Renz Baluyot and Alee Garibay, Kapitbahay at Art Verite, Taguig, Metro Manila
Along every major thoroughfare in this bustling Metropolis, billboards have been erected announcing the grand plans for residential developments. It should be no coincidence then that by using the term “development” to describe an atmosphere of aspiration, the very idea of living in Metro Manila has been transplanted from the earth to the air. And yet, these massive advertisements also signify a parallel with the changing lifestyles of Metro Manila’s millions of inhabitants, where simply living your life no longer carries the same appeal as watching yourself live. This is evident in the influx of media channels and networks that have become available to the general public, thus reconstituting the entire concept of public space.
The central paradox however lies in the combination of “residential” and “development” – given the rising cost of living in Metro Manila, these billboards serve as reminders of a shifting value system where the terms of dwelling have shifted from necessity to luxury. There should be no question about it: the walls we build speak volumes of the kind of society we wish to create. We are living in an unprecedented era where the proximity brought (or wrought) by equating urban living with vertical housing comes with increased privatization, creating a veritable communion of strangers.
In his series of found objects and oil paintings, Renz Baluyot explores the fragility of exterior surfaces, using rust as both material and subject. Through a series of four found objects and two paintings, Baluyot’s titles act as proposals not to find beauty in decay, but to acknowledge the nature of degradation, or rather, degradation as part of the natural order of things. […]
As a continuing inquiry into the nature of inhabited space, Garibay invokes Thomas Moore’s Re-enchantment of Everyday Life (1996), defining “inhabit” as a “means to give and to receive.” Her renderings of the spaces she moves through in her own life become an act of generosity, showing her own efforts to open herself to receive what both space and place has to offer (Moore 1996). […]
Through these pictures of interior and exterior spaces, Baluyot and Garibay explore similar themes which diverge in their attempts to represent the tensions between outsider status and membership in a community—a tension that relates directly to the environments of otherness being built throughout Metro Manila. In this context, the title kapitbahay becomes crucial to understanding the conflict inherent to this unprecedented period. Compounded from their Malay origins, “kapit” means to cling or attach while “bahay” means house, thus invoking the tensions in dwelling and belonging. Should it be separated instead, the term “kapit-bahay” prompts viewers to consider those who have been rendered strange both despite and because of their attachment; or the fact that our need to belong to a community (no man being an island) still requires us to put up walls .
This is an excerpt from the essay written for the two-man show, Kapitbahay, featuring the works of Rina Lee Garibay and Renz Baluyot. The show will run until April 10, 2015 at Art Verite, Taguig, MM.