Viva España/Long Live América

Norberto Roldan
Museo Iloilo and Kri8 Art Space

Viva España

    Viva España and Long Live América is a diptych exhibition that straddles between two different locations in Metropolitan Iloilo chosen for their historical, cultural and political affinities.

    Viva España will be presented at Museo Iloilo (built 1971) located in the capital city. It is the first government-sponsored museum outside Metro Manila. The museum houses an outstanding collection of Iloilo’s cultural heritage. But what makes Museo Iloilo significant is its around 300 pieces of religious artefacts and figures from home altars of old, prominent and devout Catholic families in the province. The Ilonggos’ generous donations of Catholic material culture firmly and eloquently attest to the influence of 400 years of Spanish rule in the Philippines on the Visayan region and its people.

    On October 5, 1889, Maria Christina, then Queen Regent of Spain, raised the status of the town to the Royal City of the South due to Iloilo’s economic development during the 18th and 19th centuries. In 1896, the Queen Regent named Iloilo “La Muy Noble Ciudad,” or “The Most Noble City,” in appreciation of the Ilonggos allegiance to Spain, and their chivalry to defend the “Queen City of the South” against the surge of the Philippine Revolution.

    This section of the diptych is an attempt to “colonize” the space of the museum, retaining some selected pieces from its collection, and intervene in its present narrative.

Viva España and Long Live América is a diptych exhibition that straddles between two different locations in Metropolitan Iloilo chosen for their historical, cultural and political affinities.

Viva España will be presented at Museo Iloilo (built 1971) located in the capital city. It is the first government-sponsored museum outside Metro Manila. The museum houses an outstanding collection of Iloilo’s cultural heritage. But what makes Museo Iloilo significant is its around 300 pieces of religious artefacts and figures from home altars of old, prominent and devout Catholic families in the province. The Ilonggos’ generous donations of Catholic material culture firmly and eloquently attest to the influence of 400 years of Spanish rule in the Philippines on the Visayan region and its people.

On October 5, 1889, Maria Christina, then Queen Regent of Spain, raised the status of the town to the Royal City of the South due to Iloilo’s economic development during the 18th and 19th centuries. In 1896, the Queen Regent named Iloilo “La Muy Noble Ciudad,” or “The Most Noble City,” in appreciation of the Ilonggos allegiance to Spain, and their chivalry to defend the “Queen City of the South” against the surge of the Philippine Revolution.

This section of the diptych is an attempt to “colonize” the space of the museum, retaining some selected pieces from its collection, and intervene in its present narrative.

Works

Norberto Roldan
Between Salvation and Damnation
2017
9820
2
installation with wood panels, antique santo, and various objects
102.36h x 144.09w x 144.09d in • 259.99h x 365.99w x 365.99d cm
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Norberto Roldan
The Black Box
2015
9821
2
installation with wood panels, vintage lace fabric, and sound recording
102.36h x 144.09w x 144.09d in • 259.99h x 365.99w x 365.99d cm
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Norberto Roldan
The Sacred and the Secrets in Our Lives
2001- 2016
9823
2
installation with 8 wall altars with found objects, picture frames, sepia photos, fabrics and light boxes
49.25 x 59 x 5.51 in • 125.095 x 149.86 x 14cm (diptych)
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Norberto Roldan
The Sacred and The Secret in Our Lives
2001- 2016
9824
2
installation with 8 wall altars with found objects, picture frames, sepia photos, fabrics and light boxes
49.30h x 59w x 5.50d in • 125.22h x 149.86w x 13.97d cm (diptych)
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Norberto Roldan
The Sacred and The Secret in Our Lives
2001- 2016
9825
2
installation with 8 wall altars with found objects, picture frames, sepia photos, fabrics and light boxes
49.30h x 59w x 5.50d in • 125.22h x 149.86w x 13.97d cm (diptych)
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Norberto Roldan
Erehes
2017
9833
2
wall installation with Catholic liturgical cape, fabric, beeswax and neon lighting
77h x 116w in • 195.58h x 294.64w cm
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Norberto Roldan
The Sacred and The Secret in Our Lives
2001- 2016
9826
2
installation with 8 wall altars with found objects, picture frames, sepia photos, fabrics and light boxes
49.30h x 59w x 5.50d in • 125.22h x 149.86w x 13.97d cm (diptych)
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Norberto Roldan
War on Faith
2019
9835
2
assemblage with found Middle Eastern carpet, LED lights, wooden crosses from architectural debris and beeswax
43h x 72w in • 109.22h x 182.88w cm
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Norberto Roldan
Mother of Perpetual Colony
2002
9822
2
installation with textile banners with dye- sublimation prints
variable dimensions (8 x 8 feet each panel)
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 21
2014- 2020
9836
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 22
2014- 2020
9837
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 23
2014- 2020
9827
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 24
2014- 2020
9828
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 25
2014- 2020
9829
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
100 Altars for Roberto Chabet / NO. 26
2014- 2020
9830
2
assemblage with architectural debris from demolished old houses, found objects, second- hand fabrics, old photographs and T5 lighting system
51h x 72w in • 129.54h x 182.88w cm
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Norberto Roldan
There Are No Ideas But in Things (Bulol)
2018
9831
2
altar installation with old cabinet, candle holders, bulol and found objects
95h x 17w x 14d in • 241.30h x 43.18w x 35.56d cm
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Norberto Roldan
Rebel
2015
9834
2
wall installation with old catholic chasuble, old wooden santo, fabric, beeswax and lighting fixture
96 x 72 x 6 in • 243.84 x 182.88 15.24 cm (diptych)
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Norberto Roldan
There Are No Ideas But in Things (Faceless Saint)
2018
9832
2
installation with old cabinet, candle holders, and metal buddha
64.50h x 12.50w x 24d in • 163.83h x 31.75w x 60.96d cm
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Long Live América

