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Sandata Educ Guide Online Version

Sandata Educ Guide Online Version

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Published by Jorge Vargas

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Published by: Jorge Vargas on Oct 27, 2012
Copyright:Attribution Non-commercial


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About the Education Guide
This education guide is designed to provide an outline in preparing teachers and students for their visit on the exhibition
as well as to suggest activities and points for discussion during and after the visit.This guide is intended for tertiary level classes in Art Studies, Fine Arts, or Humanities.The contents of this guide could be used to expand the discussion on the exhibition and enable students torelate it with concepts being discussed in class. Key terms are underlined for emphasis and to suggestfurther elaboration in class. This kit includes suggested readings and links to online resources.This education guide may be reproduced on letter-sized (8.5 x 11 in.) paper.Teachers may request for low-resolution images of works from the exhibition which could be used forimage-based discussions in class.Teachers / course tutors are encouraged to visit the exhibition for the actual visit.
 Visitor Information
Teachers may opt for a guided tour by the museum staff; or may prefer a self-guided visit to be facilitatedby the teacher; or students may view on their own. The galleries may be used as classroom upon advancenotification and approval. Teachers are requested to coordinate with the museum at least 24 hours inadvance in case of group visits.For information on museum hours and entrance fees, please visit the museum’s website athttp://vargasmuseum.upd.edu.ph 
We are interested to know if the education guide was helpful to your class. For comments or suggestions,please e-mail vargasmuseum@gmail.com under the heading “education guide feedback”.
Exhibition Notes
The allure of the object -- its conspicuous, all-over luster – is sheer exterior. But it is material to itsintimacy, mainly because it draws us to it, it makes us want to touch it, to even play it. Its tactility promptsus to have it and to hold it. After all, it is not only object, it is instrument that creates sound, charged withelectrical current, and amplified for a mass to hear. For Lirio Salvador, the confluence between visual artand music is intrinsic in the production of visual and musical form, with his own performance crossing theneedless gap so that the object of art and the event of performing turn into a complex aesthetic effort,surely with all its syncopations. Here lies the beauty of this fusion, or better still, confusion, which is thebasis of all compelling art: the ability to defy predetermination and to prevent things from falling into place.Is it guitar or cello or sitar, or is it sculpture? Is he displaying an artifact or composing sound from it?
The intersection between the visual and the musical, the industrial and the folk lies at the transdisciplinary talent of the artist who ensures a wider scope of making and making people move. And if we reflect on the process of how material and affect converge, we will inevitably be led to how particles of the alloy usedin plating everyday objects are ingested in our systems through the food we eat and the vessels on which they are served and how the waves of sound pervade the air that becomes our rhythm to which wedream. These subtleties of permeation, of how specks and strings of metal and music come to belong toour substance prove to be Salvador’s sandata. It is translated as weapon of sound constructions in thebellum against monotony. It is defense against the decomposition of modernity. It is reverie against thecynicism of consumption. It is a warrior’s art.
About the Artist
Lirio Salvador was born in 1968. He graduated with a degree in Fine Arts at the Technological Universityof the Philippines. He is an artist working with what art historian and critic Alice Guillermo calls “soundassemblages”.An assemblage is an art form and process that makes use of non-artistic materials, foundobjects, or discards that are pieced together to assemble a new piece.In an assemblage, smaller parts that comprise the whole retain their identity in form and are distinguishable.Salvador creates hisassemblages by using everyday and industrial materials such as bowls, bicycle gears, stainless steel pipes,utensils, and discards. The fusion of these materials results in sound assemblages; or sculptures that alsoproduce sound.Salvador recounts the beginnings of this practice. He said, “Me and my friends we wanted to play, but wedid not have enough money; so we made some string instruments from the discarded materials and junk materials from our school.” This became the impetus that would sustain his lifelong artistic process.Carefully composing elements to craft pieces, the artist distills the notion of the everyday by reconstructing seemingly banalobjects into new forms, translating their meanings. Salvador is the front man and founder of
, a collective playingexperimental music. Sensitive to the visual, auditory, and tactileaspects of a work, Salvador and
opens up possibilitiesfor contemporary artistic expressions through the generation ofmusic that is “raw and unshaven”, especially those producedfrom homemade synthesizers and amplifiers. According to theartist, his work is an “attempt to integrate music, performanceart, sculpture, and audio art, all into one.”From 2006, Salvador works have been shown in internationalart fairs such as Pulse Los Angeles, Scope Basel, Switzerland, India Art Summit, Hong Kong InternationalArt Fair, Beijing Art Fair, Bridge Art Fair New York, Dubai Art Fair among many others. In 2011, Salvadorwas given a grant by the Asian Cultural Council (ACC). In addition, Salvador owns and manages an artspace in his community in Dasmariñas, Cavite called Espasyo Siningdikato.
Image: Elemento’s performance in Verso Contemporanea, Italy, 2009.
Learning Objectives
To introduce to students the concept of assemblage as a form and process; to discusshow collaboration plays out in this process2.
To invite students to ponder how form, function, and meaning affect one another3.
To allow students to reflect on the role of the artist as an innovator and experimenter ofideas

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