Provincia Philippinensis reflects on the Philippines’ colonial experience, not from the angle of conquest or the Sword, but from the dimension of evangelization or the Cross. The title literally means “Province of the Philippines,” or the delegation of the religious order stationed in the Philippines. Six works in acrylic dwell on the inner impetus “to go out to all the world and preach the Good News.” Vocation, the call to be “another Christ,” and the personal response which lies at the heart of the missionary zeal is encapsulated in “Alter Christus.” Adapting Caravaggio’s “Calling of Saint Matthew” (1599-1600) that hangs in the church of San Luigi dei Francesi in Rome, Muñoz homes in on the moment when the Master casts a glance on the tax collector Matthew, then named Levi, and drafts him for the divine enterprise. The colored glass addition makes reference to the Church and its role in the Christianization of the natives during the Spanish colonial period. From the missionary call heeded to by souls came the evangelizing work carried out by the religious orders. At one time they converged within, and directed Philippine mission lands from Manila, then limited to the confines of Intramuros. The first four are represented here with their founders, their motto, and their motherhouse situated in Intramuros. Among these, only San Agustin Church’s stone structure built in 1604, remains standing. The other churches depicted are the Jesuits’ San Ignacio Church consecrated in 1889, the Franciscans’ Church and Convent of Our Lady of Angels completed in the mid-18th century, and the Dominicans’ Santo Domingo Church built in 1592. The drapes bearing the organization’s motto were naturally-dyed and hand-woven by traditional Ifugao weavers. In contrast to the theme of vocation and response is the contradictory position of rejection, portrayed in “Lux in caecite” (light in darkness), an adaptation of Caravaggio’s “Taking of Jesus” (c. 1602) housed in the National Gallery of Ireland in Dublin.
Since his return to the contemporary art scene a couple of years ago, Muñoz has been turning to Baroque and Renaissance masters for reference in his works. In this exhibition, all but the images of Saint Ignatius (Rubens) and Saint Augustine (Philippe de Champaigne) are adaptations from Caravaggio.
MICHAEL J.M. MUÑOZ studied Fine Arts at the University of the Philippines in Diliman, Quezon City. He has exhibited his works in galleries locally and abroad. Aside from contemporary art-making, Michael advocates the preservation of Philippine traditional crafts and co-founded MANLILIKHA Artisans’ Support Network. Of late,
he has been incorporating traditional Ifugao weaving into his work. The art/craft project accomplishes an engagement with traditional craft-making which forms part of MASN’s vision to see a healthy exchange of resources and techniques between contemporary art and traditional crafts. Muñoz has been named as one of CCP’s 13 Artists Awardees for
2012.
—Mitzie J. Icasiano, 21 July 2012.
DOCUMENTATION