    Long Live América will be presented at Balay Sueño Annex. Balay Sueño, a 1940s ancestral house located at the corner of Benedicto- Washington Streets, Jaro, Iloilo, was built by Don Modesto Ledesma, an haciendero who served as a mayor of Jaro in the 1920s. Once a separate city, it was merged with Iloilo City in the 1940s during the American colonial administration of the Philippines under its policy of Benevolent Assimilation. Jaro plays an important role for the Roman Catholic Church in this part of the Christian nation. It is where the Archdiocese of Jaro, the Metropolitan jurisdiction that encompasses the provinces of Antique, Guimaras, Iloilo, and Negros Occidental, is headquartered.

    While this section of the diptych exhibition reflects the country’s American colonial history with snippets of Hollywood, cinema, American fashion, and America as a super power, it also attempts at self-reflexivity on the Filipinos’ love-hate relationship with America.

Long Live América will be presented at Balay Sueño Annex. Balay Sueño, a 1940s ancestral house located at the corner of Benedicto- Washington Streets, Jaro, Iloilo, was built by Don Modesto Ledesma, an haciendero who served as a mayor of Jaro in the 1920s. Once a separate city, it was merged with Iloilo City in the 1940s during the American colonial administration of the Philippines under its policy of Benevolent Assimilation. Jaro plays an important role for the Roman Catholic Church in this part of the Christian nation. It is where the Archdiocese of Jaro, the Metropolitan jurisdiction that encompasses the provinces of Antique, Guimaras, Iloilo, and Negros Occidental, is headquartered.

While this section of the diptych exhibition reflects the country’s American colonial history with snippets of Hollywood, cinema, American fashion, and America as a super power, it also attempts at self-reflexivity on the Filipinos’ love-hate relationship with America.

