen as an experiment, early editions were held at Pragati Maidan, a permanent exhibition centre in New Delhi, before moving in 2012 to the larger outdoor location offered by the...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : 'Read More')}}

There is always an air of ambiguity in the world created by Louie Cordero:  a  world that is often described as bizarre or riotous, and sometimes even grotesque or abject. In his paintings, sculptures, and installations Cordero uses anatomical innards, muscle tissue, veins, and eyeballs to construct a new, unclassifiable species that has evolved through forms, shapes, and patterns, and then juxtaposes them with iconographies from the current social milieu: the images of Catholicism, the relics of the so-called Third World (Southeast Asia and Africa), the air- brushed panels of the Manila jeepney, the stuntmen of lowbrow Filipino films, the primitivism of native crafts, and the localized narratives of Western Popular culture—from Hollywood imagery in shop signs and graffiti to the sanctification of American pop songs in run-down videoke bars.
Multiculturalism,  kitsch,  and  pastiche have become trademarks for Filipino art, given that the country is not only a set of different islands with different dialects and traditions, but also a former colony of different imperial forces, starting with the Spaniards in the late sixteenth century to the Japanese in the middle of the twentieth century. It seems as if the average Filipino, who has been swamped to this day with a smorgasbord of influences, suffers from a certain horror vacui—a need to fill up the spaces because the nation itself is crowded with unresolved histories.

Most of the artists preceding Cordero portrayed the energy of Manila through its socio-historical context, attempting with their paintings to expose political oppression by using symbolisms of poverty, imperialism, and consumerism, usually concocted in a gloomy or satirical atmosphere. Cordero, however, deviates from these templates to produce his own rendition of the city, celebrating it in bright, neon colors with depictions of its uber- mundane, almost absurdist moments.

In terms of composition, in recent years Cordero has slowly deviated from a purely figurative and symbolist portrayal to more constructivist and abstract forms. The result is a new category of images that is entirely his own: a juxtaposition of grotesque, narrative elements with cubist and constructivist forms, a combination of primitivism and formalism, a hodgepodge of whimsical dreamscapes and tropical landscapes.

Through his art, Cordero continues to assimilate the ways of the naïve, the native, and the lowbrow together with the sensuous allure of affluence and progress. His characteristic mélange of forms, uncategorized slew of shapes, and snippets from real life become the symbiosis of good and bad taste, of sanctity and irreverence, and of humor and seriousness, which can be seen as an apt reflection of the current state of Filipino society. For as much as these ventures may result in what most of us would call difficult and sometimes shocking imagery, in Cordero’s world these are the succinct narratives of memory and fantasy, and a faithfulness to the history of his motherland.

Read More
 

{{currentArtwork.ArtistName}}{{currentArtwork.Artist.FullName}}

{{currentArtwork.Title}}

{{currentArtwork.Medium}}{{currentArtwork.Medium && currentArtwork.Medium.substring(currentArtwork.Medium.length -1) != ',' && currentArtwork.Edition ? ',' : ''}} {{currentArtwork.Edition}}


{{currentArtwork.Signature}}


{{currentArtwork.Origin}}

Follow favourite artists and galleries, be notified of new artworks and exhibitions, use our price enquiry service and receive the Ocula newsletter. It's free.

Sign Up
 Sign Up with Facebook
By subscribing you accept our Terms & Conditions, Privacy Policy and to
receiving the Ocula e-newsletter. Sign up and subscription is free.
OutlookiCal GoogleYahoo