Thank you, Sir Chabet

MANILA, Philippines - Roberto Chabet, born Roberto Rodriguez, passed away on the 30th of April 2013 due to cardiac arrest. He was 76 years old.

Although originally a graduate of architecture from the University of Santo Tomas, Chabet has been an important fixture particularly in the world of Philippine fine art. Widely recognized as the father of Philippine conceptual art, he has brought thoughtfulness and the importance of ideas to the forefront, resulting in art that challenged the different perceptions of art during a time when there were somewhat rigid notions of what “art” was.

With thoughts and ideas as the driving force behind most of his work, Chabet’s art widely varies in medium and concept. He has done many things — blocks of color attached to clipboards, preserved bread, a warped sheet of metal covering a warehouse floor and lit by what seemed to be klieg lights — which many artists haven’t dared to exhibit as art. Particularly, he is most known for creating collages, sculptures, installations, and drawings.

Though a lot of his work is concerned with thought and full ideas, they aren’t cold or strictly, intimidatingly cerebral. Chabet seems to have a fondness for lyricism in his work, both as titles and the actual pieces, often writing out almost-personal statements such as “I’m too sad to tell you” or “10,000 Paintings I Must Paint Before I Die” in beautiful, neon letters. For Chabet, neon is the modern version of the Northern Lights, which perhaps explains why he uses them in his work so much.

Spectacular ideas

Most of his work visually appeals to many people, but it is also the ideas behind his art that make them spectacular. Because his work is not what people will typically regard as particularly artistic, many people have admitted to not getting his work or the appeal and magnetism that surround Roberto Chabet. “I could do that,” many have said.

Spending time with his work and getting to know his process and motivations, however, causes his brilliance to unfold before you like a well-kept secret.

Roberto Chabet also taught at the UP College of Fine Arts for 30 years, which is perhaps one of his most important contributions. Under his tutelage, many of his students have grown up to be professionally successful and respected in the arts.

In the same way that he challenged the notions of Philippine art, he also encouraged his students to think beyond their initial views and opinions of what art should be, “giving precedence to idea over form.”

Interestingly enough, his roster of students has exhibited various perspectives, styles, and inclinations, none of which really look alike. As a teacher and mentor, he has proven to acknowledge each individual voice, helping it find its own tune, instead of dictating what kind of art is “right.”

Young Filipino artists

In 1970, as the founding museum director of the Cultural Center of the Philippines, Chabet also set up the Thirteen Artists Award, which aims to recognize the artistic achievements of young Filipino artists. It encourages “newness” and a constant evolution of the notions and modes of art, pushing young artists to think outside of the boxes they’ve made for themselves. It is often thought to be one of the most prestigious awards given to young artists active in the arts and has continued to be awarded to this day.

In 2011, King Kong Art Projects Unlimited organized a yearlong retrospective, “Chabet: 50 Years” in his honor, celebrating his 50-year involvement in Philippine art as an artist, curator, and teacher. Several local galleries, some of them owned by his former students, participated and held a different exhibit each month. Selected works also traveled to Singapore and Hong Kong, including Complete and Unabridged: Part II, an exhibit featuring works by students and other Filipino artists that he has mentored. “Chabet: 50 Years” has elicited more public recognition and attention for Chabet, his work, and contributions to the Philippine art scene, and in turn the cultural landscape of this country.

Even after retiring from teaching, he kept close ties with many of his students and seemed to continue teaching, guerilla-style, by diligently sharing articles and a selection of mostly modern and contemporary art over Facebook. He inspired many of those who followed him, and remains to be a ubiquitous influence, both in the art scene and outside it.

Though survived only by two sisters, he has left behind many students and followers who think of him as something like a father and in many ways, their hero, all of whom are heartbroken and not quite ready to see him go.

We’ll keep on playing you bars of stardust, Sir. Thank you for everything.

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