Julie Lluch’s modern ‘Spoliarium’

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Leading sculptress borrows Juan Luna’s concept of state brutality to interpret present conditions.

Julie Lluch is raging. Like the Dylan Thomas poem, “Do not go gentle into that good night,” the foremost Filipino sculptress still rages, four decades into her art.

She says of her latest installation: “I have appropriated Luna’s concept of state brutality to recreate a scenario that is repeated many thousand times over in the streets and alleys among the poor across the country.”Completing the tableau are pieces that surround the two main figures of the modern “Spoliarium.” One is a grieving woman, a portrait of Josephine Bracken, holding in her hand a long list of names of actual victims of extrajudicial killings culled from police sources.

Another was Juan Agudo, hero of Batanes who, as governor, was beheaded by the Japanese. “These heroes stand mutely behind my modern ‘Spoliarium,’ silent judges of our present lives,” emphasizes Lluch.About her choice of subject, Lluch says: “Art is a knee-jerk response to the immediate stimulus obtaining in the times we live in. The artist’s commitment is to truth.

She explains that her exhibit’s title, “Irresistible Grace,” is “a theological usage familiar to five-point Calvinists like me. It refers to God’s overwhelming sovereign will in choosing His elect that overpowers even the stiff-necked rebel.” In her exhibit title, Lluch added “In the Regime of the Plague” which she says is an indictment of “the political injustices and oppression in the present administration.” She believes that the brutality of its drug war has risen to epic proportions that can be compared to the horrors of a viral plague. “It is even worse because its war on drugs targets the poor, while pestilence does not choose its victims,” declares the activist artist.

The theme of that exhibit is very close to the artist’s philosophy of Kairos intersecting with Chronos .

 

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