Ronson Culibrina

 

Biography

1991 Born in Morong, Rizal, PH

Lives and works in Quezon City, PH

EDUCATION

2007-2011 Technological University of the Philippines Manila, Bachelor of Fine Arts, Major in Advertising, PH

AWARDS

2014

Special Citation, Metrobank Art and Design Excellence Art Competition, Pasay City, PH

2011

Grand Prize, University of Santo Thomas 400 year’s Annual Inter-school On-the-spot painting competition, University of Santo Thomas Campus, Manila, PH
Juror’s Choice, Manila Archdiocesan Catholic Church Painting Competition Intramuros, Manila, PH

2010

Juror’s Choice, Philippine National Oil Company, PH
Taguig, Metro Manila, PH
Juror’s Choice, 8th Art Petron Student National Art Competition, Makati, PH
Juror’s Choice, Government Service Insurance System Painting Competition, Pasay City, PH

2009

Grand Prize, 23rd Philippine Long distance Telephone Company Painting Competition, National Museum, Manila, PH
Grand Prize, 3rd Cocolife Colors of Life Student National Art Competition, Manila, PH

SOLO EXHIBITIONS

2015

Bazaar Art Jakarta, Galerie Michael Janssen, Jakarta, ID
Blood Compact, Galerie Michael Janssen, SG

2014

Before Sundown, 1335 Mabini, Manila, PH

GROUP EXHIBITIONS

2015

Art Brussles, Galerie Michael Janssen, BE
Art Stage Singapore, Galerie Michael Janssen, SG
Art Fair Philippines, Galerie Michael Janssen, PH

2014

Art Fair Philippines 2014, 1335 MABINI, PH
Myths and Legends, University of the Philippines Vargas Museum, PH
University of the Philippines, Quezon City, PH

2013

Art Attack, Boston Art Gallery
Cubao, Quezon City, Philippines
6SIDES, Secretfresh Gallery, San Juan, PH
Metrobank Art and Design Excellence Winner Exhibition, Pasay City, PH
Revolution, University of the Philippines Vargas Museum, Quezon City, PH
Icons, BOSTON ART GALERY, Cubao, Quezon City, Philippines

2012

Naked Truth, Galerie Anna, Sm Megamall, Mandaluyong City, PH
Manilart, 371 Artspace, Pasay City, PH

2011

Shell Student Art Competition Winners Exhibit, AYALA MUSEUM, Ayala, PH
Manila Archdiocesan Catholic Church Winners Exhibit, Manila Cathedral, Intramuros, Manila, PH
Year Zero, Cubicle Art Gallery, Manila, PH
When fiery sound echoes, Metro Gallery, Manila, PH

2010

Looks Kill, Artis Corpus Gallery, Cubao, PH
Hy + Bread, Technological University of the Philippines Exhibition, National Commission of Culture and Art Gallery, Manila, PH

2009

Technological University of the Philippines Foundation Day Art Exhibition, TUP College of Fine Arts, Manila, PH
Philippine Long distance Telephone Company Art Competition Winner Exhibit, National Museum, Manila, PH

2008

Art Petron 8 Winners Exhibition, Makati, PH

Press text 'Resurreción' (2016)

Felix Resurrección Hidalgo was a key figure in 19th century Philippine art. Along with the more popular Juan Luna, Resurrección Hidalgo became the torch bearer of a local elite seeking equality with and recognition from the citizens of its colonial master, at least in the realm of art and culture. His silver medal in the Spanish salon of 1884 served as a toast and validation of their agenda in Europe.

This exhibition by Ronson Culibrina revisits the works of Resurrección Hidalgo and gives them new frames, though still rooted in the place of Resurrección Hidalgo in Philippine art, history and society. The old master’s name, in the first place, bears words of key significance in the nation’s colonial past. Resurrección denotes regaining life and emerging victorious over death, a concept which resonates loudly in a society where Catholicism was the biggest legacy of its inclusion in the Spanish empire, embraced for its promise of salvation, redemption and renewal in the end. Hidalgo, on the other hand, refers to a nobility in the Spanish categorization of social classes, underscoring how the encounter with colonizers defined and became the basis for the nation’s current social hierarchies and inequalities.

Culibrina selects key pieces from the works of Resurrección Hidalgo and introduces interventions to further connect his old paintings with the contemporary times. Building upon earlier projects of appropriating the works of renowned masters, both local and foreign, Culibrina inserts a wide gamut of icons and images that open up reflections and discussions on themes like flow of goods and cultural influences, globalization, and the dynamics of the art market and economy, to name but a few. Here, we see Resurrección Hidalgo’s trademark Academic style deconstructed and transformed into busier and more restless imagery filled with references to popular culture and current issues.

The works in the exhibition particularly visualizes social media obsession, pop and iconic objects, and details from the works of other masters, such as Vermeer and Fernando Amorsolo, another key figure in Philippine art who was prolific during the country’s decades under American rule. These compositions are meant to trigger the audience to interrogate the category we refer to as “master,” its implications and relevance at this point in history with so many materials being appropriated and reworked, and with the past still haunting the present.
-Ruel Caasi