Showing posts with label Poem. Show all posts
Showing posts with label Poem. Show all posts

October 17, 2012

Just Beyond The Sunset, Lies A Home For Me

I enjoy waiting and looking at the sunset, until watching the Roxas Boulevard's night time while having my time at the deck of the room at Grand Riviera Suites.

Something about sunrise and sunsets, it fascinates me. I love one poem speaks of hope and faith that keeps us going.

Just Beyond The Sunset

Just beyond the sunset
Someone waits for me
Just beyond the sunset
Lies my destiny
Where the purple mountains
Lie in deep tranquillity
There I’ll find the treasure
Of love eternally

Just beyond the sunset
Waits someone so fair
Just beyond the sunset
All alone they wait there
Their hair is golden
The colour of the sand
Their eyes sparkle in the night
Like diamonds in your hand

Just beyond the sunset
Lies a home for me
Where the world is peaceful
Like a paradise should be
Just beyond the sunset
Someday is where you’ll find me

- by David Harris


The design of the Grand Riviera Suites is inspired by Modern Architectural Styles from major cities throughout the world.

The project name derived its inspiration from the natural surrounding landscape of the project. A towering landmark by the famous Roxas Boulevard strip and unobstructed views of the waters, the residential vertical community provides a front row seat to Manila Bay’s famous sunset.

Grand Riviera Suites compliment the natural colors of the blue water amidst the yellow-orange sun.

 The Grand Riviera Suites draws from elements of modern contemporary design and architecture fitting inspiration for creating a high-rise bayside structure that represents the finest form of luxury condo living. From its breathtaking facade and high-ceilinged grand reception lobby to each of the well-appointed suites and the amenity deck’s landscaped common areas, the 55-storey condominium radiates an unmistakable air of modern elegance and style.






The Grand Riviera Suites, a high-rise residential condominium development located along Roxas Boulevard, marks one of the most highly-anticipated properties by leading developer Moldex Realty, Inc. The condominium the construction of which is in full swing will soon stand next to the iconic 1322 Golden Empire Tower another successful Moldex Realty creation facing what is considered to be one of the finest natural harbors in the world -  Manila Bay.
For more information about the Grand Riviera Suites and other products of excellence by Moldex Realty, Inc please call 254-0980, 09178639473 or visit  http://www.moldex.com.ph www.moldex.com.ph.

More photos : http://www.facebook.com/media/set/?set=a.544581962224069.144750.334119096603691&type=1

January 13, 2012

Desire, Ennui, Anxiety: Marcel Antonio at Yuchengco Museum, Feb 6 to 25,2012



In July of 2010, the poet V.I.S. de Veyra posted a blog essay on the art of Marcel Antonio titled “Blue Funk’d Stories: The Expanding Art of Marcel Antonio” (read at http://partycrashingangle.blogspot.com/2010/07/blue-funked-silent-stories-expanding_26.html) and coined the phrase-tag Blue Funk Erotica for Antonio’s art. 

De Veyra described Blue Funk Erotica as 
1) unsmiling faces-derived figurative drama (primarily portraiture, then), 
2) replete of appropriations or art-historical quotes, 
3) suggestive (but only suggestive) of a narrative, 
4) quasi-rebellious towards rigid allusions and painting titles’ guidance, 
5) unpainterly expressionist, 6) of an in-a-trance mood as against a happy one, and 
7) conscriptive of the painting viewer as peeper. 

“This erotica should stay around and keep us entranced,” the poet-critic wrote, “being not so much one that tickles the groin as a kind that promotes the understanding that every face, gesture, object, color, and shape is a secret sex object and clandestine true story waiting to be told.” But also debunking a previous simplistic tag on Antonio’s art as “narrative expressionist,” de Veyra wrote: “In Antonio’s case, his blue funkism's ‘de-expression’, or ‘dis-expression’ and narrative confusion through the mannerisms of narrative imagery and titling, seems to be a produce of a Russian Formalist narrative bent to ‘defamiliarize’ images and shapes towards a higher enigma. Thus his refusal to ‘express’.”



The above mentioned blog started a dialogue between Antonio’s art as well as intent (of unintent) and de Veyra’s reading, culminating in a late-2011 collection titled “Desire, Ennui, Anxiety” which shall be shown this coming Feb 6 to 25 at the Yuchengco Museum.

This title for Antonio’s new series does not so much signal a change in his art’s direction as clarify where de Veyra’s reading is right and where it needs to be tweaked. For instance, while de Veyra opts for a Barthesian “variety of narrative possibilities,” Antonio’s pragmatic knowledge of his audience allows/welcomes two basic approaches to his art.

