THE COUNTRY has lost the Father of Conceptual Art, Roberto Chabet, to cardiac arrest. He died last April 30. He was 76.
Chabet is known for bringing the sublime out of the ordinary. From his drawings to his collages, sculptures and installations, Chabet explored abstract concepts by making use of commonplace objects.
His radical teaching method gave importance to the “idea” rather than the “form.” Hence, conceptual art.
Born on March 29, 1937, Chabet graduated from the College of Architecture in 1961. He had his first exhibit at the Luz Gallery on the same year. He later served as the founding director of the Cultural Center of the Philippines (CCP) Museum in 1967.
In 1970, he initiated the Thirteen Artists Awards, a triennial award-giving event of the CCP that gives recognition to young artists exploring contemporary art trends and deviating from the traditional art making. This award serves as a follow-through to National Artist Victorio Edades’ Thirteen Moderns, the forerunners of modern art in the Philippines. Recent recipients of the Thirteen Artists Award include UST alumni Mark Salvatus and Costantino Zicarelli.
Chabet also formed Shop 6, a group of conceptual artists which utilized everyday objects in their artworks. Among the original members of the group were Joe Bautista, Joy Dayrit, Rodolfo Gan, Yolanda Laudico, Fernando Modesto and Boy Perez.
Although he taught at the University for a few years after earning his degree, Chabet made his mark as a teacher at the University of the Philippines’ College of Fine Arts, where he taught for more than 30 years.
Last exhibit
Chabet’s last exhibit unveiled several unseen collages from his previous exhibitions. These collages were virtually misshapen, random and distorted, yet suggest juxtaposition and unity behind the mess.
The China Collage series, all peculiarly formed into L-shaped frames, was made of torn mundane printed materials such as books, newspapers, maps and magazines to create an intricate visual feast of colors and details.
Meanwhile, the Ziggurat series was inspired by the towering structures of Mesopotamia. Different types of envelopes were utilized to resemble the rising steps of the ancient structure. Adding flair was unkemptly taped pages of magazines and books.
Ringo Bunoan, an artist and curator who initiated research projects about Chabet, described his artworks as “Western, elitist and too cerebral for many” in an article.
“Resistant to any form of institutionalization, (Chabet) doesn’t give any public statements, turns down interviews, and prefers his works to stand alone without any explanations. This ‘refusal to speak’ has led to further confusion, and has even been interpreted as a form of snobbery or arrogance. Though I see it more as strategic way of distancing oneself from the operations of the art world, which always finds a way to co-opt alternative practices,” Bunoan wrote.
