The Cultural Center of the Philippines is pleased to present “Maghahalo Ang Balat Sa Tinalupan,” an exhibition of new works by Gino Javier at Pasilyo Victorio Edades (4F Hallway Gallery), CCP with an opening reception happening on March 27, 2015, Friday, 6:00 pm.

There is a certain sense of visual awkwardness that pervades throughout Gino Javier’s photographs. Perhaps it is due to the oblivious, preoccupied, or startled faces and candid postures of his subjects. Maybe it is because of the noticeable lack of editing necessary to make an image appear picturesque or even just interesting enough for Instagram. Regardless of what it is exactly, it gives the photographs an air of being factual — as truthful and informational as incriminating evidence. A camera held like a hidden gun is the perfect tool for this kind of job, just aim and then fire. They are not quite dead, only immortalized unwittingly.

Photographs are also physical objects. Preferences and considerations of scale, format, and printing methods, among others, can influence our reading as much as what is depicted in them. One characteristic of Javier’s works is that they are printed on surfaces related to packaging, billboards, posters, flyers etc., print formats that imply distribution and reproduction of images in a commercial scale. These facets cause a latent contradiction. Idealized images and their promises are replaced by matter-of-fact ones of the non-spectacle sort, which get altered, obscured or exaggerated as a consequence of the material that supports them.

This kind of idiosyncrasy echoes in this exhibition’s title, “Maghahalo Ang Balat Sa Tinalupan.” If translated, it literally means “peelings are going to get mixed up with the peeled fruit.” But Javier pushed it a bit further by superimposing two aspects, materiality and depiction, that are conventionally incompatible ideas. We end up seeing spectres of lives and events in a standstill, trapped within bleak packaging and adverts. The phrase above is also an idiomatic expression that pertains to an unavoidable ensuing of catastrophe once certain thresholds are reached. It can be used as a threat about something that one should always be apprehensive about. Could it be then that these works try to warn us about the precariousness of our everyday lives as they are lived against the background of circumstances such as our own? Or are they manifestations of an attempt to create future artifacts for survivors of an inevitable and imminent apocalypse?

For inquiries, contact the CCP Visual Arts and Museum Division, Production and Exhibition Department at (632) 832-1125 to 39 loc. 1504/1505, (632) 8323702, mobile (63920) 4700690, email or visit

Cultural Center of the Philippines (CCP) is located at Roxas Blvd. cor. Pablo Ocampo Sr. St., CCP Complex, Pasay, Metro Manila, Philippines