The one approach favours rigid symbolist readings, especially as Antonio is himself attracted to the “monumental” (Antonio’s term) figure common among utopian-art compositions (of Wagnerian glorifications, classical idealism, Nazi art, Stalinist totalitarian art, socialist realism, etc.) as well as in advertising art or the idealizations of soft porn.

But, for the other approach, Antonio acknowledges that de Veyra is right about his—Antonio’s—own efforts to frustrate, so to speak, all symbolist and narrative approaches, via experimentations with juxtapositions/relations and eclectic allusions. These experimentations, appropriations, and art-history quotes result in a dehumanized atmosphere, involving such stuff as machine esthetics and the usual facial expressions of ennui and boredom, all moving towards Antonio’s intended postmodernist multiplicity of meanings. But the final result on each single canvas is an invite to a pseudo-narrative half-aware of this pseudo-ness, welcoming while parodying the various cultural and moral significations possible to professional and popular semiotics.



In this sense, Antonio’s art would be self-described as anxious about the unknown, desirous of knowledge as a matter of course but likewise celebrating the ennui of knowledge’s elusivity, even the charm of that ennui itself alone. Ennui as both springboard and object of desire, then, visually fulfilled or illustrated on an Antonio-esque drama field.

A final stamp to this anti-narrative effort to “recover the sensation of life” (Victor Shklovsky) is the artist’s devotion to the coloration of Diego Velázquez or Chagall as well as the latent abstract geometrics beneath all his pseudo-narrative stagings.

We would like to invite people or media to witnesses the Marcel Antonio art work this coming Feb 6 2012 6pm for the opening for lunching on cocktail.V.I.S. de Veyra joins Antonio in this exhibit with fourteen new poems printed in the exhibition catalogue.

For more information about the show, contact the 
Yuchengco Museum, 
2/F RCBC Plaza, cor. Ayala and Sen. Gil J. Puyat Aves.
Makati City, Philippines 1200

or 

Galleria Quattrocento
3rd Floor Glorietta 4 Art Space
Glorietta 4, Ayala Center
Barangay San Lorenzo
Makati City 
Telephone: [632] 818-5939 // [632] 519-7221;
Mobile #: 0917-8911322;


December 29, 2011

"My Last Farewell" (Mi Ultimo Adios)

The Philippines would be marking December 30, 2011, the 115th death anniversary of Dr. Jose Rizal. Jose Rizal’s full name was José Protasio Rizal Mercado y Alonso Realonda. He was known as a nationalist and the most prominent advocate for reform in the Philippines during the Spanish colonial era. Because of his beliefs and the changes he fought for, Rizal is considered the Philippines’ national hero. To celebrate Rizal Day, there are many festivals and parades to celebrate the man’s life and values. People observe this day to remember a man in the country’s history that has influenced the culture and values of the entire country.

Jun. 19, 1861 - Dec. 30, 1896
Doctor, Novelist, Filipino Patriot, Independence Movement Martyr

Here is the famous poem of Jose Rizal.

"My Last Farewell" (Mi Ultimo Adios)

Farewell, my adored Land, region of the sun caressed,
Pearl of the Orient Sea, our Eden lost,
With gladness I give you my Life, sad and repressed;
And were it more brilliant, more fresh and at its best,
I would still give it to you for your welfare at most.

On the fields of battle, in the fury of fight,
Others give you their lives without pain or hesitancy,
The place does not matter: cypress laurel, lily white,
Scaffold, open field, conflict or martyrdom's site,
It is the same if asked by home and Country.

I die as I see tints on the sky b'gin to show
And at last announce the day, after a gloomy night;
If you need a hue to dye your matutinal glow,
Pour my blood and at the right moment spread it so,
And gild it with a reflection of your nascent light!

My dreams, when scarcely a lad adolescent,
My dreams when already a youth, full of vigor to attain,
Were to see you, gem of the sea of the Orient,
Your dark eyes dry, smooth brow held to a high plane
Without frown, without wrinkles and of shame without stain.

My life's fancy, my ardent, passionate desire,
Hail! Cries out the soul to you, that will soon part from thee;
Hail! How sweet 'tis to fall that fullness you may acquire;
To die to give you life, 'neath your skies to expire,
And in your mystic land to sleep through eternity!

If over my tomb some day, you would see blow,
A simple humble flow'r amidst thick grasses,
Bring it up to your lips and kiss my soul so,
And under the cold tomb, I may feel on my brow,
Warmth of your breath, a whiff of your tenderness.

Let the moon with soft, gentle light me descry,
Let the dawn send forth its fleeting, brilliant light,
In murmurs grave allow the wind to sigh,
And should a bird descend on my cross and alight,
Let the bird intone a song of peace o'er my site.

