art as a line w/c connects diff platforms: institutional x alternative

Based on my own speculation, the existence of info shops roughly coincides with the proliferation of artist-run spaces during the late 1990s and early 2000s. One possible impetus of such socio-political transformation in the arts and also activism would be the Asian Financial Crisis, 9-11 which caused the war on terrorism and the failure of the WTO new round. Green Papaya published a report about the existing artist-run spaces in the Philippines, among mentioned that I am familiar with is the Surrounded by Water and Big Sky Mind. The first info shop that I am aware of is the Kinaiyahan Unahon social center, an indigenized deep ecology movement in Davao which was the offshoot of the Davao Anarchist Resistance Movement. Of course, during the previous decades in particular in the First Quarter Storm, there were mosquito presses and alternative publications which was the locus of arts and cause oriented groups.

Another situation would be Markets of Resistance in Baguio and Markets of Resistance Redux in Manila. As I understand, it was the outcome of the multidisciplinary research spearheaded by the newly-founded Institute for Historical, Cultural Heritage. But according to some friends in Baguio, it received flaks for its presumptuousness and ambiguity about resistance. Incidentally, there are at least two other appropriation of markets: autonomous groups’ really, really free market and 98b’s monthly future market.  I raised these concerns during the artists talk of MoR redux at PWU which the curator and progenitor, Angel Shaw was able to address impartially.

I remember during the previous Philippine Arts Fair, I would say that there is a boom in the art market in the country. Probably it is a resonance of the boom in Southeast Asia if not the whole region in the art market. Even with the talk of ASEAN integration and one common economic market, neo liberal policies are at work and most likely it manifests also in the local scene. It could be argued that some if not all so-called artist-run spaces and alternative spaces are enjoying fund support from institutional channels such as foundations and endowment from the state. 

I suppose most multimedia collectives such as Southern Tagalog Exposure, Kodao, Alter Midya, Dakila have provided content on their own but some are continually seeking funding from the state such as Cultural Center or the Cultural and Arts Commission and even private institutions or foundations. Therefore, the content that is produced might be tainted and compromised already. In terms of particular mass distribution channels,  in the urban centers most probably cinema, television and the web would be the most widespread. But perhaps in the rural areas, print and radio would be more prevalent. For example, in Marinduque theater collectives like KARATAULA and Sinagbayan would have local chapters which are mainly based in schools both secondary and tertiary.

I don't think you can draw a line that would divide institutional spaces or mainstream platforms as opposed to the alternative sites. Yes, on a general level it is diametrically-opposed. But the way I see it, not necessarily, I think the lines could be that of linkages and transversal lines which connects and creates conjunctures rather conflict and antagonism. However, these spaces, platforms and sites are transitory and tactical. In the long run, creating a new commons and immaterial practices would be more strategic than being dependent with institutional endowment and grant support from foundations.