The Brownmonkeys, a multidisciplinary group of artists from the Philippines that is a purveyor of the ‘lowbrow’ movement (a 1970s underground visual art movement that arose in Los Angeles), is creating a buzz with the group art show “Wasta” which opened at Alserkal Avenue’s FN Design on September 15.
“Wasta” refers to that invaluable, at times shady and elusive connection that perseveres between the dream and the reality. These artists are on a mission to fulfil their roles by holding a mirror to the world around them, experimenting with shock value and responsibility. Rollan Rodriguez of Brownmonkeys explains all about this collective venture, the relevance of the subject of “Wasta”, which focuses on that intercessor, that intermediary or the man in the middle:
Who are the Brownmonkeys?
We are Rollan Rodriguez, Victoria Viray-Ganzon, Joseph Manata, Rafael Valencia, Mark Ganzon and Cholo. This is the third edition of the group.
How and when did the Brownmonkeys team originate?
When we started in 2005, it was sketchy. No one really knew who to meet to start our artistic pursuits or to bounce ideas with. We were a bunch of like-minded people who just bumped into each other somewhere in Deira. We hung out over cups of coffee and talked about things that we loved — art, films and more about our social commentaries. It was an unusual gathering, there were designers, art directors, visual artists, musicians and writers. All of them were cool people and it was never boring.
All of us had was a vision but never really had any direction until 2007 when we finally officially merged into one collective. We were seven individuals in the group. The Brownmonkeys was formed impromptu for its first group exhibit called The Brown Project at the Five Green gallery in Dubai. It was an urban art exhibition, a first of its kind back then.
When and how did the urge to pick social subjects come to you?
Picking and expanding the subjects is never easy, but it is always the artist who gets to play with what he wants to expose. Back then, all we wanted to do was have fun, doing what we love to do outside the office hours. Art and design was a major outlet for us. A brilliant escape from the mundane.
In due course we matured in terms of content. We approached our subjects and projects with a professional eye. The content had to make sense and the artist had to take responsibility for his own undertaking. That is how compelling social subjects were born.
What are your usual subjects? Why?
We have no usual subjects. What we have is a criteria. Shock value and responsibility. We would like our work to engage the viewer and make him initiate a silent conversation with the self.
How did the idea of “Wasta” come to you?
“Wasta” is a result of our social responsibility. Our response to the environment that we are living in today, a sort of commentary, praise and criticism to the status quo. We expanded the idea with various treatments and attacked it well, I guess.
Could you explain the phenomenon through any of the artworks that are on display?
Of course, let us take for instance, Victoria Viray-Ganzon’s “Death Smile”. We are all being consumed by the idea of technology and social media where our interaction as humans diminishes slowly, leaving us emotionless, socially awkward and living zombies.
The artist also asks — I have wasta, you have wasta, what about those who have none?
Filipinos make up a big chunk of Dubai’s expat population. Desperate economic circumstances back home have given rise to an often marginalised and vulnerable segment of Dubai society — the domestic helper.
Her work seeks to raise awareness about OFWs or Overseas Filipino Workers, of whom many work in your homes as household help or maids. Cold hard facts do not illustrate the sadness, despair and loneliness that they go through. Her hope is that your wasta can help effect a change for the betterment of their lives.
Another art series by the name “Seven Deadly Sins = Death” by Joseph Manata (aka Pinkblot) also poses common questions. These are based on acts everyone takes for granted. Pinkblot’s take on the idea takes us on a journey through his personal puns on serious matters and takes into consideration the visual impact it can make using bright and loud colours that complement his illustrations.
Where have you exhibited your works so far and what is your clientele like?
XVA Gallery, Sikka Art Fair, Sharjah Biennale and more. We have collaborated on art for brands such as Ogilvy, Red Bull, Adidas, Nike and Al Ghurair Centre, to name a few.
Our team in Al Quoz recently revealed two football-themed pieces of art commissioned by Pepsi Middle East. The murals, depicting Leo Messi, a Barcelona player, and Sergio Ramos, who is a defender for Real Madrid, were painted by the Brownmonkeys and are now showing at A4 community space in Alserkal Avenue. These murals commissioned by Pepsi celebrates a local sense of the “Art of Football” and supports regional talent.
What is coming up?
Soon after the “Wasta”, at FN Design, we are organising a workshop that can accommodate up to 30 participants, a part of the public commission with Al Ghurair Art Project. The workshop will educate the participants about public art commissions and the value of art in public spaces. The result of which will be 50 small sculptures of human heads that will be a part of the Diera cityscape.
After this, the natural progression would be to curate events and initiate more art projects/exhibitions here as well as outside the UAE.
Known as artist B’lu, Archana R. D. is a freelance writer based in Dubai. She is also a student of global art business with the Sotheby’s.
“Wasta” closes today.