Let the burning sun the raindrops vaporize
And with my clamor behind return pure to the sky;
Let a friend shed tears over my early demise;
And on quiet afternoons when one prays for me on high,
Pray too, oh, my Motherland, that in God may rest I.

Pray thee for all the hapless who have died,
For all those who unequalled torments have undergone;
For our poor mothers who in bitterness have cried;
For orphans, widows and captives to tortures were shied,
And pray too that you may see your own redemption.

And when the dark night wraps the cemet'ry
And only the dead to vigil there are left alone,
Don't disturb their repose, don't disturb the mystery:
If you hear the sounds of cittern or psaltery,
It is I, dear Country, who, a song t'you intone.

And when my grave by all is no more remembered,
With neither cross nor stone to mark its place,
Let it be plowed by man, with spade let it be scattered
And my ashes ere to nothingness are restored,
Let them turn to dust to cover your earthly space.

Then it doesn't matter that you should forget me:
Your atmosphere, your skies, your vales I'll sweep;
Vibrant and clear note to your ears I shall be:
Aroma, light, hues, murmur, song, moanings deep,
Constantly repeating the essence of the faith I keep.

My idolized Country, for whom I most gravely pine,
Dear Philippines, to my last goodbye, oh, harken
There I leave all: my parents, loves of mine,
I'll go where there are no slaves, tyrants or hangmen
Where faith does not kill and where God alone does reign.

Farewell, parents, brothers, beloved by me,
Friends of my childhood, in the home distressed;
Give thanks that now I rest from the wearisome day;
Farewell, sweet stranger, my friend, who brightened my way;
Farewell, to all I love. To die is to rest.


(His friend Mariano Ponce gave it the title of MI ULTIMO ADIOS, as it originally had none)


Rizal's Famous Quotations

"Ang hindi magmahal sa sariling wika, daig pa ang hayop at malansang isda."

"He who does not love his own language is worse than an animal and smelly fish."

"Ang hindi marunong lumingon sa pinangalingan ay hindi makakarating sa paroroonan."

"He who does not know how to look back at where he came from will never get to his destination."
  
"It is a useless life that is not consecrated to a great ideal. It is like a stone wasted on the field without becoming a part of any edifice."

"While a people preserves its language; it preserves the marks of liberty."

"There can be no tyrants where there are no slaves."

"The youth is the hope of our future."




November 22, 2011

“Footprints In The Sand” – The Story behind the Poem

Margaret’s boyfriend Paul proposed. While happy, she was hesitant. She and her boyfriend seemed so different. They decided to take a little walk along the beach to discuss marriage and its importance. When they reached the far end of the beach and were about to begin their return journey, Margaret glanced down and noticed that their footprints had washed out to the sea. Turning to Paul she said, ” Well, if our married life is to be like this, we don’t stand much of a chance.”
Paul replied, “When things are tough for me, you will help me – and when things are tough for you, I’ll help you.”
They continued walking, until Margaret glanced down again and saw that only one set of footprints had washed out to sea. Again, Margaret suggested that their life together didn’t appear to have much of a future. This time Paul responded by gently lifting her up in his arms and carrying her along the beach. Finally, he set her down and said, “Margaret, I want to impress upon you that when life is so bad that we can’t seem to help each other, God will carry us.” Then, pointing to the single set of footprints the two of them had just created, Paul added, “If you just looked at the set of tracks we just made, you couldn’t tell that I carried you – but I did.”
Margaret found his words and the thoughts behind them very beautiful. that night she couldn’t sleep, so she got up and wrote these words:
One night a man had a dream. He dreamed he was walking along the beach with the Lord. Across the sky flashed scenes from his life. For each scene, he noticed two sets of footprints in the sand; one belonging to him, and the other to the Lord.
When the last scene of his life flashed before him, he looked back at the footprints in the sand. He noticed that many times along the path of his life there was only one set of footprints. He also noticed that it happened at the very lowest and saddest times of his life.
This really bothered him and he questioned the Lord about it. “Lord, you said that once I decided to follow you, you’d walk with me all the way. But I have noticed that during the most troublesome times in my life, there is only one set of footprints. I don’t understand why when I needed You most You would leave me.”
The Lord replied, “My precious, precious child, I love you and I would never leave you. During your times of trial and suffering, when you see only one set of footprints, it was then that I carried you.”

This beautiful piece, printed time and time again, has a love story all it’s own. She called the piece “Footprints” Today, “Footprints” is one of the most widely distributed inspirational pieces in existence. It can be found on plaques, cards and jewelry. Its power lies in its message – the message of the greatest love of all. And yes they did marry.
Love – is an eternal source.
- – - By Margaret Rose Powers

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