Calubayan, Buen b.1980 / Instructions on Viewing the Landscape
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Calubayan, Buen b.1980 / Instructions on Viewing the Landscape Calubayan, Buen b.1980 / Instructions on Viewing the Landscape Calubayan, Buen b.1980 / Instructions on Viewing the Landscape Calubayan, Buen b.1980 / Instructions on Viewing the Landscape Calubayan, Buen b.1980 / Instructions on Viewing the Landscape
about this work
Instructions on Viewing the Landscape (1) illustrates (2) a way (3) of seeing (4) a given (5) world (6). The key in understanding the installation is to start with the diagram in order to locate where you are. This brings you in a position to connect the other pieces through the diagram (7)—making it work by substituting (8) the elements as follows:

1 – Past (9)
2 – Framing / Belief system / Biowork (10)
3 – Horizon / present (11)
4 – Time / Events (12)
5 – Archiving / Consciousness (13)
6 – Future (14)
7 – Landscape = History (15)
8 – Access (16)

As these instructions will eventually reveal, the work lies on the tensions between your capacity to activate the pieces and its capacity to activate you. (17)

(1) First published as an Artist’s Statement in Biowork solo exhibit in February 2015 at the Ateneo Art Gallery, Quezon City; Reframed as a painting in Stop Look Listen group exhibit in July 2015 at 1335 Mabini, Manila.
(2) The intangible diagram and text are reinforced by the tangible elements of the installation that is arranged chronologically based on their creation and horizontally eye-leveled but doesn’t necessarily suggest a linear reading as the diagram shows different dimensions and planes to provide volume and shifts in perspective. This non-linearity is also reflected by varying mediums (Oil painting, metal engraving, laser print, offset print, and handwritten notes)—forcing perceptions and observations to be adjusted on the part of the viewer depending on each piece’s intellectual and sensory requirements.
(3) This ‘way’ is essentially the method—a constructed road in order to reach something. In case of reaching a vanishing point, a railroad can be the visually easiest path. Here, a timeline has been laid out to establish the horizon line from where we can traverse this road.
(4) Seeing entails identification of an access point that is site-specific and fixed for a given moment in order to establish focus and clarity of something being viewed.
(5) What is actually given depends on the limits of one’s imagination.
(6) The world is the completed picture as a result of these instructions. Ultimately, it is the ‘Landscape’ that has been charted and identified from the overwhelming actuality of nature.
(7) This performative activity of re-arranging the works in your mind as shown in the diagram entails zooming-in and out — making it possible to grasp the larger picture with all its details.
(8) See also illustration at the back cover.
(9) The past and the future must be avoided at all times in order to redirect our courage in facing the present. Hope is not about the future, its about resolving present problems, and with not enough courage, we end up blaming the past—surrendering ourselves to fear and human weakness.
(10) Framing fabricates our daily routine based on natural and ‘religious’ laws. It is hard to change and it occupies the form from which we percieve things. Consciousness of the frame only changes the frame, it can never destroy it.
(11) The timeline has been developing in parallel with my landscape paintings since 2008. In the spirit of finding the ‘vanishing point’, it has been expanding in all directions as projects develop, archived, and (re)categorized.
(12) Painting landscapes as an exercise reveals the bigger picture that encapsulates time and events.
(13) Consciousness of this changes this. (Appropriated from the last line of Robert Barry’s Art Work, 1970)
(14) Clearing Artistic Baggage is the celebratory sacrifice of years of artistic accumulation—a cultural excess—that needs to be cleared in order to ensure (or risk) the future—a tension between lose and gain. Printed initially in 2000 copies and distributed freely, it constantly calibrates the objects’ value and devaluation.
(15) In reference to end note 6, this is the embedded data artifact which forms part of history.
(16) Access is the crucial part of the work where we negotiate everything—from receiving ‘framed’ images to retrieving archived data. Blocking this route will stop this whole process, and we will have to return to hunting and worshiping the sun on a flat earth.
(17) “You are, therefore, also not yourself. You are your own portrait. A simulation of a simulation.”—as Angelo Suárez puts it in his notes to my exhibition TAO™ in 2007.

(Artist Statement)

The installation includes 3 paintings:

No Stanza, 2002-2015
121,92 × 91,44 cm

Genius & Ambition (Landscape), 2014
49.5 x 59.5 cm, framed

Biowork - Mount Banahaw, 2015
121,92 × 152,4 cm

Buen Calubayan (b.1980, Philippines)

Instructions on Viewing the Landscape , 2002-2015

3 Oil paintings, metal engraving, laser print, offset print, and handwritten notes
Installation: 121.9 x 1524 cm.
Installation: 48 x 600 in.
Arndt Gallery, Berlin, Germany Current Location:
Switzerland - Basel - S InstallationSouth Asia


WASAK! Filipino Art Today
Arndt, Berlin, Germany
December 2015 - January 2016


Glenn Geffken, WASAK!
Ran Dian (Online), April 2016
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WASAK! – Filipino Art Today
Distanz (Catalogue), December 2015

Artwork History
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