FINAL ESSAY

Jose Lorenzo Jover

“The miracle is in the un-event” is my favorite quote from a poem I had to read
as a freshman in an English literature class. It simply means that the simplest things in
life often have the most significant impact on us. It is this thought that started the
creative process of my final project. I aimed to have my response executed in the
simplest way possible. Inspired by works like Galindo, and Feliz Gonzales-Torres, I
wanted a response that was simple yet impactful. I wanted to use everyday objects just
as Gonzales-Torres used clocks in one of his most famous works while I wanted to
emulate how Galindo made her art feel authentic through the use of real objects,
scenarios, and performances.

I felt that this type of response was best since I wanted to respond to the
historical trauma of Marcos Sr. Given his son has taken the presidency, I think we have
collectively forgotten about the suffering and the impact their family has done to the
country. Certainly, there is no lack of books, or articles about the pain and suffering
their family has brought but still these seem to be lacking to truly let people understand
the historical trauma. I thought about why this was the case and came to realize that: 1)
books and articles can be inaccessible, and hard to read since they are written
scholarly and 2) books and articles do not let you feel, or experience the pain of history
but only inform you know about it. With this, I wanted to make a book that could do
what only art could do. A book that could really make you feel the trauma that the
Marcos family brought to the country.

To respond to the issue I used a hardbound book. The book was entitled
“Marcos Legacy: A Retrospection of the Impact of Marcos Sr. on the Philippines”. It
was done this way to replicate the look and feel of scholarly articles, thesis, and books
that usually academics would access. The book is filled has 21 spreads, one for each
year Ferdinand Marcos Sr. was seated as president from 1965-1986. The pages of the
book are smeared with blood. A surprising aspect of the project I did not anticipate
was the scent of the blood. A pungent smell comes from the book which adds a feeling
of unease looking at the book.

Blood was smeared in a way that could represent the abuses at the time. From
bloody hands print, blood splatters, droplets that are reminiscent of gunshots, and
even fully blood soaked pages, each page had a unique way of being filled with blood.
Inspired by Galindo’s work I also used real blood in this project. I felt that anything
other than real blood wouldn’t correspond to real blood. What’s lacking in books about
martial law is that we forget that the people in what is written were real. During his time
there was real trauma, real suffering, and real blood was shed by the victims, it is only
fitting that we respond to it with real blood as well.

I believe that this response combines the simplicity of a response like

Gonzales-Torres and the impact of a response that Galindo has. The book uses real
blood sources from a local Red Cross. I believe that this response does what only art
can do, make you feel the impact of the horrors from before. The book filled with blood
makes you feel that the time of Marcos is one filled with death, suffering, and pain.

To see how people would respond to the issue, I placed the art project in
libraries around campus. Responses were generally the same, but I think this proves
the impact of the project. When shown a project that shows the suffering of people
during Martial Law, it is not right to laugh, smile, or grin. It is only right to respond to
the issue with a certain anger, and frustration at the Marcoses, or empathy to those
who suffered.

In looking back at the project, I think the book can further be expanded. It can
represent more than the human rights violation and death during the time but expand
its response to the stealing, corruption, and other atrocities their family has committed.
The response to the issue is strong and I’ve yet to see any other project that responded
to the issue in a similar way, which is why I want to see more responses similar to this
one to the historical traumas of the Philippines. I do however wish the project could be
displayed in an environment related to the issue it responds to like in the 2nd floor
Arete gallery where pictures of martial law victims are placed. While placing the project
in a library was related to the format the project is in, I believe that the environment
surrounding it takes away from what responses could be since the audience is not
prepared to respond to such a project. Should an opportunity arise, I really wish to
exhibit this piece in martial law-related exhibits whether in Arete or other local
museums.

The process of developing this project has taught me the value, impact, and
complexity of response. There is so much that goes into creating responses especially
when they are simple since one has to condense so much into so little. Beyond the
response, I’ve developed a new appreciation for contemporary art pieces, pieces that I
would scoff at or even ignore before. Responses and matters to respond to are all
around us. The challenge that arises now is to ask ourselves what deserve my
response, what should I respond to, and how I should respond.