Works

Norberto Roldan
Lost in Hollywood on My Way to the Revolution 2: YVONNE DE CARLO
2021
9839
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 3: LOUIE ALLBRITTON
2021
9840
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 4: MARLENE DIETRICH
2021
9841
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 5: JEANNE CRAIN
2021
9842
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 6: CATHERINE MCLEOD
2021
9843
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 7: LARAINE DAY
2021
9844
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
The Beginning of History Part 2 (series 02)
2019
9845
2
assemblage with found objects
32h x 24w in • 81.28h x 60.96w cm
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Norberto Roldan
Lost in Hollywood on My Way to the Revolution 8: PAULETTE GODDARD
2021
9846
2
assemblage with found objects, Hollywood star clipping and vintage wallpaper on recycled old glass cabinet doors
48.75h x 19.25w x 4.50d in • 123.83h x 48.90w x 11.43d cm
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Norberto Roldan
The Beginning of History Part 2 (series 03)
2019
9847
2
assemblage with found objects, photos, and vintage textile
32h x 24w in • 81.28h x 60.96w cm
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Norberto Roldan
The Beginning of History Part 2 (series 06)
2019
9848
2
assemblage with found objects
32h x 24w in • 81.28h x 60.96w cm
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Norberto Roldan
Maynila (Hilda Koronel-Bembol Roco)
2018
9849
2
oil and acrylic on canvas with lighting fixture
48h x 192w in • 121.92h x 487.68w cm (diptych)
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Norberto Roldan
The Beginning of History Part 2 (series 08)
2019
9850
2
assemblage with found objects
32h x 24w in • 81.28h x 60.96w cm
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Norberto Roldan
White Love, Love White
2002-2012
9851
2
installation with banner and lighting fixture
102h x 240w in • 259.08h x 609.60w cm
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Norberto Roldan
The Pretenders (Marlon Brando-Eva Marie Saint)
2015
9854
2
oil and acrylic on canvas
48h x 192w in • 121.92h x 487.68w cm (diptych)
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Norberto Roldan
The Pretenders No.11 (Kate Moss 3)
2015
9853
2
oil and acrylic on canvas
36h x 144w in • 91.44h x 365.76w cm (diptych)
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Norberto Roldan
Crazy Horse
2016
9852
2
oil on canvas, metal sheet, neon lights
48h x 192w in • 121.92h x 487.68w cm (diptych)
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Norberto Roldan
Fighter Jet Over Antipolo
2018
9855
2
painting on found painting and object
48h x 36w in • 121.92h x 91.44w cm (diptych)
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Norberto Roldan
Viper
2015
9856
2
oil and acrylic on canvas
36h x 144w in • 91.44h x 365.76w cm (diptych)
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Norberto Roldan
Fighter Jet Over Rizal Avenue
2018
9857
2
painting on found painting and object
48h x 48w in • 121.92h x 121.92w cm (diptych)
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    Norberto Roldan (b. 1953, Roxas City, Philippines) founded the Black Artists in Asia in 1986 and the Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in 1990 both in Bacolod City. He was VIVA ExCon’s artistic director in 1990, 1992 and 2018. He also co-founded Green Papaya Art Projects in 2000 and has remained its artistic director until today.

    Roldan is a practicing visual artist and is represented in several landmark surveys like New Art from Southeast Asia, Fukuoka Asian Art Museum (1992), No Country: Contemporary Art for South/Southeast Asia, Solomon R Guggenheim Museum (2012); Between Declarations & Dreams: Art of Southeast Asia Since the 19th Century, National Gallery Singapore (2015); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, National Art Centre Tokyo and Mori Art Museum (2017); and, Passion and Procession: Art of the Philippines, Art Gallery of New South Wales (2017).

    Roldan recently moved his practice to Roxas City where he manages the projects of Green Papaya, among them the ongoing Shri Vishayas project. Shri Vishayas is a platform for the intersections of indigenous, rural, and contemporary cultures, and is a program of VIVA ExCon Antique 2022-2023.

Norberto Roldan (b. 1953, Roxas City, Philippines) founded the Black Artists in Asia in 1986 and the Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in 1990 both in Bacolod City. He was VIVA ExCon’s artistic director in 1990, 1992 and 2018. He also co-founded Green Papaya Art Projects in 2000 and has remained its artistic director until today.

Roldan is a practicing visual artist and is represented in several landmark surveys like New Art from Southeast Asia, Fukuoka Asian Art Museum (1992), No Country: Contemporary Art for South/Southeast Asia, Solomon R Guggenheim Museum (2012); Between Declarations & Dreams: Art of Southeast Asia Since the 19th Century, National Gallery Singapore (2015); SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now, National Art Centre Tokyo and Mori Art Museum (2017); and, Passion and Procession: Art of the Philippines, Art Gallery of New South Wales (2017).

Roldan recently moved his practice to Roxas City where he manages the projects of Green Papaya, among them the ongoing Shri Vishayas project. Shri Vishayas is a platform for the intersections of indigenous, rural, and contemporary cultures, and is a program of VIVA ExCon Antique 2022-2023.

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