21/11/2025
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PANAWAGAN III
Since the 1960s, art took novel articulations that engage social imaginaries and new forms of resistances. The avant-garde practices in the 50s gave way to contemporary social forms in the 70s that lend to everyday life. However, the emancipated future that contemporary art promises remains elusive to the periphery. Western hegemony and neoliberalism, its official ideology, maintain a grip on everyday life, which render the local culture subservient to the West and the local economy severely underdeveloped. But, in the cultural field, revolutionary art has proven its efficacy. Revolutionary art practices function as tactical offensives against Western hegemony. Street performances, effigies, graffiti, etc., highly collaborative, improvisational, and participatory are staple parts of revolutionary art. They bring ripples of rage against systemic corruption and help reclaim the spaces of and for the marginalized. As a revolutionary practice, collaborative social practice serves as a detournement of a corrupt system that neoliberalism maintains and a critique of the eschewed misrepresentation of civil society politics. Panawagan III is a rejoinder to a social imperative: the construction of a truly free and egalitarian society.
Curator: Stacey Momongan
Participate. Collaborate. Write poems, draw graffiti, state your panawagan of indignation against corruption on Jose Joya Gallery Walls.